New Mexico Philharmonic Program Book • 2021/22 Season • Volume 10 • No. 1 by New Mexico Philharmonic

21/22 VOLUME 10 / NO. 1

SEP

OCT

2021/22 SEASON

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CONCERT SCHEDULE BARTON PINE PLAYS SIBELIUS OCTOBER 23, 2021, 6:00 PM

HALLOWEEN SPOOKTACULAR! OCTOBER 30, 2021, 8:00 PM

BEYOND BAROQUE NOVEMBER 14, 2021, 3:00 PM

TETIANA SHAFRAN: ENCHANTING RAVEL NOVEMBER 20, 2021, 6:00 PM

HOLIDAY POPS! DECEMBER 18, 2021, 6:00 PM

MIDORI! JANUARY 15, 2022, 6:00 PM

A BREATH OF FRESH AIR! JANUARY 23, 2022, 3:00 PM

SONG PLAYS PIAZZOLLA’S SEASONS! FEBRUARY 6, 2022, 3:00 PM

JACKIE MCGEHEE YOUNG ARTIST WINNERS! FEBRUARY 20, 2022, 3:00 PM

GAVRYLYUK PLAYS RACH 2 FEBRUARY 26, 2022, 6:00 PM

THE MUSICAL WORLD OF JOHN WILLIAMS MARCH 12, 2022, 8:00 PM

ZIMOWSKI PLAYS WIENIAWSKI MARCH 26, 2022, 6:00 PM

ELLINGBOE CONDUCTS ELLINGBOE APRIL 3, 2022, 3:00 PM

CLASSICAL MYSTERY TOUR APRIL 16, 2022, 8:00 PM

MICHELLE CANN: PRICE & GERSHWIN APRIL 23, 2022, 6:00 PM

CARMINA BURANA

WELCOME TO THE

10TH SEASON Welcome to your NMPhil’s 11th year and 10th season of performances! We never expected that the orchestra would be absent from the concert hall for more than 18 months. We are so happy to be back and again live out our mission of “enriching lives by providing excellent music, community engagement, and educational opportunities.” Your NMPhil is the backbone of New Mexico’s performing arts and will again create culture that makes this a great place to live, do business, and attract and keep talent that ensures the vitality and future of Albuquerque and New Mexico. This season, our Classical and Rock & Pops series concerts will continue at Popejoy Hall. A very exciting venue development is our new partnership with Immanuel Presbyterian Church, whose beautiful sanctuary will be our home for our Afternoon Classics series as well as other concerts. This historic building and its membership are part of the “sacred spaces/civic places” movement in the U.S., and we are honored to be a key community partner. This season, we look forward to welcoming new members to the orchestra and celebrating loved members of your New Mexico Philharmonic who retired last season or who are retiring this season. On a somber note, we are deeply saddened by the passing of Niels Galloway, a member of the Horn section and longtime beloved member of our musical family. We will miss him. After the abrupt and unexpected end of our 9th season in March 2020, we again surveyed you, our most important stakeholders, and despite the loss of almost 1/3 of our season you again gave strong endorsement for our concerts and programs: 96.3 percent artistic excellence and 95.8 percent overall satisfaction for six years in a row, world-class levels for any business. We are already working very hard again this season to continue to earn this level of approval from you. Your support for the last 18 months during the pandemic has been astounding and humbling—half of our subscribers donated their tickets back to the NMPhil for concerts canceled due to COVID-19. Thanks to careful management, Roberto and Marian taking significant pay cuts, and our continual pursuit of new and special funding, such as the Paycheck Protection Program, we were able to provide the musicians full pay in the 2019/2020 season and almost half their normal pay in the 2020/2021 season, even though COVID-19 kept them from performing. We again begin this season with no recurring operational debt and well in the black. We are especially delighted to announce that the New Mexico Philharmonic Foundation, entering its 4th year, has a corpus of more than $2,000,000 and a challenge gift of $250,000, which when matched will bring the Foundation to more than $2.5M. Please consider a gift to the Foundation now, and your impact will be doubled. We are honored to continue leading your NMPhil with Roberto and are delighted to be launching this season with the NMPhil in excellent fiscal as well as physical health.

MAY 21, 2022, 6:00 PM

(505) 323-4343 nmphil.org 2

2021/22 Season / Volume 10 / No. 1

Marian Tanau Executive Director

Maureen Baca Board President

WELCOME LETTER FROM THE

MUSIC DIRECTOR I never thought that our orchestra would be apart for more than 18 months or that we would all lose loved ones so unexpectedly to a global pandemic. This tragic storm is passing, and I am grateful beyond words to be back in Albuquerque leading this wonderful ensemble of musicians for you and our whole community. We have created a wonderful season of exquisite music featuring your favorite soloists. I am blessed to be celebrating my 5th season with the NMPhil as we also celebrate our 10th-anniversary season of live performances for you—the best audience in North America. I never take you for granted, and I thank you for being with us every time you attend our concerts. We love playing for you! Enjoy the concert!

NMPHIL . TABLE OF CONTENTS PROGRAMS

September 30, 2021 Program 5 October 1, 2021 Program 7 October 2, 2021 Program 9 October 17, 2021 Program 11 Program Notes 15 ARTISTS

Roberto Minczuk Olga Kern Cármelo de los Santos Vladislav Kern

12 13 13 14

YOUR NMPHIL

Welcome Letter Letter from the Music Director Thank You Legacy Society Sponsor a Musician Orchestra, Staff Board of Directors, Advisory Board, Board of the Future Donor Circles NMPhil Foundation Donors & Trustees Steinway Society Sponsors

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CONCERT PROGRAM .

BEETHOVEN FESTIVAL

Beethoven Festival 1

SEP

Thursday, September 30, 2021, 8:00 p.m. 7:00 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Olga Kern piano Vladislav Kern piano

Egmont Overture, Op. 84

Ludwig van Beethoven (1770–1827)

Piano Concerto No. 2 in B-flat Major, Op. 19 I. Allegro con brio II. Adagio III. Rondo – Molto allegro

Beethoven

MAKING A DIFFERENCE

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

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PRE-CONCERT TALK

Vladislav Kern piano

Hosted by KHFM’s

Brent Stevens & Alexis Corbin

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

Sponsored by: Piano Concerto No. 1 in C Major, Op. 15 I. Allegro con brio II. Largo III. Rondo – Allegro scherzando

Beethoven

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Olga Kern piano

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CONCERT PROGRAM .

BEETHOVEN FESTIVAL

Beethoven Festival 2

OCT

Friday, October 1, 2021, 8:00 p.m. 7:00 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Olga Kern piano

Overture to Fidelio, Op. 72

Ludwig van Beethoven (1770–1827)

MAKING A DIFFERENCE

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

Meredith Foundation Piano Concerto No. 3 in c minor, Op. 37 I. Allegro con brio II. Largo III. Rondo – Allegro

Beethoven

PRE-CONCERT TALK

Hosted by KHFM’s

Brent Stevens & Alexis Corbin

Olga Kern piano

Sponsored by:

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

Symphony No. 5 in c minor, Op. 67 I. Allegro con brio II. Andante con moto III. Scherzo: Allegro IV. Allegro

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Beethoven

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CONCERT PROGRAM .

BEETHOVEN FESTIVAL & POPEJOY CLASSICS

Beethoven Festival 3

OCT

Saturday, October 2, 2021, 6:00 p.m. 5:00 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Olga Kern piano

Wellington’s Victory, Op. 91

Ludwig van Beethoven (1770–1827)

Olga Kern piano

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

Sonya Priestly & Art Gardenswartz

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

Piano Concerto No. 5 in E-flat Major, “Emperor,” Op. 73 I. Allegro II. Adagio un poco mosso III. Rondo – Allegro

MAKING A DIFFERENCE

Beethoven PRE-CONCERT TALK

Hosted by KHFM’s

Brent Stevens & Alexis Corbin Sponsored by:

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CONCERT PROGRAM .

AFTERNOON CLASSICS

Bountiful Bach

OCT

Sunday, October 17, 2021, 3:00 p.m.

Immanuel Presbyterian Church

Roberto Minczuk Music Director Cármelo de los Santos violin

Brandenburg Concerto No. 1 in F Major, BWV 1046 Johann Sebastian Bach I. [Allegro] (1685–1750) II. Adagio III. Allegro IV. Menuet – Trio I – Menuet da capo – Polacca – Menuet da capo – Trio II – Menuet da capo

Violin Concerto No. 1 in a minor, BWV 1041 I. Allegro moderato II. Andante III. Allegro assai

MAKING A DIFFERENCE

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

Albuquerque Community Foundation

Bach

Cármelo de los Santos violin

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

Violin Concerto No. 2 in E Major, BWV 1042 I. Allegro II. Adagio III. Allegro assai

Bach

Cármelo de los Santos violin

Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 I. [Allegro] II. Adagio ma non tanto III. Allegro

The New Mexico Philharmonic

Bach

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ARTISTS .

Roberto Minczuk Music Director In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history. Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/17 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires. A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having

worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco. Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival. Minczuk’s recording of the complete Bachianas Brasileiras of Hector 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

2021/22 Season / Volume 10 / No. 1

Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prizewinner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album. Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. In 2017, Minczuk received the Medal of Commander of Arts and Culture from the Brazilian government. A child prodigy, Minczuk was a professional musician by the age of 13. He was admitted into the prestigious Juilliard School at 14 and by the age of 16, he had joined the Orchestra Municipal de São Paulo as solo horn. During his Juilliard years, he appeared as soloist with the New York Youth Symphony at Carnegie Hall and the New York Philharmonic Young People’s Concerts series. Upon his graduation in 1987, he became a member of the Leipzig Gewandhaus Orchestra at the invitation of Kurt Masur. Returning to Brazil in 1989, he studied conducting with Eleazar de Carvalho and John Neschling. He won several awards as a young horn player, including the Mill Santista Youth Award in 1991 and I Eldorado Music. ●

ARTISTS .

Olga Kern piano With a vivid onstage presence, dazzling technique, and keen musicianship, Russian-American pianist Olga Kern is widely recognized as one of the great artists of her generation, captivating fans and critics alike. She was born into a family of musicians in Russia and began studying piano at the age of five, and at seventeen was awarded first prize at the Rachmaninoff International Piano Competition. In 2001, she jump-started her U.S. career, winning a historic Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas—the first woman to do so in more than thirty years. A Steinway Artist, Ms. Kern is a laureate of a number of international competitions. In 2016, she was Jury Chairman of both the Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director. In coming seasons, she will continue to serve on the juries of a number of other high-level competitions. Ms. Kern frequently gives masterclasses and since 2017 has served on the piano faculty of the Manhattan School of Music. In 2019, she was appointed the Connie & Marc Jacobson Director of Chamber Music at the Virginia Arts Festival. Highlights of the 2019/20 season included performances with the Allentown Symphony, Grand Rapids Symphony, Baltimore Symphony Orchestra, Colorado Symphony, Toledo Symphony Orchestra, New Mexico Philharmonic, and the New

The New Mexico Philharmonic

West Symphony. She also appeared as a soloist on a U.S. tour with the National Symphony Orchestra of Ukraine and gave recitals in Orford, Sunriver, Fort Worth, Carmel, and San Francisco. Kern has performed with many prominent orchestras, including the Moscow Philharmonic, St. Louis Symphony, Pacific Symphony, Baltimore Symphony, Detroit Symphony, and the National Symphony Orchestra (Washington, D.C.), as well as the São Paulo Symphony Orchestra, Iceland Symphony, Nordwestdeutsche Philharmonie, Tokyo’s NHK Symphony Orchestra, and the National Youth Orchestra of China, which marked her Chinese debut. She was also a featured soloist on U.S. tours with the Royal Philharmonic Orchestra and the Royal Scottish National Orchestra, and during the 2017/18 season served as Artist in Residence at the San Antonio Symphony. Ms. Kern’s discography includes a Harmonia Mundi recording of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman; her GRAMMYnominated disc of Rachmaninoff’s Corelli Variations and other transcriptions; and Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit. Other notable releases include Chopin’s Piano Sonatas Nos. 2 and 3, and, more recently, SONY’s release of the Rachmaninoff Sonata for Cello and Piano with Sol Gabetta. Ms. Kern is also featured in award-winning documentaries about the 2001 Cliburn Competition: Playing on the Edge, They Came to Play, and Olga’s Journey. ●

Cármelo de los Santos violin Brazilian-born violinist Cármelo de los Santos enjoys an exciting career as a soloist, chamber musician, and pedagogue. From his extensive concerto experience to his most recent performances of the 24 Caprices by Paganini and the sonatas and partitas of Bach, his virtuosity and commitment to communicate the essence of music captivate audiences worldwide. Cármelo has performed as a guest soloist with more than 40 orchestras, including the New World Symphony, Santa Fe Pro Musica, the Santa Fe and New Mexico Symphonies, the Montevideo Philharmonic, Orquestra Musica d’Oltreoceano (Rome), and the major orchestras in Brazil. Cármelo is a winner of several international competitions including the 4th Júlio Cardona International String Competition (Portugal). In 2002, Cármelo made his New York debut as soloist and conductor in the Weill Recital Hall at Carnegie Hall with the ARCO Chamber Orchestra. Cármelo is an Associate Professor of Violin at the University of New Mexico, Albuquerque, and plays on an Angelo Soliani violin, 1791. ●

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ARTISTS .

Vladislav Kern piano Vladislav Kern is a Russian-American pianist, composer, and poet. He is the winner of many international competitions and festivals in Russia, Denmark, Czech Republic, Republic of South Africa, and the U.S., including the Rosalyn Tureck International Bach Competition in New

York and the Price Rubin International Competition. He is also a Young Steinway Artist. Vlad was born in Moscow into a family of musicians. He started playing piano at the age of four. When Vlad was just six, he was accepted to the Central Music School at the Moscow State P.I. Tchaikovsky Conservatory—class of Professor V.V. Piasetsky. A few years later, he became a scholarship recipient of the Vladimir Spivakov International Charity Foundation. At the age of twelve, Vlad moved to New York and continued his education at The Juilliard School of Music—class of Dr. Y. Kaplinsky. One year later, he received the prestigious Van Cliburn scholarship, a first in the history of The Juilliard School, Pre-College Division. From 2016 to 2019, he also studied in Italy at the Academia Pianistica Internazionale “Incontri col Maestro” di Imola—class of Professor B. Petrushansky.

Vlad has performed in world-class venues including David Geffen Hall at Lincoln Center (NYC), La Sala Verdi at the Conservatorio di Milano, Konserthuset Stockholm, and the Great Hall of the Moscow Conservatory. He has collaborated with such musicians as Vladimir Spivakov, Leonard Slatkin, Roberto Minczuk, Sebastian Lang-Lessing, Jindong Cai, Giancarlo De Lorenzo, and Michael Morgan. He has recordings on the radio and television in many countries, including Italy, the U.S., Luxembourg, Sweden, Finland, and Russia. ●

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2021/22 Season / Volume 10 / No. 1

PROGRAM NOTES .

Program Notes BY DAVID B. LEVY

Ludwig van Beethoven

Overture to Goethe’s Egmont, Op. 84 (1809–1810) Scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

One of history’s pivotal composers, Ludwig van Beethoven was baptized (birth date unknown) on December 17, 1770, in Bonn, and died in Vienna on March 26, 1827. His Overture to Goethe’s drama Egmont was composed between 1809 and 1810. It, and the incidental music for the play to which it belongs, received its first performance on June 15, 1810, at Vienna’s Court Theater in the Hofburg. Given the hateful occupations of Vienna by Napoleonic troops, in 1805 and 1809 respectively, it should come as no surprise that Beethoven would be drawn to Goethe’s drama based on the life and heroic death of Lamoral, Count Egmont, a true historical figure who lived in the Netherlands from 1522 to 1568. Egmont was a nobleman who dared to voice his opposition to the harsh regime of the Spanish occupiers of his native land. Toward the end of the play, Egmont is captured and beheaded. Before his death he has a vision of his beloved Clärchen, who dies earlier in Goethe’s play. She is now united, in his mind’s eye, with the goddess of freedom. Just before his death, Egmont gives a rousing speech

in which he urges his fellow countrymen to continue their resistance against the Spaniards who occupy their homeland. Indeed, opposition to tyranny was a theme that also attracted Beethoven in 1803/1804 to compose his only opera, Leonore (revised in 1814 as Fidelio). The Overture to Egmont beautifully encapsulates the nature of the drama. It begins in f minor with a solemn introduction, whose sarabande-like rhythms may be seen as representative of the Spanish occupiers. The drama continues in the customary sonata-form structure, with the distinctive sarabande rhythm reappearing in the second key area. In the recapitulation, the sarabande is heard in its most ferocious manifestation, played loudly by the horns and cut off abruptly by the violins, indicating Egmont’s execution at the hand of his enemies. After a short transition, the work concludes with a stirring “Victory Symphony” in F Major— an appropriate apotheosis of Egmont’s heroic stance. ●

Ludwig van Beethoven

Piano Concerto No. 2 for Piano and Orchestra in B-flat Major, Op. 19 (1787–1789) Scored for solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings.

Beethoven’s Piano Concerto No. 2 was composed in 1796 and revised in 1800. The work is dedicated to Carl Nikl Edler von Nikelsberg (c. 1738–1805), a Bohemian-born minor official in Austria’s

As large an influence as Mozart may have been on the ambitious young Beethoven, he was eager to make an even bigger and bolder impression …

Commerce Office. Almost nothing is known of his connection to Beethoven, although he may have been helpful in gaining employment in Vienna for Beethoven’s brother Kaspar Karl. The date of its first performance is unknown, but Beethoven did perform it in Prague sometime in 1798. Despite its higher opus number, Beethoven’s Piano Concerto No. 2 actually predates the Piano Concerto No. 1, Op. 15. Sketch sources for the piece stretch back as far as 1790, i.e., before Beethoven departed his native Bonn for Vienna in 1792. Further sketches for all three movements, as well as ideas for a cadenza for the first movement, date from 1794 to 1795. The work underwent numerous additional revisions until it finally was published in Leipzig in 1801. The higher opus number, therefore, is merely the function of the order in which the works were published. If one wishes to seek a point of reference for this work, Mozart’s final Concerto for Piano and Orchestra in B-flat Major (same key as Op. 19), K. 595, serves as a perfect foil. Where Mozart’s example starts with a lyrical phrase in the orchestra followed by a martial response, Beethoven reverses the process by beginning with a march-like gesture followed by a lyrical answer. The difference in temperament between Mozart and Beethoven is more telling in the opening themes of the finales of both concertos. Mozart’s Rondo begins softly with a gently rollicking tune in 6/8 meter that dances along with childlike innocence. Beethoven, on the other hand, punches us in the proverbial nose with a loudly aggressive “short-long” figure, also in 6/8 meter, that places the short note on the downbeat and marking the second (longer) note with a sforzando accent. Surely this gesture shocked his audience by dint of its sheer audacity. Beethoven’s aesthetic reversals were by no means intended as a sign of disrespect for his predecessor, whose music he idolized. It should be seen, rather, as bold statements of independence. As Donald Francis Tovey once observed, Beethoven was a “small ‘r’” revolutionary. As Beethoven’s finale unfolds in well-behaved continued on 16

The New Mexico Philharmonic

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PROGRAM NOTES . continued from 15

Mozartian fashion, he plays one final gentle jest toward the movement’s end. The short-long figure is altered by making the short note the pickup (anacrusis) to the long note, now placed, as Mozart would have done, on the downbeat without any accentuation, as if to say to his audience, “See! I can write just like the great Mozart did!” But Beethoven being Beethoven, the “homage” does not last long, as the theme returns to its original boisterous shape before moving toward the work’s more urbane conclusion. ●

Ludwig van Beethoven

Piano Concerto No. 1 for Piano and Orchestra in C Major, Op. 15 (1795) Scored for solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Beethoven’s Piano Concerto No. 1 was composed in 1796 and revised in 1800. The work is dedicated to Beethoven’s pupil, Anna Luise Barbara, Princess of Erba-Odescalchi, who also received the dedication of his Sonata for Piano, Op. 7, in addition to a few other smaller works. Its first performance took place either on March 29, 1795, in the Vienna Hofburgtheater or on December 18 of that year at a concert in the Habsburg Court’s Kleiner Redoutensaal. Despite its opus number, Beethoven’s Piano Concerto No. 1 was actually his third attempt at writing this kind of work. The Concerto in B-flat Major, Op. 19, confusedly enough, predates Op. 15, but was published with a higher opus number. We know that Beethoven had composed in 1784 a Concerto in E-flat Major, a work which remained unpublished. Beethoven’s admiration of the piano concertos of Mozart dates back to his early life in his native Bonn. This city on the Rhine was no musical backwater during Beethoven’s youth. Politically tied to the Habsburg Court centered in Vienna, the Electors of Cologne boasted a vital cultural life that allowed young Ludwig

Virtues of love, loyalty, and political freedom that were ever near and dear to [Beethoven’s] heart. to come into contact with a wide range of repertory, including instrumental and operatic works by Mozart and others. Mozart’s mature piano concertos dating from the 1780s, including ones in C Major (K. 467 and K. 503), surely rang in Beethoven’s keen ear. K. 467 (No. 21), with its march-like opening, is the strongest candidate to serve as a primary influence on Beethoven’s Op. 15. As large an influence as Mozart may have been on the ambitious young Beethoven, he was eager to make an even bigger and bolder impression, as suited his less refined temperament. In the first movement, Allegro con brio, we already find all the hallmarks of Beethoven’s style—off-beat accents, excursions into unexpected keys, keyboard virtuosity— that we associate with his later works. The rhythmic figure of a half note followed by three quarter notes (long-short-shortshort) dominates nearly every page of the score, excepting the more lyrical second theme. Beethoven’s impeccable sense of dramatic timing also comes to the fore, especially in the development section. The central Largo, cast in the remote key of A-flat Major, begins with an expansive melody in the solo piano, answered by the orchestra—its tone color dominated by the clarinet. After a brief development section, the opening material returns in a more highly decorated guise, followed by an extended coda. Beethoven’s sassy sense of humor comes to the fore in the closing Rondo-Allegro. The opening theme’s rhythmic figure is unforgettable, and its returns always come as a pleasant surprise after the digressions into new themes and, again, unexpected tonal areas. A big surprise comes toward the end when the theme wanders into the foreign key of E Major before righting itself again (a predictor of events found in the first movement of the “Waldstein”

2021/22 Season / Volume 10 / No. 1

Sonata, Op. 53). Beethoven ends this merry affair with a device learned from his teacher Joseph Haydn, whereby the pace is slowed down before rushing on to its joyous conclusion. ●

Ludwig van Beethoven

Overture to Fidelio, Op. 72 (1814) Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

Of the four overtures associated with Beethoven’s only opera, Fidelio (originally entitled Leonore), this overture was composed in 1814 for the opera’s final revision. Its first performance took place on May 23, 1814, in Vienna’s Kärntnertortheater, which ten years later was the site of the first performance of his Ninth Symphony. The theater no longer exists, and its footprint was approximately that of the Hotel Sacher, just behind the Wiener Staatsoper. Leonore, ou L’amour conjugal is the title of a rescue drama written by the French playwright Jean Nicolas Bouilly. The play would attract little attention nowadays were it not for the fact that Beethoven based his only opera upon it. The stage play, originally set against the backdrop of the French Revolution of 1789, is filled with the virtues of love, loyalty, and political freedom that were ever near and dear to the composer’s heart. Fidelio exists in three versions, and Beethoven composed no fewer than four separate overtures for it. The original version was first produced in Vienna’s Theater an der Wien on November 20, 1805, under the worst possible circumstances. Beethoven not only had to deal with a weak libretto by Joseph Sonnleithner, but the soldiers of Napoleon’s Grand Army had occupied

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the Austrian capital only days earlier. The Viennese citizenry was too frightened to leave home to attend the theater, and it should come as no surprise that the enterprise failed miserably. The overture used for the earliest version of the opera is now known, strangely enough, as Leonore Overture No. 2. Leonore Overture No. 1 was actually the third overture, composed in 1806 to 1807, and was intended for a projected performance of Fidelio in Prague that never took place, and this version was never performed during Beethoven’s lifetime. When Beethoven revised Fidelio in 1805 to 1806, with improvements to the libretto provided by his friend Stephan von Breuning, he composed the Leonore Overture No. 3. This work has many elements in common with the Leonore Overture No. 2—including off-stage trumpet calls—and was still intended to be played before the opera begins. When Beethoven made his final revisions in 1814, he wrote an entirely new overture, now known as the Fidelio Overture. This final revision of the opera with its new title and overture coincided with the Congress of Vienna, a political event that redrew the map of Europe after the defeat of Napoleon. The powers that be in Vienna were anxious to show off their most famous composer to their international guests. Unlike the Leonore Overtures Nos. 2 and 3, the newly composed Fidelio Overture does not cite any of the music from the opera itself. It begins with an exciting four-measure Allegro with a figure in distinctive dotted rhythms that serves to establish the home key of E Major. The tempo unexpectedly changes to Adagio as the horns, followed by the clarinets, present a new theme. The Allegro returns yet again, followed by another Adagio passage, now extended and introducing

a rustling figure in the strings that adds an air of mystery. This leads smoothly into the main body of the overture, where the dotted rhythmic figure is presented more gently than it was in the beginning. A normal sonata-form structure emerges, the highlight of which is the ingenious way Beethoven ends the recapitulation. The Adagio idea appears one final time before the overture’s coda, marked Presto, and rushes to its joyous conclusion. ●

Ludwig van Beethoven

Piano Concerto No. 3 for Piano and Orchestra in c minor, Op. 37 (1803) Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Beethoven’s Third Piano Concerto is dated 1803, although the earliest concept sketch dates back as far as 1796. The score was published in 1804, with a dedication to the Prussian Prince Louis Ferdinand. It received its first performance at Beethoven’s Akademiekonzert of April 5, 1803, in Vienna’s Theater an der Wien, sharing the program with Beethoven’s first two symphonies and his oratorio Christus am Oelberge. The composer composed his own cadenza for the first movement of the work in 1809. The start to Beethoven’s career in Vienna was a good one. His reputation as a brilliant pianist was quickly established and commissions poured in steadily. His first two concertos for piano demonstrated clearly that he had learned well from the models offered by Mozart’s masterpieces of the 1780s. He also composed several sonatas and sets of variations during these early stages of his Viennese career.

“Beethoven … never writes for the multitudes. He demands understanding and feeling …”

The Piano Concerto No. 3 in c minor, Op. 37, is a work whose boldness was inspired in no small part to the availability of an instrument built by the French manufacturer Erard that boasted a wider range than the five-octave fortepiano heretofore at his disposal. Beethoven, upon hearing a performance of Mozart’s c-minor Piano Concerto (K. 491) remarked to the English composer and pianist J.B. Cramer, “Ah, dear Cramer, we shall never be able to do anything like that.” Another influence may have been a sonata by Johann F.X. Sterkel, whose theme bears an uncanny similarity to the second theme in the first movement of Op. 37. Beethoven’s concerto in turn inspired subsequent piano concertos by Louis Spohr, Johann Nepomuk Hummel, Frédéric Chopin, and the young Johannes Brahms. The serious demeanor of Op. 37, Beethoven’s only concerto in a minor key, is its most distinguishing trait, making it kin to his other stormy c-minor compositions such as the Piano Sonatas Op. 10, No. 1, and Op. 13 (“Pathétique”); the String Quartet, Op. 18, No. 4; and the Symphony No. 5, to name but a few. The imposing first movement, marked Allegro con brio, signals a newer “symphonic” mode of expression not found in his first two concertos. Even when faced with a viable model, as was the case with this work, Beethoven had the rare gift of absorbing it and then turning it to his unique creative purpose. Among this movement’s several magical moments, the listener is advised to pay close attention to the return of the orchestra following the cadenza. Normally at this point in the structure of a concerto, the soloist stops playing. Mozart’s K. 491 is an exception to this rule. Beethoven, however, heightens the dramatic effect even more than his idol could ever imagine. The opening of the second movement, Largo, still has the ability to take the listener by surprise, despite the tranquility of its principal theme. The reason is Beethoven’s choice of a remote tonality—E Major (four sharps)—inserted between two movements in c minor (three flats). But, as usual, Beethoven is thinking along the lines of long-term strategic planning. The final chord of the Largo is continued on 18

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marked forte (meaning “loud” or “strong”), which is no small surprise in its own right given how the music had been winding down in dynamics. The highest pitch in the final chord is a G sharp, which Beethoven ingeniously reinterprets enharmonically as A flat, forming the apex of the Rondo’s Allegro opening theme. Even for those of us who know the piece well, the effect of this juxtaposition of G sharp and A flat strikes the ear as freshly today as it surely must have done for those in attendance at its premiere in 1804. ●

and paves the way for composers such as Mendelssohn, Schumann, Brahms, Tchaikovsky, and into the 20th century by way of Mahler. Beethoven’s Fifth was composed between 1804 and 1808. It premiered on December 22, 1808, in an interminably long concert that featured an allBeethoven program. The roster of works consisted of: • Symphony No. 6, “Pastoral” • The aria “Ah! perfido” • “Gloria” from the Mass in C • Piano Concerto No. 4 (with Beethoven as piano soloist) • Symphony No. 5 • “Sanctus” from the Mass in C • Piano improvisation by Beethoven • Choral Fantasy

BY LORI NEWMAN

Ludwig van Beethoven

Symphony No. 5 in c minor, Op. 67 (1804–1808) Scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings.

Beethoven’s Fifth Symphony is perhaps the most famous piece of classical music in existence, or at the very least, it begins with the most recognizable four notes of any classical work. Even those with no knowledge of the art immediately identify the opening measures of this symphony, and with it, they pair an image of its composer, complete with wild hair and formidable scowl. Popular culture has used the opening measures to evoke drama, mystery, danger, and intrigue. Once we as listeners get past all that, it becomes painstakingly obvious what a masterpiece the symphony is, regardless of its familiarity and any preconceived notions that may bring with it. The Symphony No. 5 of Beethoven is the symphony that most historians and musicologists would choose as the first all-encompassing Romantic symphony, and it was the first Beethoven symphony to gain popularity not only with the public, but with those outside of Germany and Vienna. There are hints of Romanticism in many of Beethoven’s earlier works, but Symphony No. 5 begins the Romantic era

This extravaganza at the Theater an der Wien in Vienna lasted for more than four hours; however, it suffered several complications in addition to the concert’s length. The theater was absolutely freezing in the Vienna winter; Beethoven had a spat with his soprano and replaced her at the last minute with a seventeen-yearold girl who had little to no performance experience, making “Ah! perfido” a cringeworthy experience; and the orchestra did not play well, having had only one rehearsal to put together such monstrous works as the Fourth Piano Concerto and the Fifth and Sixth Symphonies. The German composer Johann Friedrich Reichardt famously stated, “There we sat from 6:30 till 10:30 in the most bitter cold, and found by experience that one might have too much even of a good thing.” The premiere of the Fifth Symphony went relatively unnoticed, even after everyone had thawed out. It was not until the following year that a glowing review catapulted the work into the public’s consciousness. E.T.A. Hoffmann, best known as the writer of The Nutcracker

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and the Mouse King on which the famous holiday classic is based, was also an influential music critic. His review of Beethoven’s Fifth found in the Allgemeine musikalische Zeitung (General Music Newspaper, the leading European music journal of the time) combined the usually expected analysis of the work with a rave review and effusive praise. This review made its way throughout the musical hotspots of the time–including London and Paris, as did Beethoven’s name and his music. Hoffmann’s review focuses on the affects, or emotions, that Beethoven’s music stirs in the listener. He stated: How this wonderful composition, in a climax that climbs on and on, leads the listener imperiously forward into the spirit world of the infinite! … No doubt the whole rushes like an ingenious rhapsody past many a man, but the soul of each thoughtful listener is assuredly stirred, deeply and intimately, by a feeling that is none other than that unutterable portentous longing, and until the final chord—indeed, even in the moments that follow it—he will be powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound. This review secured Beethoven’s place in music history. What makes the Fifth Symphony so revolutionary for its time? Let’s start with that recognizable opening motive–four notes in a short-short-short-long pattern. To the casual observer, it appears that this fragment opens the symphony and is an important figure throughout the first movement. Upon further review, we can see that not only is all of the rhythmic and melodic material of the first movement spun from the opening four notes, but this rhythm is used as a unifying element throughout the entire symphony. It is used in either a melodic, rhythmic, or accompanimental manner

Beethoven’s theme portrays dark to light, defeat to victory, tragedy to triumph.

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in every movement. It changes from fore to background so effortlessly, that it is easy to miss the fact that this rhythm is present even during many of the lyrical and decidedly un-rhythmic portions of the symphony. In his Fifth, Beethoven expanded the orchestra and used instruments that were heretofore overlooked by the most famous symphonic composers of the time–the contrabassoon, the piccolo, and the trombones. Beethoven introduces these instruments to the orchestra in the fourth movement only. He writes the contrabassoon as mainly an enhancement of the bass section, but its sound adds a new depth and color to the orchestra. Conversely, Beethoven writes the piccolo soaring above the orchestra with solo flourishes. And the addition of the trombones gives the brass section a rounder and heftier sound. Beethoven also changed the roles of wind instruments and how they related to the rest of the orchestra. Composers prior to Beethoven often used the winds as merely supporting players to the strings; the woodwinds often doubled the strings without much independence or identity of their own, and the brass were often relegated to mainly rhythmic support or the occasional fanfare. Beethoven changed all this by writing the winds and strings as opposing forces. The symphony is written in the traditional four-movement symphonic archetype. The opening motif, those famous first four notes, represents fate knocking at the door, or so Beethoven’s secretary/biographer Anton Schindler would have you believe. Schindler’s accounts of his boss are at best sketchy, and at worst, fabricated, as he is occasionally known to have made false entries into Beethoven’s journals. Schindler seemed to wholeheartedly believe in the saying “never let the truth get in the way of a good story.” We’ll never know if Beethoven actually said, “Thus fate knocks at the door!” about the opening of his Fifth, as Schindler stated, but the legend and lore have stuck. Composers after Beethoven are saddled with the real or imagined burden of using the “Fate motif” whenever they include a

Popular culture has used Beethoven’s Fifth Symphony to evoke drama, mystery, danger, and intrigue … it is painstakingly obvious what a masterpiece it is. “short-short-short-long” pattern in their compositions. This pattern was not an innovation of Beethoven’s, as it is often found in the music of Mozart and others, but Beethoven’s treatment of the simple pattern is what makes the first movement of the Fifth a revelation. When listening to the opening, two things are immediately unclear–the tonality and the rhythm. Is it in the major mode of E-flat or the minor mode of c? The first four measures alone do not provide us with that information, nor are we privy to the rhythm or time signature. Is the first note of the motive on the beat or the upbeat? Is the time signature 6/8, 3/8, 4/4, 2/4? The use of rhythmic and tonal anomalies is one of Beethoven’s most interesting compositional techniques. He uses this technique in his First Symphony all the way through his Ninth. The Fifth Symphony was written during Beethoven’s “Heroic” period, and we find evidence of this heroic affect throughout the symphony, but perhaps nowhere more obvious than the horn proclamation used as a bridge between the first and second themes in the first movement. If you listen carefully, you will hear that even during the soaring beauty of this melodic second theme, the Fate motive is still interwoven throughout. The second movement is in theme and variations form, but in this case, Beethoven employs a double variation, with two distinct themes–one lyrical and one majestic. Beethoven chooses the form of a scherzo and trio for his third movement as opposed to the more commonly used minuet and trio. While the word “scherzo” technically means “joke,” it tends to hold a little more gravitas than

the courtly and civilized, not to mention danceable, minuet and trio form. The movement opens with a foreboding introduction before the horns once again proclaim the heroic theme echoing the four-note rhythmic pattern from the first movement. This rhythm can be found throughout the scherzo. The trio opens with a tour de force for the basses and cellos, with the theme repeated at times rhythmically and at times lyrically before the return to the scherzo. One of Beethoven’s most oft-used themes in much of his music is the idea of music portraying dark to light, defeat to victory, tragedy to triumph. This was repeated by many future composers, most notably Mahler in the late 19th and early 20th centuries. Nowhere is this technique more gloriously implemented than in Beethoven’s transition from movement III to movement IV of his Fifth Symphony. In a typical ternary form of the scherzo-trio movement, we would expect an exact repeat of the scherzo material following the trio. Beethoven avoids this and instead creates tension and mystery by using fragmented portions of the introduction and the melody, alternately played by pizzicato strings and winds, all played pianissimo or very softly. This leads to the introductory material played by the first violins over a pedal tone C in the timpani. The symphony is of course in c minor so this is perhaps to be expected; however, in actuality, this pedal tone is setting up the joyous C Major triad that will open the fourth movement. This triad and tonality will grow out of a crescendo in the final bars of the third movement to the first three notes of the fourth movement’s opening melody. continued on 20

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Beethoven’s final movement of his Fifth is grand in scope and emotion. The majority is written in the heroic style, representative of his middle period, but he borrows a few elements from past movements of the Fifth as well. We hear the rhythm of the first movement’s famous opening motif played by the brass and the theme from the third movement scherzo, when Beethoven again brings us on a collision course with C Major for the recapitulation of the final movement. ●

BY DAVID B. LEVY

Ludwig van Beethoven

Wellington’s Victory, or The Battle of Vitoria, Op. 91 (1813) Scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, timpani, percussion (ratchet, triangle, cymbals, bass drum), and strings. Sounds of musket and cannon fire also formed parts of its effect.

Beethoven’s nine symphonies, five piano concertos, one violin concerto, and several overtures remain at the heart of the symphonic repertory, cementing his place as a pivotal figure in the history of Western music. Wellington’s Victory received its first performance, along with Beethoven’s Symphony No. 7, on December 8, 1813, in the old University Aula at a concert to benefit the victims of the Battle of Hanau in the war against Napoleon. The work is dedicated to George August Frederick, the Prince Regent of England (later King George IV). The premiere performance of the Seventh Symphony took place on December 8, 1813, as part of a concert at the University of Vienna for the benefit of casualties from the Battle of Hanau, where Austrian and Bavarian troops attempted to halt Joseph Bonaparte’s retreat from the defeat of the French Grand Army at Leipzig. The concert, which had been arranged by Johann Nepomuk Mälzel, the inventor of the metronome, was a gala

Beethoven was consciously exploring new pathways, but in many respects this grandiose work can be considered something of a throwback … affair. Among the members of the festive orchestra were some of Vienna’s most prominent musicians, including Antonio Salieri, Johann Nepomuk Hummel, Ignaz Moscheles, Louis Spohr, Giacomo Meyerbeer, and the celebrated bassist Domenico Dragonetti. Most of the large audience, which included a shy young musician by the name of Franz Schubert, eagerly anticipated hearing the first public performance, not of the Seventh Symphony, but of the fully orchestrated version of the patriotic pièce d’occasion by Beethoven entitled Wellington’s Victory or The Battle of Vitoria—originally composed for a mechanical instrument called the panharmonicon. Mälzel, who bore the title of Royal Imperial Court Mechanic, was an inveterate inventor of devices. His most significant invention for musicians was, of course, the modern metronome, a device endorsed enthusiastically by Beethoven because it gave more specific indication of tempos for performances of his music outside of his sphere of influence. Beethoven’s friend also created “ear trumpets” intended to act as hearing aids as the composer’s ears continued to fail. Wellington’s Victory began its life as a composition for the panharmonicon, a kind of mechanical orchestra. Mälzel, its inventor, had earlier enticed Joseph Haydn and Antonio Salieri to compose works for this huge cabinet-like machine that operated by means of a series of bellows and cylinders. But now Mälzel was seeking a grand work that would show off his panharmonicon—an apparatus well-suited to creating military music. He also had another mechanical musical device ready

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for this concert—a Mechanical Trumpeter, for which Jan Ladislav Dussek and Ignaz Pleyel composed marches. Beethoven did not use either machine for the 1813 concert, but instead orchestrated the work and expanded it into two sections. The first part, Battle, illustrates the approach of the two armies by means of drum cadences and fanfares. The British contingent is represented by quotation of the song “Rule Britannia,” while the French troops are identified by the march “Marlbrough s’en va-t-en guerre” (“Marlbrough Has Gone Off to War”). The tune is the same as “For He’s a Jolly Good Fellow” and “The Bear Went Over the Mountain.” Beethoven could not have made use of the Marseillaise, as any performance of it was banned throughout the Habsburg Empire. After the armies square off against each other, the battle begins, turning into a stormy march before the battle, with all of its sound effects of warfare, finally die away. Part Two is identified as the “Victory Symphony” and features the British hymn “God Save the King.” Potboiler though it may be, Wellington’s Victory marked one of the greatest personal, if not artistic, triumphs of Beethoven’s lifetime and brought him increased fame and fortune. Perhaps Wellington’s Victory seems embarrassing in light of Beethoven’s more lofty achievements, but audiences should also be aware that another battle piece, Tchaikovsky’s Solemn Overture, 1812, was described by the composer in a letter to his patron, Madame von Meck as “very loud and noisy, but [without] artistic merit, because I wrote it without warmth and without

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love.” This self-criticism hardly inhibited the work’s popularity. Beethoven, upon reading a negative review of Wellington’s Victory in a music magazine, had some very sharp words for the critic, claiming, “O you miserable fool, whatever I defecate is better than anything you can think of!” ●

BY CHARLES GREENWELL

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

Piano Concerto No. 5 in E-flat Major, Op. 73, “Emperor” (1809–1811) Scored for piano solo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

During the Classical period, the concerto existed almost entirely as virtuoso display pieces for composer-pianists, although in the hands of a fine composer, it could also be a significant musical creation. The concertos of Mozart, for example, certainly fall into this category, as do the first three of Beethoven’s piano concertos. The last two function less as virtuoso displays and more as vehicles for the highest musical ideals, leaving the listener with the feeling that the music is the most important thing. In this way, the present concerto can be looked on as either the last great concerto in the Classical style, or the first of the great 19th-century Romantic concertos. It was begun during one of the most productive periods in Beethoven’s life, a period that saw the creation of dozens of works, among them the 5th and 6th

Symphonies, the Razumovsky Quartets, the Leonore Overture No. 3, the incidental music to Goethe’s Egmont, and three marvelous middle-period piano sonatas. This was also the only one of his piano concertos that he did not play in public, although he may have played it in private at the home of Archduke Rudolph, one of his pupils and benefactors. It was begun in the spring of 1809, when Napoleon’s army was laying siege to Vienna, and when the whole Imperial family, the Archduke (who was the Empress’s brother-in-law) among them, left the city. On May 11, the French artillery, which had commandeered the hills of the surrounding countryside and invaded outlying portions of the city, opened fire. Beethoven’s house was dangerously close to the line of fire, and so he took temporary refuge in his brother’s house where he spent a miserable night in the cellar with a pillow over his head, trying to protect his ears, already compromised from his encroaching deafness, from further damage. The main reason he did not leave the city was that the Archduke, along with two of his aristocratic friends, had recently given Beethoven a contract that would support him for life as long as he promised to remain in Vienna or its immediate surroundings. In addition, the French occupation placed a heavy tax on all of Vienna’s citizens, which meant that he had less financial freedom and limited movement and was therefore unable to spend time in the country during the summer months—something he dearly loved doing. Happily, at the end of this summer he was able to get away from the city for a while, and was able to finish the new concerto, and it appeared that the turmoil and stress of the preceding

Beethoven’s piano concertos function … as vehicles for the highest musical ideals, leaving the listener with the feeling that the music is the most important thing.

months had in no way diminished his creative powers. At the beginning of 1810, a general armistice had been signed, life was returning to some semblance of normalcy, and his circle of friends and supporters had returned to Vienna. Unfortunately, there was no opportunity to present the new concerto, and so the first actual performance had to wait until January of 1811 at the home of Prince Lobkowitz (another of the composer’s patrons), at which time Archduke Rudolph played the piano solo. This was followed by a public concert in November at the celebrated Gewandhaus in Leipzig, when the soloist was one Friedrich Schneider, about whom little is known other than he had a friendly visit with Beethoven in Vienna early 1809 when he gave some organ recitals in the city. Finally, in February of 1812, the concerto had its Viennese premiere when the soloist was Carl Czerny, Beethoven’s prize pupil who was not only a marvelous performer but went on to have a fine career as both pianist and composer. The new concerto failed to make much of an impression, but this had little to do with the music or the performance, but rather the nature of the audience, the “Society of Noble Ladies of Charity,” who was expecting something light and not demanding! The one press review that survived noted that “Beethoven … never writes for the multitudes. He demands understanding and feeling … and can receive these only at the hands of connoisseurs, who are not to be found at such functions.” It was at this concert that one music-loving French army officer is purported to have shouted out loud, “this is an emperor among concertos!” and that this is where the work got its nickname. This appears to be spurious, however, and most authorities say that it was the English publisher Johann Baptist Cramer who gave the concerto that designation in the middle of the 19th century, and so Beethoven himself obviously never knew of this. As with so many of his compositions at this time, Beethoven was consciously exploring new pathways, but in many respects this grandiose work can be considered something of a throwback, continued on 22

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especially in light of the supremely original and often subtle treatment of the piano-orchestra partnership in the Fourth Concerto. Here, by great contrast, we have a grand virtuoso showpiece with the soloist and the orchestra almost acting as antagonists, and the piano part containing chords, trills, scales, and virtuoso 16thnote passages and arpeggios as never before—often in close succession with lyrical and expressive melodic motifs. The middle movement, however, is one of Beethoven’s most deeply and dreamily Romantic meditations, containing music of often heartbreaking beauty. Later on, Czerny claimed that “religious songs of devout pilgrims” were in Beethoven’s mind when he wrote the hymn-like main theme. Whatever the case, with this work Beethoven created the first truly symphonic concerto. ●

BY DAVID B. LEVY

Johann Sebastian Bach

Brandenburg Concerto No. 1 in F Major, S. 1046 (1721) The Brandenburg Concerto No. 1 calls for a solo group comprising violin piccolo, 3 oboes, and 2 horns, accompanied by strings and continuo group.

Johann Sebastian Bach was born in Eisenach on March 21, 1685, and died in Leipzig on July 28, 1750. He looms as one of history’s pivotal figures whose music is venerated and admired by many composers who followed him, from Haydn to Bartók and beyond. During his own lifetime, Bach was more revered as an organist and keyboard virtuoso than as a composer. His enormous output covers virtually every genre of the Baroque era, except for opera. But even here, the drama found in much of his sacred choral music (Church Cantatas, Passion Oratorios, Magnificat, and Mass in b minor) and other works showed considerable dramatic flair. The Six Concerts avec plusieurs instruments, as the dedicatory letter to the Margrave of Brandenburg of 1721 calls them, are known collectively as the

Brandenburg Concertos. Each concerto is scored for a different group of instruments. Of the many solo concertos and concerti grossi that Bach wrote during his period of employment as Kapellmeister for the orchestra of the Prince of Anhalt-Cöthen (1717 to 1723), six of them, each calling for a different scoring, were gathered together and sent to Christian Ludwig, Margrave of Brandenburg-Schwedt in 1721. The first of the Brandenburg Concertos calls for an interesting combination of instruments in the solo group—violin piccolo (small violin, tuned higher than the normal tuning), two oboes, and three horns. The distinct color of each of these instruments allows the ear to follow each solo line clearly, placing the music’s intricate counterpoint in sharp relief. This concerto for multiple soloists, along with the Second, Fourth, and Fifth Brandenburg Concertos, belongs to a category known as the concerto grosso (large concerto), a genre that harkens back to Arcangelo Corelli (1653–1713). In these works, a solo group (concertino) “contests” with the string orchestra (ripieno) and basso continuo group (bass instruments and harpsichord). The Brandenburg Concerto No. 1, which comprises four movements, seems to have been created with the special quality of the (originally) valveless hunting horns, as evidenced by the fanfare-like nature of the musical materials. The horn parts are written in a rather high range, enabling the originally valveless instruments to play melodies, as opposed to just filling in the harmony. The “Quoniam tu solus sanctus” movement of Bach’s Mass in b minor uses one such corno di caccia, a name indicating the primary use of this instrument as integral to the art of hunting. Some of the music contained in this work derives from earlier cantatas by Bach, especially Was mir behagt, ist nur

die muntre Jagd, S. 208, known as the “Hunting Cantata” (1713). Of particular interest is the final movement of the Concerto, a Minuet that is heard four times, each statement punctuated by Trio 1, a Polacca, and Trio 2. The latter is a jolly affair in which the horns are given a chance to step into the foreground. An additional note regarding the ordering of Bach’s works is in order here. The German musicologist Wolfgang Schmieder published a Bach Works Catalogue (BWV=Bach Werke Verzeichnis) in 1950 (it was updated and enlarged in 1990). Unlike Ludwig Köchel’s more famous catalogue of Mozart’s music, the Schmieder catalogue is not arranged in chronological order, but rather by type of work. One often sees works by Bach on printed programs identified by its “BWV” (in German, Bach Werke Verzeichnis) number. Some writers, however, choose to give Professor Schmieder his due recognition by substituting an “S.”

Johann Sebastian Bach

Violin Concerto No. 1 in a minor, S. 1041 (c. 1723–1729) Scored for solo violin and string orchestra, with harpsichord serving as the continuo instrument.

The Violin Concerto No. 1 was long thought to have been a work stemming from Bach’s employment in Cöthen (1717–1721). Recent research, however, suggests that it was probably composed around 1729 for the Collegium Musicum in Leipzig. We know that Bach wrote many instrumental works during his period in Cöthen, where his duties did not call for the composition of sacred music for the church. Nonetheless, we also know that Bach remained active in his composition

Inspiration for nearly all of Bach’s concertos came from the Venetian master Antonio Vivaldi.

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PROGRAM NOTES .

of secular music when he took up his final position as Kantor for two Lutheran (Evangelical) churches in Leipzig. Two Bach scholars, Christoph Wolff and John Butt, believe that the composer’s two concertos for solo violin are associated with his involvement with Leipzig’s Collegium Musicum in 1729. Incidentally, this organization was the foundation for the famous Leipzig Gewandhaus Orchestra, which still exists. The inspiration for nearly all of Bach’s concertos came from the Venetian master Antonio Vivaldi, himself the composer of nearly six hundred (!) concertos. Nowadays, the four Vivaldi concertos that comprise The Four Seasons remain among the most popular works in the concert repertory. Bach’s admiration for Vivaldi presents itself in his transcriptions of the Italian’s concertos for solo organ, as well as for harpsichord (in one case, Vivaldi’s Concerto in b minor for Four Violins, was transcribed for four harpsichords). Following Vivaldi’s model, the Concerto No. 1 in a minor, S. 1041, is in three movements. The first movement, Allegro moderato, is cast in ritornello form, whereby the string orchestra makes an initial statement (ritornello), followed by a passage where the soloist steps into the foreground, lightly accompanied by the orchestral “ripieno” group. Shortened versions of the opening ritornello are interspersed with additional solo episodes, with the movement ending with a final ritornello. The second movement is a contrasting Andante in C Major that begins with a musical idea stated by the lower strings (cello), alternating with lyrical episodes played by the solo violin. The final movement, Allegro assai, is a jig (gigue) in 6/8 meter that also follows the ritornello process of the first movement. A particularly interesting moment comes when the soloist engages in a technique known as bariolage, whereby the violinist plays across multiple strings. Bach also uses this technique extensively in the first movement, Preludio, of his Partita No. 3 for Unaccompanied Violin, S. 1006. ●

The New Mexico Philharmonic

Johann Sebastian Bach

Violin Concerto No. 2 in E Major, S. 1042 (c. 1723–1729) Scored for solo violin and string orchestra, with harpsichord serving as the continuo instrument.

The Violin Concerto No. 2, like its sister Concerto in a minor, was long thought to have been a work stemming from Bach’s employment in Cöthen (1717– 1721). It is possible, however, that it was written at a later date for the Collegium Musicum in Leipzig. Since the earliest source for the concerto comes from the hand of one of Bach’s copyists and did not surface until 1760, we cannot be certain of its date of composition. Bach was a master at the keyboard, but we also know that he played violin and viola. He again followed Vivaldi’s model and composed the Concerto No. 2 in E Major, S. 1042, in three movements. The first movement, Allegro, is cast in ritornello form, whereby the string orchestra makes an initial statement (ritornello), followed by a passage where the soloist steps into the foreground, lightly accompanied by the orchestral “ripieno” group. Shortened versions of the opening ritornello are interspersed with additional solo episodes, with the movement ending with a final ritornello. In this concerto, however, Bach demonstrates some “modern” tendencies, such as the movement’s opening gesture— three “hammerstrokes” that became a staple of the emerging “Classical” style of the mid- to late-eighteenth century. Its structure also follows the rhetorical trajectory of the classical sonata form. The second movement is an Adagio in c-sharp minor that begins with a musical idea stated by the lowest voice (cello), taking the form of a repeating melody known as a ground bass. The solo violin offers a poignant and melancholic aria that could have come straight out of the world of opera. Bach did not compose operas, but he exploited opera’s vocabulary in his church cantatas and Passion oratorios. A passage that begins in the major mode

offers a moment of consolation before returning to the movement’s original mood. The final movement, Allegro assai, brings us back into a brighter mood with a lively triple-meter theme that is interspersed with solo passagework. ●

Johann Sebastian Bach

Brandenburg Concerto No. 6 in B-flat Major, S. 1051 (1721) Scored for 2 violas (viole da braccio), 2 violas da gamba, cello, bass, and harpsichord.

The Brandenburg Concerto No. 6 calls for an interesting combination of instruments in the solo group that includes two violas da gamba—fretted bowed string instruments that stemmed from the Renaissance era, for which Bach wrote several works. The viola da gamba has a distinct silvery timbre that stands out from the other bowed string instruments that comprise this ensemble. It is believed that Bach’s patron, Prince Leopold, played one of the viola da gamba parts in Cöthen. Unlike the Brandenburg Concertos Nos. 1, 2, 4, and 5, this concerto does not belong to the category known as the concerto grosso (large concerto). Along with the Brandenburg Concerto No. 3, it belongs, rather, to a category of “ripieno concerto,” or concerto for full or complete ensemble. The piece comprises three movements. The first was not given a tempo indication but is usually played at a quick pace. The movement is a masterpiece of contrapuntal skill, with much of the musical material played by one instrument being imitated at a close time interval by other instruments. The middle movement, Adagio ma non tanto, is a lovely duet for the two viole da braccio (“arm” viols), undergirded by a “walking bass” line in the cello and the continuo group of bass and harpsichord. The movement does not come to a full stop, but continues on immediately to the final movement, Allegro, which is cast in the shape of a gigue (jig)—a lively dance in compound duple meter (6/8). ●

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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.

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2021/22 Season / Volume 10 / No. 1

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NMPHIL .

New Mexico Philharmonic

BOARD OF DIRECTORS

The Musicians

Maureen Baca

FIRST VIOLIN

CELLO

BASSOON

Krzysztof Zimowski

Joan Zucker • Carla Lehmeier-Tatum Carol Pinkerton Dana Winograd David Schepps Lisa Collins

Stefanie Przybylska • Denise Turner

Concertmaster, The Karen McKinnon Chair

David Felberg +

Associate Concertmaster

Sarah Tasker

Assistant Concertmaster

Joan Wang Steve Ognacevic Kerri Lay + Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN

Gabriela Da Silvo Fogo •+ Carol Swift •• Julanie Lee Anthony Templeton Lidija Peno Sheila McLay 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

BASS

Jean-Luc Matton • Mark Tatum •• Katherine Olszowka Terry Pruitt Frank Murry

HORN

Peter Erb • Allison Tutton Katelyn Lewis ••• TRUMPET

John Marchiando • Brynn Marchiando ••• TROMBONE

Byron Herrington

FLUTE

BASS TROMBONE

Valerie Potter • Sara Tutland Jiyoun Hur •••

David Tall

PICCOLO

Sara Tutland OBOE

Kevin Vigneau • Amanda Talley ENGLISH HORN

Melissa Peña •••

TUBA

Richard White •+ PERCUSSION

Jeff Cornelius • Kenneth Dean Emily Cornelius HARP

Matthew Tutsky •

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

President

Anthony Trujillo Vice President

David Peterson Secretary

Kory Hoggan Treasurer

Joel Baca Thomas Domme Fritz Eberle Anne McKinney Jeffrey Romero Edward Rose, MD Terrence Sloan Rachael Speegle Al Stotts Marian Tanau Michael Wallace ADVISORY BOARD

Thomas C. Bird Lee Blaugrund Clarke Cagle Roland Gerencer, MD Heinz Schmitt William Wiley BOARD OF THE FUTURE

CLARINET

Dr. James Botros Levi Bowman Sandy Buffet Nina Chavez Lauren Neeley

Marianne Shifrin • Lori Lovato •• Timothy Skinner E-FLAT CLARINET

Lori Lovato BASS CLARINET

Timothy Skinner

STAFF

Marian Tanau

Allison Tutton

Roberto Minczuk

Jeremiah Fernandez

Christine Rancier

Eric Sewell Copyist

Mary Montaño

Matt Hart

Nancy PressleyNaimark

Joan Olkowski

Executive Director Music Director

Director of Business Management

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Shea Perry

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Jess Bess

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David & Julie Martinez Michael McGinley Angie Lee McLaughlin John & Kathleen Mezoff Christine & Russell Mink John & Judy Minks Phillip Mitchell, in memory of Beatriz Mitchell Claude Morelli & Sharon Nepstad Mardelle Morrow Ted & Mary Morse Kay Moses Lynne Mostoller & Kathryn McKnight Deborah Muldawer Michael & Judy Muldawer Mark Napolin Elias Nasr Rebecca Okun Bethe Orrell Richard & Susan Perry PNM Resources Rada Potts Nancy Pressley-Naimark, in memory of William Albert Jerry & Christine Rancier T.D. Raymond Ray Reeder Joan Robins & Denise Wheeler, in memory of Sue & Mel Robins Elizabeth Roll, in memory of Ruth Bader Ginsberg Ruth Ronan Carole Ross Dick & Mary Ruddy Mary Ann Sampson Christine Sauer Chris Schroeder Mary Kathleen Schwarting Gretchen Seelinger Frederick & Susan Sherman Camille Sherwood Beverly Simmons Robert Simon Rich & Eileen Simpson Walt & Beth Simpson Gary Singer, in memory of Kathleen Singer George & Vivian Skadron Stan & Marilyn Stark Luis & Patricia Stelzner Charles Stillwell Nancy Stratton Sally Schwartz Gary & Nina Thayer Jeffrey & Elizabeth Thomsen Liz Titus Chuck & Jean Villamarin Marianne Walck Robert & Patricia Weiler Carl G. & Janet V. Weis Lawrence Wells Jeffrey West Helen M. Whitesides John & Elizabeth Wilson Kathryn Wissell & Robert Goodkind David & Evy Worledge Diana Zavitz, in honor of Pat & Ray Harwick

PRINCIPALS CIRCLE Donation of $125–$499 James & Allison Abraham Harro & Nancy Ackermann Wanda Adlesperger Dr. Fran A’Hern-Smith Albuquerque Community Foundation, Maisel/Goodman Charitable Endowment Fund Albuquerque Museum Joe Alcorn & Sylvia Wittels

Gerald Alldredge Amazon Smile Jerry & Jo Marie Anderson Anderson Organizing Systems Judy Andrews Anonymous Anonymous Jean Aragon Janice J. Arrott David Baca Jackie Baca & Ken Genco Renee Baca Genevieve Baker Graham Bartlett Steve & Nancy Bassett Ellen Bayard Hugh & Margaret Bell, in memory of Joan Allen Jennifer & Mike Benson Mark Berger Richard Berry Marianne Berwick Lorraine Beverley Judith Binder Black Dog Printing J.M. Bowers & B.J. Fisher Ronald Bronitsky, MD, in honor of Maureen & Steve Baca Douglas Brosveen Carolyn Brown Douglas Brown, in memory of Karen McKinnon James & Elizabeth Brown Terry Brownell & Alpha Russell Marie Brown-Wagner Drs. Kathleen L. Butler & M. Steven Shackley Lee Calderwood Caliber’s Safe Store David & Shelly Campbell Dante & Judith Cantrill Paty Carreon Robert E. & Shirley Case Robert & Sharon Chamberlin Roscoe & Barbara Champion Olinda Chavez David & Alexis Chene Lance & Kathy Chilton Thomas & Judith Christopher James & Joan Cole Lloyd Colson III Henry & Ettajane Conant Marcia Congdon James Connell Cathy Conrad Susan Conway Hovey & Alexis Corbin Miguel Corona Jeremy & Jamie Cox Stephanie Coxe Bob Crain Edward Curtis & Alfred Papillon Stephen & Stefani Czuchlewski John & Mary Jo Desautels Ronald & Faye Detry Jacob Dewitte Jerry & Susan Dickinson Raymond & Anne Doberneck Stephen R. Donaldson Carl & Joanne Donsbach Janice Dosch Martin J. Doviak Jeff & Karen Duray Dariel Durrett Kathleen Economy Arthur & Lindsay Edelhoff Michael & Laurel Edenburn Jeffrey Edgar Martha Egan Etta Eggleston, in memory of Bill Albert

Richard & Mildred Elrick Robert & Dolores Engstrom Darlene Evers David & Frankie Ewing Peggy Favour Helen Feinberg Howard & Deonne Finkelstein Joy Fishel-Eaton, in memory of C.J. Eaton, MD Teresa Fitzgobbon & Harrison Schmitt Heidi Fleischmann & James Scott William & Cheryl Foote Janine Ford Bruce & April Lee Forman J. Arthur Freed Joseph Freedman & Susan Timmons Martin & Ursula Frick Eric & Cristi Furman Jonathan & Julia Gallegos Jesus Galvan Mary Day Gauer Ilse Gay Allison Gentile Paul Getz & Audrey Martinez Joan Gibson Golftec Janice K. Goodman Brad Gravelle Paul & Marcia Greenbaum Peter Gregory Justin M. & Blanche G. Griffin Ginger Grossetete Mina Jane Grothey Lauro Guaderrama Livonna Gunn Robert & Elene Gusch Kenneth Guthrie & Doni Lazar Ruth Haas Lee & Thais Haines Fletcher & Laura Hahn Debbie Hammack Bennett A. Hammer Frank Hardesty William & Janet Harrington Joan Harris Gloria B. Hawk Darren Hayden Dennis & Jan Hayes Jason & Susan Heath Stephen & Aida Ramos Heath Rogene Henderson Patricia Henning Douglas & Joyce Hilchie Fred Hindel Beate Hitzler Llaura Hoberg Nina Hobbs Toppin & Robert Hodge Ulton & Jean Hodgin Kiernan Holliday Melissa Holt Bernhard E. Holzapfel Elizabeth Hoobler Thomas & Mary Ann Horan Gina Hughes Vincent & Janet Humann Bryan “Lance” Hurt Paul Isaacson Jerry & Diane Janicke John & Clarice Jenkins Dal & Pat Jensen Judith Jilek Lawrence & Anne Jones Robert & Mary Julyan Jupiter Photography, Angel Chabai Summers & Norty Kalishman Sheri & Ira Karmiol, in memory of Larry Lubar Carl & Jeanette Keim Thomas & Greta Keleher Robert & Toni Kingsley

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The New Mexico Philharmonic

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DONOR CIRCLES . continued from 27 Marlin Kipp Gerald Kiuttu & Candace Brower June Knight James & Helen Knoll Nancy Koenigsberg, in memory of Beatriz Mitchell Bernadette Koh Maria & Asja Kornfeld Tom & Kathy Korte Jennifer C. Kruger Denise Krupka-Andersen Karen Kupper Ronald Lahti Jeffery & Jane Lawrence Wes & Dawn Leach Mary E. Lebeck Jae-Won & Juliane Lee Matthew Lemelin Donald & Margaret Lenk Joe & Pam Limke Robert Lindeman & Judith Brown Lindeman Claire Lissance William J. Lock Dale & Linda Lockett Betty Logan Karen Long Daniel Lopez & Linda Vigil Lopez Joel Lorimer Bruce & Leslie Loughridge Frank & Judy Love Ruth Luckasson & Dr. Larry Davis, in memory of Dr. Alfred Watts Robert M. Lynn Morgan MacFadden Bruce F. Malott Robert & Linda Malseed The Man’s Hat Shop Jim & Helen Marquez Maria Teresa Marquez Jeffrey Marr Carolyn Martinez Janet Matwiyoff Jon McCorkell & Dianne Cress Charles McCormack Fred & Karin McDowell Jane McGuigan Don McGuire Anne McKinney John McNeil Albert & Linda McNiel Donald McQuarie Judith W. Mead Bernard & Mary Metzgar Kristin Middleton Kevin Miglio Bruce Miller Kathleen Miller Jim Mills & Peggy Sanchez Mills Brian & Patricia Miscall Louis & Deborah Moench Dr. William Moffatt Rosemary Monte Robert & Phyllis Moore Jim & Penny Morris Shirley Morrison & Cornelis Klein Baker H. Morrow & Joann Strathman Cary & Eve Morrow Karen Mosier & Phillip Freeman Eugene & Janel Moya Sharon Moynahan & Gerald Moore Nancy Murray Charles Myers Albert Narath Bruce & Ruth Nelson Joshua Neustadter Betsy Nichols Jan Nichols Candace & Frank Norris Donald & Carol Norton Maureen Oakes

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2021/22 Season / Volume 10 / No. 1

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Ross & Kristi Boom Henry Botts Tim & Jackie Bowen Levi Bowman Marilyn Bowman Richard & Iris Brackett Christopher Bradley Katy Braziel & Elizabeth Doak James & Ann Bresson John Brooks Dana Brown, in memory of Karen McKinnon Fred Bunch & Betty Tichich Elaine Burgess Hank & Miriam Burhans Elizabeth Burki Douglas & Ann Calderwood Louise Campbell Zachary & Judy Cannon Deirdre Caparoso Luana Carey, in honor of Carolyn Quinn David & Laura Carlson James Carroll Joseph Cella Thomas Chacon Dennis Chavez Development Corporation Nina Chavez Cheesecake Factory Douglas Cheney Barry Clark Valerie Cole Lora Contreras Sierra Corrin Amy Couch Briana Cristo John & Katherine Cunningham Mark A. Curtis Jonathan & Joyce Custer Henry Daise III Rosalie D’Angelo Ashlee Dauenhauer Leslie Davidson William Davidson Hubert Davis Marsha Dean, in memory of Carolyn H. Dean Kurt & Yvonne Deshayes Winnie Devore John & Helene Dickel Carol Diggelman Thomas & Elizabeth Dodson Marcy Dorchester, in memory of Mom Gregory Doudnikoff James & Julie Drennan Michael & Jana Druxman Elizabeth Dwyer Linda Eaton Reverend Suzanne & Bill Ebel Helene Eckrich Lester & Eleanor Einhorn Scott Elder, in memory of Karen McKinnon Maya Elrick Roger C. Entringer Jane Farris, in honor of Chris & Natasha John Adam Farris Helene Fellen, in honor of Larry Lubar Irene Fertik John Fielder Mary Filosi Alan & B.J. Firestone James Fisk Jane & Michael Flax Robert & Diane Fleming Rabbi Arthur Flicker Walter & Beverly Forman Chris Foster Margie Frey

DONOR CIRCLES .

David Friede, in memory of Karen McKinnon Ron Friederich Greg & Jeanne Frye-Mason Liam Frye-Mason Anne Galer Adele Galuhn Barbara Garcia, in memory of Janie Mossman Carolyn Garcia Yolanda Garcia W. Michael Garrett, MD Walter Gerstle Lawrence Jay Gibel, MD Carole Glade S. Jill Glass Ronald Goldsmith Ramon Gomez Jim Gonzales Lois Gonzales Stephen Ray Goode Peter Gould Great Harvest Bakery Alfred & Patricia Green Paul & Nancy Greenberg Rand & Teresita Greenfield Erna Sue Greening Kirk & Jan Gulledge Charles & Betsy Gunter Geoff Habiger Helen Hale Samuel & Leila Hall Anne Hallett Michele Handschuh Paul Hanneman Lorna Hansen Thomas Harmon & Sara Keeney Noah Harris Pamela Harris Bhanu Joy Harrison Fred & Joan Hart Marilyn Hartig Ed Haskin Jo Ellen Head Sharon Head, in memory of Dr. Alfred Chapman Watts Mary Hershberger, in memory of Dr. Alfred Chapman Watts Nancy Hill Pamelia Hilty (Snow Blossom Gift Fund) Susan Hinchcliffe Margaret Hoemeke Nancy Hoffman Kory I. Hoggan, CPA Diane Holdridge Thomas & Linda Holley Steven Homer Theresa Homisak Stanley & Helen Hordes Virginia Horner Adelia Humme Anthony & Susan Hunt Constance Hyde & James Houle Claudia Isaac Linda James, in memory of Salley Shaffer Mullis Michael & Sandra Jerome John P. Johnson Lori Johnson Daniel & Carol Jones Elena Kalinina John & Julie Kaltenbach Paul Karavas Joyce Kaser Grace Keenan Margaret Keller Nancy Kelley

Jamie Kerestes, in memory of Bruce Allyn Wicklund Todd Kersting Robert Key Chris Killion Sandra King Barbara Kleinfeld, in memory of Karen McKinnon Charles Knoblauch Karen Knoll Gerald Knorovsky Herbert & Shelley Koffler Philip Kolehmainen Katherine Kraus Phil Krehbiel Deborah Krichels Nick & Susan Landers Janice Langdale Larry W. Langford Molly Lannon Susan Larsen Rita Leard Daniel Lee Norma Leeper, in memory of Karen McKinnon Roger & Bonnie Leib, in honor of Dr. Thomas Martin Stephen & Katelyn Lewis Margaret Lieberman John Linder & Margaret Chaffey Byron Linsey Carl & Sheila Litsinger Betty Louise Lovering Richard & Mary Loyd Suzanne Lubar & Marcos Gonzales, in memory of Larry B. Lubar Cheryl Lucero Roger Lucero Carol Madden Douglas & Willie Madison JW Madison Frank Maher Frederic & Joan March Martha Marchand Shila Marek Walton Marshall Jennifer Mastripolito Stephen & Janice Matthews Lynne Anne Maxwell William & Claire Maxwell Dennis & Sallie McCarthy Marcia McCleary Monica McComas Margaret McDonald Thomas McEnnerney Eugene McGuire & Rosemary Hunter Jason & Tracy Mechenbier Shannon Merewether Tony Mergist Thomas Merlan & Frances Levine Sterrett & Lynette Metheny Patricia Meyer Mary Louise Miller Robert F. Miller Carol Mills Barbara Mitchell, in memory of Karen McKinnon Beatriz Mitchell Bryant & Carole Mitchell Germaine Mitchell Paul Mitchell Roy Morgan John Morrow & Harriette Monroe Marilyn Morton John & Patsy Mosman Elisabeth Mulkern

The New Mexico Philharmonic

Brian Mulrey Scott Murry Nambé David & Cynthia Nartonis Copeland & Lauren Neeley Don & Evelyn Neil Michelle NeillTange Justin Nelson, in memory of Karen McKinnon Melissa Nelson New Mexico Japanese American Citizens League Geri Newton NM Escape Room Bruce Noll Jennifer Nuanez Richard & Marian Nygren Ray & Wendy Orley Ricardo Ortega Mary Ann Osley Randolph Ott & Katherine Ott-Warner Melinne Owen William Owen Eric Parker Howard Paul Deborah Peacock & Nathan Korn Jennifer Pedneau Brian Pendley Elizabeth Perkett Mike Peterson Gail Philippi Barbara Pierce Martin & Cathryn Pokorny Helen Priest Mary Ramsey Russell & Elizabeth Raskob Henry Rau The Remedy Day Spa Kerry Renshaw Diane Reuler Kevin & Jacqueline Reynolds Judith Ribble & Clark Bussey Herbert Richter Margaret Roberts Matthew Roberts Gerald & Gloria Robinson Gwenn Robinson, MD & Dwight Burney III, MD April Rodas Dawn Rodriguez Susan Romano, in memory of Karen McKinnon Jorge & Amy Romero, in memory of Karen McKinnon Kletus & Lois Rood Christopher Rosol Michael & Joan Rueckhaus Charles Rundles Nancy Ruggles, in memory of Jean Bridgers Robert & Mary Sabatini Kathleen Sacoman Carey Salaz John Sale & Deborah Dobransky Evelyn E. & Gerhard L. Salinger Anne Salopek Cindy Salvon-Harman Katherine Sanchez Oscar & Janet Sander Adnres Sandoval III Steve & Cristella SandovalMartinez Warren & Rosemary Saur James & Janet Schippers Sherry Schwitz Justine Scott Meryl Segel

Edith Sheets Arthur & Colleen M. Sheinberg Ray Shoemaker Silk Road Connection Toby & Elisa Simon Rae Siporin Norbert F. Siska Matthew & Diane Sloves Joseph Smith Kirk Smith Smith’s Community Rewards Chandler Smith-Stetson, in memory of Lynn Harrel Karen Smoot Lillian Snyder Karen Soutar Allen & Jean Ann Spalt Judy Spear, in memory of Jeff Bourguet Gwyneth & Tracy Sprouls David & Laurel Srite Walter & Eloise Stanley Bill Stanton Philip Stanton Lauren Starosta Ronald & Patricia Stauber Charlie & Alexandera Steen Theodore & Imogen Stein Elizabeth C. Stevens Joel & Kari Stevenson Stone Age Climbing Gym Rea & Val Stover, in memory of Jean Bridgers Janice Strand Kathleen Stratmoen Mary Stumph Michael & Virginia Sullivan Gary Swanson William Swift Peter & Mary Tannen Herbert & Ingeborg Farny Taylor, in honor of Julie Kavet Jeffrey Taylor John Taylor Ronald Taylor The Remedy Day Spa Roy & Enid Tidwell Julie Tierney John Tischhauser Sue Toigo, in memory of Karen McKinnon Dr. Steven Tolber & Louise Campbell-Tolber Jacqueline Tommelein Dean Tooley John Torczynski Trader Joe’s John & Karen Trever Mary Trimbell Frank & Claire Trujillo Theodoro Trujillo & Sue Bradigan-Trujillo Doug Van Loan Yvonne Venti Kathleen Verhage Wolfgang & Patricia Vogt Robert Walston Jerre Walterscheid Anna Watkins Dale A. Webster Richard Weiner Barry & Cynthia Weiss Mary Westpfahl, in memory of Karen McKinnon Wendy Weygandt, in memory of John Emerson Dixon Charles & Linda White Patricia White, in honor of Tom Shoebotham

Wendy White Robert & Maegaret Whittaker Robert & Amy Wilkins Kathleen Wilson David Winter & Abagail Stewart Dan Wollen Deirdre Wolohan Michael Wong Richard Wood, in memory of Jan Mathison Valerie & Marc Woodward Katherine Wray Daniel & Jane Wright Nira Wright Judith A. Yandoh Geraldine Yarne Sean Yen Kari Young Janet Youngberg, in memory of Karen McKinnon Teresa Zanetti Kenneth & Barbara Zaslow Andrew & Lisa Zawadzki Michael & Jeanine Zenge Alvin Zuckert & Louise Martin, in memory of Sam & Mimi Zuckert Michael & Anne Zwolinski 9/6/2021

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nmphil.org

DONOR CIRCLES .

New Mexico Philharmonic Foundation DONORS & TRUSTEES The Karen McKinnon Family Foundation Lee Blaugrund Barbara Rivers, Trustee Charles & Eugenia Eberle, Trustee Robert & Frances Fosnaugh Thomas Martin, Trustee, & Cynthia Phillips Stephen & Maureen Baca, Trustee Estate of Marian Ausherman Chavez Dr. Dean Yannias William E. Cates Mary Baca (aka Betty) Christine Kilroy Keith Gilbert Ann & Robert Boland Thomas & Edel Mayer Robert Milne David Northrop John & Karen Schlue Susan Spaven Tyler M. Mason Jerald Parker Richard VanDongen Roland Gerencer Jonathan Hewes George Thomas Scott Obenshain Sydney (Al) & Melissa Stotts Marian & Jennifer Tanau Charles & Judith Gibbon Alice J. Wolfsberg Scott & Carol Schaffer Benevity Community Impact Fund (UnitedHealth Group) Joel & Sandra Baca Dorothy M. Barbo Henry & Jennifer Bohnhoff Clarke & Mary Cagle Kenneth Conwell II Bob & Greta Dean Howard & Debra Friedman Robert & Jean Gough Justin Griffin Mike & Blanche Griffin Mary Herring Elisa Kephart Alan Lebeck James O’Neill W. Pierce & Joyce Ostrander Clifford Richardson III Jacquelyn Robins Jay Rodman & Wendy Wilkins John Rogers Heinz & Barbara Schmitt Michael & Janet Sjulin Peter & Judy Weinreb Richard Zabell & Teresa Apple Jim Zabilski & Sue Johnson American Online Giving Foundation Marlin E. Kipp Thomas & Greta Keleher Susanne Brown Michael Dexter Thomas M. Domme Martha Egan David Espey John Homko Frances Koenig Letitia Morris Michael & Judy Muldawer Ken & Diane Reese Jeff Romero Nancy Scheer

Neda Turner Thomas & Ann Wood Anonymous Maria Stevens John & Julie Kallenbach Kay F. Richards Stan & Gay Betzer Kenneth & Jane Cole Leonard Duda Mary E. Lebeck Robert & Judy Lindeman Martha A. Miller Betsy Nichols Lee Reynis Warren & Rosemary Saur John & Patricia Stover Leonard & Stephanie Armstrong Robert Bower & Kathryn Fry Christopher Calder & Betsey Swan Fran DiMarco Dr. Lauro G. Guaderrama Lawrence & Anne Jones Karen Lanin Geri Newton Edward Rose Christine Sauer James Sharp & Janice Bandrofchak Rae Lee Siporin Bruce Thompson & Phyllis Taylor Lawrence & Katherine Anderson Douglas & Dianne Bailey Edie Beck Jeffrey Bridges A.J. Carson Thomas & Judith Christopher Thomas & Elizabeth Dodson Harry & June Ettinger Helen Feinberg Carl Glenn Guist Fletcher & Laura Hahn Robert & Linda Malseed Robert & Rebecca Parker Elizabeth Perkett Shelley Roberts Thomas Roberts & Leah Albers Gruia-Catalin Roman Donald & Carol Tallman Peter & Mary Tannen Rosario Fiallos James & Ann Breeson Carl & Jeannette Keim Andrea Kilbury Albert & Shanna Narath David & Cynthia Nartonis Ray Reeder Charles & Ruth Snell Henry & Ettajane Conant Nancy Hill Daniel T. O’Shea Charles & Linda White Dal Jensen Charlotte McLeod 505 Southwest Auto Ninon Adams David Baca Mark & Beth Berger John Bowers & B.J. Fisher Eric R. Brock & Mae S. Yee Camille Carstens Joseph Cella Robert Chamberlin Dennis Chavez Development Corp Olinda Chavez Helene Chenier Hugh & Kathleen Church James Cole Barbara L. Daniels Drina Denham Jerry & Susan Dickinson Vicky Estrada-Bustillo Alfred & Patricia Green

2021/22 Season / Volume 10 / No. 1

Karen Halderson Samuel & Laila Hall Herman Haase Jo Ellen Head Kiernan Holliday Michael & Sandra Jerome Robert H. & Mary D. Julyan Julia Kavet Henry Kelly Robert & Toni Kingsley Walter & Allene Kleweno, in memory of Pegg Macy Gerald Knorovsky L.D. & Karen Linford Betty Max Logan Douglas Madison Elizabeth Davis Marra Salvatore Martino Donald McQuarie Dr. William Moffatt James B. & Mary Ann Moreno Cary & Evelyn Morrow Karen Mosier David & Marilyn Novat Richard & Dolly O’Leary Maureen Oakes Eric P. Parker Michael Pierson & Jane Ferris Karla Puariea Russell & Elizabeth Raskob George & Sheila Richmond Margaret E. Roberts Matthew Roberts Judith Roderick Marian Schreyer Drs M. Steven Shackley & Kathleen L. Butler Joseph Shepherd & Julie Dunleavy Lillian Snyder Julianne Stangel Ronald T. Taylor Marta Terlecki Betty Tichich Marvin & Patricia Tillery Robert Tillotson Jorge Tristani (President, Denis Chavez Development) Harold & Darlene Van Winkle Lana Wagner Dale Webster Kevin & Laurel Welch Liza White Marc & Valerie Woodward Diana Zavitz Michael & Jeanine Zenge Linda R. Zipp MD Jeffrey G. Allen Marilyn Bowman Stephen & Merilyn Fish Lorraine B. Gordon Hareendra & Sanjani Kulasinghe David C. McGuire Jr. William & Cynthia Warren John Vittal Margaret Lieberman Charleen Bishop Marcia Congdon Genevieve Davidge Winnie Devore Karen Duray Jackie Ericksen John & Nancy Garth Allison Gentile Andrea Granger Fred & Joan Hart Edgarton (E.R.) Haskin, Jr. Theresa Homisak Stephanie Kauffman Basil Korin Frederic & Joan March Cristina Pereyra

Luana Ramsey J. Sapon & Allison Gentile Michael & Lisa Scherlacher John & Sherry Schwitz Beverly Simmons Alexandra Steen Kathleen Stratmoen Dean Tooley Kenneth Wright Kenneth & Barbara Zaslow Andrew & Lisa Zawadzki Peter & Ann Ziegler Mary J. Zimmerman Alvin Zuckert Dante & Judie Cantrill Lori Johnson Douglas Cheney Martha Corley Barbara Killian Gary Mazaroff Theodore & Sue Bradigan-Trujillo Christopher Behl Mary Compton Henry Daise Arthur Flicker Andrew McDowell & Natalie Adolphi Claude Morelli Noel Pugach Bonnie Renfro Elizabeth Stevens Arthur Alpert Stanley & Helen Hordes Edward & Carol Ann Dzienis 9/6/2021

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Steinway Society Piano Fund

HOROWITZ LEVEL Donation of $20,000–$50,000 Eugenia & Charles Eberle Roland Gerencer, MD

WHITE KEYS Donation of $6000–$19,999 Nancy & Cliff Blaugrund Bill & Diane Wiley

BLACK KEYS Donation of $2000–$5999 Carl & Linda Alongi Sandra & Joel Baca Stephen & Maureen Baca Phillip & Christine Custer Helen Grevey

PEDAL Donation of $500–$1999 Mr. & Mrs. Robert Duff Custer Dr. Frederick & Susan Sherman Al & Melissa Stotts

PIANO FRIENDS Donation of $10–$499 Joe Alcorn & Sylvia Wittels Anonymous Martin J. Doviak George & Karen Gibbs Larry W. Langford Claire Lissance Ray A. Reeder Dr. Linda R. Zipp 9/6/2021

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NMPHIL .

Sponsors & Grants Sound Applause

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

Albuquerque Community Foundation albuquerquefoundation.org

Hotel Andaluz hotelandaluz.com

Bernalillo County bernco.gov

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

French Funerals & Cremations frenchfunerals.com

Gardenswartz Realty

Haverland Carter Lifestyle Group

Holmans USA holmans.com

Hunt Family Foundation huntfamilyfoundation.com

John Moore & Associates johnmoore.com

Keleher & McLeod keleher-law.com

Menicucci Insurance Agency mianm.com

Meredith Foundation

Moss Adams mossadams.com

Music Guild of New Mexico musicguildofnewmexico.org

New Mexico Arts nmarts.org

New Mexico Gas Company nmgco.com

Olga Kern International Piano Competition olgakerncompetition.org

RBC Wealth Management rbcwealthmanagement.com

Sandia Foundation sandiafoundation.org

Sandia Laboratory Federal Credit Union slfcu.org

Scalo Italian Restaurant scaloabq.com

United Way of Central New Mexico uwcnm.org

Urban Enhancement Trust Fund cabq.gov/uetf

U.S. Bank usbank.com

GARDENSWARTZ REALTY

The Verdes Foundation verdesfoundation.org

The New Mexico Philharmonic

Yanni’s Lemoni Lounge yannisabq.com

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New Mexico Philharmonic Program Book • 2021/22 Season • Volume 10 • No. 1

Articles inside

Cármelo de los Santos

Olga Kern

Program Notes

Welcome

Vladislav Kern

Roberto Minczuk