New Mexico Philharmonic Program Book • 2021/22 Season • Volume 10 • No. 5 by New Mexico Philharmonic

21/22 VOLUME 10 / NO. 5

MAR

APR

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

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 As our season progresses and wonderful performances go by, I often wonder which was the best. And then I’m often surprised that the next one becomes my new favorite. How privileged I feel to bring you, together with our great musicians and guest artists, a great variety of concerts, each one quite unique and memorable. And then I immediately get to look ahead to what may become my newest cherished performance. How fortunate I am! Thank you for attending our concerts and for such a joyful response. Enjoy the show!

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 13

NMPHIL . TABLE OF CONTENTS PROGRAMS

March 12, 2022 Program March 18, 2022 Program March 26, 2022 Program April 3, 2022 Program April 8, 2022 Program April 16, 2022 Program Program Notes

5 7 9 10 11 12 19

ARTISTS

Roberto Minczuk Steven Smith Matthew Tutsky Krzysztof Zimowski Bradley Ellingboe Rebecca Brunette David Felberg Coro Lux Oratorio Society

13 14 14 15 17 17 17 18

YOUR NMPHIL

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

2 2 2 3 28 30 30 31 32 37 38 38 38 39

NEW MEXICO PHILHARMONIC OFFICES

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The New Mexico Philharmonic

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CONCERT PROGRAM .

POPEJOY ROCK & POPS

The Musical World of John Williams

MAR

Popejoy Hall

Saturday, March 12, 2022, 8:00 p.m. Roberto Minczuk Music Director Krzysztof Zimowski violin

“Superman March” from Superman

“Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone

John Williams (b. 1932)

MAKING A DIFFERENCE

This performance is made possible by: Bernalillo County

Theme from Jurassic Park

“Raider’s March” from Indiana Jones and the Raiders of the Lost Ark

Theme from Jaws

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

Three Pieces from Schindler’s List I. Theme II. Jewish Town (Krakow Ghetto—Winter ’41) III. Remembrances Krzysztof Zimowski violin

Star Wars Suite for Orchestra I. Main Title II. Princess Leia’s Theme III. The Imperial March (Darth Vader’s Theme) IV. Yoda’s Theme V. Throne Room & End Title

The New Mexico Philharmonic

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CONCERT PROGRAM .

COFFEE CONCERT

Harp in the Morning

MAR

Friday, March 18, 2022, 10:45 a.m.

Immanuel Presbyterian Church

Steven Smith conductor Matthew Tutsky harp

Concerto for Harp in B-flat Major, Op. 4, No. 6, HWV 294 I. Andante—Allegro II. Larghetto III. Allegro moderato Matthew Tutsky harp

Danses sacrée et profane for Harp and Strings, L. 103

George Frideric Handel (1685–1759)

MAKING A DIFFERENCE

This performance is made possible by: Meredith Foundation

Claude Debussy (1862–1918)

Matthew Tutsky harp

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

Ma mère l’Oye (Mother Goose) Suite I. Pavane de la Belle au bois dormant (Pavane of the Sleeping Beauty) II. Petit Poucet. (Hop-o’ my Thumb) Très modéré III. Laideronnette, Impératrice des pagodes. (The Ugly Little Girl, Princess of the Pagodas) Mouvement de marche IV. Les entretiens de la Belle et de la Bête. (The Conversations of the Beauty and the Beast) Mouvement de valse modéré V. Le jardin féerique. (The Fairy Garden) Lent et grave

Le Bœuf sur le toit (The Bull on the Roof)

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Maurice Ravel (1875–1937)

Darius Milhaud (1892–1974)

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N E W

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

COMMUNITY. CANNABIS. CARING.

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

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CONCERT PROGRAM .

POPEJOY CLASSICS:

Zimowski Plays Wieniawski Saturday, March 26, 2022, 6:00 p.m. 5:00 p.m. Pre-Concert Talk

MAR

Popejoy Hall

Roberto Minczuk Music Director Krzysztof Zimowski violin

Violin Concerto No. 2 in d minor, Op. 22 I. Allegro moderato II. Romance. Andante non troppo III. Allegro con fuoco—Allegro moderato, à la Zingara

Henryk Wieniawski (1835–1880)

MAKING A DIFFERENCE

This performance is made possible by: George & Sibilla Boerigter

Krzysztof Zimowski violin PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

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

Hosted by KHFM’s Alexis Corbin Symphony No. 3 in D Major, “Polish,” Op. 29 I. Introduzione e Allegro II. Alla tedesca: Allegro moderato e semplice III. Andante elegiac IV. Scherzo: Allegro vivo V. Finale: Allegro con fuoco

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Peter Ilyich Tchaikovsky (1840–1893)

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CONCERT PROGRAM .

AFTERNOON CLASSICS:

Ellingboe Conducts Ellingboe Sunday, April 3, 2002, 3:00 p.m.

Concerto Grosso for Strings, Op. 164 Robert Alexander I. Grave (1883–1966) II. Fugue III. Elegie IV. Fugue V. Allegro

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

2021/22 Season / Volume 10 / No. 5

Immanuel Presbyterian Church

Bradley Ellingboe conductor Rebecca Brunette mezzo-soprano Coro Lux Oratorio Society

Requiem I. Introit II. Kyrie III. Graduale (instrumental solo) IV. Psalm (“Why Have You Forsaken Me?”) V. The Lord’s Prayer VI. Death Be Not Proud (alto solo) VII. Sanctus et Benedictus VIII. Agnus Dei IX. Communion (“Evensong”) X. Elegy (Lux aeterna)

APR

Bradley Ellingboe (b. 1958)

MAKING A DIFFERENCE

This performance is made possible by: Carl & Linda Alongi Cliff & Nancy Blaugrund Ron Bronitsky Terrence Sloan Dean Yannias

CONCERT PROGRAM .

COFFEE CONCERT

Czech Inspiration

APR

Friday, April 8, 2022, 10:45 a.m.

Immanuel Presbyterian Church

Steven Smith conductor

Roman Carnival Overture, Op. 9

Suita Rustica, Op. 19 I. Allegro rustico II. Lento III. Allegro ma non troppo

Hector Berlioz (1803–1869)

Vítězslava Kaprálová (1915–1940)

MAKING A DIFFERENCE

This performance is made possible by: New Mexico Philharmonic Foundation

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

Symphony No. 4 in A Major, “Italian,” Op. 90 I. Allegro vivace II. Andante con moto III. Con moto moderato IV. Presto and Finale: Saltarello

Slavonic Dances, Op. 72, B. 147 No. 2 in e minor: Allegretto grazioso (Dumka) No. 7 in C Major: Allegro vivace (Kolo)

The New Mexico Philharmonic

Felix Mendelssohn-Bartholdy (1809–1847)

Antonín Dvořák (1841–1904)

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CONCERT PROGRAM .

POPEJOY ROCK & POPS

Classical Mystery Tour

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Saturday, April 16, 2022, 8:00 p.m.

Popejoy Hall

JAMES OWEN PRESENTS CLASSICAL MYSTERY TOUR

Jim Owen rhythm guitar, piano, vocals Neil Candelora bass guitar, piano, vocals Robbie Berg lead guitar, vocals Chris Camilleri drums, vocals David Felberg conductor

In My Life

arr. Martin Herman

Classical Mystery Tour (performing selections from the following): A Day in the Life A Hard Day’s Night All You Need Is Love Eleanor Rigby Got to Get You Into My Life Here Comes the Sun Penny Lane Sgt. Pepper’s Lonely Hearts Club Band She’s Leaving Home With a Little Help From My Friends Yesterday

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

Classical Mystery Tour (performing selections from the following): Come Together Golden Slumbers Good Night I Am the Walrus Imagine Lady Madonna The Long and Winding Road Magical Mystery Tour Ob-la-di, ob-la-da While My Guitar Gently Weeps Yellow Submarine All songs written by John Lennon, Paul McCartney, or George Harrison. classicalmysterytour.com

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MAKING A DIFFERENCE

This performance is made possible by: Albuquerque Community Foundation

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

The New Mexico Philharmonic

worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco. Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival. Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone Award of Excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin GRAMMY in 2004 and was nominated for an American GRAMMY in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival, including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include a 2010 DVD recording with the Chamber

Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prizewinner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album. Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. In 2017, Minczuk received the Medal of Commander of Arts and Culture from the Brazilian government. 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. ●

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ARTISTS .

Steven Smith conductor Steven Smith served as Music Director of Virginia’s Richmond Symphony from 2010, launching his tenure with a gala concert featuring violinist Gil Shaham, to 2019, with a finale of Carmen in concert starring Denyce Graves. During that time, the Richmond Symphony performed a significantly wider repertoire representative of our global community, embracing music by living composers, with particular focus on cultural and gender diversity and commissioning new works. During his tenure, the RSO weathered and recovered from the recession, had its budget climb more than 30 percent, posted steadily increasing ticket sales (with the 2017/18 and 2018/19 seasons setting records of more than $1 million in sales), and accomplished the first expansion of the core orchestra in more than 20 years. In addition, Smith has conceived and presented new concert series such as “Casual Fridays,” hourlong explorations (combining discussion with complete performances) of core repertoire with the full orchestra, and “Rush Hour,” a chamber orchestra series held in the barrel room at the popular Hardywood Park Craft Brewery. An active speaker, he delivered the keynote address for the Southern Newspaper Publishers Association and has appeared twice on the acclaimed speaker series “Eyes on Richmond.” August 2019 brought the release of the Richmond Symphony’s first commercial recording, on the highly respected Reference Recordings label. The recording

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pairs the world premiere of Mason Bates’s Children of Adam (commissioned by the Richmond Symphony for its 60th anniversary) and Vaughan Williams’s Dona Nobis Pacem. Both works utilize poetry of Walt Whitman (among others) and also feature the Richmond Symphony Chorus. In 2013, Steven Smith completed a 14-year tenure as Music Director of The Santa Fe Symphony & Chorus, a period during which the orchestra achieved numerous goals: recognized artistic growth, financial stability, and enthusiastic community support. He also serves as Music Director of the GRAMMY Awardwinning Cleveland Chamber Symphony, an ensemble devoted to the performance of contemporary music. Each spring, CCS presents the annual NEOSonicFest, a festival of new music and dance performances of which he serves as Artistic Director. From 2016–19, he also served as an Affiliate Faculty member at Virginia Commonwealth University. From 1997 to 2003, Steven Smith served as the Assistant Conductor of the Cleveland Orchestra, conducting subscription concerts, summer concerts at the Blossom Music Festival, and holiday programs. Particularly interested in the role of orchestras in arts education, he assisted in the planning and conducting of the Cleveland Orchestra’s educational and family concerts and hosted the orchestra’s annual broadcast videoconference, which won an Emmy Award in 2001. For five seasons, he also served as Music Director of the Cleveland Orchestra Youth Orchestra. During his tenure, they were invited by Carnegie Hall to perform in that institution’s famed Isaac Stern Auditorium, an appearance that took place in March 2000. During 2002 to 2005, he also served on the faculty of the Oberlin Conservatory, leading both orchestral and operatic performances. Steven Smith is also an active ASCAP award-winning composer. He was named 2008 Ohio Composer of the Year and with that honor received a commission for a new string quartet that premiered in November 2008. His newest orchestral works are Chromo-Synchrony, premiered by the Cleveland Chamber Symphony in

March 2015, and Kataklysmos, premiered by The Santa Fe Symphony in May 2010. The Cleveland Orchestra has performed his La Chasse at the Blossom Festival under the direction of Jahja Ling, and his One to One A Round for educational concerts at Severance Hall. His work Tane Mahuta was commissioned to celebrate the 20th anniversary of the Cleveland Orchestra Youth Orchestra and was premiered in April 2006. He has received commissions from the Cleveland Orchestra, Grand Rapids Symphony, Eugene Youth Symphony, as well as solo artists, and has had performances of his works by the Chautauqua Symphony, Colorado Springs Symphony, Eugene Symphony, Grand Rapids Symphony, Kansas City Symphony, Richmond Symphony, Cleveland Orchestra Youth Orchestra, Eugene Youth Symphony, and Colorado Springs Youth Symphony. A native of Toledo, Ohio, Steven Smith earned Master’s degrees from the Eastman School of Music and the Cleveland Institute of Music. Mr. Smith is the recipient of the CIM Alumni Association 1999 Alumni Achievement Award. ●

Matthew Tutsky harp Matthew is currently Principal Harpist with the New Mexico Philharmonic, Portland Opera, Oregon Ballet Theatre, and the Boise Philharmonic, while also serving as first-call Second Harpist with the Oregon Symphony. His performances have been acclaimed at premier concert venues such as Carnegie Hall in NYC

ARTISTS .

and Harpa in Iceland. He has served as Acting Principal Harpist with the Utah Symphony/Utah Opera, and permanent guest artist and substitute harpist with the Iceland Symphony, Seattle Symphony, Utah Symphony/Utah Opera, Oregon Symphony, Spokane Symphony, Louisiana Philharmonic Orchestra, and the Anchorage Symphony. He regularly performs at prestigious summer music festivals including Grand Teton Music Festival, Oregon Bach Festival, Lakes Area Music Festival, Deer Valley Music Festival, and McCall Summer Musicfest. He has performed with James Taylor, Kristin Chenoweth, Ben Folds, The Mormon Tabernacle Choir, Johnny Mathis, Emmanuel Pahud, and other leading musical icons. Matthew participated in a premiere of John Luther Adams’s Become Desert with the Seattle Symphony and joined them on tour with this work. He has recorded with the Seattle Symphony and Utah Symphony. Matthew holds teaching posts as Adjunct Professor of Harp at the University of Portland and Reed College. As a member of the American Harp Society and Vice-President of the Boise Chapter, he gave honorarium recitals with the Connecticut Chapter of the American Harp Society and Lyon & Healy West. Matthew has performed concertos with the Utah Symphony, Boise Philharmonic, Boise Baroque Orchestra, Chamber Music of the Springs, Washington Idaho Symphony, and Nova Chamber Music Series. He received a perfect score for a grant from the Idaho Commission on the Arts in 2012. Matthew is a graduate of the Manhattan School of Music and Juilliard’s Pre-College and is tremendously grateful for his mentors, especially Deborah Hoffman, former Principal Harpist of the Metropolitan Opera, and Emily Oppenheimer, former Juilliard Pre-College Harp Professor. Matthew is based in Portland, Oregon. ●

Krzysztof Zimowski violin Born in Wroclaw, Poland, violinist Krzysztof Zimowski began his musical studies at the age of 6. He participated in music schools and programs organized by La Federation International des Jeunesses Musicales (International Federation of Young Musicians). He was Concertmaster of the Weikersheim and Bayreuth Symphony Orchestras (Germany), working with Franz Paul Decker (OSM). In 1976, Mr. Zimowski joined the L’Orchestre Mondial des Jeunesses Musicales (World Youth Orchestra) in Brussels and Paris, conducted by maestro Jean Martinon, with extraordinary participation by maestro Henryk Szeryng. He was also appointed Concertmaster of the State Opera Orchestra in Wroclaw while still a student at the Wroclaw Academy of Music. He graduated in 1977 with a Master’s degree (high honors) in violin performance. During this active career as a student and orchestral musician, Mr. Zimowski continued to be a soloist in high demand throughout Poland, the Czech Republic (former Czechoslovakia), and Germany. It was during this time that he became more interested in chamber music, forming many ensembles and enrolling in masterclasses with eminent violinist Henryk Szeryng. Following this intense period of study, Mr. Zimowski entered the competition circuit, garnering third prize in the Karol Szymanowski National Music Competition (Warsaw, 1977). Bolstered by his success, he took the international stage, entering both the Carl Flesch

International Violin Competition (London, 1978) and the 6th J.S. Bach International Violin Competition (Leipzig, 1980). He then enrolled for advanced violin studies at the Morley College of Music in London under the guidance of Simon Goldberg and Perry Hart. In 1981, Mr. Zimowski joined the Mexico City Philharmonic Orchestra, receiving critical acclaim for his solo appearance in a concert dedicated to the victims of Mexico City’s earthquake. He was appointed joint-Concertmaster and soloist of the Mexico City Philharmonic when they toured Europe, South America, and the United States, the country which would eventually become his home in 1986. He moved to Albuquerque, where he formed the Helios String Quartet, an ensemblein-residence at the Placitas Artists Series. Mr. Zimowski performed with the Phoenix Symphony, Santa Fe Opera, The Santa Fe Symphony, and Santa Fe Pro Musica. He was also the Concertmaster and soloist of the Chamber Orchestra of Albuquerque. In October 1986, he began his long association with the New Mexico Symphony Orchestra, becoming associate Concertmaster in 1995 and Concertmaster and soloist in 1999. He was a featured soloist, performing Mendelssohn’s Violin Concerto, during the NMSO’s 12-city New Mexico tour in 2001. In the 2009 season, he performed the New Mexico premiere of Karol Szymanowski’s First Violin Concerto. He currently serves as Concertmaster of the New Mexico Philharmonic and the Opera Southwest Orchestra. Mr. Zimowski has been awarded the Knight’s Cross Order of Merit of the Republic of Poland. The medal was presented to him by Consul General of Poland at the New Mexico Philharmonic concert on February 28, 2015. The Knight’s Cross is awarded by the President of Poland to Poles, who reside abroad, for their distinguished contributions to international cooperation between Poland and other countries. Mr. Zimowski includes the music of Polish composers on every solo performance. During the summer, Mr. Zimowski performs with the Grant Park Orchestra in the world-renowned Grant Park continued on 16

The New Mexico Philharmonic

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ARTISTS . continued from 15

Music Festival at Millennium Park in Chicago. Along with his wife, Urszula— herself an opera singer—he makes his home in Albuquerque. Mr. Zimowski is performing on a violin by Antonio Stradivari, 1712, the “Lebrun.” ●

Violin by Antonio Stradivari, 1712, the “Lebrun” The violin being played by Mr. Zimowski was made by Antonio Stradivari of Cremona, Italy, in 1712, at the height of Stradivari’s “Golden Period.” It was probably made for Stradivari’s biggest mail-order customer at the time, King Philip V of Spain, who also ruled over Cremona during that period. Stradivari is known to have made a large number of special-order instruments for King Philip’s court, many of which had special decorative inlays, embellishments, or varnish colors. This 1712 violin has no special decorative inlays but does have varnish with a rare golden yellow hue that Stradivari only used for a few of his instruments. The original Stradivarius label in this violin was also inscribed in the lower margin, in tiny handwriting, with the words “Presviter Assensio.” Assensio was the name of the Spanish Royal Court’s principal instrument repairman in the 1770s, indicating that this violin was still part of the Spanish Royal collection at that time. The next documented owner of this violin is the well-known violinist and composer Niccolo Paganini. How the violin made its way from the Spanish Royal Court in Madrid into the hands of Paganini is not fully known, but some reasonable

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speculation has focused on one of Paganini’s longtime violin students, Felice Pasquale Baciocchi. Before becoming a violin student of Paganini, Felice had married Napoleon Bonaparte’s sister Elisa. Napoleon absolutely detested Felice and his poor family background, and tried his best to break up the marriage. Napoleon made such an attempt in the year 1800 by appointing Felice to the position of Assistant Ambassador to the Spanish Royal Court, requiring Felice to set up residence in Madrid. Just as Napoleon predicted, Elisa did not accompany her husband, but remained in Paris. However, much to Napoleon’s dismay, the marriage persisted, and by 1805 Felice and Elisa had moved to the newly acquired French territory of Lucca, Italy, where Elisa, not Felice, was awarded a royal position— “Princess of Lucca.” One of Elisa’s first acts as Princess in 1805 was to establish a court orchestra, appointing the almost unknown but very talented 23-year-old Genovese violinist Niccolo Paganini as her concertmaster. One of her next unofficial acts was to begin a torrid love affair with Paganini that lasted almost 10 years. During those years, Paganini also dutifully gave violin lessons to Felice, and Felice serenely endured his wife’s infidelities. By 1814, Paganini had had enough of his institutional duties, and wanted to tour more as a soloist, so he created a scandal by which he could make his exit. He showed up to lead a court concert dressed not in appropriate concert attire, but in a French military uniform, at a time when Napoleon and the French army were suffering devastating losses and the fate of the empire seemed clear. Princess Elisa sent a note to Paganini commanding him to change his clothing immediately, but Paganini instead left the stage to enter a waiting coach he had prepared, containing all of his belongings. He was never seen at the court again. It is suspected that this 1712 Stradivarius violin was also in Paganini’s prepared coach, whether it should have been there or not. It seems probable that Paganini used this Stradivarius as his “second violin” for the rest of his life. Part of Paganini’s touring

and recital career utilized a gimmick of coming on stage and pretending to break the two middle strings, the D and the A, and then pretending to make the best of it by playing “improvised duets” using only the highest and lowest strings, the E and G. At some point he would “accidentally” break the highest string, leaving only the G-string to improvise on, which he would of course use to thrill his audiences, but which also inadvertently established a tradition of very high singing passagework on the G-string as a legacy of virtuoso violin playing that survives to this day. Interestingly, an uncommon feature of this 1712 Stradivarius is that in more than 300 years only two of the four pegs have ever required refitting in the peg box, the E and the G. This really only makes sense if the violin had been played primarily in this twostring configuration for roughly 35 years. A few months before his death in 1840, Paganini instructed his Italian attorney to hide his remaining instruments from French authorities who were trying to collect on his large casino debts. It is likely that the attorney was successful in laundering these instruments, which helps explain why this 1712 Strad is not commonly referred to as the “ex-Paganini.” In 1893, this violin was purchased by a famous Parisian violinist, Vincenzo Sighicelli, who is believed to have kept it until his death in 1905. By 1914, the violin was in the possession of a very wealthy retired Parisian attorney, Mr. Charles Lebrun, for whom the violin became officially named. In 1922, it was sold to famous Swiss architect Otto Senn, who kept it in his collection in Basel until his death in 1993. In 2001, it was sold at a Sotheby’s auction in London, achieving one of the highest prices ever paid for a violin at auction, and becoming the most expensive instrument in Europe. In 2008, the violin was purchased by its current owner, an anonymous American violinist, and longtime “Friend of Krzysztof.” The owner hopes that the joy of making music on that violin is one that can be shared not only with Krzysztof, but with all of Krzysztof’s other longtime friends. ● —Anonymous Owner

ARTISTS .

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 five 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 the 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, VocalEssence, the Saint Olaf Choir, the

Rebecca Brunette mezzo-soprano Rebecca Brunette, mezzo-soprano, is a graduate of the University of New Mexico music program and is delighted to be singing with Coro Lux again. In 2015, she made her solo debut with the Red Rock String Ensemble, singing the solos in Vivaldi’s Gloria. She has been soloist several times with Coro Lux, including the soprano solos in Brahms’s Ein Deutsches Requiem and Karl Jenkins’s The Armed Man, as well as collaborations with the New Mexico Philharmonic in Handel’s Messiah. Rebecca also serves as a Choral Scholar for the United Church of Santa Fe. ●

David Felberg conductor Praised by The Santa Fe New Mexican for his “fluid phrases, rich focused tone, rhythmic precision, and spot-on intonation,” violinist David Felberg, an Albuquerque native, is the Artistic Director and Co-Founder of Chatter, a groundbreaking series exploring both new and old music, and producing more than 60 performances per year. Chatter was recently mentioned in The New York Times in an article about curated silence, one of the main features of their performances. David plays in and conducts many of the shows—often presenting 20th- and 21st-century pieces of music that have never before been heard in New Mexico. He is also Concertmaster of The Santa Fe Symphony, Associate Concertmaster of the New Mexico Philharmonic, and performs with the Santa Fe Pro Musica baroque and chamber orchestra series, and was recently featured as a soloist on the Oregon Bach Festival Composers Symposium. David has been featured as soloist with The Santa Fe Symphony Orchestra, New Mexico Philharmonic, New Mexico Symphony, Albuquerque Philharmonic, Los Alamos Symphony, Palo Alto Philharmonic, Balcones Orchestra (TX), and the Chatter Orchestra. He has performed recitals and chamber music all over New Mexico and the Southwest and most recently has performed at the Oregon Bach Festival. David has been specializing in contemporary solo violin music, having performed solo works continued on 18

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of Berio, Boulez, Sciarrino, John Zorn, and Luigi Nono. He has also conducted numerous performances of traditional and contemporary music and has recently conducted premiere performances of composers as diverse as Juantio Becenti, Eve Beglarian, and Paula Matthesun. David recently made his conducting debut with Santa Fe Pro Musica. He regularly conducts the New Mexico Philharmonic, The Santa Fe Symphony, and Chatter, and has collaborated with such soloists as Rachel Barton Pine, Anne-Marie McDermott, Conor Hanick, and Benjamin Hochman. David made his New York violin recital debut in Merkin Concert Hall in the spring of 2005. He received a Bachelor of Arts degree in history from the University of Arizona and a Master of Music degree in conducting from the University of New Mexico, and has taken advanced string quartet studies at the University of Colorado with the Takacs Quartet. David has also attended the prestigious American Academy of Conducting at the Aspen Music Festival. David plays an 1829 J.B. Vuillaume violin and a c. 1830 Claude Joseph Fonclause violin bow. ●

Coro Lux Oratorio Society Coro Lux (“Chorus of Light”) is a nonprofit organization dedicated to the preparation and performance of great choral music for the enrichment and delight of our audiences and ourselves, and to propagating love of the choral art in the next generation of singers. Spring 2022 SOPRANO 1

Katy Anderson Gabrielle Dietrich * Tania Hopkins Shelly Ley Jody Spalding Susie Tallman Yarbrough SOPRANO 2

ALTO 2

Jan Bowers Jo Browning Linda H. Buffett Victoria Hontas Kristen Hutchinson * Vinnessa Martinez Ohle Sue Spaven Kristin Thelander Jamie Villanueva TENOR 1

Bryan Butler Hal Ratcliff TENOR 2

Garrett Keith Neal Ohle Peter Spalding

Karen Ellingboe Rebecca Jackson Ashley Jonkman Nicole Lopez Quynh Truong Antoinette Utsinger Elizabeth Wenrich Vicky Wood

BARITONE

ALTO 1

Joe Alcorn George Arthur Bill Artman Paul Bushnell Ennio Fermo Martin Kroebel Richard Macklin Joe Mitchell *

Rebecca Brunette Elizabeth Dwyer Angelynn Gomez Sharlotte Kramer Lori Nash Alexa Nguyen Kirsten Norman Natalie Tiesi

Nick Jones Martin Doviak David Milford Chester Sakura Peter Stoll Wayne Thelander BASS

*Section leader

●

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PROGRAM NOTES .

Program Notes DAVID B. LEVY

George Frideric Handel

Concerto for Harp in B-flat Major, Op. 4, No. 6, HWV 294 (1736) George Frideric Handel was born in Halle, Saxony, on February 23, 1685, and died in London on April 14, 1759. German by birth, Handel became an English citizen after his permanent move there at the end of 1712. His reputation rests on a relatively small number of orchestral works and oratorios, Water Music and Messiah being chief among them. His output however, was much larger, including the composition of numerous Italian operas. His works include many instrumental pieces and several large-scale choral pieces. Especially important was his invention and establishment of the English oratorio, a genre that was picked up by composers such as Haydn later in the 18th century and the composition of which continues to this day. The Concerto for Harp dates from 1736 and was probably arranged from No. 6 of his Concerti for Organ published in 1738 by John Walsh. Its instrumentation calls for 2 flutes, strings, and cembalo. HWV refers to the catalogue of Handel’s compositions. Handel’s Concerto for Harp, along with other instrumental works including a concerto for organ, was linked to the premiere performance of a two-part choral ode entitled Alexander’s Feast, or the Power of Musick by John Dryden. The concert took place in Covent Garden on

February 19, 1736, in celebration of St. Cecilia, the patron saint of music. The feast of St. Cecilia falls on November 22 of each year and is still observed by musicians, especially in England. The German-born composer had achieved notoriety and popularity in London largely through his successful achievements in the world of opera, most notably operas in Italian. The success of Alexander’s Feast marked the beginning of Handel’s transition as a composer primarily of operas to the composition of oratorios. Starting in 1735, the presentation of instrumental works as intermission features between the acts of operas and oratorios, became a common occurrence. The critical edition of Op. 4, No. 6/HWV 294 identifies the work as a “Concerto for Harp or Cembalo or Organ,” reflecting the fact that Handel, as always, was perfectly comfortable reusing his own compositions, as well as borrowing from other composers. The work is in three movements, the first of which is marked curiously as Andante allegro, suggesting that its tempo was more moderate than the latter word might imply. Its structure is an example of what analysts call rounded binary, whereby there are two sections, each of which is to be repeated. The first part shifts from the home key (B-flat Major) to the dominant (F Major), while the second half begins to explore other keys before returning home. All of this occurs within typical Baroque structure of ritornello form. The solo passages are unaccompanied by the other instruments until each one approaches its end. The second movement, Larghetto, is in the contrasting key of g minor, whose triple meter bears the characteristics of

Debussy’s music is all about atmosphere. He uses tone color (timbre) and blurred harmony that toggles between purely tonal and modal …

a sarabande, a common dance in the Baroque era. The end of the movement, as is characteristic of much of Handel’s music, presents the opportunity for a brief cadenza and concludes with an open cadence that leads to the third movement, marked Allegro moderato—a joyful triplemeter dance. ●

Claude Debussy

Danses sacrée et profane for Harp and Strings, L. 103 (1904) (Achille-) Claude Debussy was born on August 22, 1862, in Saint-Germain-enLaye (near Paris) and died in Paris on March 25, 1918. His Danses sacrée et profane for harp and strings dates from 1904, a period during which he was at work on his orchestral masterpiece La mer. The composer made a version for two pianos in that same year. The L number refers to François Lesure’s catalogue of the works of Debussy. The chromatic harp was invented by Gustave Lyon in 1894. The idea behind the instrument was to eliminate the need for the seven pedals required to make the instrument fully chromatic (i.e., capable of playing the equivalent of all the black and white keys of the piano) by adding extra strings, creating a two-level instrument. While the instrument never actually replaced the pedal harp, the Paris harp manufacturer Pleyel sought in 1904 to get composers to create new works for the instrument that could be played on either version of the harp. Two prominent composers, Debussy and Ravel, were among those who responded to the challenge. Ravel’s offering was his Introduction and Allegro for harp, flute, clarinet, and string quartet (1907), while Debussy’s were the two dances to be heard on this program. Debussy’s music is all about atmosphere. He uses tone color (timbre) and blurred harmony that toggles between purely tonal and modal (borrowed from Medieval and Renaissance pitch resources). Unlike German composers who made heavy use of contrary motion of continued on 20

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pitch to give music a firm tonal grounding, the Frenchman prefers the technique of “parallel chords,” whereby the constituent members of each chord move in the same direction. This effect blurs a strong sense of harmonic motion that would serve to establish a clear sense of key. The ethereal Danse sacrée is an excellent example of this technique. The key signature of one flat suggests the possibility of either F Major or d minor. Debussy allows the music to float effortlessly from one to the other, often with modal inflections that defy either key. The more animated Danse profane (the latter word should be thought of as “secular,” as opposed to its English cognate) has two sharps in the key signature, and it does lean toward the key of D Major. While the first dance evokes a mystical religious ritual, the second is a waltz-like affair that skips along. While the chromatic harp for which these two short dances were composed may have fallen into disuse, harpists are grateful to have these wonderfully evocative and beautiful works as part of the instrument’s repertoire. While easy on the ear, Debussy challenges the soloist with arpeggios, glissandos, and the whole array of techniques. ●

Maurice Ravel

Mother Goose (Ma mère l’oye) Suite (1911) Maurice Ravel was born in Ciboure, Basses Pyrénées, France, on March 7, 1875, and died in Paris on December 28, 1937. His Mother Goose Suite began its life as a set of short pieces for piano, fourhands. This version was first performed by Jeanne Leleu and Geneviève Durony on April 20, 1910. The composer orchestrated it in 1910, adding additional movements in 1911 to form it into a ballet. The ballet received its first performance on January 28, 1912. The work is scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, celesta, timpani, glockenspiel, triangle, cymbals, bass drum, tam-tam, xylophone, harp, and strings.

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One of Ravel’s most charming scores, Mother Goose (1908–1910) began as a set of five piano duets (Ma mère l’oye: Cinq pièces enfantines) written for the talented children of his friends Ida and Cyprien (“Cipa”) Godebski. In 1911, Ravel orchestrated these pieces, but then changed their order and interpolated two additional movements and several interludes to form a ballet that was first performed at the Théâtre des Arts in Paris on January 28, 1912. What is referred to as the Mother Goose Suite is Ravel’s orchestration of the five original movements in their original order. The source for the stories of “Pavane of the Sleeping Beauty” and “Hop-o’ my Thumb” (better known as “Tom Thumb”) were taken from the 1697 anthology Histoires ou contes du temps passé, avec des moralitez (Histories or Tales From Days of Yore, With Morals) by Charles Perrault. Countess d’Aulnoy, a contemporary of Perrault, was the source for “Laideronnette, Empress of the Pagodas.” Marie Leprince de Beaumont’s 1757 Children’s Magazine of Moral Tales (Magazin des Enfants, Contes Moraux) was the source for “The Conversations of the Beauty and the Beast.” The final movement, “The Fairy Garden,” stems from Ravel’s own vivid and childlike imagination. I. Pavane of the Sleeping Beauty (Pavane de la Belle au bois dormant). A gentle flute begins the slow dance symbolizing the Good Fairy who watches over Florine, the sleeping Princess. II. Hop-o’ my Thumb (Petit Poucet). Ravel placed a quotation from Perrault at the head of the score: “He believed that he would have no trouble finding his way because of the breadcrumbs that he had strewn wherever he went. But he was surprised when he could not find a single piece; the birds had come and eaten them all.” Meandering figures in the violins portray the lost Tom Thumb. In the middle of the movement, one can hear the birds arrive. III. The Ugly Little Girl, Princess of the Pagodas (Laideronnette, Impératrice des Pagodes). This story is from Mme d’Aulnoy’s “Green Serpent” (Serpentin Vert). A princess has been turned into

an ugly little girl by a wicked witch. One day, as she was walking through a forest, she happened upon a Green Serpent, a handsome young prince who also had been transformed. They take a voyage together and find themselves shipwrecked in a country populated by small people with bodies made of jewels, crystal, and porcelain (Pagodas), and whose king is none other than the Green Serpent. The story ends happily as the two travelers are restored to their original form and are married. Again, Ravel provides the specific part of the story portrayed in the music: “She disrobed and placed herself in the bath. Suddenly, pagodas and pagodines began to sing and play their instruments. Some had theorbos made of walnut shells; some had violas made of almond shells, because they had to adjust the instruments to their shape.” The delightful piccolo solo introduces an Asian theme based on a pentatonic (five-note) scale. The middle section presents a new, more solemn melody, whose cadences are punctuated by the tam-tam. Ravel’s vaunted orchestrational skills are highly evident in this charming movement. IV. The Conversations of the Beauty and the Beast (Les entretiens de la Belle et de la Bête). This moving story is known by one and all. In Mme Leprince de Beaumont’s own words (again affixed to Ravel’s score): “‘—When I think of your good heart, you no longer seem ugly to me’—‘O! damsel, yes! I have a good heart, but I am a monster’—‘There are many men more monstrous than you.’—‘If I had the intelligence, I would pay you a great compliment in reply, but I am only a Beast … Beauty, do you wish to be my bride?’— ‘No, Beast! …’ … ‘I would die contented since I had the pleasure of seeing you one more time.’—‘No, my dear Beast, you will not die. You will live to become my spouse!’ … The Beast had disappeared, having been replaced by a prince, more beautiful than Love itself, who thanked her for breaking the spell.” Ravel transforms these dialogues into a waltz, with the clarinet representing the voice of the Beauty and the contrabassoon portraying the Beast.

PROGRAM NOTES .

V. The Fairy Garden (Le jardin féerique). Beginning quietly in the strings, this epilogue grows in intensity, ending joyously with the orchestra in full array displaying all its colors. ●

Darius Milhaud

Le Bœuf sur le toit (The Ox on the Roof) (1919–1920) French composer Darius Milhaud was born in Marseilles on September 4, 1892, and died in Geneva on June 22, 1974. He was a prolific composer of tremendous range that spanned virtually all genres, and was a member of “Les Six,” a group of French and Swiss modernists that included, among others, Francis Poulenc and Arthur Honegger. Le Bœuf sur le toit is an orchestral work that eventually was developed by Jean Cocteau into a ballet. It received its first performance in this guise on February 21, 1920, at the Comédie des Champs-Élysée under the baton of Vladimir Golschmann. The original scoring calls for a chamber orchestra comprising 2 flutes, one doubling piccolo; oboe; 2 clarinets; bassoon; 2 horns; 2 trumpets; trombone; güiro (or washboard) tambourine, bass drum, and cymbals; and strings. Milhaud made several arrangements of the score: for violin and orchestra, violin and piano, and two pianos. What an audacious world awaited the visitor to Paris in 1919! The madness of the First World War had passed, and artistic ferment again was in the air. Everything was new, everything was possible, and virtually nothing was sacred. With Erik Satie and Jean Cocteau as the leaders of a new artistic wave, the simple, common, yet magical world of the café and the music hall would be the model. The world was a circus. Such was the cultural milieu that gave rise to a musical score as saucy as Milhaud’s Le Bœuf sur le toit (The Ox on the Roof), a piece filled with as much Gallic wit as one could ever hope to find. The title of the piece comes from a popular Brazilian song. Milhaud, who grew

… in good comedy, timing is everything. And as in a good circus, the tricks ought to appear effortless. Le Bœuf sur le toit qualifies on both counts. up in Aix-en-Provence, had established a close working relationship with the playwright Paul Claudel in the 1910s. When Claudel was appointed as French minister to Rio de Janeiro in 1916, Milhaud accompanied him as his secretary. The composer remained there for two years, which gave his lively mind ample time to soak up the native culture. As Milhaud himself wrote, he “assembled [in Le Bœuf] a few popular melodies, tangos, maxixes, sambas, and even a Portuguese fado, and transcribed them with a rondo-like theme recurring between each successive pair.” He further explained that the music might be appropriate as background for one of Charlie Chaplin’s films. Cocteau, however, proposed creating a radical new kind of ballet filled with Chaplin-esque slapstick, but with surreal touches, such as slowmotion action. The setting became an American bar (“The Nothing Doing Bar”) during Prohibition, peopled by all sorts of colorful characters. Milhaud’s music may strike the listener as somewhat chaotic, with its circus-like atmosphere, and overlapping of themes and tonalities. Indeed, the piece is carefully constructed, bearing similarities to Johann Sebastian Bach’s Goldberg Variations. The very first theme, possibly a quotation of a Brazilian tune (some maintain it is an original tune by Milhaud himself), is heard thirteen times throughout the piece, with each occurrence separated by an episode. The episodes comprise quotations of no fewer than twenty by fourteen different Brazilian composers. Such rondo-like arrangements may also be traced back to the composer’s 18thcentury French musical ancestors François Couperin and Jean-Philippe Rameau.

Not unlike Bach, Milhaud follows a severely strict grid of key relationships that move through a carefully planned cycle of tonalities. Thus, each time the original tune comes back, it is in a different key, until Milhaud returns it to C Major, the tonality in which the piece began. As the truism goes, in good comedy, timing is everything. And as in a good circus, the tricks ought to appear effortless. Le Bœuf sur le toit qualifies on both counts. After all, just how did the ox end up on the roof? ●

Henryk Wieniawski

Violin Concerto No. 2 in d minor, Op. 22 (1856–1862) Violin virtuoso and composer Henryk [Henri] Wieniawski was born in Lublin, Poland, on July 10, 1835, and died in Moscow on March 31, 1880. The most famous of a family of musicians, Wieniawski exhibited remarkable talent as a violinist at a very young age, having performed concerts already by the age of 8. His early studies in Poland led him to audition for the Paris Conservatoire in 1843, where by 1846 he was awarded first prize. Two years later, he gave a series of concerts in St. Petersburg, where he was discovered by one of the great violin virtuosi of his time, Henri Vieuxtemps. This led him to tours throughout Eastern Europe and Finland. It was at this point in his career that he began to compose music. Starting in the 1850s, Wieniawski began touring more widely throughout Russia, Europe, the British Isles, and North America. This continued for several decades until his health failed. He also continued on 22

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taught throughout his career, and many consider Wieniawski to be the true founder of the “Russian School” of violin technique. By the end of his life, he was one of the world’s most celebrated violinists. Among Wieniawski’s many compositions for the instrument, his Violin Concerto No. 2 has been the most frequently performed. Composed between 1856 and 1862, its premiere took place in St. Petersburg on November 27, 1862, with Wieniawski as soloist and Anton Rubinstein conducting. When Wieniawski published the work in 1879, he dedicated it to yet another great virtuoso violinist, Pablo de Sarasate. It is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. Many of us of a certain age recall 11-year-old Itzhak Perlman making his debut appearance on The Ed Sullivan Show on September 13, 1959, performing an arrangement of Borodin’s “Flight of the Bumble Bee.” He returned to the popular Sunday night variety show on May 10, 1964, now aged 16, performing the finale of Wieniawski’s Concerto No. 2. In this sense, the young virtuoso was following in the footsteps of one of music history’s greatest violin virtuosi. Needless to say, Perlman went on to accomplish many great things as his distinguished career progressed, even if Wieniawski’s concerto is nowadays not heard as frequently on concert programs as it once was. Nevertheless, the piece remains near and dear to the hearts of violinists throughout the world. Wieniawski’s name has been attached to an international violin competition in Poznań held every five years. The next competition is to take place in October 2022. Testimony regarding Wieniawski’s playing praises

him for his richness of tone, fiery temperament, and spectacular technique. Using an unusual bow grip with an elevated elbow, he was renowned for his ability to play staccato passages in one bow stroke, a technique later identified as the “Russian grip.” Arguably his finest composition, Wieniawski’s Violin Concerto No. 2 is a prime example of soaring melodies and virtuoso technique. These elements can be traced back to a host of late-eighteenthand early-nineteenth-century concertos by Paganini, Spohr, Beriot, Vieuxtemps, and many others. Each of its three movements presents the soloist with multiple challenges, including the aforementioned upbow staccato, glissandi, double stops, octaves, and artificial harmonics. The first movement, Allegro moderato, is cast in an abbreviated sonata form that alternates between the darkly moody and the intensely lyrical. It leads without break into the beautiful second movement, marked Romance: Andante non troppo. The finale ensues without interruption. Marked Allegro con fuoco—Allegro moderato, it is a thrilling rondo in gypsy style (á la Zingara), made popular by many nineteenth-century violinists and composers. ●

Peter Ilyich Tchaikovsky

Symphony No. 3 in D Major, “Polish,” Op. 29 (1875) Peter Ilyich Tchaikovsky was born on May 7, 1840, in Votinsk, Russia, and died on November 6, 1893, in St. Petersburg.* He remains one of the most popular composers of all time, beloved especially for his symphonies, ballets, and concertos. His Symphony No. 3 was composed in

Arguably his finest composition, Wieniawski’s Violin Concerto No. 2 is a prime example of soaring melodies and virtuoso technique. 22

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1875 and received its first performance in Moscow on November 19, 1875, at the first concert of the Russian Musical Society under the baton of Nikolai Rubinstein. Because of the Polonaiselike dance rhythms in the work’s final movement, it sometimes is erroneously identified as the “Polish Symphony.” Tchaikovsky dedicated this symphony to Vladimir Shilovsky, a former student of his at the Moscow Conservatory, and at whose estate in Usovo he began the work’s composition. It is scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. [*These dates are according to the Gregorian calendar. In Tchaikovsky’s time, the Julian calendar was still in use. The difference was 13 days.] Of Tchaikovsky’s six numbered symphonies (his Manfred Symphony bears no number), for some reason Symphonies Nos. 1 and 3 are performed relatively infrequently. Symphonies Nos. 4-6, of course, have proven quite popular, with No. 2 (“Little Russian”), composed in 1873, lagging a bit behind. If any music from his Symphony No. 3 sounds familiar to audiences today, it is most likely thanks to choreographer George Balanchine, who in 1967 used all but the symphony’s first movement as the score for the “Diamonds” section of his ballet Jewels. This symphony also distinguishes itself from its sister works by being cast in a major key. The relative neglect of this work seems a bit unfair, given its many highly appealing qualities. It is fair to say that it lacks the sense of folksong-inspired spontaneity of his Symphony No. 2 or the dramatic depth of the last three symphonies. Nevertheless, Tchaikovsky’s use of dance idioms placed within a symphonic framework is a harbinger of the great ballet scores that followed years later. Tchaikovsky, who was ever self-critical about his compositions, acknowledged some weaknesses in his Symphony No. 3, but nonetheless acknowledged that in it he was making strides in handling the nuts and bolts of symphonic composition. For whatever flaws the work may have,

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it was well received by critics. While it smacks occasionally of repetitiveness and predictability of phrase structure, there are more than enough factors, such as the brilliance of its orchestration and mastery of form, that opened the door for Tchaikovsky to make ever-greater strides toward creating the works that have won the devotion of musicians and audiences throughout the world. The first of its five movements is marked Introduzione e Allegro that begins with a Tempo di marcia funebre in d minor. To begin a symphony in the major mode with an introduction in the minor mode was not unprecedented (Haydn’s Symphony No. 98 and Beethoven’s Symphony No. 4 are but two examples of this practice). Those who are familiar with the soundtrack by Hans Zimmer for the film Gladiator may suspect that he borrowed from Tchaikovsky’s introduction. This funereal mood eventually yields to the brightness of D Major for the main body of the movement, marked Allegro brillante. The second movement, Alla tedesca, is a three-part waltz marked Allegro moderato e semplice that alternates between the keys of B-flat Major and g minor. Two quirky features distinguish its primary theme. Each phrase begins on the second beat of the measure and comes to a cadence on the second or third beat of each measure, which in triple meter are the weaker beats. This is followed by the Andante elegiaco third movement that toggles from d minor to B-flat Major and D Major. The movement provides ample opportunities for the woodwind instruments and horn to step into the foreground before the strings introduce a lyrical new theme. When the original theme reappears, a new element of triplets embellishes it as the triplets themselves take on a life of their own. The movement concludes with the return of the woodwinds to the foreground. The fourth movement is a duple-metered Scherzo (Allegro vivo) in b minor that features rapid-fire virtuoso passagework for all the instruments. An interesting moment arrives where a slower-moving folk-like tune appears in the solo trombone. The central trio is in the manner of a march in

… the brilliance of [the “Polish’s”] orchestration and mastery of form opened the door for Tchaikovsky [to winning] devotion of musicians. which Tchaikovsky cites a passage from the introduction to his 1872 Cantata in Commemoration of the Bicentenary of the Birth of Peter the Great. The finale, Allegro con fuoco (Tempo di polacca), opens with the theme that led to the misnomer of this symphony as “Polish.” In point of fact, Tchaikovsky wrote many themes that are in the style of the polacca or polonaise, which in his day represented a cipher for the Romanov dynasty and Russian imperialism. The movement’s structure bears characteristics of both sonata and rondo form, with contrasting themes interspersed with the opening polacca theme. In addition to his brilliant scoring, Tchaikovsky demonstrates his command of imitative counterpoint (fugal writing) in this finale. But it is the rigorous energy of the opening theme itself that dominates the movement, which ends with an exciting Presto coda. ●

NOTES BY RON BRONITSKY

Robert Alexander

Concerto Grosso for Strings, Op. 164 (1930–1931) Robert Alexander was born in 1883 in Vienna, Austria. He was born and raised in a home on the site of a Beethoven residence, and the work of Schumann and Bach have been a conscious influence on his life and work. Robert spent his early life in the musical company of an older sister and brother who practiced the piano. He began to play the violin at the age of 4 and two years later took up the study of piano.

He began his formal musical education at age 9 and wrote his first composition at age 14 in 1897. In 1898, he began studying organ at the Vienna Cäcilienverein with Dr. Hausleitner and Cyril Wolf. At the same time, he appeared in public for the first time as the accompanist for the violinist Edmund Weiss, who began introducing Robert’s first compositions for violin and piano to the general public. After fighting in World War I in Russia, his musical career took off in 1919 when he gave a concert of his own compositions. In 1935, he was appointed choirmaster at St. Salvator in Vienna, and he served as an organist at the Vienna Augustinian Church. Under his direction, the choral performances at St. Salvator began to attract attention, and the formerly deserted 15th-century church was soon filled to capacity with music-loving audiences. While in Vienna, he was a highly soughtafter composer for some of the Viennese operatic singers during the early 20th century and wrote many works dedicated to these singers. His music may be divided into five categories: • Compositions for orchestra, organ, and piano • Chamber music • Songs • Operas • Church music In 1939, he emigrated to New York, one of the last Jews to escape from Vienna after Hitler invaded Poland in September of that year. He continued his career as an organist and a composer in New York until his death in 1966. His collective repertory has more than 400 works primarily dedicated to piano, organ, liturgical music, chamber music, and violin solo. In New York, his continued on 24

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work was heard in his own concerts, in St. Patrick’s Cathedral, and over the Columbia Broadcasting Radio Network. Robert’s only child, his daughter Hedwig, married Jacob Bronitsky, MD. They moved to Albuquerque in 1955. Robert is survived by his grandchildren who all grew up in Albuquerque—Ann Admoni (Israel) and Gordon and Ronald, who still live here. The Concerto Grosso for Strings, Op. 164, was composed between 1930 and 1931 and it is scored for Violin I and II, Viola I and II, Cello I and II, and Bassi I and II. The work has five movements: I. Grave; II. Fugue; III. Elegie; IV. Fugue; and V. Allegro. This performance represents the American premiere of this work. ●

NOTES BY DR. BRETT ROBISON

Bradley Ellingboe

Requiem (2002) Scored for alto soloist, choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, percussion, harp, and strings. (Approximately 45 minutes). Bradley Ellingboe is a prolific choral composer who has more than 150 choral compositions and four large choralorchestral works in print. Requiem was composed while Ellingboe was on sabbatical in fall 2001. His first choralorchestral work, Requiem, received its premiere on the stage of the University of New Mexico’s Popejoy Hall on April 16, 2002. Since the premiere, Requiem has seen more than 300 performances throughout the world, including a Carnegie Hall performance of the work conducted by the composer in 2010. Tonight’s performance serves as a celebration of the 20th anniversary of the premiere of Requiem and its widespread success that has followed over the past two decades. The Requiem Mass originates from the 10th-century Roman Catholic Church. The Missa pro defunctis, or “Mass for the dead,” was sung on behalf of the departed on the day of burial, or the anniversary of the person’s death. The name of the Requiem Mass is derived

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Ellingboe felt the subject matter of the folk song was especially fitting for a Requiem. […] “both light and darkness.” from the first lines of the Introit of the Mass: Requiem aeternam dona eis, Domine (Grant them eternal rest, Lord). After the Protestant Reformation of the 16th century, the newly formed Lutheran and Anglican denominations forbade the use of the Catholic Requiem Mass. This theological change ushered in the German Requiem (or Protestant Requiem) tradition that would take root in 17thcentury Germany. Johannes Brahms’s Ein Deutsches Requiem, Op. 45 (1868) is the most famous example of this tradition. One of the primary differences between the Catholic and Protestant Requiem traditions is for whom they are written: The Catholic Requiem is a mass for the person who died, while the Protestant/German Requiem was written to comfort those who remain. Ellingboe’s Requiem pays homage to both the Catholic and Protestant Requiem traditions. With the juxtaposition of texts from both the Catholic Requiem Mass, as well as texts compiled by the composer, Ellingboe’s Requiem is a modern Requiem that demonstrates an understanding of the Requiem form, history, and tradition. Bradley Ellingboe was raised in a Norwegian-American family in Lakeville, Minnesota. Ellingboe and his extended family take great pride in their heritage, which has specifically included a lifelong interest in the music of Norway, studying the Norwegian language, and numerous trips to Norway. Bradley Ellingboe is also a Grieg scholar who published two volumes of Grieg songs with phonetic transcriptions of the Norwegian texts. Ellingboe was knighted by the King of Norway for his scholarly work on Grieg’s music. There is a clear influence of Ellingboe’s Norwegian roots and Grieg’s music in Requiem. The Norwegian folk tune Jeg

lagde mig saa silde is the primary melodic material for Movement III, Graduale, and Movement VII, Agnus Dei. This Norwegian folk song tells the story of a man who was about to go to sleep one evening when he received word that his lover was sick. He rode quickly to her through the night, but by the time he arrived at her house she had already died. Ellingboe felt the subject matter of the folk song was especially fitting for a Requiem. He also liked that the folk tune was both major and minor, and, in his words, “both light and darkness.” Graduale starts with a lamenting cello solo, first introduced in Movement I, Introit, which works as a leitmotif. A leitmotif is a musical motto, or theme, which recurs in a piece of music to represent a character, object, emotion, or idea. The cello solo works as a leitmotif and represents the lament of the people left behind to grieve and appears in movements I, III, and VIII, serving as a unifying feature. Other than the octave leap at the beginning of the cello solo, it very much sounds like a folk tune related to Jeg lagde mig saa silde. Movement V, The Lord’s Prayer, was first published as a separate octavo a year before Ellingboe began composing the larger work, Requiem. This movement is the source of most of the important motivic and melodic content. Ellingboe uses the opening three pitches of The Lord’s Prayer melody as a motive that appears throughout Requiem, specifically, the descending pitches C-B-G and the corresponding intervals of a minor second and major third. This motive first introduced in the opening measures of Requiem reappears in original form, and in variation, throughout the larger work. This short motive, commonly used in Norwegian folk music, is also the opening motive in Grieg’s well-known Piano

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Concerto in a minor, Op. 16. The motive serves as a cohesive device in Ellingboe’s Requiem and has been labeled by music scholars as the “Grieg motive.” Ellingboe’s Requiem is also a musical representation of the experience of losing a loved one. The universal experience of the mourning process largely influenced the architecture, text choices, melodies, keys, and other musical choices in Requiem. The overall emotional progression in Ellingboe’s Requiem can be charted with the movement to the “nadir,” or lowest moment in the mourner’s grief, and then the rise to the “zenith,” or highest moment, representing the final stage of grief and loss: acceptance. The well-known Kubler-Ross stages of grief are denial, anger, bargaining, depression, and acceptance. In charting an emotional progression, Ellingboe includes four of the five stages in his Requiem and uses musical devices to express these stages of grief. Movements I and II, Introit and Kyrie, are musical representations of the stages of grief known as denial and anger. Movement III, Graduale, represents the stage of grief known as depression. Movement IV, Psalm, is clearly a movement of anger. The central movement, The Lord’s Prayer, is where the grief begins to move toward acceptance. Movements VI, VII, and VIII continue the upward progression, with movement IX (“Evensong”) creating the zenith of emotional release. Movement X echoes movement I, creating balance and a formal conclusion to the work. There are many layers to Ellingboe’s choral-orchestral work, Requiem. The Requiem Mass traditions, Norwegian folk music and motives, Grieg’s music, and the emotional progression of grief all played significant roles in the composition

process. The masterful way in which Ellingboe weaved all these elements into Requiem explains the worldwide success of this impactful work. ●

DAVID B. LEVY

Hector Berlioz

Roman Carnival Overture, Op. 9 (1843) (Louis) Hector Berlioz was born in CôteSaint-André on December 11, 1803, and died in Paris on March 8, 1869. He was one of France’s most imaginative composers of the Romantic era, admired for his innovative orchestrations and brilliance of expression. The Roman Carnival Overture (Le carnaval romain), composed in 1843 and given its premiere in Paris’s Salle Herz on February 3, 1844, under the composer’s direction, includes themes from his opera Benvenuto Cellini of 1838. It is scored for 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, percussion, and strings. Berlioz’s plan to write a comic opera based on the life of the Florentine sculptor Benvenuto Cellini (1500–1571) dates to 1834, the year in which the composer completed his second symphony, Harold in Italy. By this time, Italy was no stranger to Berlioz as he had lived there under the rules of the Paris Conservatory’s coveted Prix de Rome. Despite Berlioz’s reluctance to leave Paris when the success of his sensational Symphonie fantastique (1830) held the promise of even greater fame and fortune, the sojourn in Italy had its benefits, too.

Roman Carnival Overture brilliantly demonstrates [Berlioz’s] skill at producing stunning and exciting orchestral colors.

Berlioz’s encounter with a newly published translation of Cellini’s autobiography provided ample material for the opera. Like Berlioz himself, who later in life would publish his own lively Memoires, Cellini was a rebel. The premiere of the opera was delayed due to considerable political intrigue, but it immediately became a cause celèbre, drawing praise from the composer’s admirers, and derision from his enemies. Only the overture was an undisputed success. In 1844, Berlioz again returned to the music of Benvenuto Cellini to fashion another popular overture, The Roman Carnival. Both overtures display Berlioz’s brilliant orchestration and his penchant for combining two themes— one fast and one slow—in counterpoint. Roman Carnival makes use of two themes taken from Benvenuto Cellini. The livelier of the themes is taken from a carnival scene from Act II that takes place in Rome’s Piazza Colonna. The slower and more lyrical one, featuring the English horn (cor anglais) and viola section, derives from the duet between Cellini and Teresa from Act I. Berlioz was one of the first composers in the nineteenth century to write a treatise on orchestration, his Grand traité d’instrumentation et d’orchestration modernes published in 1843. His Roman Carnival Overture brilliantly demonstrates his skill at producing stunning and exciting orchestral colors. ●

Vítĕzslava Kaprálová

Suita Rustica, Op. 19 (1938) Czech composer and conductor Vítĕzslava Kaprálová was born in Brno on January 24, 1915, and died in Montpellier, France, on June 16, 1940. She exhibited an early talent for music that led her to study at the Brno Conservatory where she studied musical composition. Her studies continued at the Prague Conservatory where she added conducting to her curriculum. In 1937, she moved to Paris, taking composition lessons from fellow Czech ex-patriot Bohuslav Martinů, and conducting lessons with Charles continued on 26

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Munch (who later became conductor of the Boston Symphony Orchestra). Her untimely death at age 25 in 1940 is attributed to typhoid fever, although the official diagnosis was miliary tuberculosis. Had she lived longer, there is little doubt that Kaprálová would have gone on to compose many other works, as well as increase her reputation as a conductor. As it was, her music found advocacy by many fellow Czech musicians, including conductor Rafael Kubelík and pianist Rudolf Firkušný. Suita rustica, composed in 1938, was her last composition, receiving its first performance on April 16, 1939, with the Radio Brno Orchestra under the baton of Břetislav Bakala. It is scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Vítĕzslava Kaprálová’s Suita rustica, dedicated to musicologist Otakar Šourek, has been described by Judith Marbary as a work with “many appealing moments of exquisite lyricism and innocent exuberance.” Using a wealth of folk borrowings, the three-movement work takes its place proudly in the lineage of her Czech predecessors Smetana, Dvořák, and Janáček. Indeed, her Military Sinfonietta, Op. 11 (1938), was undoubtedly inspired by the latter’s Sinfonietta (1926). Living in Paris, Kaprálová was also influenced by Igor Stravinsky’s music, most especially his 1910 ballet Petrushka. The influence of Stravinksy’s ballet is most apparent in the first movement, Allegro rustico, where a festive kaleidoscope of orchestral sound with shifting meters creates the kind of carnival atmosphere that grabs the listener’s attention immediately.

Kaprálová introduces two folk tunes in this movement: the Moravian song “The nightingale flew over Javorník” and the energetic Slovakian melody “Whose is it, this un-ploughed little field?” The central part of the second movement, Lento-Vivo-Lento, will be familiar to those who know the furiant from Smetana’s popular folk opera The Bartered Bride, itself based, according to Mabary, on the dance “Farmer, farmer.” The more melancholic slow theme (Lento) borrows the Silesian melody “I had a little pigeon hidden in my wooden trunk.” The movement ends enigmatically, leading to the final movement, Allegro ma non troppo, which once again captures the spirit of the ballet scores Stravinksy composed based on Russian themes for Sergei Diaghilev’s Ballets Russes; The Firebird, Petrushka, and The Rite of Spring. The Czech folk tunes cited by Kaprálová are “You don’t have me yet” and “Good night Annie, the evening star is high in the sky.” About two-thirds of the way through this eclectic movement, the composer gives evidence of her skill in writing in imitative counterpoint. ●

Felix Mendelssohn-Bartholdy

Symphony No. 4 in A Major, “Italian,” Op. 90 (1833) (Jacob Ludwig) Felix Mendelssohn (-Bartholdy) was born on February 3, 1809, in Hamburg and died on November 4, 1847, in Leipzig. Mendelssohn was one of the most important composers of symphonies in the first half of the 19th century. The “Italian” Symphony received its premiere May 13, 1833, in London under the baton of the composer. It is

Mendelssohn felt that the “Italian” Symphony was imperfect […] history has found the work to be a perfect specimen of its kind. 26

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scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Of the five mature symphonies by Mendelssohn, the one designated as the fourth has proved to be the most popular with audiences and is the one that is most frequently performed. The “Italian” Symphony had its origins during Mendelssohn’s 1830–1831 sojourn in Italy. It received its first performance in May 1833 in London with its composer, who also was one of the first renowned conductors, directing that city’s Philharmonic Society orchestra. It may strike us as curious that the composition of this work was a difficult task for its brilliant young author, especially given the piece’s seemingly effortless melodic beauties and boundless energy. Mendelssohn grew up as a child prodigy, and he usually found composition to come to him with relative ease. But as he matured, Mendelssohn became more self-consciously aware of the work of other composers—both contemporaneous and from previous generations. This awareness led him to evaluate his own efforts with a more critical eye and ear. Throughout his life, Mendelssohn felt that the “Italian” Symphony was an imperfect work in need of revision. The judgment of history has found the work to be a perfect specimen of its kind. The first of the Symphony’s four movements is a brilliant Allegro vivace of high spirit. Among its arresting features are the rapid-fire woodwind chords that introduce, and subsequently accompany the first theme. The more solemn Andante con moto is alleged to have been inspired by a religious procession that the composer observed while in Naples. The stolid “walking” bass line and rapid changes of harmony give this movement a distinctly “Baroque” feel. This feature is not surprising in light of the composer’s lifelong interest in the music of Bach, the culmination of which came in his landmark 1829 performance of the monumental Passion According to St. Matthew. The third movement of the “Italian” Symphony is marked Con moto moderato, and it follows the

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ternary design (ABA) characteristic of the traditional minuet and trio. The finale, marked Presto, is identified in the score as a saltarello—a leaping Italian dance. In point of fact, however, Mendelssohn makes use of two dances in this finale. The saltarello with which it opens is identifiable by its staccato articulation. The second dance, a tarantella, uses the smoother legato (connected) articulation. A primary attraction of this movement is how skillfully the composer brings these dances together in counterpoint. A highly interesting and unusual feature of the finale is that it ends in the minor mode. One can identify any number of multi-movement works that begin in the minor mode and that end in the major. But to my knowledge, at least, the “Italian” Symphony is the only work that reverses this process. ●

Antonín Dvořák

Slavonic Dances, Op. 72, Nos. 2 and 7, B. 147 (1886) The Czech master Antonín Dvořák was born in Nelahozeves, near Kralupy, on September 8, 1841, and died in Prague on May 1, 1904. B. 147 refers to Jarmil Burghauser’s thematic catalogue of the composer’s works, analogous to thematic catalogues such as the ones created by Köchel for the works of Mozart. Dvořák wrote two sets of Slavonic Dances. The first set, published as Op. 46, dates from 1878. Both collections were composed originally as works for piano four-hands. Op. 72 dates from the summer of 1886, and its eight dances were transcribed for orchestra between November 1886 and the following January. Dvořák had few peers of his generation for creating musical compositions of comparable tunefulness and sheer delight. Loyal to his Czech origins throughout his life, he had the uncanny ability to create music that at once reflected his heritage while at the same time enchanted audiences across all national boundaries. It is important to bear in mind that the Czechlands in Dvořák’s day were still part

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Johannes Brahms immediately took an intense liking to Dvořák’s music, recommending to his publisher as worthy of attention. of the old Habsburg Empire. Mindful of this nationality and inspired by Bedrich Smetana’s pathbreaking excursions into music that celebrated Czech culture, Dvořák began producing a large number of vocal and instrumental compositions of a decidedly Czech character by setting opera librettos and composing songs in his native tongue, as well as celebrating national dance idioms such as the polka and furiant. Living virtually hand to mouth, Dvořák began submitting compositions to a panel of judges in Vienna in order to win stipends. He also supported himself by teaching and playing organ in churches. He was quite successful in getting financial support from Vienna. When Johannes Brahms became one of the Viennese judges in 1877, he immediately took an intense liking to Dvořák’s music, recommending to his publisher, Simrock, to start accepting Dvořák as worthy of attention. Thus began Dvořák’s international fame—a phenomenon that eventually brought him to the United States. Despite some resistance to this Bohemian composer by some narrowminded Austrian musicians, Dvořák’s stature continued to rise both abroad and in his homeland. His works for piano duo became particularly well-loved, especially the two sets of Slavonic Dances, Op. 46 and 72 (1878 and 1886), and the Legends (Legendy, 1880-81). All these compositions subsequently were transcribed for orchestra by the composer. The two selections from Op. 72 on this concert are based on traditional Bohemian dances. No. 2 in e minor, labeled a Dumka (Allegretto grazioso), is an elegant and lyrical dance in triple meter, similar to a waltz. Its name is Ukrainian in origin. For Czech musicians,

a Dumka toggles back and forth from melancholy to exuberance. In this case, the dance is in three sections. No. 7 in C Major is an example of a Kolo, a lively circle dance (Allegro vivace) popular in Slavic regions, often associated with weddings and other joyful religious celebrations. ●

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Meet the Musicians We are happy to welcome the newest members of the New Mexico Philharmonic!

Liana Austin violin Liana Austin grew up in a small town just outside of Ann Arbor, Michigan. She began playing the violin in the public school system and quickly developed an interest in the instrument. She was fortunate to study chamber music with Andrew Jennings and violin with Stephen Shipps and Paul Kantor at the University of Michigan during her high school years. Ms. Austin received her Bachelor of Music from Vanderbilt University under the tutelage of Cornelia Heard and Carolyn Huebl. During that time, she focused on string quartets and was first-prize winner of the Music Teacher National Association’s collegiate chamber music division. Liana received her Master of Music degree from Arizona State University as a student of Katie McLin and was a member of the Herberger Graduate String Quartet. Over the last 20 years, Liana has lived in six different states and Canada. These varying locations have allowed her to be a regular musician with many orchestras including the Nashville Symphony, Phoenix Symphony, Arizona Opera, National Ballet of Canada, Albany Symphony, New World Symphony, Helena Symphony, Idaho Falls Symphony, and Principal Second Violin of the Wyoming Symphony.

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In addition to performing, Ms. Austin also teaches violin and viola. She previously served on the faculty of the Suzuki Strings Department at the Levine School of Music in Washington, D.C., and now enjoys teaching a private studio of violin and viola students. In her free time, Liana enjoys getting lost running the trails outside her home in Los Alamos, New Mexico, with her husband and two boys. ●

Amy Huzjak cello Cellist Amy Huzjak lives in Midland, Texas, and is excited to begin serving as Principal Cellist of the New Mexico Philharmonic in January 2022. Amy also serves as the Principal Cellist of the Midland-Odessa Symphony and Chorale (MOSC) since September 2011. An avid chamber musician, Amy is the cellist for the MOSC resident ensemble Permian Basin String Quartet (PBSQ), performing concerts and educational outreach throughout the area. PBSQ has recently performed in Abilene, San Angelo, Alpine, Seminole, Midland, and Odessa, Texas. Recent solo appearances include Shostakovich’s Cello Concerto No. 1 with the Midland-Odessa Symphony and the Abilene Christian University Orchestra, the Adagio from the Dvořák Cello Concerto with the University of Texas Permian Basin Philharmonic, and duo recitals in Midland, Abilene, San Angelo, Dallas, and Levelland, Texas. In addition, Amy is the Acting Principal Cellist with the Abilene Philharmonic,

performs with the Big Spring Symphony and the Amarillo Symphony, and freelances throughout West Texas. She is also a founding member of the Chasqui Quartet, touring Colorado in August 2021 and the East Coast in summer 2022. Other upcoming performances include The Santa Fe Symphony in February 2022, Opera Southwest in March 2022, and as soloist with the University of Texas Permian Basin Philharmonic performing Haydn’s C Major Cello Concerto in February 2022. Before moving to Texas, Amy was the Principal Cellist of the Huntington (WV) Symphony Orchestra and played with several D.C.-area orchestras, including the Fairfax (VA) Symphony Orchestra, Apollo Chamber Orchestra (MD), and the Prince William (VA) Symphony. She was a faculty member at the International School of Music in Bethesda, Maryland, and had a private studio in College Park, Maryland. A committed educator, Amy is a member of the Suzuki Association of the Americas, has a studio of more than 30 students in the Midland/Odessa area, and is Adjunct Professor of Cello at the University of Texas Permian Basin and Adjunct Low Strings Instructor at Angelo State University. She is sought after as a clinician and coach for high school orchestras and chamber programs in West Texas. Previous posts include Abilene Christian University, HardinSimmons University, Midland College, and Odessa College. Amy’s mentors include David Teie, Thomas Landschoot, and Jenny Yopp. She holds a Master’s degree in cello performance from the University of Maryland and a Bachelor’s degree (summa cum laude) from Arizona State University. When not playing, Amy loves hiking and skiing in her native Colorado and travels around the world to hike with her dad. She is looking forward to exploring the Sandias and skiing in New Mexico. ●

NMPHIL .

Micah Harrow timpani Micah Harrow recently joined the New Mexico Philharmonic as principal timpanist. Aside from the NMPhil, Micah has performed with the San Francisco Symphony, the Kansas City Symphony, the Rochester Philharmonic, and the Erie Philharmonic, among others. Currently, he is finishing his Master’s degree at the San Francisco Conservatory of Music. A native of Rochester, New York, Micah grew up studying in the Eastman Community Music School before enrolling at the Eastman School of Music. During his undergraduate at Eastman, he received the prestigious Performer’s Certificate and made his concerto debut, performing Séjourné’s Concerto for Marimba and Strings with the Rochester Philharmonic. Micah then went on to study at the San Francisco Conservatory of Music, where he is currently finishing his Master’s degree. His major teachers have included Edward Stephan, Jake Nissly, Michael Burritt, Charles Ross, and James Ross. During the summers, Micah has studied at the Aspen Music Festival, the Texas Music Festival, and the National Orchestral Institute. In 2017, he performed on the GRAMMY®-nominated Naxos album Harbison, Ruggles & Stucky: Orchestral Works with the NOI Philharmonic under the direction of David Allen Miller. When not playing in the orchestra, you can find Micah playing hand drums and drum set with his band, The Kenaniah Project, which released their debut album to all streaming platforms in January 2022. Aside from music, Micah enjoys fishing, working out, and studying French. ● The New Mexico Philharmonic

Ana María Quintero Muñoz violin Ana María Quintero Muñoz was born in Bogotá, Colombia, in 1993 and began her studies at the age of 6 with her mother, Clara Muñoz. Ms. Quintero Muñoz graduated summa cum laude with a Bachelor of Music degree from Fundación Universitaria Juan N. Corpas School of Music, where she studied violin performance and chamber music under the tutelage Maestro Fabio Santana. She holds a Master of Music degree in violin performance from New Mexico State University, where she studied with Professor Simón Gollo. Ms. Quintero Muñoz was concertmaster and member of the Orquesta Filarmónica Juvenil de Cámara de Bogotá (Philharmonic Youth Chamber Orchestra of Bogotá) between 2013 and 2017. In 2019, she was the winner of the NMSU Philharmonic Concerto Competition, and was awarded a full scholarship to the Aruba Symphony Festival where she studied with Olivier Piguet. Ms. Quintero Muñoz has been a guest performer with several chamber music ensembles including Camerata del Sol, La Catrina String Quartet, and the Dallas Chamber Symphony. She is currently a violinist in the El Paso Symphony Orchestra and the New Mexico Philharmonic. In 2018, Ms. Quintero Muñoz became the Artistic Director for Vox Vallis Women’s Ensemble, a professional chamber music ensemble she co-founded with New Mexican violinist Jessie O’Hara. Ms. Quintero Muñoz plays on a violin built by French luthier Ghaleb Hassan. ●

Aaron Zalkind trombone Originally from Salt Lake City, Aaron Zalkind joined the New Mexico Philharmonic as Principal Trombone in 2021. In addition to his time playing in New Mexico, Aaron also performs frequently with the Colorado Symphony and the Boulder Philharmonic. Zalkind has been a member of several music festivals throughout the United States, including the National Repertory Orchestra, the Breckenridge Music Festival, the Texas Music Festival, and the National Orchestral Institute. In 2019, Aaron was awarded second prize at the Zellmer Trombone Competition, as well as two first-prize awards at the International Women’s Brass Conference competitions. Zalkind also took first prize at the University of Colorado Honor’s competition in 2018. An avid chamber musician, Aaron was a member of the Juilliard Trombone Quartet, who in 2016 took first prize at the American trombone workshop in Washington, D.C. Aaron holds a doctorate from the University of Colorado, a Master’s degree from The Juilliard School, and a Bachelor’s degree from Indiana University. His primary mentors include William Stanley, Joseph Alessi, Peter Ellefson, and Larry Zalkind. Aaron currently resides in Colorado with his wife, Sarah, and their dog, Kiva. ●

nmphil.org

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-Kelly Sheila McLay Heather MacArthur VIOLA Laura Chang • Kimberly Fredenburgh •• Allegra Askew Christine Rancier Virginia Lawrence Willy Sucre + Joan Hinterbichler Lisa DiCarlo

CELLO Amy Huzjak • 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 ••• TRUMPET John Marchiando • Brynn Marchiando ••• Tristan Frank TROMBONE Aaron Zalkind • Byron Herrington BASS TROMBONE David Tall TUBA Richard White •+ Justin Gruber •++ TIMPANI Micah Harrow • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Matthew Tutsky •

E-FLAT CLARINET Lori Lovato BASS CLARINET Timothy Skinner

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

STAFF Marian Tanau

Jeremiah Fernandez

Roberto Minczuk

Eric Sewell

Christine Rancier

Leif Atchley

Grants Manager

Matt Hart

Jeremiah Fernandez

Design & Marketing

Shea Perry

Nancy Pressley-Naimark

Editor

Executive Director Music Director

Director of Business Management Production Manager Personnel & Operations Manager

Allison Tutton

Assistant Librarian Assistant Librarian Copyist Copyist

Director of Community Relations & Office Manager

Principal Librarian

2021/22 Season / Volume 10 / No. 5

Jess Bess

Assistant Office Manager & Front of the House Manager

Mary Montaño Joan Olkowski Lori Newman

President

Al Stotts

Vice President

David Peterson Secretary

Kory Hoggan Treasurer

Joel Baca Ruth Bitsui David Campbell Thomas Domme Fritz Eberle Jeffrey Romero Edward Rose, MD Terrence Sloan Rachael Speegle Marian Tanau Tatiana Vetrinskaya Michael Wallace ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Roland Gerencer, MD Heinz Schmitt William Wiley

THANK YOU .

Steinway Society

HOROWITZ LEVEL

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

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

$20,000–$50,000

• • • • • • •

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

$6000–$19,999

• • • • •

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

$2000–$5999

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

$500–$1999

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

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

The New Mexico Philharmonic

$50–$499

Roland Gerencer, MD

WHITE KEYS LEVEL

Donation of $6000–$19,999 Cliff & Nancy Blaugrund Lee Blaugrund Dal & Pat Jensen

Diane & William Wiley Dr. Dean Yannias

BLACK KEYS LEVEL

Donation of $2000–$5999 Carl & Linda Alongi Joel & Sandra Baca Stephen & Maureen Baca William & Paula Bradley Clark & Mary Cagle Phillip & Christine Custer Art Gardenswartz & Sonya Priestly Robert & Jean Gough Helen Grevey

Bill & Carolyn Hallett Stephen & Aida Heath Michael & Roberta Lavin Dwayne & Marj Longenbaugh Jan Elizabeth Mitchell Jacquelyn Robins Jay Rodman & Wendy Wilkins Albert Seargeant III, in memory of Ann Seargeant Terry Sloan

PEDAL LEVEL

Donation of $500–$1999 Meg Aldridge Ronald Bronitsky Michael & Cheryl Bustamante, in memory of Cheryl B. Hall Richard & Peg Cronin 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 Gary & Carol Overturf Ruth Ronan Ed Rose Marian & Howard Schreyer Bruce & Sandra Seligman Frederick & Susan Sherman David & Heather Spader Al & Melissa Stotts

PIANO FRIENDS LEVEL Donation of $50–$499 Fran A’Hern-Smith Joe Alcorn & Sylvia Wittels Dennis Alexander Anonymous Judy Bearden-Love Karen Bielinski-Richardson David & Sheila Bogost Robert Bower & Kathryn Fry Dante & Judie Cantrill Camille Carstens Olinda Chavez Beth L. Clark Henry & Ettajane Conant John & Katie Cunningham Marjorie Cypress & Philip Jameson Thomas & Martha Domme Martin J. Doviak David Fillmore Blake & Liz Forbes George & Karen Gibbs Ginger Grossetete Elene & Robert Gusch Kerry L. Harmon Jo Ellen Head Heidi Hilland Glenn & Susan Hinchcliffe B. Lance & Debrah Hurt Nancy Joste Julia Kavet Ralph & Heather Kiuttu Larry W. Langford

Susan Lentz Claire Lissance Morgan MacFadden Nicholle Maniaci & John Witiuk Robert & Phyllis Moore Cary & Evelyn Morrow Edward & Nancy Naimark Geri Newton Bob & Bonnie Paine James Porcher Dan & Billie Pyzel Mary Raje Ray A. Reeder Judith Roderick Dick & Mary Ruddy John Sale & Deborah Dobransky Katherine Saltzstein Laurel Sharp & David Smukler Catherine Smith-Hartwig Cynthia Sontag Frances Steinbach Linda Trowbridge Kevin & Laurel Welch Jeffrey West Charles & Linda White Roland & Wendy Wiele Diane Zavitz, in memory of Pat & Ray Harwick Linda R. Zipp, MD 2/22/2022

nmphil.org

DONOR CIRCLES .

Donor Circles Thank You for Joining a Circle BENEFACTOR CIRCLE

Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund Marian Ausherman Chavez Trust City of Albuquerque The Karen McKinnon Fund The McKinnon Family Foundation The Meredith Foundation

BEETHOVEN CIRCLE

Donation of $25,000–$49,999 The Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Eugenia & Charles Eberle New Mexico Philharmonic 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 David Gay Keith Gilbert Mary Herring Holmans USA, LLC, Anthony D. Trujillo Dal & Pat Jensen Walter & Allene Kleweno Dwayne & Marjorie Longenbaugh 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 Real Time Solutions, Inc 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 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 Chris & Karen Jones Christine Kilroy Harry & Betsey Linneman Julianne Lockwood Marcia Lubar, in memory of Larry 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. Janet Youngberg

CHOPIN CIRCLE

Donation of $3500–$4999 Anonymous Anonymous Anonymous Mary Baca Nancy M. Berg Nancy & Cliff Blaugrund, in honor of Judge Parker on his birthday The Cates Team/RBC Wealth Management David & Mary Colton Richard & Margaret Cronin David & Ellen Evans Exxon Mobil Foundation French Funerals & Cremations Gerald Gold A. Elizabeth Gordon Madeleine Grigg-Damberger & Stan Damberger Bill & Carolyn Hallett Margaret Harvey & Mark Kilburn National Christian Foundation Southwest Steve Ridlon, in memory of Casey Scott Robertson & Sons Violin Shop Edward Rose

2021/22 Season / Volume 10 / No. 5

GRACE THOMPSON CIRCLE

Donation of $1933–$3499 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, in memory of Dr. W. Robert 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 Jean & Bob Gough Helen Grevey Stephen & Aida Ramos Heath Rosalyn Hurley Sue Johnson & Jim Zabilski 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 Jan Mitchell 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 Gary & Carol Overturf 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 Jacquelyn Robins Jay Rodman & Wendy Wilkins Ellen Ann Ryan Scott & Carol Schaffer

Howard & Marian Schreyer Albert Seargeant 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 Albuquerque Community Foundation, Peggy Cavett-Walden & Professor Jerrold Walden Fund for Art & Music Grant 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, in memory of Cheryl B. Hall Drs. Kathleen L. Butler & M. Steven Shackley 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 James & Teresa Edens Anne Eisfeller & Roger Thomas Susan Evatt, in memory of R. Nim Evatt Richard & Virginia Feddersen Dean Flanagan, in memory of Karen McKinnon Denise Fligner & Terry Edwards David Foster 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, in memory of Dr. Larry Lubar Donna Hill Jim & Sandra Hoge

DONOR CIRCLES .

Dr. Carlton Holte & Sheryl Guterl Martha S. Hoyt Hal Hudson, in memory of Carolyn Hudson Patricia Johnson, in memory of Karen McKinnon Stephanie & David Kauffman Julia Kavet, in memory of Janie Mossman Steve & Elisa Kephart, in honor of Richard White & the Low Brass Ann King Virginia Lawrence, in memory of Jean Sharp Judith Levey 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. Mark Moll David & Alice Monet Dorothy White Morse Ed & Nancy Naimark Daniel & Elizabeth Neal Tom & Gretchen Obenauf James O’Neill & Ellen Bayard Joyce & Pierce Ostrander 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 Joan Robins & Denise Wheeler, in memory of Sue & Mel Robins 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 Janet & Michael Sjulin David & Heather Spader Paula M. Steinberg Mark & Maria Stevens Sarah Stevens-Miles David E. Stinchcomb, in memory of Ann Stinchcomb Jane & Doug Swift Fund for Art & Education Total Wine William Vance 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 Dennis Alexander Jo Anne Altrichter & Robin Tawney Anonymous Anonymous John & Polly Arango Joseph Archbold Richard & Linda Avery Marguerite Baca Tonianne Baca-Green Daniel Balik Elizabeth Bayne Hugh & Margaret Bell, in memory of Joan Allen 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 David & Shelly Campbell CarMax Ann Carson Camille Carstens Edith Cherry & Jim See Beth Clark Susan Clark Michael Dexter Thomas Dyble Mary Lou Edward Martha Egan Jackie Ericksen Eve Espy Jane & Michael Flax Diane Fleming, in memory of Robert Fleming Peter Freer, in memory of Karen McKinnon Howard & Debra Friedman Clarice Getz Drs. Robert & Maria Goldstein Mark Goodman Yvonne Gorbett Marcia Gordon Berto & Barbara Gorham Stanley & Sara Griffith Tom & Rebecca Grissom Sharon Gross Lauro Guaderrama 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 Kemp Herbert & Shelley Koffler Noel & Meredith Kopald Woody & Nandini Kuehn Stephanie & Kenneth Kuzio Mildred Langston Rebecca Lee & Daniel Rader Donald & Margaret Lenk 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, in honor of Richard White Deborah Muldawer Michael & Judy Muldawer Mark Napolin Elias Nasr Lynne Newton Rebecca Okun Bethe Orrell Richard & Susan Perry PNM Resources Rada Potts Nancy Pressley-Naimark, in memory of William Albert John Provine Jerry & Christine Rancier T.D. Raymond Ray Reeder Barbara Rivers 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 Sally Schwartz Gretchen Seelinger Frederick & Susan Sherman Camille Sherwood Ronald Shettlesworth Beverly Simmons Robert Simon Rich & Eileen Simpson Walt & Beth Simpson Gary Singer, in memory of Kathleen Singer

George & Vivian Skadron William E. Snead Stan & Marilyn Stark Luis & Patricia Stelzner Dorothy Stermer Charles Stillwell Nancy Stratton Phyllis Taylor & Bruce Thomson 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 memory of Pat & Ray Harwick

PRINCIPALS CIRCLE

Donation of $125–$499 James & Allison Abraham Harro & Nancy Ackermann Marsha Adams 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 Leonard & Stephanie Armstrong Janice J. Arrott David Baca Jackie Baca & Ken Genco Renee Baca Sally Bachofer Genevieve Baker Olive Baker-Brown Jan Bandrofchak & Cleveland Sharp Graham Bartlett Harold & Patricia Baskin Steve & Nancy Bassett Ellen Bayard Edie Beck Jennifer & Mike Benson Mark & Beth Berger Marianne Berwick Lorraine Beverley Judith Binder Black Dog Printing Michael Blackledge, in memory of our colleague Robert O. Woods, from the Last Thursday Book Club of Albuquerque Elaine Bleiweis & Karen Hudson, in memory of Blossom Kite Kelly Block James & Ann Bresson

continued on 34

The New Mexico Philharmonic

nmphil.org

DONOR CIRCLES . continued from 33 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 Nancy Brunson Marcia Bumkens Lee Calderwood Caliber’s Safe Store 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 Jane & Kenneth Cole Donna Collins 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 Jasha Cultreri Edward Curtis & Alfred Papillon Stephen & Stefani Czuchlewski Paul & Kathleen Deblassie 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 Reverend Suzanne & Bill Ebel Gary Echert Kathleen Economy Arthur & Lindsay Edelhoff Michael & Laurel Edenburn Jeffrey Edgar Etta Eggleston, in memory of Bill Albert Paul & Cathrine Eichel The Eichel Family Charitable Fund Richard & Mildred Elrick Jay Ven Eman Robert & Dolores Engstrom Darlene Evers David & Frankie Ewing Peggy Favour Helen Feinberg Howard & Deonne Finkelstein 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 Maureen Fry 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 Thomas & Linda Grace Brad Gravelle Paul & Marcia Greenbaum Peter Gregory Justin M. & Blanche G. Griffin Ginger Grossetete Mina Jane Grothey Livonna Gunn Robert & Elene Gusch Kenneth Guthrie & Doni Lazar Ruth Haas Fletcher & Laura Hahn Lee & Thais Haines Leila Hall, in memory of Samuel Hall 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 & Anthony Lazzaro Douglas & Joyce Hilchie Pamelia Hilty (Snow Blossom Gift Fund) Beate Hitzler Nina Hobbs Laura Hoberg Toppin & Robert Hodge Ulton & Jean Hodgin Kiernan Holliday Melissa Holt Bernhard E. Holzapfel Elizabeth Hoobler Nancy Kay Horton Gina Hughes Janet Humann Bryan “Lance” & Debrah Hurt Paul Isaacson John & Clarice Jenkins Judith Jilek Christopher & Venessa Johnson Lawrence & Anne Jones Nancy Joste Robert & Mary Julyan 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

2021/22 Season / Volume 10 / No. 5

James & Helen Knoll Nancy Koenigsberg, in memory of Beatriz Mitchell Bernadette Koh Maria & Asja Kornfeld Tom & Kathy Korte Phil Krehbiel Jennifer C. Kruger Denise Krupka-Andersen Karen Kupper Drew Lamprich Jeffery & Jane Lawrence Wes & Dawn Leach Mary E. Lebeck Jae-Won & Juliane Lee LeRoy Lehr & Veronica Reed Matthew Lemelin Susan Lentz Joe & Pam Limke Robert Lindeman & Judith Brown Lindeman John Linder & Margaret Chaffey Claire Lissance William & Norma Lock Dale & Linda Lockett Betty Logan Gebhard Long Karen Long Daniel Lopez & Linda Vigil Lopez Joel Lorimer Bruce & Leslie Loughridge Frank & Judy Love Suzanne Lubar & Marcos Gonzales, in memory of Larry B. Lubar Joan M. Lucas Sam Lucero & Ron Lahti Ruth Luckasson & Dr. Larry Davis, in memory of Dr. Alfred Watts Robert Lynn & Janet Braziel 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 Sallie McCarthy 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 Rosemary Monte Robert & Phyllis Moore Jim & Penny Morris Baker H. Morrow & Joann Strathman Cary & Eve Morrow Eugene & Janel Moya

Sharon Moynahan & Gerald Moore Nancy Murray Charles Myers Albert & Shanna 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 Erma Pacheco Lawrence Pearsall Michelle Pent Maria Pereyra & Timothy Berkopec Elizabeth Perkett Shea Perry Lang Ha Pham & Hy Tran Judi Pitch Placitas Artists Series James Porcher Karla Puariea Regina & Daniel Puccetti Caroline Pultz Dan & Billie Pyzel Therese Quinn Jane Rael Colby Reddoch Robert Reinke Lilith Ren Carol Renfro Tim Renk Lee Reynis & David Stryker Kay Richards Johanna Rijken Erika Rimson & David Bernstein John Robbenhaar Shelley Roberts & Dewey Moore Justin Robertson Peggy Rodriguez Joseph Roesch Justin & Erica Roesch, in honor of Steve & Maureen Baca John & Faye Rogers Catalin Roman Jeffrey Romero Glenn & Amy Rosenbaum Jeffery & Cynthia Ross Sofya Rubinchik John Salas Randy & Carla Salazar Renee Sandoval Sarafian’s Oriental Rugs Laura Scholfield Leigh Schultzberger Kathleen Schulz Timothy Schuster Marc Scudamore & Brigitte Schimek Thomas Seamon Meryl & Ron Segel, in honor of Joan Zucker’s retirement Daniel & Barbara Shapiro Joe Shepherd Ronald & Lisa Shibata

DONOR CIRCLES .

Beverly Simmons 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 Sport Systems 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 Rogan & Laurie Thompson Sue Ann Thompson Natalia Tikhovidova Marvin & Patricia Tillery Craig Timm & James Wilterding Barbara Timmcke Laurence Titman Valerie Tomberlin John Tondl Gehron & Michelle Treme John Trotter Leonard & Mary Joan Truesdell Nathaniel Tully Sean Umstead Arthur Vall-Spinosa & Sandra Louise Nunn 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 & Laurel Welch Jamie Welles Margaret Wente Jeremy Weserich Leslie White Marybeth White Ellen Whitman Bronwyn Willis Phyllis Wilson Marla Wood Peng Yu, in honor of Steve & Maureen Baca 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 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 Pedro & Yvonne Baldonado Fred & Jan Bales Adam Banks Sarah Barlow Ron Barnes Therese Barts Susan Beard Judy Bearden-Love Fred L. Beavers Michael Beerman David & Betty Begeal Michael Bencoe Benevity Fund Kirk & Debra Benton Dorothy & Melbourne Bernstein Karen Bielinski-Richardson Ursula Biggers, in memory of Rachel Jo Colvard 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 J.M. Bowers & B.J. Fisher Levi Bowman Marilyn Bowman Richard & Iris Brackett Christopher Bradley Samuel Brandt Katy Braziel & Elizabeth Doak John Brooks Dana Brown, in memory of Karen McKinnon Fred Bunch & Betty Tichich Elaine Burgess Hank & Miriam Burhans Elizabeth Burki Robert & Marylyn Burridge Douglas & Ann Calderwood Louise Campbell Zachary & Judy Cannon Deirdre Caparoso Luana Carey, in honor of Carolyn Quinn & John Crawford David & Laura Carlson James Carroll Joseph Cella

Thomas Chacon Dennis Chavez Development Corporation Nina Chavez Cheesecake Factory Douglas Cheney Barry Clark James & Pauline Clements Tammy Cobb Randall & 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 Merrick & Leigh Ann Dean Kurt & Yvonne Deshayes Winnie Devore John & Helene Dickel Carol Diggelman Mary Lou Dobbs Thomas & Elizabeth Dodson Marcy Dorchester, in memory of Mom Gregory Doudnikoff James & Julie Drennan Barbara Druxman, in memory of Dr. Larry Lubar Michael & Jana Druxman Elizabeth Dwyer Linda Eaton Helene Eckrich Lester & Eleanor Einhorn Scott Elder, in memory of Karen McKinnon Bradley Ellingboe Maya Elrick Roger C. Entringer Jane Farris, in honor of Brent & Maria Stevens John Adam Farris Howard Fegan Helene Fellen, in honor of Larry Lubar Ella J. Fenoglio Irene Fertik John Fielder David Fillmore Mary Filosi Alan & B.J. Firestone Sally Fish Joy Fishel-Eaton James Fisk Rabbi Arthur Flicker Blake & Liz Forbes Walter & Beverly Forman Chris Foster Margie Frey David Friede, in memory of Karen McKinnon Ron Friederich Greg & Jeanne Frye-Mason Liam Frye-Mason Anne Galer

Adele Galuhn Barbara Garcia, in memory of Janie Mossman Carolyn Garcia Yolanda Garcia W. Michael Garrett, MD Walter Gerstle 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 Kevin & Teresa Grunewald Kirk & Jan Gulledge Charles & Betsy Gunter Birgitta Gustafson, in honor of Richard White J. Michele Guttmann Herman Haase Geoff Habiger Helen Hale Anne Hallett Michele Handschuh, in memory of Linda Bolvin 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 Heidi Hilland Glenn & Susan Hinchcliffe Fred Hindel Margaret Hoemeke Nancy Hoffman Kory I. Hoggan, CPA Diane Holdridge Thomas & Linda Holley Steven Homer Theresa Homisak Thomas & Mary Ann Horan Stanley & Helen Hordes Virginia Horner Adelia Humme Anthony & Susan Hunt Ralph & Gay Nell Huybrechts Constance Hyde & James Houle Claudia Isaac James & Kristin Jackson Linda James, in memory of Salley Shaffer Mullis Jerry & Diane Janicke Michael & Sandra Jerome John P. Johnson

continued on 36

The New Mexico Philharmonic

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DONOR CIRCLES . continued from 35 Lori Johnson Daniel & Carol Jones Elena Kalinina John & Julie Kaltenbach Paul Karavas Joyce Kaser Grace Keenan Janet & Michael Keller, in memory of Blossom Kite Margaret Keller Nancy Kelley Jamie Kerestes, in memory of Bruce Allyn Wicklund Todd Kersting Robert Key J. Dianne Keyson Chris Killion Sandra King Barbara Kite, in memory of Blossom Kite Ralph & Heather Kiuttu Barbara Kleinfeld, in memory of Karen McKinnon Charles Knoblauch Karen Knoll Gerald Knorovsky Philip Kolehmainen Katherine Kraus Deborah Krichels John & Gretchen Kryda Mark Kunzman 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 Marc Limmany Byron Linsey Carl & Sheila Litsinger Laurence & Patricia McMananman Loucks Betty Louise Lovering Richard & Mary Loyd Cheryl Lucero Roger Lucero Bob & Maureen Luna, in memory of Robert O. Woods Carol Madden Douglas & Willie Madison J.W. Madison Frank Maher Ronald & Monica Manginell Nicolle Maniaci & John Witiuk Frederic & Joan March Martha Marchand Shila Marek Walton Marshall Salvatore T. Martino John & Alice Massey Jennifer Mastripolito Stephen & Janice Matthews Lynne Anne Maxwell William & Claire Maxwell Marcia McCleary

Monica McComas Margaret McDonald Thomas McEnnerney David & Jane McGuire Eugene McGuire & Rosemary Hunter Jason & Tracy Mechenbier Joyce Mendel, in memory of Robert O. Woods Shannon Merewether Tony Mergist Thomas Merlan & Frances Levine Sterrett & Lynette Metheny Patricia Meyer Mary Louise Miller Natalie Miller Robert F. Miller Carol Mills Barbara Mitchell, in memory of Karen McKinnon Beatriz Mitchell Bryant & Carole Mitchell Germaine Mitchell Paul Mitchell Dr. William Moffatt Roy Morgan Letitia Morris Shirley Morrison John Morrow & Harriette Monroe Marilyn Morton Karen Mosier & Phillip Freeman John & Patsy Mosman Peter Mostachetti 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 Ruth Okeefe Joseph Opuszenski Ray & Wendy Orley Ricardo Ortega Mary Ann Osley Randolph Ott & Katherine Ott-Warner Melinne Owen William Owen Eric Parker Mark & Diane Parshall Howard Paul Honorine Payne PayPal Giving Fund Deborah Peacock & Nathan Korn Jennifer Pedneau Brian Pendley

2021/22 Season / Volume 10 / No. 5

Mike Peterson Gail Philippi Barbara Pierce Martin & Cathryn Pokorny Helen Priest Mary Ramsey Russell & Elizabeth Raskob Henry Rau David & Tracey Raymo The Remedy Day Spa Kerry Renshaw Diane Reuler Kevin & Jacqueline Reynolds Judith Ribble & Clark Bussey George & Sheila Richmond 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 SandovalMartinez Warren Saur Peggy Schey David & Marian Schifani James & Janet Schippers Sherry Schwitz Justine Scott Laurel Sharp & David Smukler Edith Sheets Arthur & Colleen 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 Catherine Smith-Hartwig Chandler Smith-Stetson, in memory of Lynn Harrel Karen Smoot Lillian Snyder

Cynthia Sontag 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 & Lois Ann Stanton Lauren Starosta Ronald & Patricia Stauber Charlie & Alexandera Steen Theodore & Imogen Stein Frances Steinbach Elizabeth C. Stevens Joel & Kari Stevenson Stone Age Climbing Gym Rea & Val Stover, in memory of Jean Bridgers Janice Strand Kathleen Stratmoen Arthur Stuart Mary Stumph Michael & Virginia Sullivan Gary & Rosalie Swanson William Swift Peter & Mary Tannen Herbert & Ingeborg Farny Taylor, in honor of Julie Kavet Jeffrey & Georgeann Taylor John Taylor Ronald Taylor Roy & Enid Tidwell Julie Tierney John Tischhauser Sue Toigo, in memory of Karen McKinnon Dr. Steven Tolber & Louise Campbell-Tolber Jacqueline Tommelein Dean Tooley John Torczynski Marian Towne Trader Joe’s John & Karen Trever Mary Trimbell Linda Trowbridge Frank & Claire Trujillo Theodoro Trujillo & Sue Bradigan-Trujillo Doug Van Loan Yvonne Venti Kathleen Verhage Wolfgang & Patricia Vogt Robert Walston Jerre Walterscheid Caren Waters Anna Watkins Elaine Watson 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 Roland & Wendy Wiele Robert & Amy Wilkins Kathleen Wilson David Winter & Abagail Stewart Margaret Wolak & Angelo Tomedi 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 Teresa Zanetti Kenneth & Barbara Zaslow Andrew & Lisa Zawadzki Michael & Jeanine Zenge Charles & Nancy Zimmerman Alvin Zuckert & Louise Martin, in memory of Sam & Mimi Zuckert Michael & Anne Zwolinski 2/22/2022

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DONOR CIRCLES .

New Mexico Philharmonic Foundation DONORS & TRUSTEES The McKinnon Family Foundation Charles, Trustee & Eugenia Eberle Lee Blaugrund Barbara Rivers, Trustee Thomas Martin, Trustee & Cynthia Phillips Robert & Frances Fosnaugh Stephen, Trustee & Maureen Baca Estate of Marian Ausherman Chavez Christine Kilroy Dr. Dean Yannias William E. Cates Mary Baca (aka Betty) Ann & Robert Boland David Northrop John & Karen Schlue Robert Milne Susan Spaven Thomas & Edel Mayer Jerald Parker Richard VanDongen Tyler M. Mason Scott & Carol Schaffer George Thomas Jonathan Hewes Richard Zabell & Teresa Apple Henry & Jennifer Bohnhoff Scott Obenshain Sydney (Al) & Melissa Stotts Thomas & Ann Wood Alice J. Wolfsberg Charles & Judith Gibbon Bob & Greta Dean Clarke & Mary Cagle Clifford Richardson III Dorothy M. Barbo Elisa Kephart Heinz & Barbara Schmitt Howard & Debra Friedman Ina Miller Jacquelyn Robins James O’Neill Jay Rodman & Wendy Wilkins Jim Zabilski & Sue Johnson Joel & Sandra Baca John Rogers Justin Griffin Kenneth Conwell II Krys & Phil Custer Mike & Blanche Griffin Peter & Judy Weinreb Robert & Jean Gough Sonnet & Ian McKinnon W. Pierce & Joyce Ostrander Marlin E. Kipp Thomas & Greta Keleher Letitia Morris Christine Sauer Charlotte McLeod David Espey Denise Fligner & Terry Edwards Edward Rose Frances Koenig Jeff Romero John Homko

The New Mexico Philharmonic

Ken & Diane Reese Martha Egan Michael & Judy Muldawer Michael Dexter Michael Wallace Nancy Scheer Neda Turner Sharon Moynahan & Gerald Moore Susanne Brown Thomas M. Domme Volti Subito Productions Anonymous Judith & Thomas Christopher Betsy Nichols Bruce Thompson & Phyllis Taylor Maria Stevens Mary E. Lebeck Shelley Roberts Bob Crain Carol Diggelman Christopher Calder & Betsey Swan John & Julie Kallenbach Jeffrey West John & Patricia Stover Leonard Duda Martha A. Miller Stan & Gay Betzer Edie Beck Fran DiMarco Geri Newton James Sharp & Janice Bandrofchak Jeffery & Jane Lawrence Karen Lanin Lawrence & Anne Jones Leonard & Stephanie Armstrong Rae Lee Siporin Robert Bower & Kathryn Fry Douglas & Dianne Bailey Elizabeth Perkett Fletcher & Laura Hahn Gruia-Catalin Roman Harry & June Ettinger Helen Feinberg Jeffrey Bridges Kay F. Richards Lawrence & Katherine Anderson Lillian Snyder Martin & Ursula Frick Peter & Mary Tannen Robert & Rebecca Parker Stephen Schoderbek Thomas & Elizabeth Dodson Thomas Roberts & Leah Albers Donald & Carol Tallman Rosario Fiallos Andrea Kilbury Carl & Jeannette Keim Charles & Ruth Snell David & Cynthia Nartonis Gerald Knorovsky Linda McNiel Marilyn Bowman Ray Reeder Robert & Linda Malseed William & Cynthia Warren Bruce Miller Charles & Linda White Daniel T. O’Shea John Vittal David Peterson 505 Southwest Auto Alfred & Patricia Green

Barbara L. Daniels Betty Max Logan Betty Tichich Cary & Evelyn Morrow Charleen Bishop Dale Webster David & Marilyn Novat Deborah Peacock & Nathan Korn Diana Zavitz Dolores Teubner Dr. William Moffatt Drina Denham Drs M. Steven Shackley & Kathleen L. Butler Elizabeth Davis Marra Gary & Nina Thayer George & Sheila Richmond Harold & Darlene Van Winkle Helene Chenier Henry Kelly J. Sapon & Allison Gentile James & Ann Breeson Jerry & Susan Dickinson Jo Ellen Head John Bowers & B.J. Fisher Joseph Shepherd & Julie Dunleavy Judith Roderick Julia Kavet Julianne Stangel Jeff & Karen Duray Karen Halderson Karla Puariea Kevin & Laurel Welch Kiernan Holliday L.D. & Karen Linford Lana Wagner Linda R. Zipp MD Liza White Marc & Valerie Woodward Marian Schreyer Marta Terlecki Marvin & Patricia Tillery Matthew Roberts Michael & Sandra Jerome Michael Pierson & Jane Ferris Ninon Adams Olinda Chavez Paul Isaacson Peter Gregory Richard & Dolly O’Leary Rita Leard Robert & Toni Kingsley Robert Chamberlin Ronald & Sara Friederich Salvatore Martino Samuel & Laila Hall Sarah Barlow Vicky Estrada-Bustillo Walter & Allene Kleweno, in memory of Pegg Macy Richard & Marian Nygren Hareendra & Sanjani Kulasinghe Robert & Phyllis Moore Stephen & Merilyn Fish Margaret Lieberman Alexandra Steen Allison Gentile Alvin Zuckert Andrea Granger Andrew & Lisa Zawadzki Andrew McDowell & Natalie Adolphi Basil Korin

Beverly Simmons Cristina Pereyra Elen Feinberg Frederic & Joan March Genevieve Davidge Jeffrey G. Allen John & Nancy Garth John & Sherry Schwitz Judith Anderson Kathleen Stratmoen Kenneth & Barbara Zaslow Luana Ramsey Mary J. Zimmerman Michael & Lisa Scherlacher Stephanie Kauffman Theresa Homisak Ann Bresson Mark Curtis Edgarton (E.R.) Haskin, Jr. Dante & Judie Cantrill Lori Johnson Barbara Killian Gary Mazaroff Julie Kaved Arthur Flicker Christopher Behl Elizabeth Stevens Henry Daise Mary Compton Melbourn & Dorothy Bernstein Noel Pugach Arthur Alpert Martha Corley Edward & Carol Ann Dzienis 2/19/2022

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nmphil.org

CONCERT SCHEDULE

Thank You for Your Generous Support

Legacy Society

Volunteers, Expertise, Services, & Equipment

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.

The New Mexico Philharmonic would like to thank the following people for their support and inkind donations of volunteer time, expertise, services, product, and equipment. CITY & COUNTY APPRECIATION

APRIL 23, 2022, 6:00 PM

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

MAY 20, 2022, 10:45 AM

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

MAY 21, 2022, 6:00 PM

(505) 323-4343 nmphil.org 38

2021/22 Season / Volume 10 / No. 5

Don & Cheryl Barker Mike & Blanche Griffin Graham Bartlett Ron Moya Steve Sandager 2/19/2022

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Giving for the future

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 2/19/2022

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NMPHIL .

Sponsors & Grants

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.

Sound Applause

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

The Verdes Foundation verdesfoundation.org

GARDENSWARTZ REALTY

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

The New Mexico Philharmonic

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New Mexico Philharmonic Program Book • 2021/22 Season • Volume 10 • No. 5

Articles inside

Guest Artists

Meet the Musicians

Steinway Society

Program Notes

Krzysztof Zimowski

Roberto Minczuk