SEP25SEP16 2022/23nmphil.orgSEASONOCT15 OCT16 22/23VOLUME11/NO.1
The NMPhil will continue to greet you at Popejoy Hall performing our classical concerts series as well as three exciting Rock & Pops concerts. Our partnership with Immanuel Presbyterian Church continues, and we will present our Afternoon Classics, Coffee Concerts, and in December, our winter festival celebrating the holidays in this magnificent space.
Speaking of changes, Maureen and Marian have new titles, consistent with the best practices across United States orchestras. Maureen will be titled Board Chair and Marian will be President. Our dedicated work for you as members of the senior leadership team of the NMPhil will continue as always.
Marian Tanau Maureen Baca President & CEO Board Chair
We are delighted to share two key business facts with you. The results of the surveys completed this summer by all our audiences continue to show your support for what we do: The NMPhil earned 97.1 percent for artistic excellence and 94.7 percent for overall satisfaction, marking seven seasons in a row at world-class levels! We are honored and humbled to have this level of endorsement from you.
WELCOME TO YOUR NMPHIL’S 11TH SEASON!
We are happy to welcome our new musicians who are joining the NMPhil as a result of national auditions we held throughout the previous season. The new musicians are Heidi Deifel, Violin; Jonathan Flaksman, Assistant Principal Cello; Ian Mayne-Brody and Elizabeth Purvis, Cello; Zachary Bush, Principal Bass; Lauren Keating, English Horn; Ivan Valbuena, Principal Clarinet; Cory Tamez, Bass Clarinet; and Maria Long, Assistant Horn.
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) 323-4343DWAYNE&LauraLONGENBAUGHMARJORIEChang Principal viola Laura Steiner violin 2022/23 Season / Volume 11 / No. 12
The second business fact: The New Mexico Philharmonic Foundation, entering its fifth year, has a corpus of more than $2,000,000 with the hope to increase it to $2.5M by the end of this season. The Foundation, a separate organization and legal entity, exists to ensure the long-term stability, future growth, and permanence of your NMPhil and for that we thank the Foundation, its board, and donors. We are honored to continue leading your NMPhil, along with our Music Director Roberto, and are delighted to be launching this season with the NMPhil in solid fiscal and physical health.
Every one of us—musicians, staff, board, and volunteers— is happy to be back with you creating the great music that continues to make the NMPhil the backbone of our state’s performing arts. It’s a true joy for all of us to continue to live out our mission of enriching lives through music following our values of responsibility, excellence, and service.
The clouds of the pandemic are clearing as we look forward to an exciting season together through music. I am so happy to be starting our 12th year and my 6th season as your music director. I cannot say often enough how honored I am to be with you and to make music with this amazing orchestra. This season, we will have many highlights: our Tchaikovsky Festival, the third Olga Kern International Piano Competition, new soloists, an original commission written by Ellen Reid, and more. It is always such a pleasure to lead the orchestra for you, and every musician feels the same joy playing for you. Have a great evening! Roberto Minczuk Music Director WELCOME LETTER FROM THE MUSIC DIRECTOR read full bio on page 12 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. ● TABLE OF SeptemberPROGRAMSCONTENTS16,2022Program 5 September 25, 2022 Program 7 October 15, 2022 Program 9 October 16, 2022 Program 11 Program Notes 15 RobertoARTISTS Minczuk 12 Matthew Forte 13 Cármelo de los Santos 13 Olga Kern 14 YOUR SponsorNMPHILaMusician 2 Letter from the President & Board Chair 2 Letter from the Music Director 3 Sponsors 22 Orchestra, Staff 23 Board of Directors, Advisory Board 23 Donor Circles 24 NMPhil Foundation Donors & Trustees 27 Steinway Society 28 Thank You 29 Legacy Society 29 Concert Schedule 31 NEW MEXICO PHILHARMONIC OFFICES 3035 Menaul NE #2 / Albuquerque, NM 87107 ADVERTISE TODAY Interested in placing an ad in the NMPhil program book? Contact Christine Rancier: (505) 323-4343 / crancier@nmphil.org CONNECT WITH US NMPhil Now! nmphil.vhx.tv nmphil.org 3The New Mexico Philharmonic nmphil.orgNMPHIL
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Orchestral Suite No. 4 in D Major, BWV 1069 Bach I. Ouverture II. Bourrée I/II III. Gavotte IV. Menuet I/II V. Réjouissance
COFFEE GloriousCONCERT Bach Friday, September 16, 2022, 10:45 a.m. Matthew Forte conductor Brandenburg Concerto No. 4 in G Major, BWV 1049 Johann Sebastian(1685–1750)Bach
PresbyterianImmanuelSEP16Church
MAKING A DIFFERENCE
Brandenburg Concerto No. 5 in D Major, BWV 1050 Bach I. Allegro II. Affettuoso III. Allegro
INTERMISSION
This performance is made possible by: Albuquerque Community Foundation
The New Mexico Philharmonic nmphil.org 5 CONCERT PROGRAM
Every great music program has a well-designed plan to succeed. At RBC Wealth Management, we take the same approach to helping you meet your financial needs and goals. Proud to support the New Mexico Philharmonic! The Cates Team 6301 Uptown Blvd. NE, Suite 100 Albuquerque, NM 87110 Awww.(866)998-0279(505)872-5909catesteamrbc.comdivisionofRBCCapitalMarkets, LLC, Member NYSE/FINRA/SIPC. Behind every music performance is a strategy for success Non-deposit investment products: • Not FDIC insured • Not bank guaranteed • May lose value 18-AL-502_Cates_NM Philharmonic Ad_3.5x4.75.indd 1 1/9/18 2:33 PM ADMISSION OPEN HOUSE Sunday, October 23 Now Accepting Applications for Fall 2023 (505) 828-3208 | Grades 6-12 Learn more aa.edu/admissionat ABOUTCURIOUSALBUQUERQUEACADEMY? » Explore our campus. » Meet faculty, students, and parents. » Learn about student organizations. » Enjoy performances. » Get details about admission and tuition assistance for the 2023-24 school year. We are curious about you, too!
Violin Concerto No. 3 in b minor, Op. 6 Camille (1835–1921)Saint-Saëns Tombeau de Couperin Maurice Ravel I. Prélude (1875–1937)
PresbyterianImmanuelSEP25Church
AFTERNOON CármeloCLASSICS Plays Saint-Saëns
II. Forlane III. Menuet IV. Rigaudon INTERMISSION
II.
Symphony No. 35 in D Major, “Haffner,” K. 385 Wolfgang Amadeus Mozart I. Allegro con spirito (1756–1791) Andante III. Menuetto IV. Presto MAKING A DIFFERENCE This performance is made possible by: Meredith Foundation
The New Mexico Philharmonic nmphil.org 7 CONCERT PROGRAM
Sunday, September 25, 2022, 3 p.m. Forte conductor Cármelo de los Santos violin
Matthew
Le
The Olga Kern International Piano Competition (OKIPC) is dedicated to providing a venue for young pianists to develop international careers through a competition that is recognized globally for its value and excellence. Join us for the 2022 Competition in Albuquerque, New Mexico, USA, for the following IN-PERSONevents:SECOND ROUND October 23–October 25, 2022 SEMIFINAL ROUND October 27, 2022 FINAL ROUND October 29, 2022, Popejoy Hall With the New Mexico Philharmonic AWARDS CEREMONY & WINNERS’ RECITAL October 30, 2022 MORE olgakerncompetition.orgINFO
Saturday, October Onegin Ilyich Concerto No. 1 in b-flat minor, Op. 23 Tchaikovsky Allegro non troppo e molto maestoso—Allegro con spirito Andantino I Allegro con fuoco—Molto meno mosso—Allegro vivo Kern
INTERMISSIONpiano
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Symphony No. 4 in f minor, Op. 36 Tchaikovsky Andante sostenuto—Moderato con anima—Moderato assai, quasi Andante— Allegro vivo Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco
semplice—Prestissimo—Tempo
III.
Olga
TALK
IV.
MAKING A DIFFERENCE This performance is made possible by: Computing Center Inc. Additional support is provided by: French Funerals & PRE-CONCERTCremations Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin Hall
II.
Pyotr
PopejoyOCT15
TCHAIKOVSKY FESTIVAL Olga Plays Tchaikovsky
15, 2022, 6 p.m. 5:00 p.m. Pre-Concert Talk Roberto Minczuk Music Director Olga Kern “Polonaise”pianofrom Eugene
The New Mexico Philharmonic nmphil.org 9 CONCERT PROGRAM
III.
II.
I.
Tchaikovsky(1840–1893) Piano
“WHERE WORDS FAIL, MUSIC SPEAKS.” —HANS CHRISTIAN ANDERSON PROUD TO BE SUPPORTING THE NEW MEXICO GardenswartzPHILHARMONICRealty GARDENSWARTZ REALTY
I. Scene [Act II, No. 10] (1840–1893)
TCHAIKOVSKY TchaikovskyFESTIVAL Sublime
VI. Scene et Finale [Act IV, No.INTERMISSION29]
Selections from Swan Lake Suite Op. 20a Pyotr Ilyich Tchaikovsky
This performance is made possible by: Computing Center Inc. Additional support is provided by: The Cates Team/RBC Wealth PRE-CONCERTManagementTALK
V. Czardas: Danse hongroise [Act III, No. 20]
Roberto Minczuk Music Director Hall
Sunday, October 16, 2022, 3 p.m. 5:00 p.m. Pre-Concert Talk
The New Mexico Philharmonic nmphil.org 11 CONCERT PROGRAM
Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin
PopejoyOCT16
II. Valse [Act I, No. 2] III. Danse des cygnes [Act II, No. 13, Variation IV]
Symphony No. 5 in e minor, Op. 64 Tchaikovsky I. Andante—Allegro con anima—Molto più tranquillo II. Andante cantabile, con alcuna licenza III. Valse. Allegro moderato IV. Finale: Andante maestoso—Allegro vivace—Meno mosso
MAKING A DIFFERENCE
IV. Scene [Act II, No. 13, Variation V]
2022/23 Season / Volume 11 / No. 112ARTISTS
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. ● 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’sHighlightshistory.ofMinczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires. A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked 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.
Cármelo de los Santos violin Brazilian-born violinist Cármelo de los Santos enjoys an exciting career as a soloist, chamber musician, and pedagogue. From his extensive concerto experience to his most recent performances of the 24 Caprices by Paganini and the sonatas and partitas of Bach, his virtuosity and commitment to communicate the essence of music captivate audiences worldwide. Cármelo has performed as a guest soloist with more than 40 orchestras, including the New World Symphony, Santa Fe Pro Musica, the Santa Fe and New Mexico Symphonies, the Montevideo Philharmonic, Orquestra Musica d’Oltreoceano (Rome), and the major orchestras in Brazil. Cármelo is a winner of several international competitions including the 4th Júlio Cardona International String Competition (Portugal). In 2002, Cármelo made his New York debut as soloist and conductor in Weill Recital Hall at Carnegie Hall with the ARCO Chamber Orchestra. Cármelo is an Associate Professor of Violin at the University of New Mexico, Albuquerque, and plays on an Angelo Soliani violin, 1791. ● Mexico
Philharmonic nmphil.orgARTISTS13
Matthew Forte conductor Matthew Forte was Director of Orchestral Studies at the University of Toledo, where, in a three-year tenure, he more than doubled the size of the University of Toledo Symphony Orchestra, increasing that ensemble’s artistic standards and its visibility throughout the Midwestern United States. Concurrent to this post, Matthew served on the conducting staff of the Toledo Symphony—where his primary duties involved conducting the Toledo Symphony Youth Orchestras—and as one of the conductors of the Greater Toledo International Youth Orchestra— an organization with which he began an initiative to bring chamber orchestra music to diverse and underserved communities in downtown Toledo. Matthew has collaborated with performing arts and educational institutions throughout the U.S. He has served as cover conductor of the St. Louis Symphony, served on the faculty of Grand Valley State University, and, as a composer, has had works premiered by Glass City Singers, Musique 21, and the Pittsburgh New Music Ensemble, among others. He is likewise in regular demand as a clinician and teacher of young musicians throughout the country. In the summer months, Matthew works with young musicians at Sitka Fine Arts Camp, in Sitka, Alaska, one of the most prestigious preparatory music camps in the United States. He likewise maintains an active association with the Aspen Music Festival and School, where he collaborates frequently with the AMFS Department of Education and has served as guest faculty since 2016. He received his Bachelor’s degree, summa cum laude, from the Hartt School of the University of Hartford, where, upon graduation, he received the Belle K Ribicoff Prize for academic excellence; his Master’s and Doctoral degrees were earned at Michigan State University, where he was a Rasmussen Fellow and served as music director of the Michigan State University Concert Orchestra, work for which he received the 2017 MSU Distinguished Teaching Citation. ● continued on 14
The New
Olga Kern piano With a vivid onstage presence, dazzling technique, and keen musicianship, Russian-American pianist Olga Kern is widely recognized as one of the great artists of her generation, captivating fans and critics alike. She was born into a family of musicians in Russia and began studying piano at the age of 5, and at 17 was awarded First Prize at the Rachmaninoff International Piano Competition. In 2001, she jump-started her U.S. career, winning a historic Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas—the first woman to do so in more than thirty years. A Steinway Artist, Ms. Kern is a laureate of a number of international competitions. In 2016, she was Jury Chairman of both the Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director. In coming seasons, she will continue to serve on the juries of a number of other high-level competitions. Ms. Kern frequently gives master classes and since 2017 has served on the piano faculty of the Manhattan School of Music. In 2019, she was appointed the Connie & Marc Jacobson Director of Chamber Music at the Virginia Arts Festival. Highlights of the 2019/20 season included performances with the Allentown Symphony, Grand Rapids Symphony, Baltimore Symphony Orchestra, Colorado Symphony, Toledo Symphony Orchestra, New Mexico Philharmonic, and the New West Symphony. She also appeared as continued from 13 a soloist on a U.S. tour with the National Symphony Orchestra of Ukraine and gave recitals in Orford, Sunriver, Fort Worth, Carmel, and San Francisco. Kern has performed with many prominent orchestras, including the Moscow Philharmonic, St. Louis Symphony, Pacific Symphony, Baltimore Symphony, Detroit Symphony, and the National Symphony Orchestra (Washington, D.C.), as well as the São Paulo Symphony Orchestra, Iceland Symphony, Nordwestdeutsche Philharmonie, Tokyo’s NHK Symphony Orchestra, and the National Youth Orchestra of China, which marked her Chinese debut. She was also a featured soloist on U.S. tours with the Royal Philharmonic Orchestra and the Royal Scottish National Orchestra, and during the 2017/18 season served as Artist-inResidence at the San Antonio Symphony. Ms. Kern’s discography includes a Harmonia Mundi recording of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman; her Grammynominated disc of Rachmaninoff’s Corelli Variations and other transcriptions; and Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit. Other notable releases include Chopin’s Piano Sonatas Nos. 2 and 3, and, more recently, Sony’s release of the Rachmaninoff Sonata for Cello and Piano with Sol Gabetta. Ms. Kern is also featured in award-winning documentaries about the 2001 Cliburn Competition: Playing on the Edge, They Came to Play, and Olga’s Journey. ●
2022/23 Season / Volume 11 / No. 114ARTISTS
This kind of concerto for multiple solo instruments, along with the Second and Fifth Brandenburg Concertos, belongs to a category known as the concerto grosso (large concerto), a genre that harkens back to compositions of the same name by Arcangelo Corelli (1653–1713). Works of this type place a solo group of instruments (concertino) that contest with the string orchestra (ripieno) and basso continuo group (bass instruments and harpsichord).
DAVID B. LEVY Johann Sebastian Bach Brandenburg Concerto No. 4 in G Major, BWV/S. 1049 (c. 1719–1720)
Notes
Program
The Six Concerts à plusieurs instruments, as the dedicatory letter to the Margrave of Brandenburg of 1721 calls them, are known collectively as the Brandenburg Concertos. Each concerto is scored for a different group of instruments. The Brandenburg Concerto No. 4 calls for a solo group comprising violin and 2 recorders (often played on modern flutes), accompanied by strings and the basso continuo group.
The German musicologist Wolfgang Schmieder published a Bach Works Catalogue (BWV=Bach Werke Verzeichnis) in 1950 (it was updated and enlarged in 1990). Unlike Ludwig Köchel’s more famous catalogue of Mozart’s music, the Schmieder work is not arranged in chronological order, but rather by type of work. One often sees works by Bach on printed programs identified by its “BWV” number. Some writers, however, choose to give Herr Schmieder his due recognition by writing “S.” ● Johann Sebastian Bach Orchestral Suite No. 4 in D Major, BWV/S. 1069 (c. 1725) Bach composed four Orchestral Suites, or Overtures, for orchestra. The festive Suite No. 4, which probably dates from 1730 based on the dating of the surviving parts, calls for an orchestration of 3 oboes, bassoon, 3 trumpets, timpani, strings, and the basso continuo group. Bach wrote many solo concertos and concerti grossi that during his period of employment as Kapellmeister for the orchestra of the Prince of Anhalt-Cöthen (1717 to 1723). It is possible, although not known with any certainty, that one or more of his orchestral suites also date from this period. Another likelihood is that they were composed during the final stage of Bach’s career in Leipzig, perhaps to add festivity to important civic occasions. Lacking autograph scores in Bach’s hand, the origin of these works remains open to speculation. A suite in the Baroque era indicated a set of dances, and works with this title, or its counterpart, partita, often included an allemande, courante, sarabande, and gigue. Many examples of suites also included other dances. Each of Bach’s suites for orchestra opens with a grand overture in the French style. In some instances, the overture itself was nearly as long as the other movements combined. Structurally, a French overture begins with a noble first section filled with dotted rhythms followed by a fugal faster section, and a modified return to the style of the opening. Such is the case in the Suite No. 4, whose overture was borrowed from the opening chorus of his 1725 church cantata for Christmas Unser Mund sei voll Lachens (Our Mouths Be Full of Laughter). The faster middle section is in a joyful 9/8 meter, which in the cantata is sung by chorus and vocal soloists. The overture is then followed by a Bourrée (actually a pair, the second one continued on 16
An additional note regarding the ordering of Bach’s works is in order here.
The New Mexico Philharmonic nmphil.org 15 PROGRAM NOTES
The outer movements of the Brandenburg Concerto No. 4 give the violinist quite a workout, while the flutes ravish the ear in the first movement with graceful arpeggiated figuration during the ritornello sections, giving this concerto its sensuously beautiful timbre. While some of the solo passages place the flutes into the foreground, it is the violin that is put through its paces. The second movement features the three solo instruments exchanging brief passages with the ripieno orchestral group. The final movement is a kind of ritornello-fugue in which Bach demonstrates his incomparable skills in writing in imitative counterpoint.
Of the many solo concertos and concerti grossi that Bach wrote during his period of employment as Kapellmeister for the orchestra of the Prince of Anhalt-Cöthen (1717 to 1723), six of them, each calling for a different scoring, were gathered under one cover and sent to Christian Ludwig, Margrave of Brandenburg in 1721 along with a flowery letter of dedication. As best we can tell, the Margrave never had them performed, but we do know that they were played at Cöthen. These six concertos are known collectively as the Brandenburg Concertos, and the fourth of these features a solo violin and two recorders. The recorder parts work quite well when played on modern flutes. Interestingly, the autograph score reads Concerto 4to à Violino Principale, due Fiauti d’Echo, due Violini, una Viola è Violone in Ripieno, Violoncello è Continuo. Scholars aren’t sure to what the “Fiauti d’Echo” may have referred. The distinct color of each of these instruments allows the ear to follow each solo line clearly, placing the music’s intricate counterpoint in sharp relief. The most virtuoso writing, however, lies in the solo violin part, which may well have been performed by Bach himself.
Johann Sebastian Bach was born in Eisenach on March 21, 1685, and died in Leipzig on July 28, 1750. He looms as one of history’s pivotal figures whose music is venerated and admired by many composers who followed him, from Haydn to Bartók and beyond. During his own lifetime, Bach was more revered as an organist and keyboard virtuoso than as a composer. His enormous output covers virtually every genre of the Baroque era, except for opera. But even here, the drama found in much of his sacred choral music (Church Cantatas, Passions Oratorios, Magnificat, and Mass in b minor) and other works showed considerable dramatic flair.
Concerto No. 5 in D Major, BWV 1050 (c. 1719–1720)
in the minor mode), a Gavotte, a pair of Minuets, and a rousing Réjouissance with which the work concludes.
In addition, the works were considered so worthless that they were sold for a pittance when the Margrave died in 1734. However, modern scholarship suggests that a performance would have used individual parts rather than the score, that the absence of a response could simply mean that it might have been lost, and that the score was not sold, but was given a nominal value in order to assure that the Margrave’s estate was evenly divided among his heirs. Whatever the case, in the estate inventory there is no specific mention of the concertos or even of Bach’s name, but they appear to have been put in a bulk lot of 177 concertos as being worth very little, and eventually were passed on to the heirs. The set then gathered dust until 1849 when it was discovered in the Brandenburg archives. It was published the following year to mark the 100th anniversary of Bach’s death. And after all that, the manuscript was nearly lost during World War II as it was being transported for safekeeping to Prussia by train in the care of a librarian. The train came under aerial bombardment, but happily the librarian escaped unharmed into a nearby forest, with the scores hidden under his coat! ●
Just before Bach arrived in Cöthen in 1717, a new king came to the throne in Prussia—Friedrich Wilhelm I, known as the “Soldier King” because he was more interested in military matters than in artistic endeavors. He immediately disbanded the very prestigious Berlin court orchestra, which threw many fine musicians out of work, and as luck would have it, at least seven of the finest players were instantly hired by the music-loving Prince Leopold in InCöthen.1721, Bach was in his fourth year as Prince Leopold’s musical director, and all was going well until the Prince decided to marry his cousin that year. She is known to have disliked music, and we know that Bach certainly disliked her. Toward the end of March, he began to feel an urgent need to leave Cöthen, so he sent these concertos, along with a very servile dedication letter, to Margrave Christian Ludwig of Brandenburg whom he had met a couple of years earlier, and who he thought might be interested in hiring him. The meeting referred to took place in March of 1719 in Berlin, where Bach had gone to approve and bring home a marvelous new harpsichord for Prince Leopold. At the time, Bach is reputed to have played for the Margrave, who was quite impressed and requested some music to add to his meager library. Bach did so, but it is unclear why it took him two years to send the music off. Clearly, in 1721 these concertos were a reminder to the Margrave, and were meant to serve as a résumé for a new job. It was once held that the Margrave never performed the concertos—almost certainly because his instrumental forces could not handle the technical demands—and possibly never even looked at the score (remember what pristine condition it was in), and that Bach never even received an acknowledgment.
● LORI NEWMAN Johann Sebastian Bach Brandenburg
Scored for solo harpsichord, flute, violin, and strings. Approximately 21 minutes. Few works in music history are as beloved as these six instrumental concertos, which display a somewhat lighter side of Bach’s extraordinary genius. Bach thought of them as a set (even though they did not acquire their title until years later), compiling them from instrumental sinfonias and concerto movements he had already written, reworking and elaborating the music as he saw fit. Each of the six concertos requires a different combination of instruments along with some very skilled soloists. What we know indicates that these concertos were tailored for the excellent musicians that Bach had in Anhalt-Cöthen. This begs the question: How did this small, provincial town get so many first-rate performers?
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings.
2022/23 Season / Volume 11 / No. 116PROGRAM NOTES
Charles Camille Saint-Saëns was born in Paris on October 9, 1835, and died in Algiers on December 16, 1921. His long and illustrious career, then, bridged the height of French Romanticism through the birth of modernism. A prolific master in several genres, Saint-Saëns has yet to receive the full credit to which he is due. His Third Violin Concerto is dedicated to the illustrious Spanish virtuoso Pablo de Sarasate. Saint-Saëns’s Third Violin Concerto is one of the gems of the repertory. While it may not reside on the heights of the musical Olympus occupied by its peers continued from 15 … these concertos were tailored for the excellent musicians […] This begs the question: How did this small, provincial town get so many first-rate performers?
DAVID B. LEVY Camille Saint-Saëns Violin Concerto No. 3 in b minor, Op. 61 (1879–1880)
The French word tombeau (tomb) has multiple layers of meaning [ … ] these titles exist historically in pieces that are either grand or intimate.
continued on 18 The New Mexico Philharmonic nmphil.org 17 PROGRAM NOTES
Couperin, known by his contemporaries as “le grand,” was the greatest of a distinguished family of Baroque musicians. He is best known for his numerous works for the harpsichord (clavecin), many of which were published in suites (ordres), multi-movement pieces of dance-like character and adorned with fanciful titles. Couperin was also the author of an important treatise, L’art de toucher le clavecin (1716–17), a work that sheds a great deal of light on Baroque performance practice. One salient feature of Couperin’s style was the use of ornamentation (agréments), and Ravel’s music in both its original and orchestral version pays tribute to this attribute. In 1919 when Ravel transcribed his very last solo piano work for orchestra, he omitted two of its eight original movements: a toccata and a fugue. Other composers and musicians, including the American David Diamond, later made their own orchestrations of these movements. Ravel was by this point at the height of his skill as an orchestrator, having reworked his Mother Goose Suite in 1912. In 1922, he made his famous orchestration of Mussorgsky’s Pictures at an Exhibition
by Beethoven, Brahms, Mendelssohn, Tchaikovsky, and Sibelius, it lives comfortably at a less rarified altitude. Composed in 1880 and first performed on January 2, 1881, this lovely work is dedicated to the great Spanish virtuoso Pablo de Sarasate, whose influence is in full evidence throughout. Sarasate was also the man for whom the composer penned his Concerto No. 1 and the more famous and popular Introduction and Rondo Capriccioso, composed in 1863. While virtuosity may be understood to encompass rapid scales, arpeggios, and double-stops, one should not omit fullness of tone. All of these qualities are invoked in this concerto. The opening Allegro non troppo begins with a dramatic statement by the soloist on the lowest string (G) of the instrument. This lies in striking contrast to Mendelssohn, whose Violin Concerto, begins with the soloist soaring on the violin’s highest string (E). The intensity of Saint-Saëns’s theme dominates the movement, despite the sweet beauty of the lovely second theme. The second movement, Andantino quasi allegretto, is in three distinct sections and evokes the feel of a gently rolling barcarolle (a Venetian boat song). The finale begins with an accompanied cadenza (Molto moderato e maestoso), which leads uninterrupted to an Allegro non troppo of great fire and brilliance. The principal theme here again brings Mendelssohn to mind in its kinship to the finale of the “Scottish” Symphony. As arresting as the principal theme may be, audiences respond just as favorably to a hauntingly beautiful and chorale-like theme (pianissimo cantabile) that appears two times—first in the middle of the movement and again toward its end. ● Maurice Ravel Le Tombeau de Couperin (1919)
Orchestrated for 2 flutes (one doubling piccolo), 2 oboes (one doubling English horn), 2 clarinets, 2 bassoons, 2 horns, trumpet, harp, and strings.
Maurice Ravel was born March 7, 1875, to parents of Swiss and Basque descent in Ciboure, Basses-Pyrénées. He died December 28, 1937, in Paris. Le Tombeau de Couperin was first conceived as a work for solo piano. Ravel orchestrated it in 1919 for use as a ballet score. It had its first performance in Paris in February 1920 with René-Emmanuel Baton (also known as Rhené-Baton) conducting the Pasdeloup Orchestra. The French word tombeau (tomb) has multiple layers of meaning, not the least of which is lament. Some works of this nature were also designated as a Deploration These philological facts are useful in understanding Ravel’s Le Tombeau de Couperin because each movement of its original version for solo piano was written to memorialize a friend of the composer who had died during World War I. Another meaning of the word is revealed by the closely related word apotheose (apotheosis), which usually indicates an homage, tribute, or glorification. Works with these titles exist historically in pieces that are either grand or intimate. Ravel’s music, like the music of the French composer whose name is evoked by its title, François Couperin (1668–1733), contains elements of both. Ravel was hardly the first composer to pay such tribute to one of his predecessors or contemporaries, and Couperin himself did so in two works titled Apotheosis in honor of Jean-Baptiste Lully and Arcangelo Corelli.
The orchestral version of Le Tombeau begins with a sprightly Prélude: Vif, which taxes the dexterity of the principal oboist with its rapid figurations. The second movement (No. 3 in the original piano version) is titled Forlane: Allegretto, the inspiration for which probably came from the last movement of Couperin’s own Concert Royal No. 4, although Johann Sebastian Bach’s Overture for Orchestra No. 1 (BWV 1066) may also have been on his mind. This is followed by a gentle Menuet: Allegro moderato (No. 5 in the piano version), a movement distinguished by its delicacy and beauty, evoking pathos in its central “trio” section. The work concludes with a vigorous Rigaudon: Assez vif, a lively folk dance from the Provençe region. ●
●
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 20 minutes. When Mozart relocated from Salzburg to Vienna in 1781, he entered into a brandnew phase of his career with a sense of fresh possibilities. The first years of adjusting to life in the imperial capital were exhausting and somewhat risky but offered the opportunity to achieve the kind of artistic and personal independence that had been impossible in his native Salzburg. This symphony is a kind of bridge work dating from his first years in Vienna, while at the same time having ties to his past in Salzburg. The “Haffner” Symphony did not begin its life as a symphony, but rather as a serenade used as background music for the ennoblement of Sigmund Haffner. The Mozarts knew the Haffners through Sigmund’s father, Sigmund Haffner the Elder, who had been mayor of Salzburg. The elder Haffner died in 1772, but the families remained in contact for some years. In 1776, the younger Haffner commissioned a serenade for the wedding of Marie Elizabeth Haffner. This became the famous “Haffner” Serenade—in effect an extended violin concerto—that was so successful that when the younger Sigmund was to be ennobled, it was only natural that Mozart was called on to write the music for the occasion. The request came through Mozart’s father, Leopold, in July of 1782, at a time when Mozart, in his own words, was “up to his eyeballs in work,” but in this instance he had no choice but to compose an entirely new serenade. Nevertheless, Mozart worked on the music, and sent it section by section to his father. This turned out to be a new serenade—a completely different work from the serenade of four years earlier—with an introductory march and two minuets. He later reworked this music into what we now know as the Symphony No. 35. At the end of 1782, Mozart decided to present music from the new serenade at a concert, and after asking his father to send the score of the serenade back again, was astonished at its high quality, given the short time in which it had been composed. So, he set to work making a number of alterations to the score in order to convert the new “Haffner” Serenade into the “Haffner” Symphony. He did this by dropping the introductory march and one of the minuets and in addition, he took out the repeat signs in the first movement’s exposition. He then gave the new symphony a fuller sound by adding two flutes and two clarinets to the first and last movements—an addition that did not include any new melodic material, but was simply a doubling of octaves within the woodwind section. When it was finished, Mozart wrote to his father, “My new ‘Haffner’ Symphony has positively amazed me, for I had forgotten every single note of it.” The new work received its first performance under Mozart’s direction in March 1783 at Vienna’s famous Burgtheater. Modern audiences will no doubt be amazed at the whole program for that concert: It consisted of the first three movements of this symphony, an aria from Idomeneo, a piano concerto, a concert aria, the concertante movements of another of his recent serenades, the Piano Concerto K. 175 with a new finale, another concert aria, an improvisation by Mozart “because the Emperor was present,” two sets of piano variations, an aria by Paisiello, an aria by Gluck, a new rondo that was sung by the soprano, and then to finish the concert, the last movement of the new symphony! Again writing to his father, Mozart summed up the concert’s success by saying, “… the theater could not have been more crowded: every box was full. But what pleased me the most of all was that the Emperor was present and goodness!—how delighted he was and how he applauded me!”
CHARLES GREENWELL Wolfgang Amadeus Mozart
—Wolfgang Amadeus Mozart continued from 17 2022/23 Season / Volume 11 / No. 118PROGRAM NOTES
DAVID B. LEVY Pyotr Ilyich Tchaikovsky Polonaise from Eugene Onegin (1877–1878)
Symphony No. 35 in D Major, “Haffner,” K. 385 (1782)
“My
Pyotr Ilyich Tchaikovsky was born on May 7, 1840, in Votkinsk, Russia, and died on November 6, 1893, in Saint Petersburg. He remains one of the most popular composers of all time, beloved especially for his symphonies, ballets, and concertos. His opera based on the novel by Alexander Pushkin, Eugene Onegin, was composed in 1877–1878 and received its premiere in Moscow’s Maly Theater on March 29, 1879. The Polonaise from Act III is a popular work that finds itself on concert programs. Tchaikovsky was, of course, a master composer of symphonies and ballets. Operas also engaged his attention, and Eugene Onegin, based on Pushkin’s novel of 1832, is one of the most beloved and frequently performed throughout the world. Tchaikovsky’s superb gift for melody and orchestration, as well as his familiarity with the world of dance is displayed brilliantly in the Polonaise that opens Act III of the opera. The scene is set at a festive ball in Moscow several years after the title character rejects the expression of love from Tatyana, and his killing of Vladimir Lensky in a duel in Act new ‘Haffner’ Symphony has positively amazed me, for I had forgotten every single note of it.”
Rubinstein launched into a tirade of criticism and invective (“worthless and unplayable, clumsy, badly written, many passages manufactured and guilty of plagiarism, vulgar, only two or three pages were worth preserving”) […] Tchaikovsky never really forgave him.
The soloist was the great German pianist and conductor Hans von Bülow, and the orchestra was conducted by Benjamin Johnson Lang, a pupil of Franz Liszt who lived in nearby Salem, Massachusetts. The performance was an enormous success, and even though some critics found it less than wonderful, the audience took it immediately to heart. (An interesting sidelight: When the Boston Symphony Orchestra was founded some years later, it was Lang who played the solo part in a concert given in February 1885, the first time that great American orchestra performed the work.) The work was ultimately dedicated to von Bülow, who by all accounts was ecstatic about the work when he first looked at the score.
II. In the intervening time, Tatyana has married Prince Gremin, and Onegin—too late—becomes aware that he truly loves her, but is left alone with his regrets.
●
continued on 20 The New Mexico Philharmonic nmphil.org 19 PROGRAM NOTES
Many have seen the unhappy relationship of the two principal characters as an echo of Tchaikovsky’s own ill-fated one with Antonina Miliukova. As true as this may be, there is little sign of any unhappiness as the Polonaise—a Polish dance—weaves its opulent spell.
Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 32 minutes. Because Tchaikovsky’s First Piano Concerto is among the most beloved and frequently performed concertos in any form, it is always startling to discover that it was brought into being through very negative circumstances. Tchaikovsky finished the first draft of the work in December 1874 and, not being a first-rate pianist, sought the advice of someone eminently qualified as a keyboard artist. The logical choice was his trusted colleague and mentor Nikolai Rubinstein, one of the great piano virtuosos of the day, and the man who had given the 24-yearold Tchaikovsky the post of Professor of Harmony at the Moscow Conservatory when it opened in 1865. Accordingly, the two men got together on Christmas Eve in 1874 for the express purpose of allowing Rubinstein to hear the new concerto. Rubinstein sat in stony silence as Tchaikovsky played through the entire work, and when it had ended he launched into a tirade of criticism and invective (“worthless and unplayable, clumsy, badly written, many passages manufactured and guilty of plagiarism, vulgar, only two or three pages were worth preserving”) that left the younger man stunned, unable to speak, and extremely angry. Tchaikovsky left the room and Rubinstein followed him, repeating some of his most scathing comments, and told him that if he would make wholesale revisions to the score, he, Rubinstein, would consider performing it. Whatever insecurities Tchaikovsky might have had previously seemed to vanish in the heat of this exchange, and most uncharacteristically, he shouted at Rubinstein that he would not alter a single note and would have the work published exactly as it was—and so he did. However, the work was extensively revised for its second publication in 1889, and this is the version that has been known and loved everOnesince.ofthe more interesting aspects of this story is that the work was given its world premiere not in Russia or even in Europe, but in Boston in October 1875.
CHARLES GREENWELL Pyotr Ilyich Tchaikovsky Born May 7, 1840, in Votkinsk, Russia Died November 6, 1893, in Saint Petersburg, Russia Piano Concerto No. 1 in b-flat minor, Op. 23 (1874–1875; rev. 1889)
The Russian premiere took place in Saint Petersburg in November of that year, and the Moscow premiere took place a month later with pianist/composer Sergei Taneyev as soloist. The conductor on that occasion, amazingly enough, was Nikolai Rubinstein, the very same man who had so greatly criticized the work less than a year earlier. In 1878, the breach with Rubinstein was healed to a certain extent, but only after the pianist admitted that he had been dead wrong about the concerto and agreed to make amends by playing the work all over Europe. Rubinstein had, of course, made a dreadful mistake, but for all of his later efforts on the concerto’s behalf, Tchaikovsky never really forgave him. The famous main theme of the first movement is based on a Ukrainian folk song that Tchaikovsky once heard from a street singer, and another Ukrainian folk song comes into play in the last movement. In the fast portion of the
second movement, a French chanson is alluded to, a song that Tchaikovsky and his brothers used to sing all the time in the early 1870s.
Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, triangle, and strings. Approximately 40 Tchaikovskyminutes. was an exceptionally effective composer of program (descriptive) music; his symphonic poems and ballets are prime examples. In his mind, however, there was no rigid distinction between absolute and program music: Most of his major works have a program of some sort, however hidden it may be. It was with the Fourth Symphony that Tchaikovsky came into his own as a symphonist: It was stronger, more individual, and more revolutionary than the first three. The work was completed in Venice in December 1878, and first performed in Moscow in March of the following year. The premiere was not a success, due mainly to a poorly rehearsed orchestra.
Scored for 3 flutes (one doubling piccolo), 2 oboes, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. Approximately 48 minutes. Tchaikovsky was in many ways the archetype of the Romantic artist: His personal life was filled with crises and unhappiness; he found happiness in a relatively small group of friends; he was afflicted with a chronic melancholy; he was tormented by self-doubts; and probably no composer was ever so enthusiastic about his works in the creative stage, then so unhappy about them when they were completed, and so curiously unable to recognize success when it came to him. Since the premiere of the Fourth Symphony in 1878, ten years had gone by during which time his international reputation was solidified; he decided to give up teaching in order to devote more time to composition; he began to be active as a conductor; and in which he composed four operas, including the ever-popular Eugene Onegin, the Violin Concerto, the Second Piano Concerto, the Concert Fantasy, the four orchestral
One other fascinating aspect of this saga is that in 1884 von Meck’s son Nikolai married one of Tchaikovsky’s nieces.
Pyotr Ilyich Tchaikovsky Symphony No. 5 in e minor, Op. 64 (1888)
● Pyotr Ilyich Tchaikovsky Symphony No. 4 in f minor, Op. 36 (1877–1878)
The composition of the symphony took place around the most catastrophic personal crisis in his life, namely his disastrously failed marriage. In July 1877, shortly after sketching the first three movements of the symphony, he married a young conservatory student who had shown great interest in him for some time. Tchaikovsky, who was homosexual, realized almost immediately that he had made a huge mistake, and after a short time fled to his brother’s house in Saint Petersburg. He had something akin to a nervous breakdown, made a rather pathetic attempt to commit suicide, and finally went to Switzerland to recover. It was at this time that another woman entered the composer’s life, a wealthy widow named Nadezhda von Meck. Madame von Meck first became interested in Tchaikovsky’s music the previous year. Ultimately, she provided him with a generous annual stipend on the condition that the two of them were never to meet. This extraordinary relationship lasted for some 14 years and was maintained exclusively by voluminous correspondence. On the two occasions when they accidentally found themselves in the same place, they passed by each other without speaking.
—Pyotr Ilyich Tchaikovsky from 2022/23
Overall, the pattern of the symphony as he saw it is: first movement—dejection; second movement—reminiscences both poignant and happy; third movement— intoxication; and fourth movement—joy in the happiness of others. ●
At any rate, shortly after the symphony was completed, von Meck received from Tchaikovsky a program on which the work was supposedly based. The famous brass theme with which the work begins is described by the composer as follows, and sums up the quintessence of the symphony: “This is FATE, that force which hampers the search for happiness, which ensures that peace and happiness will not be complete, which hangs over your head like the Sword of Damocles, and which constantly poisons the soul. It is invincible, and you will never overcome it. You can only submit to it, and languish helplessly.”
continued
19
Season / Volume 11 / No. 120PROGRAM NOTES
“This is FATE, that force which hampers the search for happiness, which ensures that peace and happiness will not be complete […] It is invincible, and you will never overcome it. You can only submit to it, and languish helplessly.”
Tchaikovsky left a very detailed program for the Fourth Symphony, in which the so-called “Fate” motive appears in the first and last movements, but there is no comparable literary analysis of the Fifth. Nevertheless, it is the present work that is probably the most overtly programmatic of all of the symphonies, and which begins with a similarly ominous theme that reappears in all the other movements. After his death, an examination of the composer’s notebooks revealed these thoughts on the “meaning” of the Fifth: “Program of the First Movement: Introduction. Complete resignation before Fate, or, which is the same, before the inscrutable predestination of Providence. Allegro (I) Murmurs, doubts, plaints, reproaches against XXX. (II) Shall I throw myself in the embraces of Faith??? … a wonderful program, if only I could carry it out.” The “XXX” is understood to be a reference to the composer’s homosexuality, something which caused him deep pain and which, in addition, terrified him as a potential cause of scandal. ●
suites, the Capriccio Italien, the Serenade for Strings, the 1812 Overture, the a-minor Piano Trio, the symphonic suite Manfred, and some of his best songs. Given his nature, it was only natural that he would approach his next symphony with his usual extreme self-doubt.
During the composition of the symphony, Tchaikovsky, as usual, kept his patroness Nadezhda von Meck informed in great detail about its progress. Following the premiere, he made extensive revisions to the last movement in particular, and at the same time wrote to Mme. von Meck in very gloomy terms about his increasing unhappiness of the work, and his feelings that it was “too long, too massive and exaggerated, too patchy and insincere, and I have come to the conclusion that it is a failure. Is it possible that I have written myself out? I cannot complain of any lack of inventive power, but I have always suffered from lack of skill in the management of form.” Later on, he admitted that these feelings were based to a large extent on his weakness and uncomfortableness as a conductor, something the critics had severely criticized, and that perhaps the symphony wasn’t so bad after all. It could be said that his self-criticism was wrong, but for all the right reasons. Certainly, the handling of classical form had always been a great weakness (although he did come up with some innovative solutions to the problem), and the symphony can be viewed as something of a patchwork, especially when compared to the relatively tight Fourth Symphony. If Tchaikovsky really had been embarrassed by the degree of overt sentiment in this symphony, it would later be surpassed by the emotional outpourings in the Sixth Symphony of 1893. Written shortly after a long European tour, the Fifth Symphony is typical of the artistic balance Tchaikovsky favored: It is not strongly nationalistic, but there is a distinctive Russian flavor to many of the themes. Following the composer’s gloomy feelings about the work after the premiere, there were performances in Russia and Germany with seasoned conductors, and with these performances came genuine enthusiasm and affection for the symphony. His last three symphonies are now generally recognized as the finest of the six, and the Fifth has become perhaps the most beloved of them all. If this is the case, it is certainly due to the abundance and warmth of its melodies, the richness of its harmonies and orchestration, and the passion and intensity of its spirit.
In the spring of 1888, Tchaikovsky moved into a new summer house near the city of Klin. It was there in April of that year that he began work on his Fifth Symphony, but one month later he wrote to his brother Modest that he feared his imagination had deserted him and that he had nothing more to express in music, but adding, “I am hoping to collect, little by little, material for a new symphony.” It had been eleven years since he began writing the Fourth Symphony, and if one disregards the so-called Manfred Symphony (which is not a real symphony but a four-movement symphonic poem), this was the longest hiatus between the composition of any two of his successive symphonies. The idyllic location of the summer house appears to have been a stimulus to his creativity, however, as he completed the Fifth Symphony in the remarkably short span of just four months.
—Pyotr Ilyich Tchaikovsky
The New Mexico Philharmonic nmphil.org 21 PROGRAM NOTES
Although he was reasonably satisfied with the new symphony upon its completion, after the premiere, which he conducted in Saint Petersburg in November of that year, and which was hailed by both the audience and the orchestra but blasted by the critics, he was assailed by his usual self-doubts and dissatisfactions.
“I have come to the conclusion that it is a failure. Is it possible that I have written myself out? I cannot complain of any lack of inventive power, but I have always suffered from lack of skill in the management of form.”
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Dennis JanDanielMichaelRichardAnonymousAnonymousAlexander&LindaAvery&LeanoreBacaBalikBandrofchak&Cleveland Sharp Hugh & Margaret Bell, in memory of Joan RichardAllen&Maria Berry Michael Blackledge, in memory of our colleague Robert O. Woods, from the Last Thursday Book Club of MonicaAlbuquerqueBoehmer, in memory of Leonie RodBoehmer&Genelia Boenig
MarianLeeAnonymousBlaugrundAusherman
MichaelMarieImmersiveBrown-Wagner&CherylBustamante, in memory of Cheryl B. Hall David & Shelly Campbell
MOZART CIRCLE Donation of $10,000–$24,999 Albuquerque Community Foundation, NDB & CEB Fund
Donor Circles Thank You for Joining a 2022/23CircleSeason / Volume 11 / No. 124DONOR CIRCLES .
Meg BernalilloAnonymousAldridgeCounty Commission
Benevity LawrenceFund&Deborah Blank James Botros & Jeremy Wirths Robert Bower & Kathryn Fry Drs. Kathleen L. Butler & M. Steven Butterfield'sShackley
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 Century
CONCERTMASTER CIRCLE Donation of $500–$999 Joe Alcorn & Sylvia Wittels
TheNancyMaryAnonymousAnonymousBacaM.BergCatesTeam/RBC Wealth RichardManagement&Margaret Cronin French Funerals & Cremations Charles & Judith Gibbon Gerald Gold A. Elizabeth Gordon Bill & Carolyn Hallett Michael & Roberta Lavin Ed & Nancy Naimark David & Audrey Northrop Charles Olguin Edward Rose Melissa & Al Stotts Marian & Jennifer Tanau
GRACE THOMPSON CIRCLE Donation of $1933–$3499 JoelAnonymous&Sandra
BEETHOVEN CIRCLE Donation of $25,000–$49,999 Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Eugenia & Charles Eberle New Mexico Philharmonic Foundation
MadeleineHelenJeanRolandFrankFirstFirestoneDavidFritzThomasD’AddarioBankFoundation&MarthaDommeEberle&LynnJohnson&EllenEvansFamilyFoundationUnitedMethodistChurch,KaemperMusicSeries&ChristineFredenburghGerencer,MD&BobGoughGreveyGrigg-Damberger& Stan StephenDamberger&Aida Ramos Heath Donna SueRosalynHillHurleyJohnson& Jim Zabilski Bonnie & Hank Kelly Bruce A. Larson, in memory of The Rev. Samuel L. Hall Tyler M. Mason Jon McCorkell & Dianne Cress Bob & Susan McGuire Jan Moss-AdamsMitchell LLP Music Guild of New Mexico & Jackie McGehee Young Artists' Competition for Piano & Strings Ruth & Charles Needham Tom & Lili O'Malley, in memory of Karen McKinnon Gary & Carol Overturf Jerald & Cindi Parker Dick & Marythelma Ransom Deborah Ridley & Richard S. Nenoff Robertson & Sons Violin Shop Jacquelyn Robins Jay Rodman & Wendy Wilkins Ellen Ann Ryan Albert VernonSeargeant&Susannah Smith Dorothy Stermer & Stacy Sacco Betty & Luke Vortman Endowment BACH CIRCLE Donation of $1000–$1932 Leah Albers & Thomas Roberts Albuquerque Community Foundation, Peggy Cavett-Walden & Professor Jerrold Walden Fund for Art & Music TeresaGrant Apple & Richard Zabell
PRINCIPALS CIRCLE Donation of $125–$499 Marsha Adams Gerald AndersonAmazonAlldredgeSmileOrganizing Systems John & Polly Arango Leonard & Stephanie Armstrong Janice J. Arrott David Baca Sally OliveDouglasBachoferBaileyBaker-Brown
Thomson Marie Weingardt Carl G. & Janet V. Weis Diana Zavitz, in memory of Pat & Ray Harwick
PatricaBarbaraJohnRichardLynneMarkMichaelCaryChristineC.Dr.ThomasDonaldMildredDrewStephanieChristinaNoelHerbertMarlinRobertSteveRobinMarthaHarrisKathleenGuaderramaHammarJewelersS.HoytJacksonPhotographyKemp&ToniKingsleyKipp&ShelleyKoffler&MeredithKopaldKreuz&KennethKuzioLamprichLangston&MargaretLenk&DonnaLocknerRonald&EllenLoehmanEverett&JackieMcGehee&RussellMink&EveMorrow&JudyMuldawerNapolinNewton&SusanPerryProvineRiversRodgers&HarryStumpf,
Lynne Mostoller & Kathryn McKnight, in honor of Richard White Mr. JohnRebeccaBetsyTuxNicholsOkun&MacKenzie Ordorica Patrick Ortiz, in memory of Karen DelMcKinnonPackwood & Barbara Reeback
Toppin & Robert Hodge Ulton & Jean Hodgin Kiernan BryanBettyJanetNancyBernhardHollidayE.HolzapfelKayHortonHumannHumphrey"Lance"&Debrah
Phil RobertSusanJae-WonNickKarenWoodyJenniferKrehbielC.Kruger&NandiniKuehnKupper&SusanLanders&JulianeLeeLentzLindeman&Judith
Nicole Banks Harold & Patricia Baskin William Bechtold Edie ElaineGayMichaelBeckBencoe&StanBetzerBleiweis&Karen Hudson, in memory of Blossom Kite Kelly JamesBlock&Ann Bresson Douglas Brosveen Terry Brownell & Alpha Russell Nancy Brunson Marcia
FRIENDS OF PHILHARMONICTHE
Christine Sauer John & Karen Schlue Laura MarcKendraScholfieldScottScudamore & Brigitte Schimek Meryl & Ron Segel, in honor of Joan Zucker's retirement Daniel & Barbara Shapiro R.J. & Katherine Simonson George & Vivian Skadron Carol StevenSmith&Keri Sobolik Karen Soutar Sport Systems John & Patricia Stover David & Jane Tallant Natalia Tikhovidova Craig Timm & James Wilterding Laurence Titman True Rest Float Spa Leonard & Mary Joan Truesdell Kimberly Tuozzoli Arthur Vall-Spinosa & Sandra Louise VaraNunnWinery & Distillery Charles & Barbara Verble John Vittal & Deborah Ham Wolfgang & Carol Wawersik Lawrence Wells Margaret Wente Jeffrey West Tad & Kay West Marybeth White Kris Williams Dot PengAndreaPaulaWortmanWynnyckyjYannoneYu,inhonor of Steve & Maureen TonyBacaZancanella
The New Mexico Philharmonic nmphil.org 25 DONOR CIRCLES .
Jim Mills & Peggy Sanchez Mills Louis & Deborah Moench Robert & Phyllis Moore Jim & Penny Morris Ted & Mary Morse
Hurt Christopher & Venessa Johnson Nancy Joste Robert & Mary Julyan Carol Kaemper John & Mechthild Kahrs Norty & Summers Kalishman Thomas & Greta Keleher Ann GeraldKingKiuttu & Candace Brower
LauraPameliaPatriciaDarrenJoanBennettDebbieLeilaRonLeeHermanRuthRobertKirkMinaStanleyJustinPaulThomasMaureenJosephWilliamHeidiHelenPeggyDavidJackieJayRichardTheJeffreyMichaelGaryReverendCarlRaymondRonaldPaulStephenJashaSusanMarciaHenryLloydDonnaJanePaulBethSharonLanceOlindaGregoryRoscoeRobertDanteCarolCaliber'sBumkensSafeStoreCallaway&JudithCantrillE.&ShirleyCase&BarbaraChampion&KarenChaseChavez&KathyChiltonChristensenClark&LindaCochran&KennethColeCollinsColsonIII&EttajaneConantCongdonConwayCultreri&StefaniCzuchlewski&KathleenDeblassie&FayeDetry&AnneDoberneck&JoanneDonsbachSuzanne&BillEbelEchert&LaurelEdenburnEdgarEichelFamilyCharitableFund&MildredElrickVenEmanEricksen&FrankieEwingFavourFeinbergFleischmann&JamesScott&CherylFooteFreedman&SusanTimmonsFry&LindaGrace&MarciaGreenbaumM.&BlancheG.Griffin&SaraGriffithJaneGrothey&JanGulledge&EleneGuschHaasHaase&ThaisHaines&NancyHalbgewachsHall,inmemoryofSamuelHallHammackA.HammerHarrisHaydenHenning&AnthonyLazzaroHilty(SnowBlossomGiftFund)Hoberg
Donation of $25–$124 David & Elizabeth Adams Wanda Adlesperger Natalie Adolphi & Andrew McDowell Dr. Fran A'Hern-Smith Jeffrey Allen Mel & Hilaria Alper Jo Anne Altrichter & Robin Tawney Freda Anderson Jerry & Jo Marie Anderson JackieJulieAnonymousAtkinsonBaca& Ken Genco Thomas J. & Helen K. Baca Harper Baird Adam Banks continued on 26
Brown JohnLindemanLinder & Margaret Chaffey William & Norma Lock Gebhard Long Daniel Lopez & Linda Vigil Lopez Suzanne Lubar & Marcos Gonzales, in memory of Larry B. Lubar Joan M. Lucas Ruth Luckasson & Dr. Larry Davis, in memory of Dr. Alfred Watts Robert Lynn & Janet Braziel Robert & Linda Malseed The Man's Hat Shop Jim & Helen Marquez
Michelle RobertRayJerryJaneDanJamesPNMPlacitasJudiLangPhilElizabethPentPerkett&MaggiePetersonHaPham&HyTranPitchArtistsSeriesResourcesPorcher&BilliePyzelRael&ChristineRancierReederReinke
Jeffrey RogerSallieCarolynMarrMartinezMcCarthy&Kathleen McClellan Linda MarthaMcNielAnnMiller & Henry Pocock
Camille Carstens James Connell Cathy StephanieConrad&Bert Coxe Michael Dexter Thomas Dyble Martha Egan Jane & Michael Flax Diane Fleming, in memory of Robert DeniseFlemingFligner & Terry Edwards
Tim Renk Lee Reynis & David Stryker Erika Rimson & David Bernstein Peggy Rodriguez John & Faye Rogers Catalin Roman Glenn & Amy Rosenbaum Carole Ross Sofya Rubinchik John Sarafian'sSantaCareySalasSalazFeOperaOriental Rugs
Howard & Debra Friedman Dennis & Opal Lee Gill Drs. Robert & Maria Goldstein Yvonne Gorbett Marcia Gordon Berto & Barbara Gorham Lauro in memory of Blossom Kite Anjella FrederickSchick&Susan Sherman, in memory of Judith Lackner Ronald Shettlesworth Rae PhyllisCharlesSarahWilliamSiporinE.SneadStevens-MilesStillwellTaylor&Bruce
Katherine Saltzstein
Kirk Smith'sSmithCommunity Rewards Catherine Smith-Hartwig Cynthia Sontag Allen & Jean Ann Spalt Linda Srote, in memory of Karen PhilipMcKinnon&Lois Ann Stanton Lauren TheodoreStarosta&Imogen Stein Frances Steinbach Luis & Patricia Stelzner Brent & Maria Stevens Elizabeth C. Stevens Stone Age Climbing Gym Bryan Stoneburner Arthur GaryJonathanStuartSutin&Rosalie Swanson Jeffrey & Georgeann Taylor Dr. Steven Tolber & Louise Campbell-
Morgan MacFadden Frank JamesMaher&Marilyn Mallinson Ronald & Monica Manginell Nicolle Maniaci & John Witiuk Frederic & Joan March Elizabeth Marra Salvatore T. Martino John & Alice Massey Jean-Luc Matton Charles McCormack Brian McDonald David & Jane McGuire Judith W. Mead Joyce Mendel, in memory of Robert O. PhillipJohnRobertNatalieKathleenWoodsMillerMillerF.MillerMimsMitchell, in memory of Beatriz Dr.MitchellWilliam Moffatt Letitia BakerShirleyMorrisMorrisonH.Morrow & Joann Strathman Karen Mosier & Phillip Freeman Peter Mostachetti Brian AlbertNapoliNambéMulreyCoffee&Shanna Narath
David & Marian Schifani
Warren Saur Savoy Bar & Grill Peggy Schey
Tomedi Kenneth Wright Kari KennethYoung&Barbara Zaslow Charles & Nancy Zimmerman Michael & Anne Zwolinski 8/2022 ● from 25 2022/23
Dasa MatthewNorbertBeverlySilhovaSimmonsF.Siska&Diane
DavidWalterBlakeRabbiJamesJoySallyMaryDavidIreneEllaHowardJohnJaneRobertBradleyHeleneJohnSondraSondraJeffMichaelBarbaraJamesStephenKurtMerrickHubertTheMarjorieJohnAmyRandallJamesJamesBarryCheesecakeLauraJosephJamesCarMaxCarrollCellaChangFactoryClark&PaulineClements&JoanCole&ValerieColeCouch&KatherineCunninghamCypress&PhilipJamesonDailyGrindDavis&LeighAnnDean&YvonneDeshayesR.Donaldson&JulieDrennanDruxman,inmemoryofDr.LarryLubar&JanaDruxman&KarenDurayL.Eastham,inmemoryofJudithLacknerL.Eastham,inmemoryofDr.HerbFreidmanEckertEckrichEllingboe&DoloresEngstromFarris,inhonorofBrent&MariaStevensAdamFarrisFeganJ.FenoglioFertikFillmoreFilosiFishFishel-EatonFiskArthurFlicker&LizForbes&BeverlyFormanFoushee
Bruce & Ruth Nelson Geri CandaceMaudeNewtonNielsen&Frank Norris Ruth Okeefe Ooh! Aah! Jewelry Joseph Opuszenski William Owen Eric MarkParker&Diane Parshall Howard EdBarbaraPFBrianPayPalHonorinePaulPayneGivingFundPendleyChang'sPiercePierce,inmemory of Judith DavidThereseHelenLacknerPriestQuinn&Tracey
honor of Judge Parker on his birthday
Raymo Kerry Renshaw Kay GeorgeRichards&Sheila Richmond Margaret Roberts Gerald & Gloria Robinson Gwenn Robinson, MD & Dwight Burney III, MD Jeff & Marin Robinson
Nancy Blaugrund, in honor of Judy ThomasLackner& Suzanne Blazier William Blumenthal David & Sheila Bogost Henry Botts J.M. Bowers & B.J. Fisher Samuel Brandt Carolyn Brown Hank & Miriam Burhans Elizabeth Burki Robert & Marylyn Burridge Douglas & Ann Calderwood Luana Carey, in honor of Carolyn Quinn & John Crawford
Sheila Season'sSeasonsSchiferl52Rotisserie & Grill Laurel Sharp & David Smukler
Therese
of Blossom Kite Margaret Keller Nancy Kelley Fern Kelly Bill Kent J. Dianne Keyson M.J. BarbaraKircherKite, in memory of Blossom RalphKite & Heather Kiuttu Barbara Kleinfeld, in memory of Karen BarbaraMcKinnonKleinfeld, in memory of Judith JohnLackner&Gretchen Kryda Mark LeRoyMollyKathrynKunzmanLacknerLannonLehr&Veronica
NancyKarenMarianneSuzanneBarryMarkKirkJudySusanElizabethBartsBayneBeardBearden-Love&DebraBenton&BethBergerBerksonBernhardtBerwickBielinski-Richardson&CliffBlaugrund,in
Sloves Joseph Smith
MargaretKathrynRobertRolandLeslieCharlesKevinDaleElaineCarenRobertLindaJorgeJohnMarianJohnJacquelineValerieTolberTomberlinTommeleinTondlTowne&KarenTreverTristaniTrowbridgeWalstonWatersWatsonA.Webster&LaurelWelch&LindaWhiteWhite&WendyWiele&AmyWilkinsWissellWolak&Angelo
JanetJuliaJoyceRobertMichaelGwenellenJerryJenicaJamesRalphStephanieStanleyThomasStevenKoryFredGlennHeidiNancyMarvinCynthiaHenryHeredia&AnneHIllHillHilland&SusanHinchcliffeHindel&RoseannHoggan,CPAHomer&MaryAnnHoran&HelenHordesHurlburt&GayNellHuybrechts&KristinJacksonJacobi&DianeJanickeJanov&SandraJerome&NanetteJurgensenKaserKavet&MichaelKeller,inmemory
Arthur & Colleen Sheinberg
Judith RobertAubreeDickChristopherRoderickRosol&MaryRuddyRussellSabatini&Angela
continued
Season / Volume 11 / No. 126DONOR CIRCLES .
Greg & Jeanne Frye-Mason Eric & Cristi Furman Jonathan & Julia Gallegos Yolanda Garcia Mary Day Gauer Walter BirgittaKevinGingerAlfredGreatStephenLoisTheRonaldGerstleGoldsmithGolfMartGonzalesRayGoodeHarvestBakery&PatriciaGreenGrossetete&TeresaGrunewaldGustafson,inhonor
of Richard J.WhiteMichele Guttmann Fletcher & Laura Hahn Kerry L. Harmon William & Janet Harrington Noah Harris Matt Hart John & Diane Hawley Jo Ellen Head Drew
Reed Marc Limmany Carl & Sheila Litsinger Mariana LaurenceLopez&Patricia Loucks Sam Lucero & Ron Lahti Bob & Maureen Luna, in memory of Robert O. Woods
Bucher John Sale & Deborah Dobransky Evelyn E. & Gerhard L. Salinger
The McKinnon Family Charles,LeeFoundationBlaugrundTrustee, & Eugenia BarbaraEberle Rivers, Trustee Robert & Frances Fosnaugh Thomas Martin, Trustee, & Cynthia Phillips Stephen, Trustee, & Maureen EstateBaca of Marian Ausherman Dr.ChavezDean Yannias William E. Cates Mary Baca (aka Betty) Christine Kilroy Keith Gilbert Ann & Robert Boland Thomas & Edel Mayer Robert Milne David Northrop John & Karen Schlue Susan Spaven Tyler M. Mason Jerald SusanneThomasMarlinJimPeterMichaelHeinzJohnJayJacquelynCliffordW.JamesSonnetAlanElisaMaryMikeJustinRobertHowardBobKennethClarkeHenryDorothyJoelScottAliceCharlesMarianSydneyScottRichardGeorgeJonathanRolandRichardParkerVanDongenGerencerHewesThomasZabell&TeresaAppleObenshain(Al)&MelissaStotts&JenniferTanau&JudithGibbonJ.Wolfsberg&CarolSchaffer&SandraBacaM.Barbo&JenniferBohnhoff&MaryCagleConwellII&GretaDean&DebraFriedman&JeanGoughGriffin&BlancheGriffinHerringKephartLebeck&IanMcKinnonO’NeillPierce&JoyceOstranderRichardsonIIIRobinsRodman&WendyWilkinsRogers&BarbaraSchmitt&JanetSjulin&JudyWeinrebZabilski&SueJohnsonE.Kipp&GretaKeleherBrown
Jorge Tristani (President, Denis Chavez Development)
John
David & Cynthia Nartonis Ray CharlesReeder&Ruth Snell Henry & Ettajane Conant Nancy Hill Daniel T. O’Shea Charles & Linda White
Lana Wagner Dale KevinWebster&Laurel Welch Liza MarcWhite&Valerie Woodward Diana MichaelZavitz&Jeanine Zenge
Dal LillianJosephDrsMarianJudithMatthewMargaretGeorgeRussellKarlaMichaelEricMaureenRichardDavidKarenCaryJamesDr.DonaldSalvatoreElizabethDouglasBettyL.D.GeraldWalterRobertHenryJuliaRobertMichaelKiernanJoHermanSamuelKarenPeterAlfredVickyJerryDrinaBarbaraJamesHughHeleneOlindaDennisRobertJosephCamilleEricJohnCharleenMarkDavidNinon505DavidCharlotteJensenMcLeodPetersonSouthwestAutoAdamsBaca&BethBergerBishopBowers&B.J.FisherR.Brock&MaeS.YeeCarstensCellaChamberlinChavezDevelopmentCorpChavezChenier&KathleenChurchColeL.DanielsDenham&SusanDickinsonEstrada-Bustillo&PatriciaGreenGregoryHalderson&LailaHallHaaseEllenHeadHolliday&SandraJeromeH.&MaryD.JulyanKavetKelly&ToniKingsley&AlleneKleweno,inmemoryofPeggMacyKnorovsky&KarenLinfordMaxLoganMadisonDavisMarraMartinoMcQuarieWilliamMoffattB.&MaryAnnMoreno&EvelynMorrowMosier&MarilynNovat&DollyO’LearyOakesP.ParkerPierson&JaneFerrisPuariea&ElizabethRaskob&SheilaRichmondE.RobertsRobertsRoderickSchreyerM.StevenShackley&KathleenL.ButlerShepherd&JulieDunleavySnyder
Jeff
ClaudeAndrewArthurHenryMaryChristopherTheodoreGaryBarbaraMarthaDouglasLoriDanteAlvinMaryPeterAndrewKennethKennethDeanKathleenAlexandraBeverlyJohnMichaelJ.LuanaCristinaFredericBasilStephanieHomisakKauffmanKorin&JoanMarchPereyraRamseySapon&AllisonGentile&LisaScherlacher&SherrySchwitzSimmonsSteenStratmoenTooleyWright&BarbaraZaslow&LisaZawadzki&AnnZieglerJ.ZimmermanZuckert&JudieCantrillJohnsonCheneyCorleyKillianMazaroff&SueBradigan-TrujilloBehlComptonDaiseFlickerMcDowell&NatalieAdolphiMorelli
Muldawer Ken & Diane Reese
DONORSFoundationPhilharmonicMexico&TRUSTEES
DavidKulasingheC.McGuire Jr. William & Cynthia Warren
New
Harold & Darlene Van Winkle
John EdgartonFredAndreaAllisonJohnJackieKarenWinnieGenevieveMarciaJudithMargaretVittalLiebermanAndersonCongdonDavidgeDevoreDurayEricksen&NancyGarthGentileGranger&JoanHart(E.R.)Haskin, Jr.
Michael Dexter Thomas M. Domme Egan David Espey MichaelLetitiaFrancesHomkoKoenigMorris&Judy
LeonardJohnWarrenLeeBetsyMarthaRobertMaryLeonardKennethStanKayJohnMariaAnonymousThomasMichaelNedaNancyRomeroScheerTurnerWallace&AnnWoodStevens&JulieKallenbachF.Richards&GayBetzer&JaneColeDudaE.Lebeck&JudyLindemanA.MillerNicholsReynis&RosemarySaur&PatriciaStover&StephanieArmstrongRobertBower&KathrynFryChristopherCalder&BetseySwanJudith&ThomasChristopherFranDiMarcoDr.LauroG.GuaderramaLawrence&AnneJonesKarenLaninGeriNewtonEdwardRoseChristineSauerJamesSharp&JaniceBandrofchakRaeLeeSiporinBruceThompson&PhyllisTaylorLawrence&KatherineAndersonDouglas&DianneBaileyEdieBeckJeffreyBridgesA.J.CarsonThomas&ElizabethDodsonHarry&JuneEttingerHelenFeinbergCarlGlennGuistFletcher&LauraHahnRobert&LindaMalseedRobert&RebeccaParkerElizabethPerkettShelleyRobertsThomasRoberts&LeahAlbersGruia-CatalinRomanDonald&CarolTallmanPeter&MaryTannenRosarioFiallosJames&AnnBreesonCarl&JeannetteKeimAndreaKilburyLindaMcNielAlbert&ShannaNarath
Linda R. Zipp MD Jeffrey G. Allen Marilyn StephenBowman&Merilyn Fish
Lorraine B. Gordon Hareendra & Sanjani
Theresa
Martha
Noel 8/2022MelbournVoltiElenRonaldDoloresJefferyJulieBruceInaJeffreySharonGaryRobertMartinSarahPaulCarolRitaDeborahKrysStephenDeniseBobEdwardStanleyArthurElizabethBonniePugachRenfroStevensAlpert&HelenHordes&CarolAnnDzienisCrainFligner&TerryEdwardsSchoderbek&PhilCusterPeacock&NathanKornLeardDiggelmanIsaacsonBarlow&UrsulaFrick&PhyllisMoore&NinaThayerMoynahan&GeraldMooreWestMillerMillerKaved&JaneLawrenceTeubner&SaraFriederichFeinbergSubitoProductions&DorothyBernstein
● The New Mexico Philharmonic nmphil.org 27 THANK YOU
Julianne Stangel Ronald T. Taylor Marta Terlecki Betty MarvinTichich&Patricia Tillery Robert Tillotson
• Special mention in the Program Book Steinway Society section
• Engraved Steinway piano key with the name of the donor to be displayed in the lobby at NMPhil concerts featuring piano soloists
• One private dinner every other year with Roberto Minczuk, Olga Kern, or other pianists
• Invitation to one Donor Lounge reception during a concert Special mention in the Program Book Steinway Society section
WHITE KEYS LEVEL $6000–$19,999
• One annual private dinner with Roberto Minczuk, Olga Kern, or other pianists
BLACK KEYS LEVEL $2000–$5999
• Special short video presented before one concert at Popejoy Hall
• One annual private dinner with Roberto Minczuk, Olga Kern, or other pianists
PEDAL LEVEL $500–$1999
• Two annual private dinners with artist(s) of choice
• Invitation to three Donor Lounge receptions during concerts
• Special mention in the Program Book Steinway Society section
Steinway Society HOROWITZMembers
• Special annual reception for all Steinway Society donors
• Special mention in the Program Book Steinway Society section
• Name engraved somewhere inside the piano with date, etc.
• Special annual reception for all Steinway Society donors
HOROWITZ LEVEL $20,000–$50,000
•
• Donor Lounge access
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.
Terry Sloan
• Donor Lounge access
LEVEL Donation of $20,000–$50,000 Cliff & Nancy Blaugrund Lee CharlesBlaugrund&Eugenia Eberle Roland Gerencer, MD
WHITE KEYS LEVEL Donation of $6000–$19,999 Dal & Pat Jensen Diane & William Wiley Dr. Dean Yannias BLACK KEYS LEVEL Donation of $2000–$5999 Meg Aldridge 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
• Special annual reception for all Steinway Society donors
• Name engraved somewhere inside the piano with date, etc.
• Name engraved somewhere inside the piano with date, etc.
• Engraved Steinway piano key with the name of the donor to be displayed in the lobby at NMPhil concerts featuring piano soloists
2022/23 Season / Volume 11 / No. 128THANK YOU
• Special annual reception for all Steinway Society donors
• 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
PEDAL LEVEL Donation of $500–$1999 Ronald MichaelBronitsky&Cheryl Bustamante, in memory of Cheryl B. Hall Richard & Peg Cronin Mr. & Mrs. Robert Duff Custer Leonard & Patricia Duda David Foster Peter JonathanGould&Ellin Hewes Robert & Toni Kingsley Dr. Herb & Shelley Koffler Tyler M. Mason Thomas & Edel Mayer Jon McCorkell & Dianne Cress Bob & Susan McGuire David & Audrey Northrop James P. O’Neill & Ellen Bayard Gary & Carol Overturf Ruth Ronan Ed MarianRose& Howard Schreyer Bruce & Sandra Seligman Frederick & Susan Sherman David & Heather Spader Al & Melissa Stotts
PIANO FRIENDS LEVEL $50–$499
Steinway Society Piano Fund
•
Amanda Colburn & the Bernalillo County Special Projects
Joann & Scott MacKenzie
● Thank You for Volunteers, Expertise, Services, &
BUSINESS & ORGANIZATION APPRECIATION Immanuel Presbyterian Church
● Legacy Society Giving for the future Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you.
Cynthia Phillips & Thomas Martin Margaret Macy
Dr. Shelle Sanchez & the Albuquerque Cultural Services Department
Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier Nancy Berg Sally A. ThomasBergC.Bird & Brooke E. Tully Edison & Ruth Bitsui Eugenia & Charles Eberle Bob & Jean Gough Peter Gregory Ruth B. Haas Howard A. Jenkins Joyce Kaser Walter & Allene Kleweno Louise JulianneLavalLouise Lockwood Dr. & Mrs. Larry Lubar Thomas J. Mahler
Your Generous Support
Mayor Tim Keller & the City of Albuquerque Trudy Jones & the Albuquerque City Council
CITY & COUNTY APPRECIATION
Fran JoeWandaA’Hern-SmithAdlespergerAlcorn&Sylvia Wittels
PIANO FRIENDS LEVEL Donation of $50–$499
The Bernalillo County Board of Commissioners
Hakim Bellamy & the Albuquerque Cultural Services Department
The New Mexico Philharmonic Foundation The Albuquerque Community Foundation
INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Ian McKinnon & The McKinnon Family Foundation Alexis Corbin Billy DrewAnneBrownEisfellerHenry Chris Kershner
The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment.
Jim BrentEmilyBradBarbaraJackieKeyMcGeheeRiversRichardsSteinbachStevens
Suzanne Kelly & Dan Kelly Mike Griffith & Blanche Griffith Ronald Bronitsky & Jim Porcher Steve Sandager & Michele Sandager Isabel Bucher & Graham Bartlett Don Barker & Cheryl Barker
Ron Moya & Mary Moya Tim 8/2022Brown ● Mexico
Equipment
VOLUNTEERS HOSTING VISITING MUSICIANS
The New
Philharmonic nmphil.org 29 THANK YOU
Shirley 8/2022DotCharlesWilliamMaryannBettyDeanWilliamJeanneTerranceBarbaraEugeneGeorgeMorrisonRichmondRinchikRiversSloan&SidSteinbergSullivanTooleyVortmanWasiolekA.WileyE.Wood&DonWortman
Dennis DianeRolandCharlesJeffreyKevinLindaFrancesCynthiaCatherineLaurelPeggyKatherineJohnDickJudithRayMaryDanJamesBobGeriEdwardCaryRobertMarthaNicholleJamesMorganClaireSusanLarryRalphM.J.JuliaNancyBryanGlennHeidiJoKerryEleneGingerGeorgeBlakeDavidElleJackieRobertMartinThomasMarjorieJohnHenryBethOlindaCamilleDanteRobertDavidKarenJudyAnonymousAlexanderBearden-LoveBielinski-Richardson&SheilaBogostBower&KathrynFry&JudieCantrillCarstensChavezL.Clark&EttajaneConant&KatieCunninghamCypress&PhilipJameson&MarthaDommeJ.DoviakB.EngstromEricksenJ.FenoglioFillmore&LizForbes&KarenGibbsGrossetete&RobertGuschL.HarmonEllenHeadHilland&SusanHinchcliffe“Lance”&DebrahHurtJosteKavetKircher&HeatherKiuttuW.LangfordLentzLissanceMacFadden&MarilynMallinsonManiaci&JohnWitiukAnnMiller&HenryPocock&PhyllisMoore&EvelynMorrow&NancyNaimarkNewton&BonniePainePorcher&BilliePyzelRajeA.ReederRoderick&MaryRuddySale&DeborahDobranskySaltzsteinScheySharp&DavidSmuklerSmith-HartwigSontagSteinbachTrowbridge&LaurelWelchWest&LindaWhite&WendyWieleZavitz,inmemoryofPat&Ray Harwick Linda R. Zipp, MD 8/2022
nmphil.org
TCHAIKOVSKY FESTIVAL: LOVE & TRIUMPH OCTOBER 22, 2022 CONCERT SCHEDULE THE BEETHOVEN’SGREATEST:9TH FEBRUARY 11, 2023 THIRD OLGA COMPETITIONINTERNATIONALKERNPIANOFINALS OCTOBER 29, 2022 THE MAGIC OF THE BANDONEÓN NOVEMBER 5, 2022 ONLY BRUCKNER! NOVEMBER 18, 2022 MUSIC BLOCKBUSTERSFROM NOVEMBER 19, 2022 SCHEHERAZADE: A MUSICAL MASTERPIECE JANUARY 14, 2023 BRASS & VIRTUOSITYWINDS JANUARY 22, 2023 HAYDN & MOZART FEBRUARY 26, 2023 A MORNING OF MUSIC FOR STRINGS MARCH 10, 2023 A NIGHT WITH OTTMAR LIEBERT MARCH 11, 2023 IONIȚĂ PLAYS DVOŘÁK CELLO CONCERTO MARCH 18, 2023 THE MAJESTIC ORGAN APRIL 14, 2023 THE MUSIC OF GENESIS & PHIL COLLINS APRIL 15, 2023 THEMAHLER:TITAN APRIL 22, 2023 BEETHOVEN!EXUBERANT APRIL 30,2022/232023nmphil.orgSEASON
“Music should be your escape.” ...but who says you can’t do it in Style Alameda & Pan American (505) 821-4000 • mercedesabq.com Proud Sponsor of New Mexico Philharmonic 2022 GLC 300 SUV—Missy Elliot
