New Mexico Philharmonic Program Book • 2021/22 Season • Volume 10 • No. 3 by New Mexico Philharmonic

21/22 VOLUME 10 / NO. 3

DEC

JAN

2021/22 SEASON

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STRATEGIES FOR

WISE GIVING The New Mexico Philharmonic Foundation has passed a milestone by achieving about $2 million in assets.

Please be a part of our success and join the McKinnon Family Foundation $250,000 community call-to-match. New Mexico Philharmonic Foundation Inc. PO Box 16422 Albuquerque, NM 87191

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There are many ways to support the New Mexico Philharmonic and the New Mexico Philharmonic Foundation. We thank our members, donors, volunteers, sponsors, and advertisers for their loyalty and enthusiasm and their help in ensuring the future of symphonic music in New Mexico for years to come. LOOKING TO MAKE SMART DONATIONS? Based on presentations by professional financial advisors, here are some strategies for giving wisely, following recent changes in the tax law. The advisors identified five strategies that make great sense. Here they are in brief: GIVE CASH Whether you itemize deductions or not, it still works well. GIVE APPRECIATED ASSETS This helps you avoid capital gains taxes, will give you a potentially more significant deduction if you itemize, and can reduce concentrated positions in a single company.

SPONSOR

A MUSICIAN

We invite you to engage more deeply with the orchestra and its musicians. This new program comes with wonderful benefits that give you a chance to develop a personal relationship with one of our stellar musicians. Please call to find out the benefits and cost of sponsorship. SPONSOR TODAY

(505) 323-4343 DWAYNE & MARJORIE LONGENBAUGH Principal Viola Sponsorship, Laura Tait Chang

LYNN ASHBURY & JOHN WRONOSKY Percussion Sponsorship, Emily Cornelius

BUNCH GIVING Give double your normal amount every other year to maximize deductions. QUALIFIED CHARITABLE DISTRIBUTION/ REQUIRED MINIMUM DISTRIBUTION If you are required to take an IRA distribution, don’t need the cash, and don’t want the increased taxes, have the distribution sent directly to a qualified charity. HIGH-INCOME YEARS If you are going to have high-income years (for any number of reasons), accelerate your deductions, avoid capital gains, and spread out gifts through a Donor-Advised Fund. BE PROACTIVE! Consult your own financial advisor to help you implement any of these. Please consider applying one or more of these strategies for your extra giving to the NMPhil. PLAN A WISE GIVING STRATEGY

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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 12

NMPHIL . TABLE OF CONTENTS PROGRAMS

December 10, 2021 Program December 11, 2021 Program December 18, 2021 Program December 19, 2021 Program January 15, 2022 Program January 23, 2022 Program Program Notes

5 5 7 9 10 11 18

ARTISTS

Roberto Minczuk Bradley Ellingboe Gabrielle Dietrich Rebecca Jackson Rebecca Brunette Sharlotte Kramer Cameron Smith Joe Mitchell Coro Lux Chamber Chorus Jason Altieri Albuquerque Youth Symphony/ Dan Whisler Matthew Forte Midori Eric Rombach-Kendall

12 13 13 13 13 14 14 14 14 15 15 16 16 17

YOUR NMPHIL

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

2 2 2 3 23 24 24 25 25 25 25 26 30 31

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CONCERT PROGRAM .

SPECIAL

Messiah

DEC

Friday, December 10, 2021, 7:30 p.m. Saturday, December 11, 2021, 7:30 p.m. Bradley Ellingboe conductor Gabrielle Dietrich soprano Rebecca Jackson soprano Rebecca Brunette mezzo-soprano

DEC

Immanuel Presbyterian Church

Sharlotte Kramer mezzo-soprano Cameron Smith tenor Joe Mitchell bass Coro Lux Chamber Chorus MAKING A DIFFERENCE

Messiah

George Frideric Handel (1685–1759)

This performance is made possible by: Meredith Foundation

PART I

PART II

PART III

Sinfonia, Instrumental Comfort ye my people, Tenor, Cameron Smith Every valley shall be exalted, Tenor, Cameron Smith And the glory of the Lord, Chorus Behold, a virgin shall conceive, Mezzo-Soprano, Rebecca Brunette O thou that tellest good tidings, MezzoSoprano, Rebecca Brunette, and Chorus For unto us a Child is born, Chorus Pastoral Symphony (Pifa), Instrumental There were shepherds abiding in the field, Soprano, Gabrielle Dietrich And lo, the angel of the Lord came upon them, Soprano, Gabrielle Dietrich And the angel said unto them, Soprano, Gabrielle Dietrich And suddenly there was with the angel, Soprano, Gabrielle Dietrich Glory to God, Chorus Rejoice greatly, O daughter of Zion, Soprano, Gabrielle Dietrich Then shall the eyes of the blind be opened, Mezzo-Soprano, Sharlotte Kramer He shall feed His flock like a shepherd, Mezzo-Soprano, Sharlotte Kramer, and Soprano, Rebecca Brunette His yoke is easy, Chorus

Behold the Lamb of God, Chorus He was despised, Mezzo-Soprano, Sharlotte Kramer Surely He hath borne our griefs, Chorus And with His stripes we are healed, Chorus All we like sheep have gone astray, Chorus All they that see Him, Bass, Joe Mitchell He trusted in God, Chorus Thy rebuke has broken His heart, Tenor, Cameron Smith Behold and see, Tenor, Cameron Smith He was cut off out of the land of the living, Soprano, Rebecca Jackson But Thou didst not leave His soul in Hell, Soprano, Rebecca Jackson The Lord gave the word, Chorus Their sound is gone out into all lands, Chorus Why do the nations so furiously rage? Bass, Joe Mitchell He that dwelleth in Heaven, Tenor, Cameron Smith Thou shalt break them, Tenor, Cameron Smith Hallelujah, Chorus

I know that my Redeemer liveth, Mezzo-Soprano, Rebecca Brunette Since by man came death, Chorus Behold, I tell you a mystery, Bass, Joe Mitchell The trumpet shall sound, Bass, Joe Mitchell Worthy is the Lamb that was slain – Amen, Chorus

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

The New Mexico Philharmonic

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Now accepting applications for 2022-2023 Fenton Ranch · Learning Lab Community Service Projects · Bus Service · Nonproﬁt Core Values

We are the only Albuquerque elementary school accredited by the Independent Schools Association of the Southwest.

1801 Central Avenue NW 505.243.6659 www.manzanodayschool.org

Financial Aid Available

CONCERT PROGRAM .

ROCK & POPS

Holiday Pops

DEC

Saturday, December 18, 2021, 6:00 p.m.

Popejoy Hall Jason Altieri conductor Albuquerque Youth Symphony/Dan Whisler director

Christmas Festival of Carols There’s Christmas in the Air

’Twas the Night Before Christmas Fiesta de Navidad

“Blue Christmas”

arr./orch. Goeller

arr. Strommen

Poetry by Clement Clarke Moore

MAKING A DIFFERENCE

This performance is made possible by: Bernalillo County Additional support is provided by: John Moore Associates

arr./orch. Goeller

Billy Hayes/Jay W. Johnson arr. Hansen

“Noël” from Symphonic Sketches

Christmas Medley

George Whitefield Chadwick

arr. Harris

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

A Christmas Festival

Christmas at the Movies

Leroy Anderson

arr. Krogstad

“Stille Nacht”

Franz Xaver Gruber arr. Davis/Custer

“Sleigh Ride”

Anderson

Russian Christmas Music Christmas Carol Sing-Along

The New Mexico Philharmonic

Alfred Reed arr. McAlister John Finnegan

nmphil.org

John Moore Associates is proud to support the New Mexico Philharmonic. JOHNMOORE.COM

CONCERT PROGRAM .

WINTER FEST II

Carol of the Bells

DEC

Sunday, December 19, 2021, 3:00 p.m.

Immanuel Presbyterian Church

Matthew Forte conductor

“Carol of the Bells” “Adeste Fideles”

Mykola Leontovych arr. Hayman arr. Harris

“Troika” from Lieutenant Kijé

Canon in D Major

MAKING A DIFFERENCE

This performance is made possible by: Meredith Foundation

Sergei Prokofiev

Johann Pachelbel

Concert Suite from The Polar Express

Alan Silvestri/Glen Ballard

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

The Nutcracker Suite No. 2, Op. 71b ACT II No. 10, Scene No. 11, Scene No. 12a, Chocolate No. 14, Pas de deux and Variations

Pyotr Ilyich Tchaikovsky

ACT I No. 1, Decorating and Lighting of the Christmas Tree No. 3, Little Galop of the Children and Entrance of the Parents No. 5, Scene and “Tempo di Gross-Vater”

Christmas Carol Sing-Along

The New Mexico Philharmonic

John Finnegan

nmphil.org

CONCERT PROGRAM .

POPEJOY CLASSICS

Midori!

JAN

Saturday, January 15, 2022, 6:00 p.m. 5:00 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Midori violin

Overture to Much Ado About Nothing

Violin Concerto in D Major, Op. 77 I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo vivace

Erich Korngold (1897–1957)

Johannes Brahms (1833–1897)

2021/22 Season / Volume 10 / No. 3

PRE-CONCERT TALK

Hosted by KHFM’s Alexis Corbin

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

This performance is made possible by: The Computing Center Inc.

Sponsored by: Menicucci Insurance Agency

Midori violin

Symphony No. 2 in D Major, Op. 73 I. Allegro non troppo II. Adagio non troppo III. Allegretto grazioso (quasi andantino) IV. Allegro con spirito

MAKING A DIFFERENCE

Brahms

CONCERT PROGRAM .

AFTERNOON CLASSICS

A Breath of Fresh Air!

JAN

Sunday, January 23, 2022, 3:00 p.m.

Immanuel Presbyterian Church

Eric Rombach-Kendall conductor

Overture to The Magic Flute

Feuillet d’Album

Suite in D for Ten Winds I. Allegro moderato II. Andante moderato III. Allegretto quasi allegro IV. Allegro con fuoco

Wolfgang Amadeus Mozart (1756–1791) arr. Heidenreich

MAKING A DIFFERENCE

This performance is made possible by: Albuquerque Community Foundation

Camille Saint-Saëns (1835–1921) arr. Taffanel

Arthur Bird (1856–1923)

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

Fanfare der Stadt Wien

Richard Strauss (1864–1949)

Elegy

Kevin Puts (b. 1972) arr. Ward

Symphony in Brass I. Andante–Allegro molto II. Andante con moto III. Allegro vivace

The New Mexico Philharmonic

Eric Ewazen (b. 1954)

nmphil.org

ARTISTS .

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

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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. A child prodigy, Minczuk was a professional musician by the age of 13. He was admitted into the prestigious Juilliard School at 14 and by the age of 16, he had joined the Orchestra Municipal de São Paulo as solo horn. During his Juilliard years, he appeared as soloist with the New York Youth Symphony at Carnegie Hall and the New York Philharmonic Young People’s Concerts series. Upon his graduation in 1987, he became a member of the Leipzig Gewandhaus Orchestra at the invitation of Kurt Masur. Returning to Brazil in 1989, he studied conducting with Eleazar de Carvalho and John Neschling. He won several awards as a young horn player, including the Mill Santista Youth Award in 1991 and I Eldorado Music. ●

ARTISTS .

VocalEssence, the Saint Olaf Choir, the Harvard Glee Club, Conspirare, and the choirs of the University of Michigan and Luther College, among many others. Beginning in the summer of 2020, he will be Composer-in-Residence for Albany Pro Musica. He lives in Albuquerque, New Mexico, with his wife, Karen. They are the parents of three children and have four grandchildren. Ellingboe is Director of Choirs at the United Church of Santa Fe and founder and artistic director of Albuquerque’s Coro Lux (“Chorus of Light”). ● Bradley Ellingboe conductor Bradley Ellingboe has led a wide-ranging career in the world of singing, including accomplishments as a choral conductor, soloist, composer, scholar, and teacher. As a choral conductor, he has led festival choruses in 35 states and 14 countries. As a bass-baritone soloist, he has sung under such conductors as Robert Shaw, Helmuth Rilling, and Sir David Willcocks. Ellingboe has more than 160 pieces of music in print, including his Requiem for chorus and orchestra, which has been performed more than 300 times in this country and Europe. For his scholarly work in making the songs of Edvard Grieg more accessible to the English-speaking public, he was knighted by the King of Norway in 1994. As a teacher, the University of New Mexico Alumni Association named him Faculty of the Year in 2008. Bradley Ellingboe retired in 2015 after serving on the faculty of the University of New Mexico for 30 years, where he was Director of Choral Activities, Professor of Music, and Regents Lecturer. He is a graduate of Saint Olaf College and the Eastman School of Music and has done further study at the Aspen Music Festival, the Bach Aria Festival, the University of Oslo, and the Vatican. Ellingboe has won annual awards for his choral compositions from ASCAP— the American Society of Composers, Arrangers, and Publishers—since 2000. His choral music is widely sung and has been performed and recorded by such groups as the Santa Fe Desert Chorale,

Rebecca Jackson soprano Rebecca Jackson, soprano, is a graduate of Texas Tech with a degree in Vocal Performance. She has been a voice teacher, a lead singer in a rock band, and currently teaches middle school music appreciation at Oak Grove Classical Academy. She has been married to her husband, Richard, an Albuquerque native, for 25 years and has lived in Albuquerque for the past 12 years. ●

Gabrielle Dietrich soprano Gabrielle Dietrich, soprano, is a graduate of the University of the Pacific, University of Colorado at Boulder, and the Kodály Institute in Kecskemét, Hungary. Dr. Dietrich has sung, taught, and conducted across the United States and in Ireland, the UK, Hungary, and Austria. From 2012– 2021, Gabrielle was on the music faculty at Penn State Erie, the Behrend College. She is a founding member of La Forza Vocal Octet, and has served as a staff singer at St. John’s Cathedral in the Wilderness in Denver and a choral scholar at the United Church of Santa Fe. She is thrilled to call Albuquerque her new home. ●

Rebecca Brunette mezzo-soprano Rebecca Brunette, mezzo-soprano, is a graduate of the UNM music program. As an undergraduate, she performed many roles including Hanna Glawari in Lehár’s The Merry Widow, the Starbird in Mollicone’s Starbird, and Rosalinde in Strauss’s Die Fledermaus. In 2015, she made her professional debut with the Red Rock String Ensemble in Vivaldi’s Gloria. With Coro Lux she has sung the continued on 14

The New Mexico Philharmonic

nmphil.org

ARTISTS . continued from 13

and performing in plays and musicals throughout middle school and high school. Joe is the choir teacher at Tony Hillerman Middle School and Volcano Vista High School, within Albuquerque public schools. He feels blessed by the opportunity to impact his students the way his teachers and mentors have for him. When he isn’t making music, Joe loves spending time with his husband, John, and their friends and family. Joe is delighted to be back making music with his students, his fellow singers in Coro Lux, and the New Mexico Philharmonic. ●

soprano solos in Brahms’s Ein Deutches Requiem and Jenkins’s The Armed Man: A Mass for Peace, as well as Handel’s Messiah in conjunction with the New Mexico Philharmonic. ●

Sharlotte Kramer mezzo-soprano Sharlotte Kramer, mezzo-soprano, is a research mechanical engineer at Sandia National Laboratories and has been a musician her entire life. She studied classical piano as a child, has been in choirs since middle school, and studied voice with Desiree LaVertu in Pasadena while earning her PhD in Aeronautics from the California Institute of Technology. She joined Coro Lux in September 2019. When she is not running experiments in a structural test lab at Sandia Labs or singing, she is baking and spending time with her husband, Richard, and daughters, Grace and Evelyn. ●

Cameron Smith tenor Cameron Smith, tenor, is a secondyear graduate teaching assistant at the University of New Mexico, studying under the direction of Dr. Michael Hix. Born and raised in Milwaukee, Wisconsin, Cameron has performed as a soloist with Bel Canto Chorus, South Shore Chorale, and the University of Wisconsin Milwaukee Concert Chorale. Also active in operatic performances, he has performed with UNM Opera Theatre, Brew City Opera, and the Florentine Opera Company. As a passionate interpreter of Handel, Cameron is very excited to make his debut performance with Coro Lux and the New Mexico Philharmonic. ●

Joe Mitchell bass Joe Mitchell, bass, is originally from Belen, New Mexico. He found his love for the performing arts while singing in choir, playing the trumpet and F horn in band,

2021/22 Season / Volume 10 / No. 3

Coro Lux Chamber Chorus Coro Lux (“Chorus of Light”) is an auditioned community chorus based in Albuquerque, founded in the fall of 2015. Under Artistic Director Bradley Ellingboe, the chorus has grown into one of the top choruses in New Mexico. Coro Lux consists of the larger Oratorio Society and the smaller Chamber Chorus. The Oratorio Society, with 60 members, presents major choral works, usually with orchestra and often in conjunction with the New Mexico Philharmonic. The Chamber Chorus is an ensemble of 16 members that presents a variety of smaller works in various locations around Albuquerque. Each ensemble presents about three concert programs each season. Coro Lux has participated in music events far from Albuquerque, including a Carnegie Hall concert in 2016 and the Great American Choral Series festival in Florence, Italy, in the summer of 2018. In 2017, Coro Lux became the Ensemble-inResidence at St. Paul Lutheran Church in Albuquerque. ●

ARTISTS .

Jason Altieri conductor Jason Altieri is the current associate conductor for the Reno Philharmonic and music director of the Atlanta Pops Orchestra in Atlanta, Georgia. Prior to his work in Reno and Atlanta, he spent time on the road as music director of the New Sigmund Romberg Orchestra and the Hollywood Film Orchestra. Having led the New Sigmund Romberg Orchestra on seven national tours, Altieri has the distinction of having conducted in every state but three and in most of the major performing venues in the United States. With the Hollywood Film Orchestra, he led several tours in mainland China and Japan where performance venues included The People’s Hall in Beijing, China, and Suntory Hall in Tokyo, Japan. Numerous guest conducting engagements include regular collaborations with the Duluth Superior Symphony in Minnesota, the Santa Fe Symphony, and the New Mexico Philharmonic. In July of 2012, he was the orchestra conductor for the annual International Double Reed Society Conference. During this conference, he collaborated on 16 separate works with internationally renowned soloists from all over the world. In addition to his orchestral work, Altieri is also an accomplished conductor of opera. Currently, he is working on his seventh collaboration as music director of the Nevada Chamber Opera Theatre. Previous opera engagements include three North American tours with London’s

Royal Carl Rosa Opera Company and an associate music directorship with the Ohio Light Opera Company in the summer of 2006. His work in Ohio saw him conducting six productions and more than 40 performances during their 29th season. In addition, Altieri has released two recordings with the OLO on Albany Records. In 2002, he worked as an assistant to the late Valery Vatchev of the National Bulgarian Opera. This rare experience led to guest conducting engagements of Verdi’s La traviata, Il trovatore, and Rigoletto in the Czech Republic. While Altieri enjoys a busy career working with professional performing organizations, he is also a fierce advocate for young musicians and music education. This is evidenced by his position as director of orchestras at the University of Nevada, Reno and the directorship of the Reno Philharmonic Youth Symphony. Under his leadership, the Reno Philharmonic Youth Symphony has become an increasingly visible component in Reno’s cultural life, and has embarked on performance tours that have included guest appearances at Carnegie and Disney halls. As a result of his tireless work with young musicians, Altieri was invited to conduct at Nevada’s Small School All-State Festival in April 2017. His educational outreach has extended nationally as well as through numerous clinics with young ensembles all over the country in addition to faculty appointments at the Interlochen Center for the Arts and the Sewanee Summer Music Center. A native of Atlanta, Georgia, Altieri grew up in a musical family with both parents being former members of the Atlanta Symphony Orchestra. He received a Bachelor’s degree in music education from the University of Georgia. He then went on to pursue advanced degrees in conducting from Michigan State University, where he received additional mentorship from Neeme Jarvi of the Detroit Symphony Orchestra and Gustav Meier of the Peabody Conservatory. Altieri currently resides in Reno, Nevada.

Albuquerque Youth Symphony Dan Whisler director The Albuquerque Youth Symphony provides students with a high-quality music education, instills an emotional connection with and lifelong passion for music, fosters a diverse community of musicians, and offers outstanding symphonic performance opportunities for students to share their musical gifts with the community. Dan Whisler has conducted more than 530 works with more than 75 ensembles, including professional orchestras in the U.S., England, Spain, Lithuania, Hungary, and Romania. His awards as a conductor include the Downbeat Award in 2011 for Best U.S. College Classical Ensemble (conducting Halffter’s Tiento del primer tono y batalla imperial), the Bel Canto Award for Excellence in Conducting, and winner of the 2015 American Prize in Conducting. Mr. Whisler’s recent former positions include Director of Orchestras at the Youth Performing Arts School in Louisville, Kentucky, Conductor of the Indianapolis Youth Philharmonic Orchestra in Indianapolis, Indiana, Director of Orchestras at Center Grove Community School Corporation in Greenwood, Indiana, Founding and Principal Conductor with Intimate Opera of Indianapolis, and faculty member of the String Quartet Program of Northern Colorado in Greeley, Colorado. ●

continued on 16

The New Mexico Philharmonic

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Matthew Forte conductor Matthew Forte is Director of Orchestral Studies at the University of New Mexico, where he conducts the University of New Mexico Symphony Orchestra and Sinfonia and teaches graduate and undergraduate conducting. In the summer months, Matthew works with young musicians at Sitka Fine Arts Camp, in Sitka, Alaska, and maintains an active association with the Aspen Music Festival and School, serving as guest faculty and collaborating frequently with the AMFS Department of Education. Prior to his appointment in New Mexico, Matthew was Director of Orchestral Studies at the University of Toledo, where he more than doubled the size of the University of Toledo Symphony Orchestra, increasing that ensemble’s artistic standards and its profile regionally and nationally. Additionally, Matthew has worked with such prominent organizations as the Toledo Symphony, Hartford Symphony, and the St. Louis Symphony, and, as a composer, has had works premiered by Glass City Singers, Musique 21 and the Pittsburgh New Music Ensemble. ●

2021/22 Season / Volume 10 / No. 3

Midori violin Midori is a visionary artist, activist, and educator who explores and builds connections between music and the human experience and breaks with traditional boundaries, which makes her one of the most outstanding violinists of our time. In concerts around the world, she transfixes audiences, bringing together graceful precision and intimate expression. Midori has performed with, among others, the London, Chicago, and San Francisco Symphony Orchestras, the Sinfonieorchester des Bayerischen Rundfunks, the Berlin and Vienna Philharmonics, and the Mahler Chamber Orchestra. She has collaborated with such outstanding musicians as Claudio Abbado, Emanuel Ax, Leonard Bernstein, Jonathan Biss, Constantinos Carydis, Christoph Eschenbach, Daniel Harding, Paavo Järvi, Mariss Jansons, Yo-Yo Ma, Susanna Mälkki, Joana Mallwitz, Antonello Manacorda, Zubin Mehta, Donald Runnicles, Jean-Yves Thibaudet, and Omer Meir Wellber. Midori’s latest recording of Beethoven’s Violin Concerto and two Romances with the Festival Strings Lucerne was released in October 2020 by Warner Classics. Her diverse discography by Sony Classical, Ondine, and Onyx includes recordings of Bloch, Janáček, and Shostakovich and a GRAMMY Award-winning recording of Hindemith’s Violin Concerto with Christoph Eschenbach conducting the NDR Symphony Orchestra as well as

Bach’s Sonatas and Partitas for Solo Violin filmed at Köthen Castle, which was recorded also for DVD (Accentus). As someone deeply committed to furthering humanitarian and educational goals, she has founded several nonprofit organizations. Midori & Friends provides music programs for New York City youth and communities, and MUSIC SHARING, a Japan-based foundation, brings both western classical and Japanese music traditions into young lives in Japan and throughout Asia by presenting programs in schools, institutions, and hospitals. Throughout the pandemic in 2020 and 2021, she continued to create virtual programming for these organizations, which serve many different communities. She commissioned composer Derek Bermel to write a new piece, Spring Cadenzas, which was premiered (mostly virtually) by student orchestras in 2021 through Midori’s Orchestra Residencies Program (ORP) and will continue to be performed by ORP participants in future seasons; Midori also performed the piece this summer with the National Repertory Orchestra in Breckenridge, Colorado. Through Partners in Performance (PiP), Midori co-presents chamber music concerts around the U.S., focusing on smaller communities that are outside the radius of major urban centers and that have limited resources. During the pandemic, she recorded recitals that were shared with PiP audiences, and provided a series of live, virtual workshops to accompany the recorded performances. In recognition of her work as an artist and humanitarian, she serves as a United Nations Messenger of Peace. In recognition of her lifetime of contributions to American culture, Midori is the recipient of the Kennedy Center Honors and was celebrated by Yo-Yo Ma, Bette Midler, and John Lithgow, among others, during the May 2021 Honors ceremonies in Washington, D.C. During 2020 and 2021, she also continued to perform, when possible, and appeared in recital (virtually and/or in-person) at the Philadelphia Chamber Music Society, the 92nd Street Y, in a virtual concert also streamed by the

ARTISTS .

Schubert Club and Lied Center for Performing Arts in Nebraska, and at the Amelia Island Chamber Music Festival. She performed live with the Houston and Detroit Symphonies and in European engagements with the Royal Scottish National Orchestra, the OCM Symphony Orchestra in Spain, Borusan Istanbul Philharmonic Orchestra in Turkey, and Orchestra del Teatro Massimo di Palermo in Italy. She began her 2021/22 season with the Festival Strings Lucerne on July 1, performing the concert that had been scheduled for March 2020 but was canceled due to the pandemic. This season, she has performances scheduled with orchestras in Atlanta, New Mexico, Phoenix, Austin, Kansas City, and Palm Beach, as well as a U.S. recital tour and tours throughout Europe and Asia. She will perform the World Premiere of Detlev Glanert’s Violin Concerto No. 2 with the Royal Scottish National Orchestra in November and will also perform the piece with the NDR Elbphilharmonie Orchestra in Hamburg the following month. Midori was born in Osaka in 1971 and began her violin studies with her mother, Setsu Goto, at an early age. In 1982, conductor Zubin Mehta invited the then 11-year-old Midori to perform with the New York Philharmonic in the orchestra’s annual New Year’s Eve concert, where the foundation was laid for her following career. Midori is the Dorothy Richard Starling Chair in Violin Studies at the Curtis Institute of Music in Philadelphia and is a Distinguished Visiting Artist at the Peabody Institute of the Johns Hopkins University. Midori plays the 1734 Guarnerius del Gesù “ex-Huberman.” She uses four bows—two by Dominique Peccatte, one by François Peccatte, and one by Paul Siefried. ●

The New Mexico Philharmonic

Eric Rombach-Kendall Eric Rombach-Kendall is Professor of Music at the University of New Mexico, where he has served as Director of Bands since 1993. Prior to his appointment at UNM, Mr. RombachKendall held conducting positions at Boston University and Carleton College and taught in the Washington State public schools for six years. Mr. Rombach-Kendall served as President of the College Band Directors National Association from 2011–2013. He has been a guest conductor and clinician throughout the United States and Canada and has published articles in The Instrumentalist, New Mexico Musician, and Teaching Music Through Performance in Band. Mr. Rombach-Kendall’s bands have received national acclaim through their performances at the College Band Directors National Association National and Southwest Division Conferences, the MENC National Conference, North American Saxophone Alliance, Society of Composers, Inc., and the New Mexico Music Educators Conference. Mr. Rombach-Kendall is the conductor and co-producer of five recordings with the University of New Mexico Wind Symphony on Summit Records: Fandango, featuring Philip Smith, Principal Trumpet of the New York Philharmonic, and Joseph Alessi, Principal Trombone of the New York Philharmonic; Illuminations, featuring Mr. Alessi; Classic Solos for Winds, featuring woodwind faculty

members at the University of New Mexico; Fascinating Ribbons; and Tales of Imagination, featuring UNM Horn Professor JD Shaw. An advocate of contemporary music, Mr. Rombach-Kendall has commissioned and premiered many works for wind ensemble and concert band. Works he has commissioned have been performed by such prestigious organizations as the New York Philharmonic on Live at Lincoln Center, and the United States Marine Band (The President’s Own). He is an alumnus of the University of Puget Sound and the University of Michigan with degrees in music education and wind conducting. ●

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PROGRAM NOTES .

Program Notes CHARLES GREENWELL

“Not from me—but from Heaven—comes all.” —George Frideric Handel

George Frideric Handel Born February 23, 1685, in Halle, Germany Died April 14, 1759, in London, England

Messiah (1741) Scored for 2 oboes, 2 bassoons, 2 trumpets, timpani, continuo, strings, SATB soloists, and chorus. (Approx. 120 minutes.)

The oratorio, one of the great Baroque vocal forms, came from the religious playwith-music of the Counter-Reformation and took its name from the Italian word for a place of worship. The first oratorios were actually sacred operas, and were produced as such. Then, around the middle of the 17th century, the oratorio gradually did away with theatrical trappings and developed its own personality as a large-scale work for solo voices, chorus, and orchestra, usually— but not always—based on a biblical story. These new productions were usually performed in a church or hall without scenery, costumes, or acting, and what action there was developed with the use of a narrator and a series of recitatives, arias, duets, trios, and choruses, with the role of the chorus being quite prominent. Typical of this form are the oratorios of Handel, probably the finest composer of this popular vocal form. Handel came from the middle class and went on to make his career in England, where the middle class first achieved its strength. As he turned from standard opera to oratorio, he became part of an enormous social change, and in so doing, became one of the founders of a new culture and a creator of our modern mass public. He had very keen instincts and was able to understand the needs of his adopted country, and he produced oratorios that were steeped in the settings of the Old Testament, making them perfectly suited to the tastes of England’s middle class. He achieved this in part by making the chorus—in other words, the people—the center of the

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drama. Like Bach and other great Baroque masters, Handel’s rhythms were strong and unswerving, and he favored the direct language of diatonic harmony as opposed to Bach’s more ingenious idiom, which at times became highly chromatic. Handel’s melodies unfold in great majestic arches and reveal a depth of feeling that sets him apart from most of his contemporaries. Having grown up in the theatrical world, he was able to make use of tone color for a variety of moods and dramatic expression. Handel first came to England when he was 25, and already celebrated throughout Europe as an outstanding composer of Italian-style opera. His main reason for going to England was to repeat his successes as an opera composer, and he was able to achieve this—for a time. After 25 years of triumphs in this realm, two forces did him in: the inevitable changes in public taste and the rivalries and jealousies that have always been a part of theatrical life. As a result, his final season of opera in London in 1741 was such a disaster that he began to think seriously about returning to Germany. Fate intervened, however, when Charles Jennens, his English literary collaborator, seriously worried about losing this supremely gifted composer, gave Handel the libretto of a new oratorio called simply Messiah. Jennens hoped it would inspire the man to new heights, and specifically designed the work to be presented during Holy Week, when theaters would be closed, thus assuring a full house for some kind of benefit performance. Jennens was correct: Handel thought the new libretto was inspired and could be used as part of a new venture that had come his way. He had recently been invited to Dublin to give a series of oratorio concerts and realized immediately that Messiah, performed as a benefit concert for charity, would be the perfect way to conclude the season.

Handel began work on the new score in late August 1741, and in a phenomenal burst of virtually nonstop energy, finished the entire score, orchestration and all, in the amazing space of just 24 days! He set out for Ireland in early November and arrived in Dublin on November 18. The trip across the water proved to be a revitalizing experience, and in spite of the hard work that the new oratorio season would require, it was almost like a holiday, away from the financial, artistic, and personal problems that he had been dealing with in London. In addition, when he came to Dublin, he was greeted with the kind of adulation that had greeted his arrival in London some 30 years previously, and once again he was idolized, fussed over, feted wherever he went, and in general, treated like some kind of royalty. The music-loving people of Ireland had in Dublin several musical societies that were unusual in that they were all organized for charitable purposes. This was largely due to the terrible social conditions in the country, compared with the poor people of London and the inmates of its prisons and hospitals who were relatively well off. The citizens of Dublin, appalled by the miserable conditions in their prisons and hospitals, wanted to do everything they could to alleviate this wretched state of affairs, and so they raised money for humanitarian purposes by sponsoring public concerts. There was then a new Music Hall in the city that was built on order from the Charitable Music Society and their guiding light, a wealthy and influential music publisher named William Neale. He was also the secretary of Dublin’s Charities Commission, and he not only had a commanding position in all that was to follow, but in all likelihood had a hand in the invitation that brought Handel to Dublin and resulted in the production of Messiah.

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On March 27, 1742, the Dublin Journal printed an announcement for a new benefit concert, stating that it would take place at the Music Hall on April 12, at which time would be performed “… Mr. Handel’s new Grand Oratorio, called Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some concertos on the Organ by Mr. Handel.” As it turned out, the concert did not take place until April 13, but there was a public rehearsal on April 9, about which the Journal had written: “Yesterday Mr. Handel’s new Grand Sacred Oratorio called Messiah was rehearsed … and was performed so well that it gave universal satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard ...” In that article and again on the day of the performance there were requests to the audience that ladies come without hoops in their dresses and that gentlemen come without their swords, so that the greatest number of people could be squeezed into the hall. At the formal premiere, this resulted in an audience of 700 pressed into a space designed to hold 600, but nobody seems to have been upset in the slightest. The premiere was an unqualified triumph, and the press notices outdid themselves in praising the work and its performance, with particular praise being given to the fact that everyone performed gratis, thereby helping to raise over 400 pounds for the advertised charities. Because of its great success, Handel was asked to repeat the work at his last Dublin concert, and so began the career of one of the most popular, beloved, and frequently performed works in the whole history of music.

Messiah was given its first performance in London in March of 1743, but it was not at all the great success it had been in Dublin. It is possible that Handel anticipated certain objections to the work, as he advertised it as “a New Sacred Oratorio” without mentioning its title, but he was certainly unprepared for the hostility it received in some quarters. There were many who were greatly upset that the Scriptures formed the basis for what was presented as secular entertainment and were very vocal in objecting to its having been presented in a theatre with several famous singers as soloists. Even librettist Jennens, after hearing the work for the first time, said that he was dissatisfied with what he called “some weak parts” in the score. As a result of this, Messiah was rarely performed in London in the mid–1740s, while at the same time it was being performed regularly in Dublin. In 1749, things made a dramatic turnaround, and once again the prime force was a connection with charity. Handel had always been known as a kind and generous man, and at the time he had become interested in the recently created Foundling Hospital for young orphans and children in dire need. In May of 1749, he proposed a concert for the hospital’s benefit, and ultimately was appointed a governor of the establishment. On May 27, the concert was given in the newly built chapel, and it was a great success. The hospital received a considerable sum of money from the concert, and that sum was further increased by a very generous gift from the King. The following year, Handel put together a new season of oratorio, and Messiah

“Messiah […] was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard ...”

played a prominent role. It was given at the Foundling Hospital on May 1, 1750, and the chapel was so packed with eager listeners that the work had to be repeated on May 15. These were successes on the scale of the Dublin premiere, and marked the beginning of the oratorio’s great popularity in London and elsewhere. In the years to come, Handel made it a tradition to include Messiah in his oratorio seasons during Lent, and also performed it every year at the Foundling Hospital. (Incidentally, although the Foundation still exists and thrives in London, the chapel in which Handel played, and to which he left a score and parts to Messiah in his will in order that the performances might continue, was declared unsafe and demolished in 1926. It was the last remaining building in London in which he had promoted concerts.) He continued to conduct performances of Messiah right up until his death, and in fact in March of 1759 gave three performances at Covent Garden. The annual Foundling Hospital performance was scheduled for May 3, but before the rehearsals could begin Handel was taken seriously ill. After a week of steady deterioration, he finally succumbed on April 14, 1759—the day after Good Friday. He had asked to be given a private burial in Westminster Abbey, but because he was so famous and beloved a figure, he was accorded a very public ceremony on the occasion of his internment on April 20. Of all the memorial statues in the Abbey, his is one of the most striking and memorable: In his right hand is a sheet of music containing the opening bars of the great aria from Messiah, “I know that my Redeemer liveth.” After the first London performance, Handel said to a friend, “My Lord, I should be sorry if I only entertained them. I wished to make them better.” He clearly intended the oratorio to mean something special to his audiences because it meant something special to him. At a Messiah performance in 1759 on the occasion of his 74th birthday, Handel responded to the very enthusiastic applause by saying, “Not from me—but from Heaven—comes all.” ●

—Dublin Journal continued on 20

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DAVID B. LEVY

Erich Wolfgang Korngold

Overture to Much Ado About Nothing (1918–1919) Scored for flute, oboe, clarinet, bassoon, 2 horns, trumpet, trombone, timpani, percussion, harp, harmonium, piano, 2 violins, viola, and cello. (Approx. 5 minutes.)

Austrian-American composer, pianist, and conductor, Erich Wolfgang Korngold was born in Brno, Moravia (now in the Czech Republic), on May 29, 1897, and died in Hollywood, California, on November 29, 1957. The son of a prominent music critic, Korngold demonstrated a keen talent at a very early age and produced a popular ballet, Der Schneeman (The Snowman), when he was only 11. His Piano Sonata No. 2, composed when he was 13, was toured widely by the Austrian pianist Artur Schnabel, who was famous for his interpretations of the piano sonatas of Beethoven. This work impressed some of the greatest musical talents of Europe, including Richard Strauss, Giacomo Puccini, Jean Sibelius, Bruno Walter, and Gustav Mahler. While still in Europe, Korngold achieved continued success as the composer of a wide variety of works, most of all in the world of opera. By the 1920s, his operas were more widely performed than those of any other living composer from the Germanspeaking world, including Strauss. In

1934, sensing the growing threat of the Third Reich in Germany, Max Reinhardt invited Korngold to come to Hollywood to work on film scores. His first success was the soundtrack for the filmization of Shakespeare’s A Midsummer Night’s Dream (starring a very young Mickey Rooney). He went on to win Academy Awards for his music for films, including Captain Blood, The Seahawk, The Adventures of Robin Hood, and King’s Row. Like his fellow émigré Max Steiner, the composer of the soundtracks of King Kong and Gone With the Wind, Korngold treated his film scores as symphonic poems. His Overture and Incidental Music for Shakespeare’s Much Ado About Nothing was composed in Vienna in 1918–1919, receiving its first performance in 1920. The name Erich Wolfgang Korngold ought to be more familiar to concert audiences than it is. In recent years, however, his musical accomplishments and compositions have been receiving increased attention, and deservedly so. Historians and lovers of the golden years of Hollywood, however, know Korngold for having created, along with Max Steiner, a distinctive voice for epic swashbuckling films, many of which were vehicles for Errol Flynn. Korngold’s youthful experience in the world of music for the stage, however, remains less well-known. Among his success was the Overture and Incidental Music for William Shakespeare’s comedy Much Ado About Nothing, which was first performed in Vienna in 1920. The incidental music was subsequently published as a stand-alone suite. The Overture, scored for large orchestra

“I don’t deny that it is very good music, but do you think I could stand, violin in hand, and listen to the oboe play the only good tune in the whole work?” —Pablo de Sarasate 20

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(including harmonium—a small organ), successfully captures the high spirits of Shakespeare’s witty play. ●

CHARLES GREENWELL

Johannes Brahms Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna, Austria

Violin Concerto in D Major, Op. 77 (1878) Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. (Approx. 40 minutes.)

No discussion of this glorious work can take place without mentioning Brahms’s great friend and colleague, the Hungarian violinist, composer, and conductor Joseph Joachim (1831–1907), for whom the concerto was written. He was perhaps the greatest violinist of the 19th century, an extraordinary child prodigy whose formal debut at age eight was hailed as the coming of a second Paganini, and whose name became, throughout the 60-plus years of his career, a byword for nobility and truth in his art. He was also a fine composer, an excellent conductor, a revered teacher, and the leader of the most highly esteemed string quartet of his day. Among other things, Joachim wanted to find a way to make the orchestra and soloist entirely equal in a violin concerto, with a score that would demonstrate the full mastery of the orchestra just as the violin part would display the full virtuosity of the soloist. He attempted to reach this goal with his own Violin Concerto in d minor (called the “Hungarian” concerto), but his ability to write for the orchestra simply did not match his ability to write for the violin. It was not until Brahms composed his Violin Concerto that Joachim’s goal was finally reached. There were two Hungarian-born violinists from whom Brahms absorbed the Hungarian strain found in many of his works, among them the present concerto: Joachim was one, the other was Eduard Remenyi, with whom Brahms toured as a pianist before he met Joachim. That meeting took place in 1853, and Joachim was so

PROGRAM NOTES .

impressed with Brahms’s compositions and musicianship that, some 50 years later, he said that “never in the course of my artist’s life had I been more completely overwhelmed.” He recognized a real kindred spirit in Brahms, and introduced him to both Schumann and Liszt, after which the two embarked on an extended series of concert tours throughout Europe, which, among other things, helped to establish a very close personal and professional relationship. Brahms was a superb pianist but knew little about the violin, and it was on these tours that he became familiar with violin repertoire and technique, as well as Joachim’s desire to reinvent the violin concerto. Brahms was fascinated by this, but did nothing about it for 25 years, as the two friends purposely developed their respective careers in such a way as to not create any rivalry. Furthermore, it is known that Brahms did not even make an attempt to write a violin concerto until it was clear that Joachim had stopped composing. The first mention of a concerto occurred in a letter from Brahms in August 1878 when he was spending the summer on a beautiful lake in southern Austria, a region, he once said, where the melodies were so abundant that care had to be taken not to step on them. The two men met at the lake toward the end of that month, and correspondence continued between them for some time. As he was composing the concerto, Brahms received from Joachim a good deal of technical advice, but sources differ as to whether Brahms accepted most of the violinist’s suggestions or whether he simply showed the score to Joachim out of courtesy and was not much influenced by those suggestions. What seems certain is that the new concerto was created in very broad dimensions in the footsteps of the Beethoven concerto. It must be remembered that Joachim gave the London premiere of the Beethoven in 1844, with Mendelssohn conducting, when he was just shy of his 13th birthday, and by the time he met Brahms some nine years later, virtually every prominent violinist was playing the Beethoven. Following the new concerto’s completion,

Ever conscious of Beethoven’s long shadow, Brahms delayed writing a symphony until he felt that his craft was equal to the challenge. plans were made for a tryout with the Berlin Conservatory Orchestra in the fall of 1878, for Joachim to compose a cadenza, and for the premiere to take place with the Leipzig Gewandhaus Orchestra on New Year’s Day in 1879. It was in this same hall that, some 20 years previously, Brahms’s First Piano Concerto had met with a disastrous reception, and as a result he had not written any kind of a concerto since. At the premiere the audience seemed unmoved by the first movement, began to warm up to the second movement, and then responded enthusiastically to the finale. Joachim’s playing was universally admired, as was his cadenza, and when the work was premiered in Vienna two weeks later, Brahms reported that Joachim had “… played the cadenza so magnificently that the people clapped right into my coda!” One way in which Joachim definitely influenced the work was in its construction: originally there were to have been four movements, but the scherzo was taken out, and the material was later reworked to become the second movement of the Second Piano Concerto. Even though Brahms had input from Joachim and others, his musical imagination far exceeded the existing conventions for a violin concerto. Curiously, both Brahms and Tchaikovsky wrote their violin concertos in the same year, and both works changed expectations of how a violin should sound in an orchestral setting. In spite of Brahms’s solid prestige at the time and Joachim’s passionate sponsorship, the new concerto took a long time to establish itself, but now is rightly considered to be one of the greatest of all violin concertos. Joachim had wanted the violin and the orchestra to be on an equal footing,

but in a very real sense Brahms made the violin the rhythmic force driving the orchestra forward, particularly in the outer movements, and also exploited the high register of the instrument in a lyrical way that was unprecedented. The slow movement contains one of the most beautiful melodies that Brahms ever created, but it was the reason the great Spanish violinist Pablo de Sarasate refused to play the concerto, saying, “I don’t deny that it is very good music, but do you think I could stand, violin in hand, and listen to the oboe play the only good tune in the whole work?” Then there is the rollicking, boisterous finale, which in the principal section of the rondo was a heartfelt tribute from Brahms to Joachim’s Hungarian roots. However, just as Joachim never returned to Hungary or sympathized with its nationalist causes, other themes intervene that are definitely not Hungarian in character. Finally, the concerto ends in a most unusual way by having the music change meter not once but twice, then slows down almost to a standstill until three powerful chords bring the work to its magnificent conclusion. ●

DAVID B. LEVY

Johannes Brahms

Symphony No. 2 in D Major, Op. 73 (1877) Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 45 min.)

Johannes Brahms was born on May 7, 1833, in Hamburg and died in Vienna on April 3, 1897. One of the dominant composers of the late-nineteenth century, Brahms greatly enriched the repertory for continued on 22

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PROGRAM NOTES . continued from 21

piano, organ, chamber music, chorus, and orchestra. His Symphony No. 2 was composed in 1877 and was first performed in Vienna on December 30 of that year under the direction of Hans Richter. Brahms, after considerable trepidation, completed his Symphony No. 1 in 1876. Ever conscious of Beethoven’s long shadow, Brahms delayed writing a symphony until he felt that his craft was equal to the challenge. His Symphony No. 1 stands, so to speak, toe to toe with his great predecessor. One needn’t search far for Beethovenian influences, especially those stemming from the titan’s imposing minor-key masterpieces, the Fifth and Ninth. Once Brahms had overcome his anxiety of Beethovenian influence, he did not wait long to write another symphony. He penned his Symphony No. 2 during the summer of 1877, with most of the work on it taking place in the idyllic Carinthian resort town of Pörtschach, near the Wörthersee. Its first performance took place in Vienna on December 30 with the Vienna Philharmonic under the direction of Hans Richter. The composer, in one of his whimsies of self-deprecation, apologized for the small scale of the work. Such protestations, of course, were totally unnecessary, as the work’s proportions certainly have been found to be large enough for most serious music lovers. Its good humor and geniality, however, do set the Symphony No. 2 apart from its three sisters, making it the most easily approachable of the four. The Vienna critics certainly found it to be so, with the audience demanding a repeat of the third movement. Everyone who knew Brahms recognized that the work could only have been conceived amidst the beauties of nature, as opposed to the relative squalor of the city. It is a work filled with sunshine, but one that is often tinged with typically Brahmsian melancholic nostalgia. The opening Allegro non troppo is one of the most tightly structured movements in the symphonic repertory. Most of its material is derived from a three-note motive—D, C#, D—first heard in the cellos and basses in the opening measure. Much of the other thematic

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material used throughout the movement is derived from the arpeggiated figure sounded in the following two measures. In point of fact, these two primary ideas permeate not only the first movement, but, in subtle ways, the entirety of the work. The lyrical theme that dominates the second key area (f# minor/A Major) surely reflects Brahms’s indebtedness to Franz Schubert. This tune, sung by the violas and cellos, comes straight from the world of Schubert’s two-cello String Quintet, D. 956. The point of highest drama in this first movement occurs in the development section, when the three-note motive is subjected to strenuous overlapping counterpoint, resulting in some momentary glancing dissonances in the trombones. The recapitulation is crowned with a nostalgic coda, toward the end of which Brahms makes clear reference to one of his own songs: “Es liebt sich so lieblich im Lenze!” (“Love Is So Lovely in Spring!”), Op. 71, No. 1. All drama subsides as the movement comes to a wistful conclusion. Rich harmonies, dark sonorities, and a cantabile cello line set an expansive mood for the second movement, Adagio non troppo. Its structure is a three-part design, the contrasting middle section changing from 4/4 meter to 12/8 (L’istesso tempo, ma grazioso). This shift adumbrates the seventh variation (also grazioso) from Brahms’s Variations on a Theme of Haydn, Op. 56a (1873). The third movement is in five brief parts, which on the surface would qualify it as a rondo (ABACA), but the second and fourth sections are variants of the first part, implying that a theme and variation form also is at work here. It begins Allegretto grazioso (quasi andantino) with a gentle 3/4 meter oboe tune that is punctuated with gentle grace notes and a shift from major to minor modality. Soon a Presto ma non assai, 2/4, begins lightly in the strings—a reminder that this movement is, after all, a scherzo and not a minuet. The original tempo and oboe tune return, but with new touches in its orchestration. The fourth section, Presto ma non assai, 3/8, is the most explosive part of the movement, but it eventually yields to the original tempo. Brahms offers some harmonic surprises

toward the end, but nothing in this gentle movement could possibly offend even the most sensitive ear. Fun is not a word that one usually associates with Brahms, but how else could one characterize the joyous finale? Donald Francis Tovey (Essays in Musical Analysis, vol. 1) calls this movement the “great-grandson” of Haydn’s Symphony No.104 (also in D Major). He may well have considered it to be the “grandson” of Beethoven’s Second Symphony, it, too, cast in the same key). Even the movement’s most lyrical episodes fail to escape the infectious good spirits of its opening theme, played at first sotto voce by the strings alone. The explosive good humor will not be suppressed for long, however, and the full orchestra soon bursts forth with great vigor. A clue to the success of this symphony is the fact that it never draws attention to its highly complex design. Performers and listeners alike should be grateful that Brahms, commonly known for his serious mien, could for once at least, enjoy a broad smile. And so should we. ●

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 recently 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

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

BLACK KEYS

HOROWITZ LEVEL

Piano Fund

$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

$500–$1999

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

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

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

Bill & Carolyn Hallett Stephen & Aida Heath Michael & Roberta Lavin Dwayne & Marjorie Longenbaugh Albert Seargeant III, in memory of Ann Seargeant Terry Sloan

PEDAL Donation of $500–$1999 Meg Aldridge Mr. & Mrs. Robert Duff Custer David Foster Peter Gould Robert & Toni Kingsley Dr. Herb & Shelley Koffler Tyler M. Mason Jon McCorkell & Dianne Cress Bob & Susan McGuire

David & Audrey Northrop James P. O’Neill & Ellen Bayard Ed Rose Marian & Howard Schreyer Bruce & Sandra Seligman Frederick & Susan Sherman David & Heather Spader Al & Melissa Stotts

PIANO FRIENDS Donation of $50–$499 Fran A’Hern Smith Joe Alcorn & Sylvia Wittels Anonymous Karen Bielinski-Richardson David & Sheila Bogost Robert Bower & Kathryn Fry Dante & Judie Cantrill Thomas & Martha Domme Martin J. Doviak David Fillmore Blake & Liz Forbes George & Karen Gibbs Ginger Grossetete Kerry L. Harmon Jo Ellen Head Glenn & Susan Hinchcliffe

Nancy Joste Julia Kavet Larry W. Langford Claire Lissance Nicholle Maniaci & John Witiuk Cary & Evelyn Morrow Edward & Nancy Naimark Bob & Bonnie Paine Dan & Billie Pyzel Ray A. Reeder Judith Roderick Katherine Saltzstein Jeffrey West Linda R. Zipp, MD 11/23/2021

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• 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

The New Mexico Philharmonic

nmphil.org

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

VOLUNTEERS HOSTING VISITING MUSICIANS Don & Cheryl Barker Mike & Blanche Griffin Graham Bartlett Ron Moya Steve Sandager 11/12/2021

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2021/22 Season / Volume 10 / No. 3

LEGACY SOCIETY GIVING FOR THE FUTURE Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you. Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca 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 Joann & Scott MacKenzie Thomas J. Mahler Cynthia Phillips & Thomas Martin George Richmond Eugene Rinchik Barbara Rivers Terrance Sloan Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman 11/12/2021

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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 + Brad Richards Barbara Barber ++ Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Gabriela Fogo •+ Rafael Marzagão ++ Carol Swift •• Julanie Lee Anthony Templeton Liana Austin Eric Sewell Lidija Peno Sheila McLay Heather MacArthur VIOLA Laura Chang • Kimberly Fredenburgh •• Allegra Askew Christine Rancier Laura Steiner Virginia Lawrence Willy Sucre + Joan Hinterbichler Lisa DiCarlo

CELLO Joan Zucker • Amy Huzjak • starting January 2022 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 ••• CLARINET Marianne Shifrin • Lori Lovato •• Timothy Skinner

BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Allison Tutton Katelyn Lewis •••

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

President

Al Stotts

Vice President

David Peterson Secretary

Kory Hoggan Treasurer

Joel Baca Ruth Bitsui Thomas Domme Fritz Eberle Jeffrey Romero Edward Rose, MD Terrence Sloan Rachael Speegle Marian Tanau Michael Wallace

TRUMPET John Marchiando • Brynn Marchiando ••• Tristan Frank TROMBONE Aaron Zalkind Byron Herrington

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

BASS TROMBONE David Tall TUBA Richard White •+ Justin Gruber •++ TIMPANI Micah Harrow

BOARD OF THE FUTURE Dr. James Botros Levi Bowman Sandy Buffet Nina Chavez Lauren Neeley

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

E-FLAT CLARINET Lori Lovato BASS CLARINET Timothy Skinner

STAFF Marian Tanau

Executive Director

Shea Perry

Roberto Minczuk

Personnel & Operations Manager

Christine Rancier

Principal Librarian

Music Director

Allison Tutton

Director of Business Management

Jeremiah Fernandez

Matt Hart

Eric Sewell

Production Manager

Assistant Librarian Copyist

The New Mexico Philharmonic

Nancy PressleyNaimark

Mary Montaño Grants Manager

Director of Community Relations & Office Manager

Joan Olkowski

Jess Bess

Lori Newman

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

Design & Marketing 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 Carl & Linda Alongi 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 Anonymous 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 Bill & Carolyn Hallett Margaret Harvey & Mark Kilburn National Christian Foundation Southwest Steve Ridlon, in memory of Casey Scott

2021/22 Season / Volume 10 / No. 3

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 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 Charles & Judith Gibbon A. Elizabeth Gordon Jean & Bob Gough Helen Grevey Stephen & Aida Ramos Heath Rosalyn Hurley Sue Johnson & Jim Zabilski Chris & Karen Jones Bonnie & Hank Kelly Bruce A. Larson, in memory of The Rev. Samuel L. Hall Michael & Roberta Lavin 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 & Ellen Bayard 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 Dr. Harvey Ruskin 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

DONOR CIRCLES .

David E. Stinchcomb, in memory of Ann Stinchcomb Jane & Doug Swift Fund for Art & Education Total Wine William Vance 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 Richard & Maria Berry 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 David Foster Peter Freer, in memory of Karen McKinnon Howard & Debra Friedman Clarice Getz 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 Herbert & Shelley Koffler Noel & Meredith 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 Patrica Rodgers & Harry Stumpf, in memory of Blossom Kite 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 Marianne Berwick Lorraine Beverley Judith Binder Black Dog Printing

Elaine Bleiweis & Karen Hudson, in memory of Blossom Kite 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 Paul & Cathrine Eichel 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 Christopher & Venessa Johnson Lawrence & Anne Jones Nancy Joste Robert & Mary Julyan

continued on 28

The New Mexico Philharmonic

nmphil.org

DONOR CIRCLES . continued from 27 Jupiter Photography, Angel Chabai Norty & Summers 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 Maria & Asja Kornfeld Tom & Kathy Korte Jennifer C. Kruger Denise KrupkaAndersen Karen Kupper Sam Lucero & Ron Lahti Jeffery & Jane Lawrence Wes & Dawn Leach Mary E. Lebeck Jae-Won & Juliane Lee Matthew Lemelin Donald & Margaret Lenk Joe & Pam Limke Robert Lindeman & Judith Brown Lindeman Claire Lissance William J. Lock Dale & Linda Lockett Betty Logan Karen Long Daniel Lopez & Linda Vigil Lopez Joel Lorimer Bruce & Leslie Loughridge Frank & Judy Love Joan M. Lucas 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 Roger & Kathleen McClellan 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

2021/22 Season / Volume 10 / No. 3

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 Marc Scudamore & Brigitte Schimek Thomas Seamon Daniel & Barbara Shapiro Joe Shepherd Ronald & Lisa Shibata Carolyn Simon R.J. & Katherine Simonson 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 VallSpinosa 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 Freda Anderson 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 Adam Banks Sarah Barlow Ron Barnes Susan Beard Fred L. Beavers Michael Beerman David & Betty Begeal Benevity Fund Kirk & Debra Benton Dorothy & Melbourne Bernstein Karen BielinskiRichardson Ursula Biggers Kay Bird Amy Gayle Black, in memory of William Albert Christine Blaser & Constantine Stewart Thomas & Suzanne Blazier Dusty & Gay Blech William Blumenthal Peter Bochert Paula Boggs David & Sheila Bogost 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 Ella J. Fenoglio Irene Fertik John Fielder David Fillmore Mary Filosi Alan & B.J. Firestone James Fisk Jane & Michael Flax Robert & Diane Fleming Rabbi Arthur Flicker Blake & Liz Forbes Walter & Beverly Forman Chris Foster Margie Frey David Friede, in memory of Karen McKinnon

DONOR CIRCLES .

Ron Friederich Greg & Jeanne FryeMason Liam Frye-Mason Anne Galer Adele Galuhn Barbara Garcia, in memory of Janie Mossman Carolyn Garcia Yolanda Garcia W. Michael Garrett, MD Walter Gerstle Lawrence Jay Gibel, MD Carole Glade S. Jill Glass Ronald Goldsmith Ramon Gomez Jim Gonzales Lois Gonzales Stephen Ray Goode 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 Kerry L. Harmon 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) Glenn & 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 Kite, in memory of Blossom Kite Barbara Kleinfeld, in memory of Karen McKinnon Charles Knoblauch Karen Knoll Gerald Knorovsky 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

The New Mexico Philharmonic

Frederic & Joan March Martha Marchand Shila Marek Walton Marshall Jennifer Mastripolito Stephen & Janice Matthews Lynne Anne Maxwell William & Claire Maxwell Dennis & Sallie McCarthy Marcia McCleary Monica McComas Margaret McDonald Thomas McEnnerney Eugene McGuire & Rosemary Hunter Jason & Tracy Mechenbier Shannon Merewether Tony Mergist Thomas Merlan & Frances Levine Sterrett & Lynette Metheny Patricia Meyer Mary Louise Miller Robert F. Miller Carol Mills Barbara Mitchell, in memory of Karen McKinnon Beatriz Mitchell Bryant & Carole Mitchell Germaine Mitchell Paul Mitchell Roy Morgan John Morrow & Harriette Monroe Marilyn Morton John & Patsy Mosman Elisabeth Mulkern 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 Honorine Payne 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 Judith Roderick 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 Sandoval-Martinez Warren & Rosemary Saur Peggy Schey David & Marian Schifani 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 SmithStetson, 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 CampbellTolber Jacqueline Tommelein Dean Tooley John Torczynski Marian Towne

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 11/12/2021

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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 Richard Zabell & Teresa Apple 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 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 Judith & Thomas Christopher 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 & 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 Linda McNiel 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

2021/22 Season / Volume 10 / No. 3

Charlotte McLeod David Peterson 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 Judith Anderson 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 11/17/2021

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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

SUPPORT YOUR NMPHIL Interested in becoming a sponsor of the NMPhil? Call Today! (505) 323-4343.

nmphil.org

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New Mexico Philharmonic Program Book • 2021/22 Season • Volume 10 • No. 3

Articles inside

Steinway Society

Program Notes

Strategies for Wise Giving

Artists