New Mexico Philharmonic Program Book • 2021/22 Season • Volume 10 • No. 2 by New Mexico Philharmonic

21/22 VOLUME 10 / NO. 2

OCT

NOV

2021/22 SEASON

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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. This season, once again, we are performing 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!

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. ● read full bio on page 9

NMPHIL . TABLE OF CONTENTS PROGRAMS

October 23, 2021 Program 4 October 30, 2021 Program 5 November 14, 2021 Program 6 November 20, 2021 Program 7 Program Notes 12 ARTISTS

Rachel Barton Pine Roberto Minczuk Grant Cooper Joan Zucker Tetiana Shafran

8 9 10 10 11

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The New Mexico Philharmonic

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CONCERT PROGRAM .

POPEJOY CLASSICS

Barton Pine Plays Sibelius

OCT

Saturday, October 23, 2021, 6:00 p.m. 5:00 p.m. Pre-Concert Talk

Popejoy Hall

Rachel Barton Pine violin Roberto Minczuk Music Director

Finlandia, Op. 26

Violin Concerto in d minor, Op. 47 I. Allegro moderato II. Adagio di molto III. Allegro, ma non tanto

Jean Sibelius (1865–1957)

Sibelius

Rachel Barton Pine violin

2021/22 Season / Volume 10 / No. 2

This performance is made possible in part by: The Cates Team at RBC Wealth Management French Funerals & Cremations

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

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

Symphony No. 8 in G Major, Op. 88 I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro ma non troppo

MAKING A DIFFERENCE

Hosted by KHFM’s Alexis Corbin Antonín Dvořák (1841–1904)

CONCERT PROGRAM .

ROCK & POPS

Halloween Spooktacular!

OCT

Saturday, October 30, 2021, 8:00 p.m.

Popejoy Hall

Roberto Minczuk Music Director

Symphony No. 5 in c minor I. Allegro con brio

“In the Hall of the Mountain King” from Peer Gynt

“Funeral March of a Marionette”

Ludwig van Beethoven

Edvard Grieg

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This performance is made possible in part by: Albuquerque Community Foundation

Charles Gounod

Danse Macabre

Camille Saint-Saëns

Night on Bald Mountain

Modest Mussorgsky

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

Suite from Psycho

Phantom of the Opera Medley

Bernard Herrmann

Andrew Lloyd Webber arr. Custer

Theme from The Pink Panther Henry Mancini arr. Custer Theme from Jaws

Harry’s Wondrous World

The New Mexico Philharmonic

John Williams

Williams

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CONCERT PROGRAM .

AFTERNOON CLASSICS

Beyond Baroque

NOV

Sunday, November 14, 2021, 3:00 p.m.

Immanuel Presbyterian Church

Grant Cooper conductor

Concerto grosso No. 2 in g minor, B. 84 I. Maestoso – Allegro – Maestoso II. Andante III. Allegro IV. Tranquillo – Animato

Ernest Bloch (1880–1959)

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

Symphony No. 104 in D Major, Hob. I:104, “London” Joseph Haydn I. Adagio – Allegro (1732–1809) II. Andante III. Menuetto and Trio: Allegro IV. Finale: Spiritoso

2021/22 Season / Volume 10 / No. 2

MAKING A DIFFERENCE

This performance is made possible in part by: Meredith Foundation

CONCERT PROGRAM .

POPEJOY CLASSICS

Tetiana Shafran: Enchanting Ravel

NOV

Popejoy Hall

Saturday, November 20, 2021, 6:00 p.m. 5:00 p.m. Pre-Concert Talk Tetiana Shafran piano Joan Zucker cello Roberto Minczuk Music Director

“Clair de lune” (for orchestra)

Claude Debussy (1862–1918) orch. Caplet

Élégie, Op. 24 Gabriel Fauré (1845–1922) Joan Zucker cello

Piano Concerto in G Major Maurice Ravel I. Allegramente (1875–1937) II. Adagio assai III. Presto

MAKING A DIFFERENCE

This performance is made possible by: Allene & Walter Kleweno Additional support is provided by: Sandia Laboratory Federal Credit Union

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin

Tetiana Shafran piano

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

Symphony No. 8 in b minor, D. 759, “Unfinished” I. Allegro moderato II. Andante con moto

Les préludes, S. 97

The New Mexico Philharmonic

Franz Schubert (1797–1828)

Franz Liszt (1811–1886)

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ARTISTS .

Rachel Barton Pine violin In both art and life, violinist Rachel Barton Pine has an extraordinary ability to connect with people. Celebrated as a leading interpreter of great classic and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction, thrilling audiences worldwide with her dazzling technique, lustrous tone, and infectious joy in music-making. Pine’s 2019/20 season included a two-week residency with the Singapore Symphony, as well as performances with the Royal Scottish National and Seattle Baroque Orchestras, the Madison Symphony, and the Tel Aviv Soloists. In recital, she appeared as part of Lincoln Center’s Great Performers series. Pine and harpsichordist Jory Vinikour will be presented by the National Gallery in Washington, D.C., the San Francisco Early Music Society, the Chamber Music Society of Salt Lake City, Early Music Columbus, and the San Diego Music Society in support of their recent recording, Six Sonatas for Violin and Obbligato Harpsichord by Johann Sebastian Bach (Cedille). Her new recording of the Dvořák and Khachaturian Violin Concertos (Avie, November 2019) with the Royal Scottish National Orchestra and conductor Teddy Abrams highlights the influence of each composer’s local ethnic music – Dvořák by Czech folk music and

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Khachaturian by Armenian folk and other music of the Caucasus. Pine has appeared as a soloist with many prestigious ensembles, including the Atlanta, Baltimore, Chicago, Dallas, Iceland, Montreal, New Zealand, San Diego, St. Louis, and Vienna Symphonies; the Buffalo, Calgary, Rochester, and Royal Philharmonics; the Louisville and Philadelphia Orchestras, the Royal Scottish Philharmonic, the Belgian and Russian National Orchestras; and the Israel, Mozarteum, and Scottish Chamber Orchestras. She has worked with many renowned conductors, including Marin Alsop, Zubin Mehta, Neeme Järvi, Placido Domingo, Semyon Bychkov, John Nelson, and Erich Leinsdorf, and with prestigious collaborators including Daniel Barenboim, Christoph Eschenbach, and William Warfield. Among numerous contemporary composers with whom she has collaborated are David Chesky, Billy Childs, John Corigliano, Joe Deninzon, Mohammed Fairouz, Luis Jorge González, Earl Maneein, Daniel Bernard Roumain, José Serebrier, and Augusta Read Thomas. She has premiered concertos written for her by Fairouz, Maneein, and the Canadian composer Marcus Goddard, and performed the Panamanian premiere of Roque Cordero’s 1962 Violin Concerto. She also gave the world premiere of the last movement of Samuel Barber’s long-lost 1928 Violin Sonata, as well as a sonata fragment by Beethoven in 2005. In addition to her career as a violin soloist, Pine is an avid performer of baroque, renaissance, and medieval music. Her Vivaldi: The Complete Viola d’amore Concertos, recorded with Ars Antigua (Cedille), appears in the 2019 Oscar-winning film The Favourite. Pine performs with the period instrument ensemble Trio Settecento and has served on the Board of Directors of Early Music America. Pine writes her own cadenzas and has performed many of her own arrangements as encores. With Carl Fischer’s publication of “The Rachel Barton Pine Collection,” Pine became the only living artist and first woman in Carl Fischer’s Masters

Collection series. Her edition of Bach’s Six Sonatas and Partitas was published in 2017. She is also the music advisor and editor of “Maud Powell Favorites,” the only published compilation of Powell’s transcriptions, cadenza for the Brahms Violin Concerto, and the music dedicated to, commissioned by, or closely associated with Powell. Pine is an active philanthropist, leading the Rachel Barton Pine Foundation since 2001. This past season, the RBP Foundation received international press with the release of Music by Black Composers, Violin Volume I, the first in a series of pedagogical books of sheet music exclusively by Black classical composers, with additional orchestral instruments to be covered in future volumes. Early in her career, Pine noted that young people learning classical music seldom have the opportunity to study and perform music written by Black composers. Over the past 15 years, the RBP Foundation’s Music by Black Composers initiative has collected more than 900 works by more than 350 Black composers from the 18th21st centuries, representing North and South America, the Caribbean, Europe, Africa, and Asia. Also published are “The Rachel Barton Pine Foundation Coloring Book of Black Composers” and an illustrated timeline poster of 300plus Black classical composers from around the world, and many additional resources on MBC’s website. Coinciding with these publications, Pine released Blues Dialogues: Violin Works by Black Composers (Cedille Records), featuring classical works with a very strong blues flavor written by 20th- and 21st-century composers of African descent. Pine has a prolific discography with 38 albums on labels including Avie, Cedille, Warner Classics, and Dorian. Her recordings with some of the world’s most prestigious ensembles and conductors include Brahms & Joachim Violin Concertos (Carlos Kalmar and the Chicago Symphony Orchestra) and Elgar & Bruch Violin Concertos (Andrew Litton and the BBC Symphony Orchestra), which pays homage to Sir Neville Marriner. Pine

ARTISTS .

and Sir Neville’s Mozart: Complete Violin Concertos with the Academy of St Martinin-the-Fields charted at number three on the classical charts. Pine’s Testament: Complete Sonatas and Partitas for Solo Violin by Johann Sebastian Bach and Violin Lullabies debuted at number one on the classical chart and her Bel Canto Paganini hit number three. Pine holds prizes from several of the world’s leading competitions, including a gold medal at the 1992 J.S. Bach International Violin Competition in Leipzig, Germany. She performs on the “exBazzini, ex-Soldat” Joseph Guarnerius del Gesu (Cremona, 1742), on lifetime loan from her patron. ●

The New Mexico Philharmonic

Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires. A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco. Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival. Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone Award of Excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras,

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

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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. ●

Grant Cooper conductor The son of a soloist with the New Zealand Opera Company, Grant Cooper sang and acted in his first opera at age four and studied piano and music theory prior to college. After completing his degree in pure mathematics at the University of Auckland, he embarked on a performance career as an orchestral trumpet player, which led to a fellowship from the Queen Elizabeth II Arts Council for study with Bernard Adelstein and Gerard Schwarz in the U.S. This was followed by performances in New York’s Carnegie Hall and at Tanglewood under Arthur Fiedler, where he also performed as principal trumpet under conductors Leonard Bernstein, Seiji Ozawa, and Sir Neville Marriner, among others.

2021/22 Season / Volume 10 / No. 2

His initial opportunities as a conductor grew from his colleagues’ invitations to lead them in larger chamber ensemble performances. Since then, his many guest conducting engagements have included the Houston Symphony, Jacksonville Symphony, the Florida Orchestra, Buffalo Philharmonic, Rochester Philharmonic, Chautauqua Symphony Orchestra, Auckland Philharmonia, and Syracuse Opera, among many others. Recent international debuts include the New Zealand Symphony Orchestra and the Malaysian Philharmonic. Cooper was artistic director and conductor of the West Virginia Symphony Orchestra from 2001–2017, previously serving as resident conductor of the Syracuse Symphony Orchestra for 10 seasons. He currently serves as artistic director of the Bach and Beyond Festival in Fredonia, New York. A commissioned composer, Cooper is especially passionate about creating works designed to introduce young audiences to the orchestra. His concert works include A Song of Longing, Though …, for soprano and orchestra, which has received numerous performances in recent seasons. His ballet, On the Appalachian Trail, premiered at Chautauqua in 2010. Cooper has recorded for Delos International, Atoll, Ode, Mark, and Kiwi Pacific recordings, and has the unique distinction of having CD recordings of himself as conductor, performer, and composer, all currently available in the catalog. Cooper’s dedication to serving the West Virginia arts community was recognized in the spring of 2012 with his receiving the Governor’s Award for Distinguished Service in the Arts and with Fairmont State University conferring the degree of Doctor of Letters in 2017. He has been on the conducting faculty of Eastern Music Festival since 2013. ●

Photo by Megan Ward

ARTISTS .

Joan Zucker cello Joan Zucker was first heard by New Mexicans in the mid-seventies as Principal Cellist of the Orchestra of Santa Fe, and as an aspiring jazz cellist with the Johnny Gilbert Quartet. Since then, she has performed in many of New Mexico’s finest ensembles, from the Santa Fe Chamber Music Festival and Opera to Sunday Chatter and the Placitas Artists Series. Joan became Principal Cellist of the New Mexico Symphony Orchestra in 1987, prior to becoming Principal of the New Mexico Philharmonic. She enjoys branching out these days: in her business “Cello to Go” playing informal house concerts followed by mini cello lessons for brave listeners; performing with the Celtic/folk/jazz quartet “Shepherd Moon”; and, most recently, performing with flamenco guitarist Juani de la Isla. Joan spent more than three years living in Venezuela, first performing with the Filarmonica de Caracas and then as soloist and Principal Cellist with the Filarmonica de Mérida. Her frequent televised performances with the Cuarteto Internacional met with high critical acclaim. Joan is a versatile musician who has taught extensively (cello, recorder, piano, voice, orchestra, chamber music, theory, composition, and improvisation), both privately and at institutions including U.C. Santa Cruz, Ithaca College, and UNM. She currently enjoys teaching cello students from age 6 to 86. A native New Yorker, she started playing cello because her family ensemble needed a bass instrument!

ARTISTS .

Joan graduated from Bennington College, where she studied with the Finckel clan, and has a Masters in cello performance from Ithaca College. Joan loves the outdoors and is an avid hiker, skier, gardener, and traveler. She’s had the good fortune to backpack on five continents. In her retirement, she hopes to continue these pursuits, adding some forays into visual arts, as well as bringing free chamber music programs to underserved communities. ●

Tetiana Shafran piano

Piano Competition “Monopoli Prize” (Barletta, Italy, 2015); one award of Emil Gilels International Piano Competition (Odessa, Ukraine, 2015); one award of the Carl Filtsch International Piano Competition (Sibiu, Romania, 2016); one award of Antonio Napolitano International Piano Competition (Salerno, Italy, 2017). She has performed in some of the most prestigious concert halls of Europe, North and South America, Africa, and Asia, including the Grand Theatre (Shenzhen, China), Lindeman Hall (Oslo, Norway), Llevellyn Hall (Canberra, Australia), Main Hall of Palau de la Musica (Valencia, Spain), Theatre Mohammed V (Rabat, Morocco), Sala Cecilia Meireles (Rio de Janeiro, Brazil), Felicja Blumental Music Center (Tel Aviv, Israel), Congress Hall (Gabala, Azerbaijan), and many others. She has performed with many orchestras and conductors such as maestros D. Yablonsky, H. Earle, F. Krager, G. Glinka, M. Dyadyura, M. Anamammedov, among others. She has also recorded for radio and TV productions for Italian, Israeli, Spanish, and Ukrainian broadcasts. ●

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Born in Kiev, Ukraine, in 1989, Tetiana Shafran started playing piano at the age of three. She graduated from the Lysenko Special Music School and the Tchaikovsky National Music Academy of Ukraine with A. Vasin (2012) and O. Yablonskaya Piano Academy with Prof. Oxana Yablonskaya (USA-Israel), and from 2015–2017, studied in Spain and Israel. Tetiana is the prizewinner of many international piano competitions. Among those prizes are: first-place winner of the Second Triennial Olga Kern International Piano Competition (Albuquerque, New Mexico, 2019); one award of Concours International de Piano France-Amériques (Paris, France, 2019); three awards of VII Parnassos International Piano Competition (Monterey, Mexico, 2018); three awards of 18th Jose Iturbi International Piano Competition (Valencia, Spain, 2013); two awards of Concorso Pianistico Internazionale “Città di San Donà di Piave” (Italy, 2019); two awards of International

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PROGRAM NOTES .

Program Notes BY DAVID B. LEVY

Jean Sibelius

Finlandia, Op. 26 (1899) (rev. 1900) Jean Sibelius is indisputably the greatest composer Finland has ever produced. He was born on December 8, 1865, in Hämeenlinna (Tavastehus), Finland, and died in Järvenpää, Finland, on September 20, 1957. His abiding interest in Finland’s literature (especially the national epic known as the Kalevala) and natural landscape places him at the forefront of Finnish nationalism, although few traces of folk tunes are to be found in his music. He is best known for his symphonies, Violin Concerto, and above all his patriotic symphonic poem Finlandia, which was composed in 1899 and received its premiere performance on July 2, 1900, with Robert Kajanus conducting the Helsinki Philharmonic. It is scored for 2 flutes, 2 oboes, 2 clarinets, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Finlandia is the ultimate expression of the Finnish people’s desire for independence at a time when the country was still under the control of Czarist Russia. In 1899, Sibelius created some incidental music for a pageant based on Finnish history for a benefit event that was on the surface a fundraiser for the newspapermen’s pension. In point of fact, however, the event was a call for freedom of the press and Finnish independence. Originally titled Finland Awakes!, Sibelius reworked it as an orchestral tone poem under its now well-known name Finlandia. The first part of the piece begins darkly in the minor mode with music that may be easily interpreted as a representation of the struggle of the Finnish people. As the music gains strength, each gesture is punctuated by stirring fanfares in the brass. This ultimately yields to the memorable Finlandia Hymn, which itself grows ever-more triumphant. Many years

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[Sibelius’s Violin Concerto] is brooding, with his characteristic craggy orchestrations [painting] its dramatic narrative. later, Sibelius rearranged the Finlandia Hymn into a stand-alone piece. Words were created for the hymn in 1941 by Veikko Antero Koskenniemi, and Finlandia became one of the most important national songs of Finland, although not the country’s national anthem. ●

Jean Sibelius

Concerto for Violin and Orchestra, Op. 47 (1903–1904) (rev. 1905) Best known for his patriotic symphonic poem Finlandia, Sibelius’s genius is revealed most clearly in his Violin Concerto and seven symphonies. His Violin Concerto was composed in 1903–1904 and revised in 1905. Although intended for a Berlin premiere with Willy Burmeister as soloist, the original version of the Violin Concerto received its first performance on February 8, 1904, with Sibelius conducting and Victor Nováček, a violin teacher at the Helsinki Conservatory, as soloist. For various reasons, not the least of which was Sibelius’s alcoholism, the premiere was a disaster. The premiere of the revised version took place in Berlin on October 19, 1905, with Karel Haliř as soloist and Richard Strauss conducting. The work is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Composed in 1903–1904, but much revised in 1905, Sibelius’s Violin Concerto ranks as one of the greatest masterpieces of its kind, comparing favorably to those towering exemplars composed by Beethoven, Brahms, and Mendelssohn. The strong influence of the last composer mentioned may be seen most clearly in Sibelius’s first movement.

Both works dispense with the traditional orchestral exposition and introduce the solo violin right away, in each case over a soft rippling figuration in the strings. A further similarity lies in the placement of the solo cadenza immediately before the recapitulation instead of at the end of the movement. Despite these structural similarities, the two works are completely different in temperament. Whereas Mendelssohn is typically lyrical, Sibelius is brooding, with his characteristic craggy orchestrations that favored cellos, basses, and bassoons to form the canvas upon which the solo violin paints its dramatic narrative. Another strong identifying characteristic is the way in which his themes emerge and grow, as it were, from the middle of each measure. The powerful first movement is followed by a more lyrical and luxurious Adagio di molto. It begins with an unsettled figure in the woodwinds that will take on a more dramatic cast as the movement progresses. The violin solo then presents a broad and expansive melody. The passionate central section calls upon the violinist to play sophisticated crossrhythms in double stops—another technique used by Mendelssohn in his own Violin Concerto. The tempo indication of Allegro, ma non tanto (Lively, but not too much so) for the rondo finale needs to be taken at face value if the soloist hopes to finish the piece intact! The technical challenges for both the left hand and bow arm that the violin soloist must master are quite formidable and come in rapid fire. The opening theme has been described by Donald Francis Tovey as a “polonaise for polar bears.” But I can’t recall ever seeing these animals move at the speed Sibelius demands from his soloist. For all its fireworks, sheer

PROGRAM NOTES .

technical dexterity is never evoked here for its own sake or for mere display. Passion also abides in this movement, as well as much evocative lyricism. ●

Antonín Dvořák

Symphony No. 8 in G Major, Op. 88 (B. 163) (1889) The Czech master Antonín Dvořák was born in Nelahozeves, near Kralupy, on September 8, 1841, and died in Prague, May 1, 1904. His Symphony No. 8 is one of his most popular works, yielding only to Symphony No. 9 (“From the New World.”). It was composed in 1889 at Vysoká u Příbramě, Bohemia, on the occasion of his election to the Bohemian Academy of Science, Literature, and Arts. Dvořák conducted its premiere in Prague on February 2, 1890. It is scored for 2 flutes (second doubling piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. One of Dvořák’s most popular and tuneful works, his Symphony No. 8 reflects a happy time in the composer’s life. The composer had experienced a rise to international prominence in the early 1880s, spurred in part by the skill he brought to bear in embracing the Bohemian nationalism established by his elder compatriot Bedřich Smetana, but also by his growing mastery of form,

harmony, and orchestration. Johannes Brahms stood at the forefront of Dvořák’s admirers, working actively to promote Dvořák’s music among Austrian and German audiences and introducing the composer to the important music publisher Simrock. Dvořák, however, was torn between two worlds. How could he foster his acceptance outside of his homeland without sacrificing the folk-like elements of Czech music that had become an essential element in his emerging style? Anti-Czech sentiment in Vienna, the capital of the Austro-Hungarian Empire to which the Czech lands belonged, had been running high. A performance of Dvořák’s opera Dimitrij, which had been a success in Prague, was now being contemplated for Vienna. But the directors of the Court Opera in Vienna decided that the staging of a Czech nationalistic opera was too risky, and pressure mounted for Dvořák to consider selecting from two German librettos for a new opera. To make matters worse, Brahms was urging Dvořák to move to Vienna. Were Dvořák to accept these career moves, his future success was assured. The magnet of national identity proved too strong, however, and Dvořák respectfully declined the offer to compose the new opera. Thus freed, he turned his energies to other projects. The fact that these projects continued to include the composition of symphonies— Nos. 7 (1885) and 8 (1889)—demonstrates that Dvořák could have things his

[Dvořák] had experienced a rise to international prominence […] by the skill he brought to bear in embracing the Bohemian nationalism [and] by his growing mastery of form, harmony, and orchestration.

way after all. The ongoing influence of Brahms’s symphonies, especially the Third Symphony, had become reconciled with Dvořák’s Czech muse and he was now free to integrate his folk idiom into the structural rigors of symphonic composition. It is no accident that Dvořák’s best, and most popular, three symphonies—Nos. 7, 8, and 9 (“From the New World”)—all came into being after the watershed events described above. Dvořák’s Symphony No. 8 is one of his most lyrical, and some writers have seen in it a kinship to the spirit of Beethoven’s “Pastoral” Symphony. The work is filled with fascinating innovations. Take, for example, the beautiful g-minor theme that begins the Allegro con brio first movement, a melody that presents itself softly and expressively in the clarinets, bassoons, horns, and lower strings, only to yield ground to the “real” first theme—a jaunty one with crisply dotted rhythms—chirped by the solo flute. The lyrical theme reappears at the start of the development section, and once again at the movement’s climax, now boldly blared by the trumpets against a tumultuous cascade of chromatic scales in the strings. The opening of the beautiful Adagio second movement in c minor shows how much Dvořák had learned from Brahms and Schubert. As in the first movement, Dvořák contrasts mellow timbres with brighter upper woodwinds. A haunting effect is created by the clarinets, who respond to each of the flute and oboe phrases with cadences that constantly shift modes. A contrasting major-key theme is introduced, punctuated by staccato chords in the brass and delicate scales in the violins. The third movement, an Allegretto grazioso in g minor, features a graceful folk-like waltz theme. The three-part design introduces another lilting theme, this time in G Major, as the central Trio section. An unusual coda follows the return of the opening section, in which the tempo shifts unexpectedly to Molto vivace and the meter changes from triple to duple. The symphony’s finale presents a theme-and-variation structure, prefaced by a stirring and memorable trumpet continued on 14

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fanfare. The cellos then sing the principal theme, which is followed by a sequence of formal variations. This soon yields to an outburst of unbridled jubilation in the whole orchestra, highlighted by brilliant and raucous trills in the horns. Later in the movement, we hear a quasi-serious march in c minor reminiscent of a rag-tag village band. The march becomes more assertive, subjected to a host of descending sequences, until the opening fanfare brings things down to earth. The variation theme returns, only to transform itself this time into a sublime reverie. The jubilant outburst returns, marking the onset of an exciting coda. ●

Ernest Bloch

Concerto Grosso No. 2 in g minor (1952) Swiss-American composer Ernest Bloch was born on July 24, 1880, in Geneva, Switzerland, and died on July 15, 1959, in Portland, Oregon. Born of Jewish parents, much of his best-known music reflects various aspects of Jewish culture and identity, including, among others, Schelomo: Hebraic Rhapsody for Violoncello and Orchestra (1915–1916), Sacred Service (Avodat Hakodesh) (1930–1933), and the Baal Shem Suite for Violin (1923, orchestrated 1939). His early training was that of a violinist, having studied with the famous Belgian artist Eugene Ysaÿe. His compositional studies began in Germany and continued in Paris and Geneva. He settled in the United States in 1916, later becoming an American citizen. His activities as a teacher made him one of the most sought-after pedagogues and his students included George Antheil, Quincy Porter, Bernard Rogers, and Roger Sessions. He was appointed professor of composition at the Mannes School of Music, and in 1920 was the first Musical Director of the Cleveland Institute of Music. In 1925, he moved to California to direct the San Francisco Conservatory, co-founded the Music Academy of the West, and lectured at UC Berkeley. He spent the later years of his life teaching

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Haydn did not invent the symphony, as implied by the popular idea that he was the “father” of the genre. and composing in Oregon. The Concerto Grosso No. 2 dates from 1952. Bloch’s musical style was a mix of the old and the new, applying modern twists to tonal and even modal harmonies. He also revealed himself at times to be a neoclassicist, as revealed in his two works entitled Concerto Grosso. The second one, in g minor for string quartet and string orchestra, was composed in 1952 and was published the next year. Its premiere took place on April 11, 1953, with Sir Malcolm Sargent conducting the BBC Orchestra. The work comprises four movements. The first movement roughly follows the outline of the French opera overture structure of the Baroque by using a broad Maestoso opening that leads to a fugal Allegro, ending with a modified return of the Maestoso that morphs into the style of the poetic Andante second movement that proceeds without interruption. The third movement is a vigorous Allegro filled with rhythmic energy, The finale, TranquilloAnimato, again evokes the Baroque era by using a descending series of notes that are treated, in Bach-like fashion, as the basis of a continuous series of variations known as a passacaglia. ●

Joseph Haydn

Symphony No. 104 in D Major, Hob. I:104, “London” (1795) [Franz] Joseph Haydn was born in Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. His long and productive career spanned the end of the Baroque era to the onset of the Romantic era. Famed for his incomparable contribution to the development of the symphony and string quartet, Haydn

composed an enormous amount of music in other genres, including sacred choral music. The Symphony No. 104 in D Major was his final composition in the genre that he came to define during his long and fruitful career. The work was a product from his second tour of England from 1794–1795. The premiere of the work took place in the King’s Theater in London on May 4, 1795, as part of an all-Haydn concert under the composer’s direction. The subtitle “London” was not given by the composer, and in England it is known as the “Salomon,” in recognition of the German-born violinist/entrepreneur Johann Peter Salomon, who arranged for the composer’s two tours of England. It is interesting to note, however, that the concert series on which the work was first performed was not arranged by Salomon, but one of his rivals Giovanni Battista Viotti. Haydn’s final symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Joseph Haydn did not invent the symphony, as implied by the popular idea that he was the “father” of the genre (as well as the string quartet). His Symphony No. 104 represents the capstone of his career as a composer of symphonies, achieving at once a high watermark in its own right, as well as setting the table for subsequent generations of composers, including his pupil Beethoven, whose studies with Haydn began in 1792. Haydn was one of the most fortunate composers of the late eighteenth and early nineteenth centuries in that, starting in 1761, he enjoyed the steady patronage of the wealthy and powerful Esterhazy family of Hungarian princes, for whom he composed an astonishing large number of compositions. It mattered little to

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the younger Haydn that his workload was exceedingly heavy and that his compositions were the sole property of his employer. Greater artistic freedom would come his way eventually, leading to commissions from Paris in the 1780s (Symphonies 82–87), and London (Symphonies 93–104). As Haydn’s fame grew, the Esterhazy princes gave him freedom to sell his compositions to publishers as well as to accept foreign commissions. The Adagio introduction to the first movement of Symphony No. 104 in D Major begins with a brilliant fanfare motive that immediately arrests the audience’s attention. A mysterious excursion into the minor mode ensues, continuing right up to the start of the movement’s main body, an ebullient Allegro in the cheerful major mode. As is quite common in Haydn’s sonata-form movements, this Allegro is essentially monothematic, deriving nearly all of its motivic content from its folk-like opening theme. Haydn’s playful wit is also found in abundance, displaying a youthful spirit that one might not expect from a composer who was sixty-three years old. The second movement, an Andante in G Major, offers a contrast in tempo as well as tonality. Its disarmingly naive principal theme is presented in the strings, only to take unexpected harmonic twists that serve as harbingers of deeper ranges of expression explored as the movement unfolds. Commentators and audiences also have taken note of the freedom granted to the solo flute toward the movement’s conclusion. The third movement is a vigorous Minuet and Trio, with the Minuet filled with unexpected

accents on the second beat of its triple meter as well as sudden humorous pauses. The central Trio section takes a gentler folk-like turn, typical of the Austrian Ländler, before the return of the Minuet. Most Haydn scholars agree that the main theme of the symphony’s finale, Spiritoso, is based on the Croatian folk song “Oj, Jelena, Jelena, jabuka zelena” (“Oh, Helen, Helen, Green Apple of Mine”). Haydn was born and lived most of his life at the crossroads of Austria, Hungary, Slovenia, and Croatia, and was exposed to a wide variety of folk traditions. It should not come as a surprise, therefore, that many of these ethnic influences made their way into Haydn’s music. Perhaps only a genius of Haydn’s caliber, however, could reward these folk idioms with the sophistication of a symphonist without sacrificing the earthiness of their sources. ●

Claude Debussy

“Clair de lune” (1890) (Achille-) Claude Debussy was born on August 22, 1862, in Saint-Germain-enLaye (near Paris) and died in Paris on March 25, 1918. One of the seminal geniuses of modernism at the turn of the nineteenth and twentieth centuries, his idiosyncratic compositions were often described as analogous to that of the revolution in the world of French painting known as Impressionism. Interestingly, Debussy himself shunned the comparison. He composed many important orchestral works, including Nocturnes (1893–1899), Prelude to The Afternoon of a Faun (1894), and La Mer (1903–1905). His best-known

[Debussy’s] idiosyncratic compositions were often described as analogous to that of the revolution in the world of French painting known as Impressionism.

work that is often played on symphony concerts, however, is an orchestration (not by the composer) of the third movement from his Suite bergamasque for solo piano (1890, published 1905), “Clair de Lune.” Just as was the case with Prelude to The Afternoon of a Faun, “Clair de lune” is inspired by a poem of the same name by the French symbolist Paul Verlaine. Gabriel Fauré set the poem for voice and piano in 1887, and Debussy also made two settings of it. Verlaine’s poem reads as follows: Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques. Tout en chantant sur le mode mineur L’amour vainqueur et la vie opportune Ils n’ont pas l’air de croire à leur bonheur Et leur chanson se mêle au clair de lune, Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres Et sangloter d’extase les jets d’eau, Les grands jets d’eau sveltes parmi les marbres. Your soul is a chosen landscape Where charming masquerades and dancers are promenading, Playing the lute and dancing, and almost Sad beneath their fantastic disguises. While singing in a minor key Of victorious love, and the pleasant life They seem not to believe in their own happiness And their song blends with the light of the moon, With the sad and beautiful light of the moon, Which sets the birds in the trees dreaming, And makes the fountains sob with ecstasy, The slender water streams among the marble statues. The wistful melancholy and lyricism of Verlaine’s poem finds beautiful expression in Debussy’s instrumental setting, cast as a dreamy Andante très expressif in 9/8 meter. ●

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Gabriel Fauré

Élégie, Op. 24 (1880) French composer, organist, pianist, and educator Gabriel Urbain Fauré was born in Pamiers, Ariège, on May 12, 1845, and died in Paris on November 4, 1924. His earliest musical training took place at the School of Classical and Religious Music (later Niedermayer School). Camille Saint-Saëns later introduced Fauré to the music of more contemporary composers, including Liszt and Wagner. Fauré went on to serve in many capacities as a teacher and composer. By the end of his life, he was acknowledged to be the peerless master of French songs, although he also composed many significant works in a wide variety of genres. His lyrical gifts are on ample display in his Élégie for cello and piano, composed in 1880 and dedicated to and first performed by Jules-Léopold Loeb. The version for cello and orchestra dates from 1901 and was first performed in April of that year by Pablo Casals with the Sociétë Nationale. Fauré’s Élégie (Elegy), is, understandably, one of the most beloved works in the vast repertory of compositions for the violoncello. Originally conceived as the slow movement of a planned, but unfinished, sonata for cello and piano, the standalone movement was premiered at the salon of Camille Saint-Saëns. A work of the deepest pathos, Fauré’s gift as a melodist and composer for the human voice is evident from the very first phrase—a descending line in the cello part played over a throbbing repeated chord in the accompaniment. Solace is offered by the middle section of the piece, which departs from the c-minor opening into a more hopeful major mode, but this, too, leads to a passage of vehement expression. After a loud and impassioned return of the opening theme, the music ultimately settles down, ending calmly in a gesture of resignation. ●

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Fauré’s Élégie (Elegy), is, understandably, one of the most beloved works … a work of the deepest pathos. Maurice Ravel (1875–1937)

Concerto for Piano and Orchestra in G Major (1929–1931) Maurice Ravel was born in Ciboure, Basses Pyrénées, France, on March 7, 1875, and died in Paris on December 28, 1937. His Piano Concerto in G Major was composed in 1929–1931 simultaneously with the Piano Concerto for the Left Hand. The Concerto in G Major is dedicated to the pianist Marguerite Long, who premiered the work on January 14, 1932, in Paris. It is scored for solo piano, piccolo, flute, oboe, English horn, clarinet, E-flat clarinet, 2 bassoons, 2 horns, trumpet, trombone, percussion, harp, and strings. After Ravel’s highly successful tour of the United States in 1928, hopes for a second one followed. The Boston Symphony Orchestra commissioned Ravel to provide a concerto for piano and orchestra for its fiftieth anniversary, with the expectation that the composer would also serve as soloist. The composer began work on this piece in 1929. He continued the process through 1931, working simultaneously on the Piano Concerto for the Left Hand, a work composed for Paul Wittgenstein. Ravel considered this double assignment to be an “interesting experiment.” To his credit, he succeeded in inventing two distinctly individual compositions, despite the danger of confusing the two projects. Ravel completed the Wittgenstein piece in August of 1930. Fatigued by the effort, Ravel communicated to a friend his concern that work on the two pieces was causing him considerable tension.

He subsequently abandoned the idea of performing the Piano Concerto in G Major himself, and he passed that honor instead to the work’s dedicatee, Marguerite Long. She gave its premiere performance in Paris on January 14, 1932. Ravel did play the work later in Europe, but never in the United States as originally planned. Ravel remarked that the Piano Concerto in G Major was conceived in the spirit of Mozart and Saint-Saëns. Indeed, the five concertos by the latter represented the finest achievements in this genre by any French composer before this time. The Mozartian inspiration may be discerned in Ravel’s Adagio assai, whose exquisite music evokes the slow movement of Mozart’s Quintet for Clarinet and Strings. Further influences—most notably those of Stravinsky and of jazz— also figure prominently in the piece, whose effervescence derives from a piquant harmonic language, brilliant orchestration, and virtuosic passagework for the soloist. ●

Franz Schubert

Symphony No. 8 in b minor, D. 759, “Unfinished” (1822) Franz Peter Schubert was born in Vienna on January 21, 1797, and died there on November 19, 1828. He composed a wide variety of music, but his most enduring contributions were to the repertory of song for voice and piano. As best as can be determined, Schubert composed over six hundred accompanied songs in his brief life, as well as a large number of solo piano compositions, operas, sacred vocal works, and chamber music. His gift as a

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lyrical composer may also be heard in his purely instrumental music, including his popular “Unfinished” Symphony of 1822, which is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. Composed in the autumn of 1822, this symphony is the best-loved of Schubert’s orchestral music. For the record, Schubert completed two movements of this symphony and sketched a third (scherzo), nine measures of which were fully scored. Part of the appeal of the “Unfinished” Symphony lies in the mystery that surrounds its incomplete status, and many theories have been suggested as to why Schubert abandoned it in midstream. The notion that he intended it to be a two-movement composition is disputed by the sketch for a scherzo. Another theory stating that Schubert did compose a third and fourth movement that subsequently became lost has been refuted due to lack of evidence. It has been documented, however, that at the time Schubert was working on its composition he contracted syphilis, causing him to become very ill, not to mention the psychological effect that this must have had on him. Martin Chusid has offered a still more likely theory that Schubert did not finish this, and several other works from roughly the same period, due to a personal compositional crisis fostered largely by the composer’s desire to “confront” his imposing contemporary Beethoven. It should be remembered that Beethoven not only was still alive at this time, but had yet to compose his own Ninth Symphony, and that Schubert was a somewhat shy admirer of the musical giant. One need hardly wonder how awestruck the young Schubert would have been by the model of Beethoven’s instrumental music. Schubert’s own efforts, as wonderful as many of them are, often fail to measure up to Beethoven’s in many points of detail, most notably the finales to his multi-movement works. Might this not best explain why Schubert was reluctant to finish the “Unfinished”? As fate would have it, this great composition remained

largely unknown—and completely unperformed—until 1865. Modern judgment reveals that Schubert need not have been afraid to offer what exists of the “Unfinished” Symphony to his contemporaries, since it shows that Schubert was beginning to explore new possibilities in symphonic construction and thought that were even more forward-looking than Beethoven. In terms of aesthetic and form, Schubert’s “Unfinished” Symphony pointed toward the Romantic in its thematic and tonal elements. Perhaps this work, more than any other, marks the true beginning of Romanticism in orchestral music, even if it went unknown and unperformed until well into the second half of the nineteenth century. We can only speculate as to how influential it might have become had it been performed and published earlier. Its influence, however, was not lost on latenineteenth-century symphonists, including Anton Bruckner and Gustav Mahler. ●

“New wine demands new bottles.” —Franz Liszt

Franz Liszt

Les préludes (Symphonic Poem No. 3), S. 97 (1849–1854) Franz Liszt was born on October 22, 1811, in Raiding, Austria (Doborján, Hungary), and died on July 31, 1886, in Bayreuth, Germany. Hungarian by nationality, Liszt was one of the first great piano virtuosos of the modern era. Les préludes (Symphonic Poem No. 3) was composed

between 1849 and 1854. Its premiere took place on February 23, 1854, in Weimar under the composer’s direction. It is scored for piccolo, 3 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Franz Liszt is a composer who defies simple categorization. No sooner do we identify him as a virtuoso pianist, when his accomplishments as a conductor and composer of symphonic poems come into view. Accuse him of bombast and the understated softness of Nuages gris whispers in our ear. His reputation as an egoist is given lie by the generosity he exhibited toward Chopin, Berlioz, Wagner, and many other composers. The notorious young womanizer morphs into the devout Catholic cleric of maturity. Mephistopheles becomes Abbé Liszt. One of the foremost dilemmas facing composers in the nineteenth century was the issue of how to write symphonies in the wake of Beethoven’s daunting achievement. What remained to be said in this genre? Could one write “better” symphonies? Had the symphony—a genre whose history began in the middle of the eighteenth century—arrived at its endpoint in less than one hundred years? Each composer after Beethoven who desired to write for orchestral forces had to find his or her own answer. The resulting repertory represents an astonishing variety of solutions. Many German composers—chief among them Schumann, Mendelssohn, Spohr, Brahms, and Bruckner—continued to write symphonies. Even these conservative composers, however, infused, or rather superimposed, many of their works with extra-musical references (think of Mendelssohn’s “Italian” and “Scottish” Symphonies, for example). Another alternative was a Lisztian invention—the symphonic poem. This kind of piece was an outgrowth and extension of the concert overture (which might be said to have its roots in some of Beethoven’s overtures such as Coriolan, the Leonore Overtures, and Egmont).

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The symphonic poem is best defined as a one-movement orchestral work with a title derived from a piece of literature, a historical event or figure, or a work of visual art. Liszt contributed thirteen such pieces to the repertoire, the first twelve of which were composed during his period as Music Director at Weimar between the late 1840s and 1861 (the last one, From the Cradle to the Grave, was composed toward the end of Liszt’s career). All of the twelve original symphonic poems are dedicated to the composer’s muse, the Princess Caroline Sayn-Wittgenstein. Liszt’s most illustrious successor in the genre was Richard Strauss. Having conquered the world of the piano, Liszt had turned his attention toward conducting and the composition of symphonic music, oratorio, and opera (Wagner’s Lohengrin received its first performance under Liszt’s baton in 1850). His inexperience as a composer for orchestra led him to seek help from several people, including his copyist August Conradi and the composer Joachim Raff. Liszt also learned from the example of the two composers whose music he championed and prized most highly—Hector Berlioz and Richard Wagner. Les préludes, the third, and by far the most popular of Liszt’s symphonic poems, had a complicated compositional history. Its musical ideas began between 1845 and 1849 as an overture to a choral work Les quatre élémens, based on texts by Joseph Autran. Sometime during this period, Liszt scribbled a reference to the title Les préludes in reference to one of the Nouvelles meditations

poétiques. The overture’s evolution into the symphonic poem we now know took place in the years 1853–1854. The composer conducted the premiere on February 23, 1854, in Weimar. Just as Berlioz had done at the premiere of his Symphonie fantastique, Liszt issued a vague program to his audience, the text of which appeared also in the published score in 1856: What else is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death? Love is the dawn of all existence; but what fate is there whose first delights of happiness are not interrupted by some storm, whose fine illusions are not dissipated by some mortal blast, consuming its altar as though by a stroke of lightning? And what cruelly wounded soul, issuing from one of these tempests, does not endeavour to solace its memories in the calm serenity of rural life? Nevertheless, man does not resign himself for long to the enjoyment of that beneficent stillness, which he first enjoyed in Nature’s bosom, and when “the trumpet sounds the alarm” he takes up his post, no matter how dangerous may be the struggle which calls him to its ranks, that he may recover in combat the full consciousness of himself and his powers. While the “program” of Les préludes cannot be said to have driven the creation of the music, it does serve as a useful guidepost for audiences to the work’s broad structural articulations. What unifies the piece is the continual series of thematic transformations of the one primary melodic idea. “What is life but

“What else is life but a series of preludes to that unknown hymn, the first and solemn note of which is intoned by Death?” —Franz Liszt

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a series of preludes … ?” refers to the quizzical nature of the work’s opening, especially the upward-turning figure in the strings beginning in the third measure that serves as the thematic lynchpin for the rest of the piece. This figure bears an uncanny resemblance to the “Muss es sein?” figure used by Beethoven in the finale of his String Quartet in F Major, Op. 135, which may suggest a double entendre on Liszt’s part. Interestingly, César Franck also used this musical motive in his Symphony in d minor (1889). The introductory material leads inexorably to a solemn Andante maestoso that corresponds clearly to the “unknown hymn.” The lyrical melody stated in the second violins and cellos (“Love is the dawn of all existence…”) is yet another iteration, which itself evolves into newer transformations. The “storm” (Allegro ma non troppo) will be self-evident, as are the tripping 6/8 horn, oboe, and clarinet flourishes that usher in the “solace [and] calm serenity of rural life,” followed by the subsequent “alarm” of the trumpet. A triumphant return of the hymn—a reprise of the Andante maestoso—brings the work to a stirring conclusion. ●

THANK YOU .

STEINWAY SOCIETY

Steinway Society

Steinway Society members make dedicated donations for current and future purchases and maintenance of our Steinway & Sons Grand Piano Model D. Since the New Mexico Philharmonic’s birth in 2011, we have had to rely on rented pianos. They have been inconsistent and at the end of the 2018/19 season, it was clear that the NMPhil needed a new, reliable piano to feature great pianists. We were able to fulfill this dream a few weeks ago when we received a very generous low-interest loan to purchase the piano. Thanks to donations already received from Steinway Society members, the amount that the NMPhil now owes is less than half of the loan.

HOROWITZ LEVEL

Piano Fund

Please consider joining the Steinway Society at the donor level that is best for you and be part of your New Mexico Philharmonic by helping us to produce excellence through our music HOROWITZ LEVEL

$20,000–$50,000

• Special short video presented before one concert at Popejoy Hall • Two annual private dinners with artist(s) of choice • Donor Lounge access • One annual private dinner with Roberto Minczuk, Olga Kern, or other pianists • Special mention in the Program Book Steinway Society section • Special annual reception for all Steinway Society donors • Engraved Steinway piano key with the name of the donor to be displayed in the lobby at NMPhil concerts featuring piano soloists • Name engraved somewhere inside the piano with date, etc. WHITE KEYS LEVEL

$6000–$19,999

• Donor Lounge access • One annual private dinner with Roberto Minczuk, Olga Kern, or other pianists • Special mention in the Program Book Steinway Society section • Special annual reception for all Steinway Society donors • Engraved Steinway piano key with the name of the donor to be displayed in the lobby at NMPhil concerts featuring piano soloists • Name engraved somewhere inside the piano with date, etc. BLACK KEYS LEVEL

$2000–$5999

• Invitation to three Donor Lounge receptions during concerts • One private dinner every other year with Roberto Minczuk, Olga Kern, or other pianists • Special mention in the Program Book Steinway Society section • Special annual reception for all Steinway Society donors • Engraved Steinway piano key with the name of the donor to be displayed in the lobby at NMPhil concerts featuring piano soloists • Name engraved somewhere inside the piano with date, etc. PEDAL LEVEL

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

WHITE KEYS Donation of $6000–$19,999 Cliff & Nancy Blaugrund Lee Blaugrund Diane & William Wiley Dr. Dean Yannias

BLACK KEYS Donation of $2000–$5999 Carl & Linda Alongi Joel & Sandra Baca Stephen & Maureen Baca William & Paula Bradley Phillip & Christine Custer Art Gardenswartz & Sonya Priestly Robert & Jean Gough Helen Grevey Stephen & Aida Heath Albert Seargeant III, in memory of Ann Seargeant Terry Sloan

PEDAL Donation of $500–$1999 Mr. & Mrs. Robert Duff Custer Peter Gould Robert & Toni Kingsley Jon McCorkell & Dianne Cress Bruce & Sandra Seligman Frederick & Susan Sherman David & Heather Spader Al & Melissa Stotts

PIANO FRIENDS Donation of $50–$499 Joe Alcorn & Sylvia Wittels Anonymous Martin J. Doviak David Fillmore George & Karen Gibbs Larry W. Langford Claire Lissance Nicolle Maniaci & John Witiuk Bob & Bonnie Paine Dan & Billie Pyzel Ray A. Reeder Katherine Saltzstein Linda R. Zipp, MD 10/9/2021

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$500–$1999

• Invitation to one Donor Lounge reception during a concert • Special mention in the Program Book Steinway Society section • Special annual reception for all Steinway Society donors PIANO FRIENDS LEVEL

$50–$499

• Special mention in the Program Book Steinway Society section • Special annual reception for all Steinway Society donors

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THANK YOU .

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

The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment. CITY & COUNTY APPRECIATION Mayor Tim Keller & the City of Albuquerque Trudy Jones & the Albuquerque City Council The Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Hakim Bellamy & the Albuquerque Cultural Services Department Amanda Colburn & the Bernalillo County Special Projects

BUSINESS & ORGANIZATION APPRECIATION Immanuel Presbyterian Church The New Mexico Philharmonic Foundation The Albuquerque Community Foundation

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Ian McKinnon & The McKinnon Family Foundation Billy Brown Anne Eisfeller Emily Steinbach Chris Kershner

Jim Key Jackie McGehee Barbara Rivers Brad Richards Brent Stevens 10/1/2021

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LEGACY SOCIETY GIVING FOR THE FUTURE Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you. Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier Nancy Berg Sally A. Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Eugenia & Charles Eberle Bob & Jean Gough Peter Gregory Ruth B. Haas Howard A. Jenkins Walter & Allene Kleweno Louise Laval Julianne Louise Lockwood Dr. & Mrs. Larry Lubar

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Joann & Scott MacKenzie Thomas J. Mahler Cynthia Phillips & Thomas Martin George Richmond Eugene Rinchik Barbara Rivers Terrance Sloan Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman 10/1/2021

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P R O U D T O B E S U P P O R T I N G T H E M E X I C O P H I L H A R M O N I C

S C A L O I T A L I A N R E S T A U R A N T 3 5 0 0 C E N T R A L A V E S E A L B U Q U E R Q U E N M 8 7 1 0 6 S C A L O A B Q . C O M

2021/22 Season / Volume 10 / No. 2

NMPHIL .

New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca

The Musicians

FIRST VIOLIN Krzysztof Zimowski Karen McKinnon Concertmaster Chair

David Felberg +

Associate Concertmaster

Ana María Quintero Muñoz ++

Associate Concertmaster

Sarah Tasker

Assistant Concertmaster

Laura Steiner Joan Wang Juliana Huestis ++ Steve Ognacevic Kerri Lay + Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Gabriela Fogo •+ Rafael Marzagão •++ 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 Virginia Lawrence Willy Sucre + Joan Hinterbichler Lisa DiCarlo

CELLO Joan Zucker • Jonathan Flaksman •••++ Carla Lehmeier-Tatum Dana Winograd David Schepps Lisa Collins BASS Jean-Luc Matton • Mark Tatum •• Katherine Olszowka Terry Pruitt Frank Murry FLUTE Valerie Potter • Sara Tutland Jiyoun Hur ••• PICCOLO Sara Tutland OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Peña •••

BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Allison Tutton Katelyn Lewis ••• TRUMPET John Marchiando • Brynn Marchiando ••• TROMBONE Byron Herrington BASS TROMBONE David Tall TUBA Richard White •+ PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Matthew Tutsky •

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

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

BASS CLARINET Timothy Skinner

STAFF Marian Tanau

Allison Tutton

Roberto Minczuk

Jeremiah Fernandez

Christine Rancier

Eric Sewell

Executive Director Music Director

Director of Business Management

Matt Hart

Production Manager

Principal Librarian Assistant Librarian Copyist

Nancy Pressley-Naimark Director of Community Relations & Office Manager

Shea Perry

Personnel & Operations Manager

The New Mexico Philharmonic

Jess Bess

Assistant Production Manager, Assistant Office Manager, & Front of the House Manager

Mary Montaño Grants Manager

Joan Olkowski

Design & Marketing

Lori Newman Editor

nmphil.org

DONOR CIRCLES .

Donor Circles Thank You for Joining a Circle

BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund City of Albuquerque The Karen McKinnon Fund The McKinnon Family Foundation

BEETHOVEN CIRCLE Donation of $25,000–$49,999 The Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Eugenia & Charles Eberle The Meredith Foundation Cynthia Phillips & Thomas Martin

MOZART CIRCLE Donation of $10,000–$24,999 Albuquerque Community Foundation, E. Blaugrund Family Fund Anonymous Anonymous Anonymous, in honor of Roberto Minczuk Bernalillo County Commission Deborah Borders Art Gardenswartz & Sonya Priestly Mary Herring Holmans USA, LLC, Anthony D. Trujillo Walter & Allene Kleweno Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings New Mexico Gas Company Bob & Bonnie Paine The Honorable & Mrs. James A. Parker Bradford Richards Rio Rancho Kiwanis Foundation Sandia Foundation, Hugh & Helen Woodward Fund Terrence Sloan, in honor of Ronald Bronitsky’s Grandfather United Way Community Fund Dr. Dean Yannias

BRAHMS CIRCLE Donation of $5000–$9999 Albuquerque Community Foundation, The Ties Fund George & Sibilla Boerigter Paula & William Bradley Bob & Fran Fosnaugh

Ron Franklin, in memory of Karen McKinnon Keith Gilbert Hancock Family Foundation Ken & Kathy Hao, in memory of Karen McKinnon William H. & Mattie Wattis Harris Foundation Jonathan & Ellin Hewes Robert & Elisa Hufnagel Hunt Family Foundation Christine Kilroy Harry & Betsey Linneman Julianne Lockwood Dwayne & Marjorie Longenbaugh Marcia Lubar Myra & Richard Lynch Bob & Susan McGuire Menicucci Insurance Agency Barbara Morris Karl & Marion Mueller Ruth & Charles Needham New Mexico Arts George & Mary Novotny Scott Obenshain Del Packwood & Barbara Reeback Sandia Laboratory Federal Credit Union Melissa & Al Stotts The Swalin Family Marian & Jennifer Tanau George Thomas, in memory of Patricia Thomas Tamara Tomasson Richard Vandongen The Verdes Foundation Kathleen & David Waymire Diane Chalmers Wiley & William Wiley Lance Woodworth John Wronosky & Lynn Asbury X-Ray Associates of New Mexico, P.C.

CHOPIN CIRCLE Donation of $3500–$4999 Carl & Linda Alongi Anonymous Anonymous Nancy M. Berg Nancy & Cliff Blaugrund The Cates Team/RBC Wealth Management David & Mary Colton Richard & Margaret Cronin David & Ellen Evans Exxon Mobil Foundation French Funerals & Cremations David Gay Madeleine Grigg-Damberger & Stan Damberger Margaret Harvey & Mark Kilburn National Christian Foundation Southwest Steve Ridlon, in memory of Casey Scott

2021/22 Season / Volume 10 / No. 2

Robertson & Sons Violin Shop Edward Rose

GRACE THOMPSON CIRCLE Donation of $1933–$3499 Albuquerque Community Foundation, The CavettWalden Grant Albuquerque Community Foundation, NDB & CEB Fund Meg Aldridge Marie Jo Anderson & Carl C. Anderson, Sr. Charitable Foundation Anonymous Anonymous Joel & Sandra Baca Thomas Bird & Brooke Tully Ann Boland Ronald Bronitsky, MD, in honor of Anastasiya Naplekova, Hedwig Bronitsky, & Robert Alexander Clarke & Mary Cagle Douglas Cardwell Edwin Case, in memory of Deborah Case Century Bank Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Marjorie Cypress & Philip Jameson D’Addario Foundation Thomas & Martha Domme Fritz Eberle & Lynn Johnson Firestone Family Foundation First United Methodist Church, Kaemper Music Series Frank & Christine Fredenburgh Gertrude Frishmuth Cynthia & Thomas Gaiser Ann Gebhart A. Elizabeth Gordon Jean & Bob Gough Helen Grevey Stephen & Aida Ramos Heath Rosalyn Hurley Sue Johnson & Jim Zabilski Chris & Karen Jones Bonnie & Hank Kelly Kathleen D. Lebeck Virginia LeRoy Tyler M. Mason Edel & Thomas Mayer Foundation Robert Milne & Ann DeHart, in memory of Clare Dreyer Ruth Mondlick, in memory of Martin I. Mondlick Robert & Claudia Moraga Moss-Adams LLP David & Audrey Northrop Tom & Lili O’Malley, in memory of Karen McKinnon James O’Neill Jerald & Cindi Parker

Dick & Marythelma Ransom Sandra P. & AFLt/Col (r.) Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson Jr. & Josephine A. & Angelo “A.J.” Asciolla Deborah Ridley & Richard S. Nenoff Aaron & Elizabeth Robertson Jay Rodman & Wendy Wilkins Ellen Ann Ryan Scott & Carol Schaffer Howard & Marian Schreyer Albert Seargeant Janet & Michael Sjulin Vernon & Susannah Smith Betsey Swan & Christopher Calder Spencer & Sarah Tasker Verdes Farm LLC

BACH CIRCLE Donation of $1000–$1932 Kathleen Adam Leah Albers & Thomas Roberts Robert Anderson Anonymous Anonymous Anonymous Anonymous Anonymous Christopher Apblett Teresa Apple & Richard Zabell Jonathan & Deborah Armerding Robert Baca Douglas Bailey Bank of America Charitable Foundation Patricia Barron Steven Berger, in memory of Karen McKinnon Gay & Stan Betzer Lawrence & Deborah Blank James Botros & Jeremy Wirths Robert Bower & Kathryn Fry Stephen Brittenham Michael & Cheryl Bustamante Joseph & Dawn Calek Christine Chao, in memory of Karen McKinnon Michael & Wendy Cieslak Mark & Susan Conradi The Coracle Fund John Crawford & Carolyn Quinn Phil & Krys Custer Robert & Mary Custer Leonard & Patricia Duda Anne Eisfeller & Roger Thomas Richard & Virginia Feddersen Dean Flanagan, in memory of Karen McKinnon Denise Fligner & Terry Edwards Helen Fuller Roland Gerencer, MD

George F. Gibbs Dennis & Opal Lee Gill Laurence Golden Peter Gould Steve Hamm & Mary Kurkjian Roger & Katherine Hammond Harris Jewelers Harris Hartz Donna Hill Jim & Sandra Hoge Dr. Carlton Holte & Sheryl Guterl Martha S. Hoyt Hal & Carolyn Hudson Patricia Johnson, in memory of Karen McKinnon Stephanie & David Kauffman Julia Kavet, in memory of Janie Mossman Ann King Virginia Lawrence, in memory of Jean Sharp The Liow Family, in memory of Karen McKinnon Dr. Ronald & Ellen Loehman Linda S. Marshall William & Jean Mason Kathy & John Matter Brian McDonald C. Everett & Jackie McGehee Ina S. Miller Martha Miller Ranne B. Miller & Margo J. McCormick Miller Stratvert, P.A. Jan Mitchell Mark Moll David & Alice Monet Dorothy White Morse Ed & Nancy Naimark Daniel & Elizabeth Neal Tom & Gretchen Obenauf Gary & Carol Overturf Stuart & Janice Paster David & Melanie Peterson Douglas Peterson, in memory of Karen McKinnon Mary Raje Dr. Barry & Roberta Ramo Stephen Rehnberg & Mary Burgener Patricia Cazier Renken Barbara Rivers, in memory of Thom Stein Richard & Pamela Salmon Scott & Margaret Sanders Nancy Scheer John & Karen Schlue Paul C. Schorr IV, in memory of Karen McKinnon Bruce & Sandra Seligman Barbara Servis David & Heather Spader Paula M. Steinberg Mark & Maria Stevens Sarah Stevens-Miles David E. Stinchcomb, in memory of Ann Stinchcomb Jane & Doug Swift Fund for Art & Education Total Wine William Vance

DONOR CIRCLES .

Ross & Jean Van Dusen Rita Villa Margaret Vining Betty & Luke Vortman Endowment Michael Wallace Eugene & Barbara Wasylenki Peter & Judy Basen Weinreb Tad & Kay West Robert & Trudie White Bill & Janislee Wiese Alice Wolfsberg Robert & Judith Woods, in memory of Dale Kempter Dot Wortman Dolly Yoder Carol Zulauf

CONCERTMASTER CIRCLE Donation of $500–$999 Jo Anne Altrichter & Robin Tawney Anonymous Anonymous John & Polly Arango Joseph Archbold Richard & Linda Avery Marguerite Baca Tonianne Baca-Green Sally Bachofer Daniel Balik Elizabeth Bayne Edie Beck David & Judith Bennahum Barry Berkson Monica Boehmer, in memory of Leonie Boehmer Rod & Genelia Boenig Henry & Jennifer Bohnhoff Janet Brierley Patricia Broyles Butterfield’s Jewelers Bill Byers Carol Callaway CarMax Ann Carson Camille Carstens Edith Cherry & Jim See Beth Clark Susan Clark Michael Dexter Thomas Dyble Mary Lou Edward The Eichel Family Charitable Fund Jay Ven Eman Jackie Ericksen Eve Espy Peter Freer, in memory of Karen McKinnon Howard & Debra Friedman Clarice Getz Charles & Judith Gibbon Drs. Robert & Maria Goldstein Mark Goodman Yvonne Gorbett Berto & Barbara Gorham Stanley & Sara Griffith Tom & Rebecca Grissom Sharon Gross Ron & Nancy Halbgewachs

Kathleen Hammar John & Diane Hawley Noelle Holzworth John Homko William B. Hughes Tatiana Hunter Gwenellen Janov Carol Kaemper John & Mechthild Kahrs Suzanne Kelsey, in memory of Bill Sullivan Steve & Elisa Kephart Noel Kopald Woody & Nandini Kuehn Stephanie & Kenneth Kuzio Rebecca Lee & Daniel Rader Thomas & Donna Lockner Carol Lovato Joanne E. Magalis David & Julie Martinez Jon McCorkell & Dianne Cress 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 Anjella Schick 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 Dorothy Stermer 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 Champion Olinda Chavez David & Alexis Chene Lance & Kathy Chilton Thomas & Judith Christopher Paul & Linda Cochran 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 Fletcher & Laura Hahn Lee & Thais Haines Debbie Hammack Bennett A. Hammer Frank Hardesty William & Janet Harrington Joan Harris Gloria B. Hawk Darren Hayden Dennis & Jan Hayes Jason & Susan Heath Rogene Henderson Patricia Henning Douglas & Joyce Hilchie Fred Hindel Beate Hitzler Nina Hobbs Laura Hoberg 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 Marlin Kipp Gerald Kiuttu & Candace Brower June Knight James & Helen Knoll Nancy Koenigsberg, in memory of Beatriz Mitchell Bernadette Koh

continued on 24

The New Mexico Philharmonic

nmphil.org

DONOR CIRCLES . continued from 23 Maria & Asja Kornfeld Tom & Kathy Korte Jennifer C. Kruger Denise Krupka-Andersen Karen Kupper 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 Sam Lucero & Ron Lahti 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 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 New Mexico School of Music, Tatiana Vetrinskaya Betsy Nichols Jan Nichols Candace & Frank Norris Donald & Carol Norton Maureen Oakes Charles Oelsner Joan Olkowski John & MacKenzie Ordorica Pete & Carol Ormson Patrick Ortiz, in memory of Karen McKinnon Daniel O’Shea Joyce & Pierce Ostrander Erma Pacheco Mark & Diane Parshall Lawrence Pearsall Michelle Pent Maria Pereyra & Timothy Berkopec Shea Perry Lang Ha Pham & Hy Tran Judi Pitch Placitas Artists Series Karla Puariea Regina & Daniel Puccetti Caroline Pultz Dan & Billie Pyzel Therese Quinn Jane Rael David & Tracey Raymo Colby Reddoch Robert Reinke Lilith Ren Carol Renfro Tim Renk Kay Richards Johanna Rijken Erika Rimson & David Bernstein John Robbenhaar Shelley Roberts & Dewey Moore Justin Robertson Jacquelyn Robins Peggy Rodriguez Joseph Roesch Justin & Erica Roesch, in honor of Steve & Maureen Baca Catalin Roman Jeffrey Romero Glenn & Amy Rosenbaum Jeffery & Cynthia Ross Sofya Rubinchik Randy & Carla Salazar Renee Sandoval Sarafian’s Oriental Rugs Laura Scholfield Leigh Schultzberger Kathleen Schulz Timothy Schuster Thomas Seamon Daniel & Barbara Shapiro Joe Shepherd Ronald & Lisa Shibata Carolyn Simon R.J. & Katherine Simonson

2021/22 Season / Volume 10 / No. 2

Amanda Smith Carl & Marilyn Smith Carol Smith Katherine Smith, in memory of Craig Smith Smith Engineering, in memory of Linda Bolvin Steven & Keri Sobolik Olga Spahn Thor Spangler Linda Srote, in memory of Karen McKinnon Jennifer Starr & Eugene Lesser Brent & Maria Stevens Nancy Stevens John & Patricia Stover Lawrence & Carmen Straus Kevin & Judy Taira David & Jane Tallant Tanoan Country Club Phyllis Taylor & Bruce Thomson Rogan & Laurie Thompson Sue Ann Thompson Natalia Tikhovidova Marvin & Patricia Tillery Barbara Timmcke Laurence Titman Valerie Tomberlin John Tondl Gehron & Michelle Treme John Trotter Leonard & Mary Joan Truesdell Nathaniel Tully Sean Umstead Arthur & Sandra Vall-Spinosa Vara Winery & Distillery VinGuard Valise John Vittal & Deborah Ham John & Karin Waldrop William & Cynthia Warren Wolfgang & Carol Wawersik Deborah Webster, in memory of Scott Browne Kevin Welch Jamie Welles Margaret Wente Jeremy Weserich Leslie White Marybeth White Ellen Whitman Bronwyn Willis Phyllis Wilson Marla Wood Rebecca Zerger & Timothy Peterson Linda R. Zipp, MD Vita Zodin

FRIENDS OF THE PHILHARMONIC Donation of $25–$124 ABQ Memory Movers LLC, Barbara & James Thomte Fay Abrams, in honor of Peg Cronin David & Elizabeth Adams Jack Aderhold Natalie Adolphi & Andrew McDowell

Howard & Phyllis Albert, in memory of William Albert Albuquerque Community Foundation/Susan Beard Grant Recommendation Albuquerque Museum Foundation Kelly Aldridge Jeffrey Allen Mel & Hilaria Alper Judith Anderson Anonymous Robert J. & Marilyn R. Antinone Allen & Ruth Archambault Mary Archbold Janice Arrott Thomas J. & Helen K. Baca Thomas Bail Olive Baker-Brown Pedro & Yvonne Baldonado Fred & Jan Bales Jan Bandrofchak & Cleveland Sharp Sarah Barlow Ron Barnes Susan Beard Fred L. Beavers Michael Beerman David & Betty Begeal Benevity Fund Kirk & Debra Benton Dorothy & Melbourne Bernstein Ursula Biggers Kay Bird Amy Gayle Black, in memory of William Albert Christine Blaser & Constantine Stewart Thomas & Suzanne Blazier Dusty & Gay Blech Peter Bochert Paula Boggs Bette Bolton Ross & Kristi Boom Henry Botts Tim & Jackie Bowen Levi Bowman Marilyn Bowman Richard & Iris Brackett Christopher Bradley Samuel Brandt 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 David Fillmore Mary Filosi Alan & B.J. Firestone James Fisk Jane & Michael Flax Robert & Diane Fleming Rabbi Arthur Flicker Walter & Beverly Forman Chris Foster Margie Frey 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

DONOR CIRCLES .

Lawrence Jay Gibel, MD Carole Glade S. Jill Glass Ronald Goldsmith Ramon Gomez Jim Gonzales Lois Gonzales Stephen Ray Goode 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 J.W. Madison Frank Maher Nicolle Maniaci & John Witiuk 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

The New Mexico Philharmonic

John Morrow & Harriette Monroe Marilyn Morton John & Patsy Mosman Elisabeth Mulkern 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 Nancy Ruggles, in memory of Jean Bridgers Charles Rundles Robert & Mary Sabatini Kathleen Sacoman Carey Salaz John Sale & Deborah Dobransky

Evelyn E. & Gerhard L. Salinger Anne Salopek Katherine Saltzstein Cindy Salvon-Harman Katherine Sanchez Oscar & Janet Sander Andres 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 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 Kenneth 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 10/5/2021

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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, Trustee, & Eugenia Eberle Robert & Frances Fosnaugh Thomas Martin, Trustee, & Cynthia Phillips Stephen & Maureen Baca, Trustees 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 Sonnet & Ian McKinnon 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 Michael Wallace 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

2021/22 Season / Volume 10 / No. 2

505 Southwest Auto Ninon Adams David Baca Mark & Beth Berger Charleen Bishop 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 Peter Gregory 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 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 10/5/2021

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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. 2

Articles inside

Program Notes

Tetiana Shafran

Joan Zucker

Grant Cooper

Letter from the Music Director

Roberto Minczuk

Rachel Barton Pine