New Mexico Philharmonic Program Book • 2019/20 Season • Volume 9 • No. 3

19/20 VOLUME 9 / NO. 3

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2019/20 SEASON

nmphil.org

19/20 NMPHIL CONCERT SCHEDULE

2019/20 SEASON Saturday, December 21, 2019, 6:00 p.m.

Holiday Pops!

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

Brass, Winds, & Bach’s Air

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

Mozart & Beyond

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

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

Elgar & Mahler 7

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

Unforgettable Albinoni, Marcello, Boccherini, & Bach Saturday, February 29, 2020, 6:00 p.m.

Alice in Wonderland Ballet

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

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

Jason Vieaux guitar

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

Song Plays Shostakovich Saturday, April 4, 2020, 8:00 p.m.

Star Wars to Superman: A Salute to John Williams

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

Andrei Ioniţă cello

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

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

Only Olga Piano Supreme Sunday, April 19, 2020, 3:00 p.m.

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

Friday, April 10, 2020 Time TBA Olga Kern piano

Musical Delights

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

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

Carmina Burana

FUNDRAISING SPECIAL

2019/20 Season

(505) 323-4343 nmphil.org

RSVP ONLY

(505) 323-4343 nmphil.org

LETTER FROM THE

MUSIC DIRECTOR We just finished our Popejoy Classics concert that featured Brahms’s superb Symphony No. 4 and the Mendelssohn Violin Concerto performed by violin virtuoso Richard Lin. It was a wonderful experience, and our orchestra musicians once again played their best and filled Popejoy Hall with the warmth and beauty of their sound. All I can say is, “Wow!” I feel truly fortunate to be working with these marvelous musicians. We have many more fabulous concerts coming up, and I invite you to join us.

I would also like to wish each member of our audience a Happy New Year filled with health and happiness.

We are grateful for your amazing reception and passion as an audience, and remember, we love playing for you! You truly inspire us!

Sincerely, Roberto Minczuk Music Director

NMPHIL .

TABLE OF CONTENTS PROGRAMS December 21, 2019 Program January 12, 2020 Program January 25, 2020 Program February 15, 2020 Program Program Notes

5 7 9 11 13

ARTISTS Jason Altieri Manzano Day School Chorus/Jamie Jones Eldorado High School Concert Choir/Colton Hardy Albuquerque Youth Symphony/Sayra Siverson Roberto Minczuk Jason Vieaux Andrei Ioniță

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YOUR NMPHIL Musical Fiestas Letter from the Music Director Spring Gala: New York Lights NMPhil Foundation Community Connection Legacy Society Sound Card Student Membership Musician’s Corner Orchestra Board of Directors, Advisory Board, Staff Donor Stories Sponsor a Musician Donor Circles NMPhil Foundation Donors & Trustees Thank You Strategies for Wise Giving Sponsors

2 3 6 10 10 12 12 24 25 25 26 26 27 29 30 30 31

THE NEW MEXICO PHILHARMONIC OFFICES

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

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

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CONCERT PROGRAM .

POPEJOY POPS

Holiday Pops!

DEC

21

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

Jason Altieri conductor Manzano Day School Chorus/Jamie Jones director Eldorado High School Concert Choir/Colton Hardy director Albuquerque Youth Symphony/Sayra Siverson director

Popejoy Hall

The Most Wonderful Time of the Year

arr. Cerulli

A Christmas Portrait

arr. Hayes

The Very Best Time of Year

Rutter

Star Carol

Rutter

“Farandole” from L’Arlesienne Suite No. 2 Christmas at the Movies

March of the Toys

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

Bernalillo County

Bizet arr. Krogstad Herbert

Stille Nacht

Gruber arr. Davis/Custer

Adeste Fidelis

arr. Harris

Sleigh Ride

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

The Grinch Song

arr. Funderburk

“Believe” from The Polar Express

Silvestri/Ballard arr. Hayes

Let It Snow! Let It Snow! Let It Snow!

Cahn/Styne arr. Hayes

White Christmas

arr. Bennett

Christmas Day “Hallelujah” Chorus from Messiah Christmas Sing-Along

The New Mexico Philharmonic

Holst Handel arr. Finnegan

nmphil.org

5

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k or Y New Spring G

M 5:30 P 2020 • , 7 H C R AR ENTE DAY, M ENT C SATUR AS EV T R E U LAS P

azz

fJ The Art o • W IT H

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Present this ad to receive 10% OFF of your dining check. *Discount excludes gratuity, tax and alcohol. *Not valid for Holidays and Special Event Dinners

CONCERT PROGRAM .

AFTERNOON CLASSICS

Brass, Winds, & Bach’s Air

JAN

12

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

Roberto Minczuk Music Director

National Hispanic Cultural Center

Serenade in d minor for Winds, Op. 44 I. Moderato, quasi Marcia II. Minuetto. Tempo di minuetto III. Andante con moto IV. Finale. Allegro molto Octet in E-flat Major for Winds, Op. 103 I. Allegro II. Andante III. Menuetto IV. Presto Spirit of Brass—Concert Fanfare

Antonín Dvořák (1841–1904)

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

The Honorable & Mrs. James A. Parker Ludwig van Beethoven (1770–1827)

Enrique Crespo (b. 1941)

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

“Air on the G String” Johann Sebastian Bach (1685–1750) (arr. Allen) Symphony for Brass, Op. 80 I. Allegro II. Larghetto III. Rondo Canzon in echo duodecimi toni à 10, Ch. 180

Canzon septimi toni No. 2

The New Mexico Philharmonic

Jan Koetsier (1911–2006)

Giovanni Gabrieli (c. 1553/1556–1612) Gabrieli

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Now accepting applications for the 2019-2020 school year

Financial Aid Available

proudly presents

for Piano and Strings

Recognizing and rewarding New Mexico’s young musicians for 28 years February 15, 2020 at 9:00am Robertson and Sons Violin Shop 3201 Carlisle Blvd. NE Albuquerque, NM 87110 Admission is free.

musicguildofnewmexico.org

CONCERT PROGRAM .

POPEJOY CLASSICS

Mozart & Beyond—Fundraising Special

JAN

25

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

Roberto Minczuk Music Director Jason Vieaux guitar

Popejoy Hall

Overture to The Marriage of Figaro, K. 492

Wolfgang Amadeus Mozart (1756–1791)

Guitar Concerto I. Maestoso. Allegro II. Adagio III. Finale. Lively

Jonathan Leshnoff (b. 1973)

Concerto in D Major, RV 93 I. Allegro II. Largo III. Allegro

Antonio Vivaldi (1678–1741)

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

Cynthia Phillips & Thomas Martin

Additional support is provided by:

Jason Vieaux guitar

The Honorable & Mrs. James A. Parker Dr. & Mrs. Larry Lubar PRE-CONCERT TALK Hosted by:

Brent Stevens

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

Sponsored by:

Symphony No. 25 in g minor, K. 183 I. Allegro con brio II. Andante III. Menuetto & Trio IV. Allegro

Mozart

Symphony No. 35 in D Major, “Haffner,” K. 385 I. Allegro con spirito II. Andante III. Menuetto IV. Presto

Mozart

The New Mexico Philharmonic

Menicucci Insurance Agency Classical 95.5 KHFM

nmphil.org

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Challenging Education

DEAR FAMILY MEMBER OF THE NEW MEXICO PHILHARMONIC,

At the beginning of November, a very generous anonymous donor offered to match every donation to the New Mexico Philharmonic Foundation dollar for dollar, up to $100,000.

This is significant for our Foundation.

Our Foundation’s mission is to provide sustainable, dedicated funding for the New Mexico Philharmonic. Funding that provides long-term stability, future growth, and permanence. This Foundation is a transparent and secure fiduciary instrument for donor support that is directly controlled by its donors and trustees.

The Foundation, although in its infancy, already has $300,000 in pledges and cash.

This generous dollar-for-dollar match, together with your gift, would make the Foundation’s goal of raising $500,000 or more by the end of this season possible.

COMMUNITY CONNECTION YOU ARE INVITED! Tuesday, April 21, 2020, 4:45 p.m.

National Hispanic Cultural Center Pete V. Domenici Education Building Students of NMPhil’s Young Musician Initiative build poise and confidence every time they perform in our community!

YMI has performed in museums, schools, senior centers, cultural festivals, and concert halls, and we’d love to perform for you.

We’re grateful for our community’s support in creating access to life-changing, indepth music education for our youth!

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2019/20 Season / Volume 9 / No. 3

The match will apply to donations coming in through March 31, 2020.

Thank you so much for considering making a gift in addition to your regular giving to the New Mexico Philharmonic and helping us grow an endowment for your NMPhil. To find out more about the NMPhil Foundation, please visit: nmphilfoundation.org.

Sincerely,

THOMAS MARTIN, MD President of the Board New Mexico Philharmonic Foundation

nmphilfoundation.org

CONCERT PROGRAM .

POPEJOY CLASSICS

Elgar & Mahler 7

FEB

15

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

Roberto Minczuk Music Director Andrei Ioniță cello

Popejoy Hall

Cello Concerto in e minor, Op. 85 I. Adagio—Moderato II. Lento—Allegro molto III. Adagio IV. Allegro—Moderato—Allegro, ma non troppo—Poco più lento—Adagio

Edward Elgar (1857–1934)

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

Albuquerque Community Foundation

Andrei Ioniță cello

Additional support is provided by:

Meredith Foundation I N T E R M I S S I O N PRE-CONCERT TALK Hosted by:

Symphony No. 7 I. Langsam—Allegro risoluto, ma non troppo II. Nachtmusik I III. Scherzo IV. Nachtmusik II V. Rondo finale

The New Mexico Philharmonic

Gustav Mahler (1860–1911)

Brent Stevens Sponsored by:

Menicucci Insurance Agency Classical 95.5 KHFM

nmphil.org

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NMPHIL

SOUND CARD STUDENT MEMBERSHIP

$

30

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

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

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2019/20 Season / Volume 9 / No. 3

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

Joann & Scott MacKenzie 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 11/26/2019

●

PROGRAM NOTES .

Program Notes Charles Greenwell

Antonín Dvořák

Born September 8, 1841, in Nelahozeves, Czech Republic Died May 1, 1904, in Prague, Czechoslovakia

Serenade in d minor for Winds, Op. 44

Scored for 2 oboes, 2 clarinets, 2 bassoons, contrabassoon (optional), 3 horns, cello, and double bass. Approximately 25 minutes.

In 1874, Dvořák applied for and won the Austrian State Stipend for young composers, and in the process his music came to the attention of the famous and influential critic Eduard Hanslick. Dvořák applied again---and won again---in each of the following four years, along the way earning the respect and support of Brahms in getting some of his works published. These grants allowed Dvořák to leave his post as a church organist and concentrate on composing, and as his popularity increased both in his homeland and Austria, so did the number of works he produced. During this period, he composed two serenades, one for strings and the present one primarily for winds. In early 1878 during a trip to Vienna, he attended a concert given by members of the Vienna Philharmonic that included Mozart’s great Wind Serenade in B-flat. He was so taken with the work that upon returning to Prague, he began to write a work in the same general vein and completed it in just two weeks. It is a testament to Dvořák’s genius that the serenade he produced was quite different from the Mozart, but a remarkable work in

“Only a master writes like this; only a poet by God’s grace has such inspiration.”

—Critic

“Beethoven will in time become one of the great musical artists in Europe, and I shall be proud to call myself his teacher.”

—Franz Joseph Haydn

its own right. It is clearly based on Classical models but is wholly Czech in its character, filled with Slavonic rhythms and harmonies, and seems to be looking back to an agesold tradition of music making in castles and palaces, as well as to the wind music of Reicha and Krommer and other early Bohemians. Despite the lack of the higher register that flutes would have produced, there is a wonderful lightness about the Serenade due to Dvořák’s graceful and endearing melodic lines and his remarkable ensemble writing. Dvořák himself conducted the first performance of the Serenade in a concert in Prague in November 1878 that was devoted entirely to his compositions. It made a splendid impression on all who attended, garnering particular praise from Brahms, who wrote, “… a more lovely, refreshing impression of real, rich, and charming creative talent you can’t easily have … I think it must also be a great pleasure for the wind players.” Another critic said, “Only a master writes like this; only a poet by God’s grace has such inspiration.” Dvořák dedicated the work to Berlin composer and music critic Louis Ehlert because his promotion of Dvořák’s first set of Slavonic Dances greatly helped advance his music in Germany. Ehlert predicted that the Serenade and other works of Dvořák would “make their way around the world [because] a heavenly naturalness flows through the music.” This was a remarkably prescient statement, as within just a few months Dvořák’s music began to gain great fame both in Europe and here in America.

This Serenade was part of a revival of interest in forms and genres of the Classical era that took place in the late 19th century, Brahms and Tchaikovsky being just two composers who wrote serenades and other works inspired by the 18th century.

It was a custom in Mozart’s time, when serenades were often played outdoors in the summertime, to begin and end such works with a march as the players went to and from

the performance area. So it is that the first movement of Dvořák’s Serenade pays homage to earlier central European wind band music by being a vigorous yet stately march with a trio. (It may be in d minor, but it is certainly more positive and cheerful than somber.) The second movement, called a Menuetto, is really a combination of two Czech folk dances, once again with a vigorous trio (called a Furiant) in the middle. The beautiful Andante con moto is the emotional heart of the work and definitely pays homage to the equally beautiful slow movement of Mozart’s great Wind Serenade. The last movement is very much in the character of a polka, and is an ingenious kind of formal hybrid in which, just as in a traditional rondo form, the successive returns of the main music are separated by new and contrasting material. Just when the final statement of the main music seems inevitable, Dvořák instead brings back the march theme of the first movement, after which the Serenade ends with a rousing final section, bringing together the main themes of the finale. ●

Ludwig van Beethoven

Born December 17, 1770, in Bonn, Germany Died March 26, 1827, in Vienna, Austria

Octet in E-flat Major for Winds, Op. 103

Scored for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns. Approximately 23 minutes.

In 1784, Maximilian Franz, the new elector of Cologne, moved to Bonn, where in the roster of court musicians there was a remarkable young virtuoso named Ludwig van Beethoven. Maximilian was the youngest brother of a remarkable group of 18th-century aristocrats that included Joseph II and Marie Antoinette, and he quickly filled his grandiose palace with members of his own Harmonie, or wind ensemble. He was an enthusiastic supporter of the young virtuoso, and later continued on 14

The New Mexico Philharmonic

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PROGRAM NOTES . continued from 13 granted him leave to visit Vienna, where at the age of 16 had likely met and had a few lessons with Mozart. In 1792, Beethoven moved to Vienna to study with Franz Joseph Haydn, then Germany’s greatest living composer.

After a year and a half, Beethoven grew impatient with Haydn’s conservative teaching style, and the two men parted company. For Beethoven this was not a setback, as he had quite a number of friends and opportunities for play, and was already becoming known as one of the greatest piano virtuosos of the day as well as an excellent composer. Nevertheless, about his new pupil, Haydn wrote, “… expert and amateur alike cannot but admit that Beethoven will in time become one of the great musical artists in Europe, and I shall be proud to call myself his teacher.”

The Octet was substantially revised in Vienna and completed in 1793, then underwent further revision in 1795 and was published the following year as the String Quintet in E-flat Major. In its original form, it was not published until after Beethoven’s death, and thereby acquired a misleadingly late opus number. The Octet is notable for its high-flying, virtuoso writing for the horns, an instrument for which he had established an early understanding. In the work, the oboe takes the lead in the first three movements, and partners with the bassoon in an operatic duet in the third movement. The ensemble color changes abruptly when in the Finale a virtuoso clarinet is unleashed as the leader of the ensemble. ●

Enrique Crespo

Born October 17, 1941, in Montevideo, Uruguay

Spirit of Brass— Concert Fanfare

Scored for a 10-part brass ensemble. Approximately 2 minutes.

Crespo is a trombonist and arranger and a founding member of the German Brass Quintet in 1974. He studied music and architecture in Montevideo and Buenos Aires, and was principal trombone in the symphony orchestra there, as well as a jazz soloist, arranger, and bandleader. He was awarded a grant to the Berlin College of Music in 1967, graduating with a degree in 1969. In that same year, he became principal trombone with the Bamberg Symphony Orchestra, then in 1980 became principal trombone with the Stuttgart Radio Symphony Orchestra. At that time, he was mainly occupied with his own compositions, cooperating with the Bavarian 14

2019/20 Season / Volume 9 / No. 3

Radio, and setting up a private recording and film studio. In 1985, he doubled the size of the German Brass Quintet and gave it the new name of German Brass. For the new ensemble, Crespo has arranged many works in a variety of styles, including Baroque, Classical, jazz, folk, and popular music from Latin and South America. ●

Johann Sebastian Bach

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

“Air on the G String” This beautiful and familiar work is the second movement of Bach’s Orchestral Suite No. 3, and in its original form it was scored for strings alone and takes approximately 5 minutes in performance. ●

Jan Koetsier

Born August 14, 1911, in Amsterdam, Netherlands Died April 28, 2006, in Munich, Germany

Symphony for Brass, Op. 80

Scored for 10 brass instruments: 4 trumpets, horn, 4 trombones, and tuba. Approximately 5 minutes.

Koetsier studied at the Berlin Music School.

From 1942 to 1948, he was director of the famed Concertgebouw Orchestra in Amsterdam; from 1949 to 1950, he led the Hague Residentie Orchestra; from 1950 to 1966, he was director of the Bavarian Radio Symphony Orchestra in Munich; and from 1966 to 1976, he led the band conducting course at the Music High School in Munich.

He has composed chamber music, as well as orchestral and choral music. In 1992, he endowed the Jan Koetsier Foundation at the High School, whose main responsibility is the organization of the biennial International Jan Koetsier Competition. The Symphony for Brass was commissioned by the Philip Jones Brass Ensemble, and it was premiered by that group in Regenhsburg, Germany, in February 1980. Since then, it has become a masterpiece of the international brass ensemble repertoire. ●

Giovanni Gabrieli

Born c. 1553/1556 in Venice, Italy Died August of 1612 in Venice

Canzon in echo duodecimi toni à 10, Ch. 180 Canzon septimi toni No. 2 Scored for brass ensemble; each work is approximately 3 minutes.

Gabrieli was an Italian composer and organist, and was one of the most influential musicians of his time, representing the culmination of the Venetian school of composing, at the time of the shift from Renaissance to Baroque idioms. While not much is known about his early life, he probably studied with his uncle, composer Andrea Gabrieli, who was employed at St. Mark’s Basilica from the 1560s until his death in 1585. We know that he went to Munich to study with the renowned Orlando di Lasso until about 1579 and di Lasso was to be one of the principal influences on the development of his musical style. By 1584, he had returned to Venice, where he became principal organist at St. Mark’s, and following his uncle’s death he began editing the older man’s music that would otherwise have been lost. Gabrieli’s career rose higher when he took the additional post of organist at the Scuola Grande di San Rocco, another post he retained for the rest of his life. San Rocco was the most prestigious and wealthy of all of the Venetian confraternities (a brotherhood devoted to a specific religious or charitable cause), and was second only to St. Mark’s in the splendor of its musical establishment. St. Mark’s had a long tradition of musical excellence, and Gabrieli’s work there made him one of the most famous composers in all of Europe.

Though Gabrieli composed in many of the forms then current, he preferred sacred vocal and instrumental music, and in the latter part of his life concentrated on music that exploited sonority for maximum effect.

Among the innovations credited to him were

“… a sublime mixture of wit and melancholy which has no equal.”

—Stendahl

PROGRAM NOTES .

dynamics (loud and soft), specifically notated instrumentation, and massive forces arrayed in multiple, spatially separated groups—an idea that had a great influence on Baroque music and that quickly spread to northern Europe. Like composers before and after him, he would use the unusual layout of St. Mark’s, with its two choir lofts facing each other, to create striking spatial effects. Most of his works were written so that a choir or instrumental ensemble would first be heard on one side, followed by a response from the musicians on the other side. Often there was a third group situated on a stage near the main altar in the center of the church, and the acoustics are such that instruments, properly positioned, could be heard with perfect clarity at distant points. So it was that instrumentation that looked strange on paper—for example, a single string player set against a large group of brass instruments— could be made to sound in perfect balance.

The two works on the concert today are but a small portion of the works Gabrieli composed that created a true surroundsound experience, as St. Mark’s was so large that the resonance and reverberation became a part of the composition. ●

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

Overture to The Marriage of Figaro, K. 492

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

Approximately 4 minutes.

We have very little information about the composition of this opera, as none of Mozart’s letters have survived from the months preceding the premiere in Vienna in May 1786. Though seven years older than Mozart, Lorenzo da Ponte had written only three librettos compared with Mozart’s 12 operas. Certainly Mozart played a leading role in their collaboration, and da Ponte was able to understand and satisfy his requirements to a very high degree. We do know that the idea of setting Figaro came from Mozart, and the Beaumarchais play had everything to commend it, not the least being the fact that it had been banned. Figaro stands out, even in Mozart’s output, for having the greatest human warmth and the most natural characters: instead of operatic conventions

and uninspired repetitions, we have something like a stream of consciousness.

The writer Stendahl summed up his feelings by writing, “Mozart’s opera is a sublime mixture of wit and melancholy which has no equal.” Although there are no quotes in the sparkling overture from the opera itself, Mozart succeeded in distilling the essence of the opera in just four minutes, and the overture has become one of the most beloved of all operatic curtain raisers. ●

Jonathan Leshnoff

Born September 8, 1973, in New Brunswick, New Jersey

Guitar Concerto

Scored for solo guitar and orchestra. Approximately 20 minutes.

Leshnoff attended Johns Hopkins University and the Peabody Conservatory concurrently, earning Bachelor’s degrees in music and anthropology. He then went on to receive a Master of Music degree and a Doctor of Music degree from Peabody and the University of Maryland, respectively.

His works have been performed by major orchestras worldwide, and while a large percentage of his output is orchestral, he has also composed for many small ensembles and concert band. Leshnoff is currently a professor of music at Towson University in Maryland, where he has been teaching music theory and music history for almost 20 years. The Washington Post has called him “one of the gifted young composers” of this generation, and The New York Times has deemed him “a leader of contemporary American lyricism.” His Guitar Concerto was commissioned by the Baltimore Symphony Orchestra and co-commisioned by the Orquesta Sinfonica del Principado de Asturias, the Nashville Symphony Orchestra, and the Reno Philharmonic.

The composer has called this work “an exploration of worlds, from its mysterious beginnings to its fiery, dance-inspired finale.” He continues, “It’s notoriously difficult to write for the instrument unless you play it.” Nevertheless, he immersed himself in studying the literature, crafting a work that Nashville Symphony Orchestra’s Music Director Giancarlo Guerrero calls “one of the greatest additions to the guitar repertoire.” In addition, he has embarked on a 10-work, multiyear project that parallels the fundamental building blocks of Jewish spiritual thought, outlining the architecture

of the universe and its relationship with God and mankind. Leshnoff composed the Guitar Concerto as a star vehicle for Cuban-born Manuel Barrueco, one of world’s most celebrated classical guitarists, and a long-time faculty member of the Peabody Conservatory. The concerto begins with an arresting idea that appears later in the movement, as well as at the end of the second and third movements. For the beautiful and meditative second movement, the orchestra is reduced to violins, harp, and percussion.

The finale, once again with full orchestra, is imbued with a Spanish flavor, playing off one of the guitar’s many cultural associations.

Antonio Vivaldi

Born March 4, 1678 in Venice, Italy Died July 28, 1741 in Vienna, Austria

Concerto in D Major, RV 93

Scored for solo guitar and strings. Approximately 9 minutes.

Vivaldi was the most original and influential composer of his generation, and laid the foundation for the mature Baroque concerto.

He made great contributions to style, violin technique, and orchestration, and was pioneer in the area of program music. He lived in Venice when it was a major cultural center and when the city featured a number of outstanding musicians and painters who set trends for the rest of Europe. Vivaldi was no exception in this regard, and one of his major contributions was to establish a concerto form that continued into the 19th century. Moreover, his brilliant, innovative, and virtuosic writing for the violin was a product not only of a golden age of violin playing but also his own extraordinary capabilities as a performer. In the first half of the 18th century, three main types of concerto arose, one of which featured a solo violin being given a very predominant part.

It was from this form, with influences from the realm of opera, that Vivaldi developed the solo concerto that ultimately led to the concerto as we know it today. Vivaldi was amazingly facile and prolific and wrote no less than 500-plus instrumental concertos, which created an exciting new musical language replete with simple but strong effects, powerful driving rhythms, bold melodic contours, unusual colors, a unique kind of tone-painting, and in the fast movements set new standards for solo virtuosity.

His innovations not only influenced the continued on 16

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PROGRAM NOTES . continued from 15 concerto form but almost all other genres as well. His works not only changed form, procedure, and technique in all branches of music, but contributed immeasurably to the development of thematic, harmonic, and formal thinking.

It was also no accident that the rise of the concerto coincided with that of music publishing in northern Europe, and each greatly benefited the other. Like so many men of his day, Vivaldi originally intended to become a priest, was tonsured in 1693, and received his holy orders in 1703. Later that year, he followed in his father’s footsteps by becoming the lead violin in the orchestra of St. Mark’s. It was at this time, due to his red clerical garb and his striking red hair, that he was given the nickname of “The Red Priest,” and this stayed with him most of his life. In 1704, he was hired as a violin teacher by the Conservatory of the Ospedale della Pieta, one of four institutions in Venice that provided shelter and musical training for orphaned and illegitimate girls, and later was appointed Master of the School’s Concerts. After spending 36 years there, he went to Vienna hoping to find a lucrative position at the court of Charles VI, but due to political complications it never happened. Inexplicably, instead of returning to his native Venice, he decided to remain in Vienna where he spent his last months in poverty, failing health, and relative obscurity. Sadly, he died penniless in the Austrian capital in 1741 and was buried anonymously in a pauper’s grave. He was 63 when he died—certainly older than average for the time— but one wonders how much longer he might have lived had he not been troubled all of his life by angina, asthma, and other respiratory ailments.

No brief description can do justice to the variety of form, scoring and imaginative conception of the Vivaldi’s 500-plus concertos, written for a remarkable variety of instruments. In addition to those concertos, he wrote at least 50 operas, 25 sacred cantatas, and many other sacred vocal works. Although his fame rested for years on his instrumental works, 20th-century investigations into and performances of his vocal output have only strengthened and enhanced his stature, as we have come to realize that he possessed a contrapuntal mastery and depth of expression on the level of Bach and Handel. In fact, many scholars now state unequivocally that if you don’t know Vivaldi’s operas and sacred works, you have only an incomplete understanding of the man, and 16

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“… the Emperor was present and goodness!—how delighted he was and how he applauded me!”

—Wolfgang Amadeus Mozart

in his greatest works one is clearly in the presence of genius. Vivaldi’s career at the Ospedale in Venice and his strong links with northern Europe seem to have produced a body of instrumental music unique for an Italian composer of his time. No one else in Italy wrote for the chalumeau, the clarinet, the bassoon, the horn, and the viola d’amore, along with more conventional instruments such as the trumpet, the oboe, the lute, and the mandolin. His concertos and trios for plucked instruments such as the lute and mandolin are somewhat problematic as we know very little about why or when they were written. In the case of the lute works we don’t know for sure what type of instrument he intended, as there is no body of comparable Italian music to help us make an educated guess. Vivaldi’s four works for the lute are all written with a mostly single-line part notated in the treble clef. This has much more in common with mandolin music and violin writing than the full textures characteristic of northern European Baroque lute music, and so the parts are commonly played in our time as they were written on either a Renaissance lute or a modern guitar. ●

Mozart

Symphony No. 25 in g minor, K. 183

Scored for 2 oboes, 2 bassoons, 4 horns, and strings.

Approximately 24 minutes.

In the 18th century, there was clearly no need to distinguish between different symphonies by the same person to the degree that is common today. The concept that all symphonies should have unique personalities of their own did not become widespread until Beethoven’s time. Until then, most symphonies were enough alike in scope and intent as to be almost interchangeable to their audiences. This situation began to change in the 1770s when Mozart and Haydn, among others, began to write symphonies that were noticeably individualized and different from one

another. The symphony as we know it today had its origin in Italy where it was first used as a three-part opera overture. When Mozart began writing symphonies, he followed this arrangement, and in fact many of his early symphonies bear the subtitle of “Overture.”

He wrote more symphonies than anything else in the purely instrumental realm, more than 50 in all, the first being produced when he was just eight. During his time, the symphony broke away from its original use in opera and gained a new and independent life.

Mozart wrote most of his symphonies for a specific purpose, and his early efforts in the genre were a fascinating mixture of various styles of the day, written in a way that would please local audiences. The majority of his symphonies were written prior to 1774, with the greatest concentration occurring between 1770 and 1775, when he wrote no less than 36 symphonies, what one scholar referred to as “an attack of symphony fever!” He did not stop writing symphonies after this, however; rather, the demands of his career along with social and musical realities of the day pointed him mainly in the direction of opera and the piano concerto. Mozart’s stylistic development closely paralleled the development of the Classical style as a whole, the main characteristics of which are clarity, balance, and transparency. From his earliest years, he had a remarkable sponge-like gift for imitating music he had heard, all of which was transformed and funneled into his unique and special musical language. In addition, during the last 10 or so years of his life, he also was exploring chromatic harmony to a degree that was almost unparalleled at the time.

This early symphony in g minor was written when Mozart was 17 years old and stands out among his works as a good example of how symphonies were becoming individualized. It is moreover one of his first works to show complete artistic maturity and one of only two symphonies he composed in a minor key, the other being the sublime Symphony No. 40, also in g minor. The use of minor keys in symphonies was quite rare in

PROGRAM NOTES .

the 18th century, but instead of being looked on as a forerunner of the Romantic spirit, this work can better be regarded as part of a sudden outburst of minor-key symphonies that took place in the late 1760s and early 1770s. The great Haydn and other lesser lights produced at this time a number of minor-key symphonies characterized by stormy and even nervous drama, restlessness of spirit, and melodies that tended to jump around rather than follow a normal, smooth path. These were part of the so-called Sturm und Drang (Storm and Stress) movement, and much has been made of the similarity between Haydn’s Symphony No. 39 in g minor and this Mozart work: They are in the same key and same style, and most unusually, include not the usual two but four horns in the instrumentation, thus extending the harmonic range. There are, however, two unusual features in the Mozart work: first, where he carries over from the first movement into the second movement with a decidedly somber atmosphere by using bassoons instead of the usual flutes; and second, unlike most minor-key symphonies of that time in which the last movement is in a major key, here the last movement is in the minor and carries the Sturm und Drang feeling right to the end. ●

Mozart

Symphony No. 35 in D Major, “Haffner,” K. 385 Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Approximately 20 minutes.

When Mozart relocated from Salzburg to Vienna in 1781, he entered into a brandnew phase of his career with a sense of fresh possibilities. The first years of adjusting to life in the imperial capitol were exhausting and somewhat risky, but offered the opportunity to achieve the kind of artistic and personal independence that had been impossible in his native Salzburg. This symphony is a kind of bridge work dating

from his first years in Vienna, while at the same time having ties to his past in Salzburg.

The “Haffner” Symphony did not begin its life as a symphony, but rather as a serenade used as background music for the ennoblement of Sigmund Haffner. The Mozarts knew the Haffners through Sigmund’s father, Sigmund Haffner the Elder, who had been mayor of Salzburg. The elder Haffner died in 1772, but the families remained in contact for some years. In 1776, the younger Haffner commissioned a serenade for the wedding of Marie Elizabeth Haffner. This became the famous “Haffner” Serenade---in effect an extended violin concerto---that was so successful that when the younger Sigmund was to be ennobled, it was only natural that Mozart was called on to write the music for the occasion. The request came through Mozart’s father, Leopold, in July of 1782, at a time when Mozart, in his own words, was “up to his eyeballs in work,” but in this instance he had no choice but to compose an entirely new serenade. Nevertheless, Mozart worked on the music, and sent it section by section to his father. This turned out to be a new serenade---a completely different work from the serenade of four years earlier---with an introductory march and two minuets.

He later reworked this music into what we now know as the Symphony No. 35. At the end of 1782, Mozart decided to present music from the new serenade at a concert, and after asking his father to send the score of the serenade back again, was astonished at its high quality, given the short time in which it had been composed. So, he set to work making a number of alterations to the score in order to convert the new “Haffner” Serenade into the “Haffner” Symphony. He did this by dropping the introductory march and one of the minuets and in addition, he took out the repeat signs in the first movement’s exposition. He then gave the new symphony a fuller sound by adding two flutes and two clarinets to the first and last movements---an addition that did not include any new melodic material, but was simply a doubling of octaves within the woodwind

“My new ‘Haffner’ Symphony has positively amazed me, for I had forgotten every single note of it.”

—Wolfgang Amadeus Mozart

section. When it was finished, Mozart wrote to his father, “My new ‘Haffner’ Symphony has positively amazed me, for I had forgotten every single note of it.” The new work received its first performance under Mozart’s direction in March 1783 at Vienna’s famous Burgtheater. Modern audiences will no doubt be amazed at the whole program for that concert: It consisted of the first three movements of this symphony, an aria from Idomeneo, a piano concerto, a concert aria, the concertante movements of another of his recent serenades, the Piano Concerto K. 175 with a new finale, another concert aria, an improvisation by Mozart “because the Emperor was present,” two sets of piano variations, an aria by Paisiello, an aria by Gluck, a new rondo that was sung by the soprano, and then to finish the concert, the last movement of the new symphony! Again writing to his father, Mozart summed up the concert’s success by saying, “… the theater could not have been more crowded: every box was full. But what pleased me the most of all was that the Emperor was present and goodness!—how delighted he was and how he applauded me!”

Edward Elgar

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

Cello Concerto in e minor, Op. 85

Scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. Approximately 30 minutes.

For people here in the U.S. with no direct experience of the First World War, it is virtually impossible to comprehend what that “War to End All Wars” was about. Many historians are of the opinion that World War I was the most traumatic event in the history of Western civilization. Certainly, there had been wars, religious conflicts, plagues, earthquakes, and disasters of every kind that regularly tore Europe apart, many of them changing political and geographical boundaries, changing ruling houses, or even significantly altering basic philosophies.

However, nothing that had occurred prior to The Great War had so drastically altered the fundamental assumptions about how our civilization functioned. In just the four years between 1914 and 1918, the fearful destructiveness of modern instruments of war became frighteningly apparent, the fragile nature of human life and our continued on 18

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PROGRAM NOTES . continued from 17 institutions, culture, and civilized order was brought home as never before, and it can be said with reasonable certainty that World War I shaped the modern world, in the process virtually wiping out an entire generation of young European men. One prominent English writer summed it up like this: The scale of the war was apocalyptic, and before it happened few people had thought that such destruction was even possible. In Britain, the public’s notion of “modern” warfare had been formed by the Second Boer War (1899–1902), in which 22,000 British troops had died during that two-and-a-half-year conflict. In this new war, nearly that many soldiers were killed in a single day in July of 1916 on the first day of the Battle of the Somme. Over the course of four years, nearly one million people from Britain and the Empire countries lost their lives: not only men, but women, too, serving as nurses. Even as the conflict raged, many people realized that they were now living in a changed society.

In 1916, the celebrated writer D.H. Lawrence wrote, “… so much beauty and pathos of old things passing away and no new things coming: My God, it breaks my soul.” The massive and pervasive effects of the conflict profoundly touched practically everyone in the West, with artists of all sorts feeling those effects with unique sensitivity. Edward Elgar was no exception to this, having been devastated by the loss of many close friends in the conflict, and writing afterwards, “Everything pleasant and promising in my life is dead: I no longer have the happiness of friends to console me as I had 50 years ago. I feel that life has gone back so far when I was alone and there was no one to stand between me and disaster … now that has come back and I feel more alone and the prey of circumstances than ever before.” This outpouring of his feelings is underscored by the fact that the Cello Concerto was the last major work he wrote. Moreover, the warmth and confidence that had been in evidence in the Enigma Variations and the Cockaigne Overture were now severely diminished, and never fully returned. Elgar became the voice for those composers who longed for the comfortable optimism of the past but realized that it was gone forever, replacing it with sadness, introspection, and pessimism.

Compared with most of Elgar’s works, the Cello Concerto is a sudden departure from what had gone before, not just in stylistic terms, but also with regard to the basic music materials and overall mood. Elgar

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was famous for the sense of dignity, order, and pride in his music, and that in turn was a reflection of the English aristocracy and the whole concept of an orderly and stable civilization. This, however, is a concerto of sadness and disillusionment, that owes a great deal to Dvořák’s great concerto for the instrument, particularly in regard to technical matters. Elgar wanted the cello to dominate the proceedings, and while the orchestra here is sizable, the writing is almost always economical and transparent and never overpowers the soloist. In addition to the psychological and emotional traumas that Elgar was dealing with in the aftermath of the war, his health was also becoming unstable, and so, realizing that her husband needed some place to recapture a sense of solitude and peace, Lady Elgar--who was also having health issues---found a lovely cottage in rural Sussex with a studio in the garden and a surrounding area perfect for taking long walks. In March 1918, Elgar had a septic tonsil removed (a dicey operation for a 61-year-old man), and on the day he left the nursing home he asked for pencil and paper and immediately wrote down the opening theme of the Cello Concerto. The following summer, in the house that was named Brinkwells, Elgar began work in earnest on the concerto. It was sadly to be the last summer that he and his wife spent together. As he recalled, she “… grew mysteriously smaller and more fragile, and seemed to be fading away before one’s very eyes.” The work was finished and delivered to the publisher in early August, and the premiere was scheduled for the opening concert of the London Symphony Orchestra’s 1919/20 season in October 1919 with Elgar conducting. Elgar asked the distinguished English cellist Felix Salmond to be the soloist, and worked with him closely at Brinkwells during that summer.

Unfortunately, the premiere was a disaster because the performers were denied adequate rehearsal time. The performance was scheduled so that Elgar would conduct the concerto and the rest of the program

would be led by the orchestra’s Russian-born chief conductor, Albert Coates, noted for being something of an egotistical tyrant.

In the rehearsal, Coates went well over his scheduled time, leaving Elgar with very little time to do anything other than simply read through the new work. By the time Coates was finished rehearsing, Elgar--who had been waiting patiently offstage--uncharacteristically lost his temper at this breach of manners. In her diary, Lady Elgar referred to Coates as “… that brutal, selfish, ill-mannered bounder … who went on and on rehearsing.” As might be imagined, the premiere was a shamble and received mostly scathing reviews. The celebrated critic Ernest Newman observed, “The orchestra was often virtually inaudible, and when just audible was merely a muddle. No one seemed to have any idea of what the composer wanted. The sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself.” For the record, Elgar was actually a very fine conductor, particularly of his own music. Elgar put no blame whatsoever on Salmond, and later said that if it had not been for the cellist’s diligent and excellent work in preparing the concerto, he would have removed the work from the concert.

In a traditional concerto, the orchestra introduces the work with statements of the first movement’s principal themes, after which the soloist enters and takes it from there. In this concerto, the cello plays right at the outset, placing the listener in the middle of the musical argument from the very beginning. Moreover, the work is cast in four movements instead of the usual three.

The first movement is bold and powerful, with two contrasting themes. The whimsical scherzo is like a lovely and fleeting dance, holding three separate themes and with the orchestral accompaniment of the utmost delicacy. The third movement is the heart and soul of the concerto, probing with remarkable intimacy the darker emotions of grief, introspection, and nostalgia. Its construction is quite simple, like a song for the cello accompanied by the string section with just a

“… this requiem is not a cosmic utterance on behalf of mankind, it is wholly personal …”

—Michael Kennedy

PROGRAM NOTES .

few gentle interjections by the winds, but the effect of the movement is deeply touching and even heartbreaking. The finale tries very hard to put a positive conclusion to the work, but once it gets underway there is an intense outpouring of pain and sorrow and regret.

The opening music of the concerto is brought back briefly at the end, but there is no reconciliation or relief from the underlying somber mood of the work. It concludes with a powerful outburst from both soloist and orchestra, but one has the feeling that there was a lot left unsaid in Elgar’s heart. In his program note for the premiere of the First Symphony, Elgar described the work (which was popular right from the start and played frequently) as “… a composer’s outlook on life.” In his final years, when asked about the “meaning” of the Cello Concerto, he called it “A man’s attitude to life.” Elgar’s beloved wife passed away in April 1920, and in August of that year the composer wrote, “I am lonely now and do not see music in the old way and cannot believe that I shall complete any new work … sketches I still make but there is no inducement to finish anything … of ambition, I have none …” In his definitive biography of Elgar, the English writer Michael Kennedy summed up this extraordinary concerto in these words: Here is the elegy for an age. The slaughter of war … had grieved Elgar, but this requiem is not a cosmic utterance on behalf of mankind, it is wholly personal … There is no massive hope for the future in this music, only the voice of an aging, embittered man, a valediction to an era and to the powers of music that he knew were dying with him. This is music which our own unsettled age might do well to experience with a receptive heart. ●

Gustav Mahler

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

Symphony No. 7

Scored for 5 flutes, piccolo, 4 oboes, English horn, 4 clarinets, E-flat clarinet, bass clarinet, 4 horns, 3 trumpets, 3 trombones, tuba, tenor horn, timpani, percussion, 2 harps, guitar, mandolin, and strings.

Approximately 78 minutes.

In 1904, Mahler was enjoying great international success as a conductor, and beginning to enjoy international success as a composer. His second daughter was born that June, and during his customary summer break away from Vienna at Maiernigg in the Carinthian Mountains, he finished his

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“[The first movement depicts] the power of darkness … and night as a stubborn, brutal, and tyrannical force.”

—Gustav Mahler

Symphony No. 6, and sketched the second and fourth movements (the two Night Music movements) for the Symphony No. 7, while mapping out much of the rest of the work.

The score was completed in August 1905, and the orchestration was finished the following year. He then laid the score aside in order to make small changes to the orchestration of the Sixth Symphony. The Seventh finally had its premiere in Prague in September 1908 with the Czech Philharmonic at a festival marking the Diamond Jubilee of Emperor Franz Joseph. (Actually, as he thought about the premiere, he first considered the New York Symphony, but soon realized this would be crazy in a city and a country that knew so little of his music.) Prague at the time offered a less-than first-rate orchestra, but on the other hand he would have ample rehearsal time and would be surrounded by some of his most worshipful young conductors such as Otto Klemperer and Bruno Walter, all of whom helped him to revise the orchestration and copy parts. The three years that elapsed between the completion of the score and the symphony’s premiere saw dramatic changes in Mahler’s life and career. In March 1907, he resigned as conductor of the Vienna Court Opera, as the Viennese musical community had gradually turned against him, and this was why he chose Prague for the premiere.

On July 12, his first daughter had died of scarlet fever, and even as she lay dying, Mahler learned he was suffering from an incurable heart disease.

As a composer who made his living as a conductor, Mahler maintained an exhausting concert schedule for nine months of the year. This relentless schedule of performances, plus travel to other cities and countries eventually took a serious toll on his health and creative energies. So it was that, in the summer months, freed from all performing engagements, he retreated to the Austrian countryside where he could devote himself to composition. The five

movements of the Seventh Symphony were conceived separately: the two Night Music movements in the summer of 1904, and the other three in 1905. That summer of 1905 began with the most serious case of writer’s block he had ever known. As Mahler later wrote to his wife Alma: [In that summer] I had intended to complete the Seventh, for which both of the slow movements were done. For two weeks I tortured myself to the point of melancholy, then finally gave up and decided to go home, convinced that the summer would be wasted. I stepped into the boat to take me across the lake, and at the first stroke of the oars, I hit upon the rhythm and style of the introduction to the first movement, and within four weeks the first, third, and fifth movements were done!

It was another three years before the premiere took place, and during that time he continually tinkered with the orchestration and other revisions. Even after he began rehearsing the work in Prague, he was still making changes, which caused a lot of stress for both Mahler and the orchestra musicians.

When it finally came time to give the work its premiere in September 1908, it was politely but not passionately received, and even among the people who recognized the Seventh as a major orchestral achievement, very few knew what to make of it.

The Seventh to this day is the least known and one of the least performed of all of Mahler’s symphonies. Mahler claimed to be wary of providing programs for his symphonies, but he left a lot of hints about this one. The massive first movement, which depicts what he called “the power of darkness … and night as a stubborn, brutal, and tyrannical force,” is followed by three shorter movements, the two entitled Night Music and a central scherzo, which offer different responses to night. The finale, which Mahler himself nicknamed Day, escapes the darkness and pulls into bright C Major. ●

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ARTISTS .

Jason Altieri conductor Dr. Jason Altieri is the current Music Director of the Atlanta Pops Orchestra and Associate Conductor for the Reno Philharmonic. Dr. Altieri is also a strong advocate for young musicians through his position as Director of Orchestras at the University of Nevada and with guest conducting engagements with youth orchestras all over the United States.

In addition, Jason enjoys regular conducting engagements with the Hollywood Concert Orchestra, an ensemble that he has led on several tours throughout the United States, China, and Japan since 2006. His extensive touring has seen him conducting in most of the major performance venues in the United States and Asia, including The People’s Hall in Beijing, China, and Suntory Hall in Tokyo, Japan. In addition to his extensive touring, and as a result of his tireless work with young musicians, Dr. Altieri was invited as a guest conductor for the Los Angeles Orchestra Festival held in Walt Disney Hall on June 24, 2011. He also served as the orchestra director for the International Double Reed Society Conference in July 2012.

In addition to his orchestral work, Jason is also an accomplished conductor of opera.

He was engaged by London’s Royal Carl Rosa Opera Company to lead them on three North American tours. He was also the Associate Music Director for the Ohio Light Opera Company in summer 2006, where he conducted six productions and more than 40 performances during their 29th season. As a result of his work with the OLO, Jason Altieri has released two recordings on Albany Records. In 2002, Dr. Altieri was chosen to study with Valery Vatchev of the National Bulgarian Opera, which led to guest conducting engagements of La traviata, Il trovatore, and Rigoletto in the Czech Republic.

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He has also worked on the faculties of the Interlochen Center for the Arts and the Sewanee Summer Music Center.

A native of Georgia, Jason Altieri grew up in a musical family with both parents being members of the Atlanta Symphony Orchestra. High school was completed at the Dekalb Center for the Performing Arts and his education continued at the University of Georgia, where he received a Bachelor’s degree in music education. While pursuing advanced degrees in conducting from Michigan State University, Jason not only served as assistant conductor for the orchestra program but was also the conductor of the opera theatre program and was fortunate to have additional studies with Neeme Jarvi of the Detroit Symphony Orchestra and Gustav Meier of the Peabody Conservatory. Dr. Altieri currently resides in Reno, Nevada. ●

Manzano Day School Chorus/ Jamie Jones director The Manzano Day School Chorus is a nonauditioned group comprised of the entire fourth and fifth grades of the school. Chorus rehearsals are built into the six-day rotation as part of the music curriculum. In addition to chorus, students also have general music classes focused on singing, playing, moving, creating, and reading music. Music has long been valued as an integral part of education at this historic school, which is now in its 72nd year. The chorus performs one concert mid-year and a full musical play each spring.

They were the New Mexico Music Education Association’s Honor Choir in 2001. The chorus was privileged to sing for many Holiday Pops concerts with the New Mexico

Symphony Orchestra. As service projects, they have sung for hospitals, senior centers, and Noonday Ministries. Accompanist Amy Woolley teaches music classes for preschool through second grade students at Manzano Day School. She holds a Bachelor of Music degree from Baylor University, Kindermusic certification, and has studied Orff-Schulwerk at UNLV, the University of St. Thomas, and the Orff Institute.

Manzano Day School is an independent prekindergarten through fifth grade elementary school near Old Town in Albuquerque. Manzano moved to its present location in 1942, having previously held classes in the historic Huning Castle. Our La Glorieta, an adobe hacienda, was originally the home of early Spanish settler Don Diego Trujillo. Generations of families have cherished the history and warm atmosphere of Manzano Day School. Students learn core curriculum in innovative ways in small classes. In addition, all students receive instruction in music, art, physical education, Spanish, and technology.

Jamie Jones is in her sixth year of teaching at Manzano Day School. Jamie has a diverse background as a classroom and private studio educator, having taught children from preschool through young adults in general music, band, and theatre. With training in Kodály, Orff-Shulwerk, and Gordon pedagogy methods, Jamie strives to stimulate young children’s proficiency in music literacy. An Eastman School of Music graduate, Jones has performed in the Eastman Wind Ensemble and the Eastman Philharmonia Orchestra as an oboist, as well as in the Eastman Women’s Chorus. As early as high school, she was invited as a substitute with the Dallas Wind Symphony. Jamie has additionally performed as a soloist with the Texas Music Educators Association Honor Band, Greater Dallas Youth Orchestra, Texas Tech Faculty Orchestra, and the Brazos Valley Symphony Orchestra. Throughout the many years as both a performing artist and an educator of all ages, Jamie has prided herself on helping children embrace music through play-based curriculum, movement, drama, and creativity.

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ARTISTS .

Eldorado High School Concert Choir/ Colton Hardy director The Eldorado High School Concert Choir is the premier vocal ensemble at Eldorado High School. Comprised of mostly upperclassmen, Concert Choir is an auditioned ensemble that performs choral works in various musical styles and genres.

Colton Hardy is a native New Mexican from Carlsbad, NM. He earned his undergraduate degree in music education from Eastern New Mexico University in Portales, NM. Colton began his teaching career in Dumas, Texas, before moving to Albuquerque, where he currently serves as the choir director for Eldorado High School. ●

Albuquerque Youth Symphony/ Sayra Siverson director The Albuquerque Youth Symphony provides students with a high-quality music education, instills an emotional connection with

and lifelong passion for music, fosters a diverse community of musicians, and offers outstanding symphonic performance opportunities for students to share their musical gifts with the community.

Sayra Siverson is a nationally known conductor and music educator who has spent more than 25 years dedicated to the pursuit of her craft and sharing the joy of musical excellence with young musicians.

Ms. Siverson has served as guest conductor, adjudicator, and clinician for many local and national music festivals and camps, including Northern Arizona University’s Curry Summer Music Festival, Brevard Music Center, ISAS Arts Festival, Grand Opera Theater, Minnesota SEC Honor Orchestra, Albuquerque Philharmonic, and multiple All-State orchestras throughout the United States. Former conductor of the Albuquerque Youth Symphony Program’s Youth Orchestra, Junior Orchestra, and Junior Band, Ms. Siverson has been conducting with AYSP since 1998 and currently serves as Artistic Director and conductor of the Youth Symphony. She actively promotes the education and performance of new music by successfully partnering with living composers on commissions and performances of new works, including composers such as Jeremy Hegg, Tim Janis, Mark O’Connor, Miho Sasaki, Michael Schelle, and Dana Wilson.

Additionally, Ms. Siverson taught public and private school music for 16 successful years. Ms. Siverson’s youth orchestras have performed at events in concert halls across the United States, including the New Mexico All-State Music Festival, the American String Teachers Association national conference, and the League of American Orchestras “Meet the Composer” program. An advocate of volunteering and collaborating with local organizations, her students have performed alongside the New Mexico Philharmonic, New Mexico Symphonic Chorus, Opera Southwest, and with Hey Mozart! New Mexico. Recently, Augustana University (SD) honored her with the Horizon Award that recognizes alumni who have demonstrated outstanding vocational achievement and have provided faithful service to their community. ●

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; continued on 22

The New Mexico Philharmonic

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ARTISTS . continued from 21 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 VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone Award of Excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin Grammy in 2004 and was nominated for an American Grammy in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival, including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prizewinner for its recording from the

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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. ●

Jason Vieaux guitar Grammy winner Jason Vieaux, “among the elite of today’s classical guitarists” (Gramophone), is the guitarist that goes

beyond the classical. NPR describes Vieaux as “perhaps the most precise and soulful classical guitarist of his generation.” Among his extensive discography is the 2015 Grammy Award-winning album for Best Classical Instrumental Solo, Play. Vieaux has earned a reputation for putting his expressiveness and virtuosity at the service of a remarkably wide range of music, and his schedule of performing and studio recording commitments is distinguished throughout the U.S. and abroad.

His solo recitals have been a feature at every major guitar series in North America and at many of the important guitar festivals in Asia, Australia, Europe, and Mexico.

Jason Vieaux has performed as concerto soloist with more than 100 orchestras, including Cleveland, Toronto, Houston, Nashville, San Diego, Buffalo, Auckland Philharmonia, and Orchestra of St. Luke’s.

Recent performance highlights include debuts at the Domaine Forget International Festival and the Carmel Bach Festival, as well as performances at the Caramoor Festival as artist-in-residence, Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, the National Gallery of Art, Buenos Aires’s Teatro Colón, Amsterdam’s Concertgebouw, New York’s 92Y, Ravinia Festival, Eastern Music Festival, Curtis Presents, and performances at the Phillips Collection, Buenos Aires’s Teatro Colón, Seoul Arts Center, and Shanghai Concert Hall.

In the 2019/2020 season, Vieaux returns to San Francisco Performances for a solo recital in the Herbst Theatre and to the ELLNORA Guitar Festival. He will perform at Wolf Trap with the Escher Quartet, and give concerto performances with the Buffalo Philharmonic, New Mexico Philharmonic, New West Symphony, Bakersfield Symphony, and Kentucky Symphony.

He has forged his reputation as a firstrate chamber musician and programmer through performances with the Chamber Music Society of Lincoln Center, Bard Music Festival, Music@Menlo, San Francisco Performances, Cleveland Chamber Music Society, Strings Music Festival, Grand Teton, and many others. Chamber music collaborators include the Escher Quartet; Grammy-winning mezzo-soprano Sasha Cooke; violinists Nigel Armstrong, Anne Akiko Meyers, Kristin Lee, and Tessa Lark; acclaimed harpist Yolanda Kondonassis; and accordion/bandoneon virtuoso Julien Labro.

Vieaux’s passion for new music has fostered premieres of works by Jonathan Leshnoff, Avner Dorman, Dan Visconti,

ARTISTS .

Vivian Fung, Keith Fitch, Kinan Abou-Afach, David Ludwig, Jerod Tate, Eric Sessler, José Luis Merlin, Jeff Beal, Gary Schocker, Mark Mancina, and more. Vieaux recently premiered Visconti’s Living Language Guitar Concerto with the California Symphony and has performed the work more than a dozen times since.

Vieaux’s latest CD release, Dance (Azica) with the Escher Quartet, includes works

by Boccherini, Castelnuovo-Tedesco, and Aaron Jay Kernis. His premiere recording of Jonathan Leshnoff’s Guitar Concerto with the Nashville Symphony (Naxos) was also released in 2019. Later this season, he will release a new solo Bach recording on Azica. Previous albums include Jeff Beal’s Six Sixteen Guitar Concerto with the Norrköping Symphony Orchestra (BIS); Infusion (Azica), a collaboration with bandoneonist Julien Labro featuring the duo’s original arrangements of works by Leo Brouwer, Piazzolla, Radamés Gnattali, Pat Metheny, and Tears for Fears’s “Everybody Wants to Rule the World”; Ginastera’s Guitar Sonata, which is featured on Ginastera: One Hundred (Oberlin Music) produced by harpist Yolanda Kondonassis; and Together (Azica), a duo album with Kondonassis. Of his Grammy-winning solo album Play, Soundboard Magazine writes, “If you ever want to give a friend a disc that will cement his or her love for the guitar, this is a perfect candidate,” while Premier Guitar claims, “You’d be hard pressed to find versions performed with more confidence, better tone, and a more complete understanding of the material.”

Previous albums include a recording of Astor Piazzolla’s music with Julien Labro and A Far Cry Chamber Orchestra; Bach: Works for Lute, Vol. 1, which ranked highly on Billboard’s Classical Chart after its first week and received rave reviews by Gramophone, The Absolute Sound, and Soundboard; Images of Metheny, featuring music by American jazz legend Pat Metheny (who after hearing this landmark recording declared: “I am flattered to be included in Jason’s musical world”); and Sevilla: The Music of Isaac Albeniz, which made several Top Ten lists the year of its release. Vieaux’s albums and live performances are regularly heard on radio and internet worldwide, and his work is the subject of feature articles in print and online, including such magazines as Acoustic Guitar, MUSO, Gramophone, and on NPR’s Deceptive Cadence.

Vieaux was the first classical musician to be featured on NPR’s popular Tiny Desk series, on

The New Mexico Philharmonic

which he made a rare repeat performance in 2015 with Yolanda Kondonassis.

In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., an unprecedented technological interface that provides oneon-one online study with Vieaux for guitar students around the world. In 2011, he cofounded the guitar department at the Curtis Institute of Music, and in 2015 was invited to inaugurate the guitar program at the Eastern Music Festival. Vieaux has taught at the Cleveland Institute of Music since 1997, heading the guitar department since 2001.

Vieaux is affiliated with Philadelphia’s Astral Artists. In 1992, he was awarded the prestigious GFA International Guitar Competition First Prize, the event’s youngest winner ever. He is also honored with a Naumburg Foundation top prize, a Cleveland Institute of Music Distinguished Alumni Award, and a Salon di Virtuosi Career Grant. In 1995, Vieaux was an Artistic Ambassador of the U.S. to Southeast Asia. His primary teachers were Jeremy Sparks and John Holmquist.

Jason Vieaux is represented by Jonathan Wentworth Associates, Ltd., and plays a 2013 Gernot Wagner guitar with Augustine strings. For more information, visit jasonvieaux.com. ●

Andrei Ioniță cello The Gold Medal winner at the 2015 XV International Tchaikovsky Competition, the phenomenal young cellist Andrei Ioniță was called “one of the most exciting cellists to have emerged for a decade” by the prestigious Times of London. He was a BBC

New Generation Artist from 2016–2018 and is the Symphoniker Hamburg’s artist-inresidence for the 2019/20 season. A versatile musician focused on giving gripping, deeply felt performances, Andrei has been recognized for his passionate musicianship and technical finesse.

Andrei made his U.S debut in 2017 with recitals in Chicago and Washington, D.C., and gave his New York debut recital in Carnegie Hall’s Zankel Hall. Highlights of the previous two seasons have included concertos with the Münchner Philharmoniker (Valeriy Gergiev), Orchestre symphonique de Montréal (Kent Nagano), BBC Philharmonic (Omer Meir Wellber and John Storgårds), Danish National Symphony (Christian Kluxen), Royal Scottish National Orchestra (Karl-Heinz Steffens), San Diego Symphony (Case Scaglione), Yomiuri Nippon Symphony (Sylvain Cambreling), and BBC National Orchestra of Wales (Ainars Rubikis); he has given recitals at Konzerthaus Berlin, Elbphilharmonie, Zürich Tonhalle, LAC Lugano, and L’Auditori in Barcelona, as well as at the Mecklenburg-Vorpommern, Schleswig-Holstein, Verbier, and Martha Argerich festivals. Forthcoming chamber dates include collaborations with Stephen Hough, Cédric Tiberghien, and Kian Soltani at the Wigmore Hall and Pierre Boulez Saal.

Andrei’s debut album on Orchid Classics combined a Brett Dean world premiere with Bach and Kodály, prompting Gramophone to declare him “a cellist of superb skill, musical imagination, and a commitment to music of our time.”

Before winning the Tchaikovsky Competition, Andrei won First Prize at the Khachaturian International Competition in June 2013; in September 2014, he won Second Prize and the Special Prize for his interpretation of a commissioned composition at the International ARD Music Competition; and in 2014, he received Second Prize at the Grand Prix Emanuel Feuermann in Berlin.

Andrei was born in 1994 in Bucharest and began taking piano lessons at the age of five before receiving his first cello lesson three years later. He studied under Ani-Marie Paladi in Bucharest and under Jens Peter Maintz at the Universität der Künste Berlin. A scholarship recipient of the Deutsche Stiftung Musikleben, Andrei performs on a cello made by Giovanni Battista Rogeri from Brescia in 1671, generously on loan from the foundation. ●

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NMPHIL .

YOUR NMPHIL’S

MUSICIAN’S CORNER

Ana María Quintero

Matthew Tutsky

Ana María Quintero was born in Bogotá, Colombia, in 1993 and began her studies at the age of six with her mother, Clara Muñoz.

Ms. Quintero graduated summa cum laude with a Bachelor of Music degree from Fundación Universitaria Juan N. Corpas School of Music, where she studied violin performance and chamber music under the tutelage Maestro Fabio Santana. She holds a Master of Music degree in violin performance from New Mexico State University, where she studied with Professor Simón Gollo. Ms. Quintero was concertmaster and member of the Orquesta Filarmónica Juvenil de Cámara de Bogotá (Philharmonic Youth Chamber Orchestra of Bogotá) between 2013 and 2017. In 2019, she was the winner of the NMSU Philharmonic Concerto Competition and was awarded a full scholarship to the Aruba Symphony Festival, where she studied with Olivier Piguet. Ms. Quintero has been a guest performer with several chamber music ensembles, including Camerata del Sol, La Catrina String Quartet, and the Dallas Chamber Symphony. She is currently a violinist in the El Paso Symphony Orchestra and the New Mexico Philharmonic. In 2018, Ms. Quintero became the Artistic Director for Vox Vallis Women’s Ensemble, a professional chamber music ensemble she cofounded with New Mexican violinist Jessie O’Hara. Ms. Quintero plays on a violin built by French luthier Ghaleb Hassan. ●

Matthew is currently Principal Harpist with New Mexico Philharmonic, Portland Opera, Oregon Ballet Theatre, Colorado Springs Philharmonic, Vancouver Symphony, and Boise Philharmonic, while also serving first call 2nd Harpist with Oregon Symphony.

His performances have been acclaimed at premier concert venues such as Carnegie Hall in NYC and Harpa in Iceland. He has served as Acting Principal Harpist with the Utah Symphony/Utah Opera and permanent guest artist and substitute harpist with Iceland Symphony, Seattle Symphony, Utah Symphony/Utah Opera, Oregon Symphony, Spokane Symphony, Louisiana Philharmonic Orchestra, and Anchorage Symphony. He regularly performs at prestigious summer music festivals including Grand Teton Music Festival, Oregon Bach Festival, Lakes Area Music Festival, Deer Valley Music Festival, and McCall Summer Musicfest. He has performed with James Taylor, Kristin Chenoweth, Ben Folds, The Mormon Tabernacle Choir, Johnny Mathis, Emmanuel Pahud, and other leading musical icons. Matthew participated in a premier of John Luther Adams’ “Become Desert” with Seattle Symphony and joined them on tour with this work. He has recorded with Seattle Symphony and Utah Symphony. Matthew holds teaching posts as Adjunct Professor of Harp with The University of Portland and Reed College. As a member of the American Harp Society and Vice-President of the Boise Chapter, he gave honorarium recitals

violin

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harp

with Connecticut Chapter of the American Harp Society and Lyon & Healy West.

Matthew has performed concertos with Utah Symphony, Boise Philharmonic, Boise Baroque Orchestra, Chamber Music of the Springs, Washington Idaho Symphony, and Nova Chamber Music Series. He received a perfect score for a grant from the Idaho Commission on the Arts in 2012. Matthew is a graduate of the Manhattan School of Music and Juilliard’s Pre College and is tremendously grateful for his mentors, especially Deborah Hoffman, former Principal Harpist of the Metropolitan Opera, and Emily Oppenheimer, former Juilliard Pre College Harp Professor. Matthew is based in Portland, Oregon. ●

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 Da Silvo Fogo • Carol Swift •• Julanie Lee Anthony Templeton Michael Shu Donna Bacon Lidija Peno Kelly Sheila McLay + Ana María 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 •••

E-FLAT CLARINET Lori Lovato 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 ++

PICCOLO Sara Tutland

BASS TROMBONE David Tall

OBOE Kevin Vigneau • Amanda Talley

TUBA Richard White •

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

TIMPANI Douglas Cardwell •

Kory Hoggan Treasurer Joel Baca 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

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

Shea Perry Personnel & Operations Manager

HARP Matthew Tutsky •

Jeremiah Fernandez Assistant Librarian

Allison Tutton Principal Librarian

Eric Sewell Copyist Nancy Pressley-Naimark Office Manager Crystal Rieter 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

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DONOR STORIES LYNN ASBURY & JOHN WRONOSKY 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.”

–John Wronosky

Lynn Asbury

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2019/20 Season / Volume 9 / No. 3

Emily Cornelius

SPONSOR A MUSICIAN 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

GEORGE & SIBILLA BOERIGTER Concertmaster Sponsorship, Krzysztof Zimowski

“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

George & Sibilla Boerigter

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

Anonymous Anonymous, in honor of Roberto Minczuk 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 $5000–$9999

Albuquerque Community Foundation, The Cavett-Walden 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 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 SchmidtNowara Terrence Sloan The Swalin Family Marian & Jennifer Tanau Patricia & George Thomas Richard Van Dongen John Wronosky & Lynn Asbury X-Ray Associates of New Mexico, P.C.

CHOPIN CIRCLE Donation of $3500–$4999

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 $1933–$3499

Albuquerque Community Foundation, E. Blaugrund Family Fund Albuquerque Involved Meg Aldridge Scott Alexander Marie Jo Anderson & Carl C. Anderson, Sr. Charitable Foundation Anonymous Anonymous The Baca Family, in memory of George H. Baca Thomas Bird & Brooke Tully Nancy & Cliff Blaugrund Ann Boland 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 A. Elizabeth Gordon 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 $1000–$1932

Leah Albers & Thomas Roberts Robert Anderson Anonymous Christopher Apblett Phillip Askenazy, in memory of Alex Askenazy Edward & Leslie Atler Ellen Bayard & Jim O'Neill Gay & Stan Betzer Deborah Blank James Botros & Jeremy Wirths Robert Bower & Kathryn Fry Patricia Broyles Dawn & Joseph Calek Edwin & Deborah Case, in memory of Debbie Case Michael & Wendy Cieslak Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin John Crawford & Carolyn Quinn Krys & Phil Custer Marjorie Cypress & Philip Jameson Thomas & Martha Domme Gertrude Frishmuth Helen Fuller GE Foundation Dennis & Opal Lee Gill Laurence Golden Jean & Bob Gough Steve Hamm & Mary Kurkjian Katherine & Roger Hammond Harris Hartz Jim & Sandra Hoge 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 Dorothy White Morse 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 Barbara Rivers, in memory of Thom Stein 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

Rita Villa Betty & Luke Vortman Endowment Barbara & Eugene Wasylenki Judy Basen Weinreb & Peter Weinreb Robert & Trudy White Bill & Janislee Wiese Alice Wolfsberg Dolly Yoder Carol Zulauf

CONCERTMASTER CIRCLE Donation of $500–$999

ABQ Memory Movers LLC, Barbara & James Thomte 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 Drs. Robert & Maria Goldstein Mark Goodman Barbara & Berto Gorham Peter Gould Sharon Gross Ron & Nancy Halbgewachs Margaret Harvey & Mark Kilburn Ulton & Jean Hodgin Noelle Holzworth Martha S. Hoyt Thomas & Greta Keleher Suzanne Kelsey, in memory of Bill Sullivan Woody & Nandini Kuehn Stephanie & Kenneth Kuzio Rita Leard Kathleen D. Lebeck Dr. Ronald & Ellen Loehman Dwayne & Marjorie Longenbaugh John & Kathleen Mezoff Robert Milne & Ann DeHart, in memory of Clare Dreyer Paul Mondragon David & Alice Monet Richard Moore Robert & Claudia Moraga Mardell Morrow Lynne Mostoller & Kathryn McKnight Elias Nasr Charles Olguin

continued on 28 The New Mexico Philharmonic

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DONOR CIRCLES . continued from 27 Bethe Orrell Jerald & Cindi Parker Rada Potts Kenneth & Diane Reese Deborah L. Ridley Elizabeth Robertson 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 Walt & Beth Simpson Gary Singer Conrad & Marcella Stahly Philip Stanton Wes & Marilyn Steiner Charles Stillwell Sturges-Draper Family Charitable Fund Suzanne Taichert, in memory of Bob & Zane Taichert Jeffrey & Elizabeth Thomsen Gehron & Michelle Treme Chuck & Jean Villamarin Marianne Walck Patricia & Robert Weiler Carl G. & Janet V. Weis Dr. & Mrs. Albert Westwood 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 Black Dog Printing Waldemar Boehmer, in memory of Leonie D. Boehmer Ann & James Bresson Lee Calderwood Dante & Judith Cantrill Paty Carreon Ann Carson 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

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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 Janine Ford 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 Beate Hitzler 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 Joe & Pam Limke John Linder William J. Lock Julianne Lockwood Katherine Logan Frank & Judy Love Orlando Lucero & B.J. Jones Ruth Luckasson & Dr. Larry Davis Joanne E. Magalis

2019/20 Season / Volume 9 / No. 3

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 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 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 Ronald & Lisa Shibata R.J. & Katherine Simonson 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 Carmen & Lawrence Straus Kevin & Judy Taira David & Jane Tallant Phyllis Taylor & Bruce Thompson Rogan Thompson Sue Ann 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 Excellence Austin-Healey Roadrunner Club, in memory of William N. Sullivan Barbara Baca Jackie Baca & Ken Genco Thomas J. & Helen K. Baca Joyce Barefoot Elizabeth Bayne David & Judith Bennahum Debra & Kirk Benton Barry Berkson Dorothy & Melbourne Bernstein Ursula Biggers 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 Camille Carstens Joseph Cella Thomas Chacon Robert Chamberlin Barbara & Roscoe Champion Kyle Champion, in honor of Barbara & Roscoe Champion J & J Chavez Douglas Cheney Kathy & Lance Chilton

DONOR CIRCLES .

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 Jana Druxman Jeff & Karen Duray Edward Dzienis Jr. Linda Eaton Reverend Suzanne & Bill Ebel Helene Eckrich Roger C. Entringer Philippa M. Falkner-Schwendimann 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 & Betsy Gunter Fletcher Hahn Karen Halderson Bhanu Joy Harrison Gloria B. Hawk John & Diane Hawley Patricia Henning Robert & Sara Henning Donna Hill Nancy Hill Diane Holdridge Larisa Holiday 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 Philip Kolehmainen Katherine Kraus Holly Kraynik Phil Krehbiel Deborah Krichels

The New Mexico Philharmonic

Hareendra & Sanjani Kulasinghe Janice Langdale Michael Langner Daniel Lee Robert Lindeman & Judith Brown Carl & Sheila Litsinger 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 Don & Evelyn Neil Dick & Sharon Neuman New Mexico Japanese American Citizens League 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 Lilith Ren 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 Nancy Ruggles, in memory of Jean Bridgers 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 Snow-Blossom Gift Fund Lillian Snyder David & Laurel Srite Bill Stanton Jennifer Starr & Eugene Lesser Patricia Steffes Geny Stein Elizabeth C. Stevens Rea & Val Stover, in memory of Jean Bridgers 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 John Emerson Dixon Wendy Weygandt, in memory of Joe Zoeckler Carol Whiddon Leslie White Katherine Whitman Robert & Maegaret Whittaker 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 11/25/2019

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 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 Phillips Donald McQuarie Claude Morelli Mary Ann & James B. Moreno 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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THANK YOU .

STRATEGIES FOR

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

WISE GIVING

CITY & COUNTY APPRECIATION

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.

BUSINESS & ORGANIZATION APPRECIATION

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:

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.

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 The Cognitive Behavioral Institute of Albuquerque St. John’s United Methodist Church

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Billy Brown Anne Eisfeller Chris Kershner

Jim Key Jackie McGehee Brad Richards Emily Steinbach Brent Stevens

NMPHIL GUILD VOLUNTEERS Thank you for all your help and dedication.

Bill Albert Ona Albert Stephen Baca Sue Baker Lucia Bartovic Michael Beerman Cassandra Campanozzi Chad Chappelle Mackie Cox Stephanie Coxe Dianne Cress Jackie Ericksen Joe Fasanella Helen Feinberg Maricel Fiegler Paul Fornell Yolanda Garcia Louise Gibson Debbie Hammack Janet Heindel Lisa Jackson June Jefford Juliet Jones Sybil Keyser Patricia Lake Juliana Martinez Mercedes Martinez Joe McDonnel

Susan McGuire Anne McKinney, NMPhil Guild Chair, guild@nmphil.org Edward Naimark Geri Newton Christine Paul Sheryl Peak Chris Polansky Nancy PressleyNaimark Sonja Pulvino Billie Pyzel Elizabeth Robertson Amber Duginske Rohl Beverly Russell Flora Sanchez Cynthia Seyb Sharon Sharp Jan Strand Valari Taylor Eva Venczel Sherri Wells Diane Werner Bronwyn Willis 12/2/2019

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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.

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

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2019/20 Season / Volume 9 / No. 3

Sponsors & Grants

THANK YOU .

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.

Albuquerque Community Foundation albuquerquefoundation.org

Bernalillo County bernco.gov

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

Sandia Foundation sandiafoundation.org

U.S. Bank usbank.com

Olga Kern International Piano Competition olgakerncompetition.org

RBC Wealth Management rbcwealthmanagement.com

Sandia Laboratory Federal Credit Union slfcu.org

United Way of Central New Mexico uwcnm.org

Urban Enhancement Trust Fund cabq.gov/uetf

The Verdes Foundation verdesfoundation.org

Wells Fargo wellsfargo.com

Yanni’s Lemoni Lounge yannisandlemoni.com

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

Call Today! (505) 323-4343.

The New Mexico Philharmonic

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NX F SPORT

ES F SPORT RX F SPORT

Proud sponsor of the New Mexico Philharmonic