New Mexico Philharmonic Program Book • 2022/23 Season • Volume 11 • No. 2

STRATEGIES FOR WISE GIVING

New

ensuring

LOOKING TO MAKE SMART DONATIONS? Based on presentations

financial

are some strategies for giving

recent changes in the tax law. The advisors identified

make great sense. Here they are in brief:

CASH: Whether you itemize deductions or not, it still works well.

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.

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 nmphil.org/ways-to-donate

WELCOME

FROM THE MUSIC DIRECTOR

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!

TABLE OF CONTENTS PROGRAMS

22, 2022 Program

29, 2022 Program

5, 2022 Program

ARTISTS

Minczuk

Thereza

Lecce-Chong

Scofano

YOUR NMPHIL

a

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 10

Music

NEW MEXICO PHILHARMONIC

Tchaikovsky Festival: Love & Triumph

Saturday, October 22, 2022, 6 p.m. 5:00 p.m. Pre-Concert Talk

Roberto Minczuk Music Director

Sylvia Thereza piano

“Cossack Dance” from Mazeppa

Pyotr Ilyich Tchaikovsky (1840–1893)

Piano Concerto No. 2 in G Major, Op. 44 Tchaikovsky

I. Allegro brillante e molto vivace

II. Andante non troppo

III. Allegro con fuoco

Romeo and Juliet, Overture-Fantasy

1812 Overture, Op. 49

INTERMISSION

MAKING A DIFFERENCE

This performance is made possible by: Albuquerque Community Foundation

PRE-CONCERT TALK Sponsored by: Menicucci Insurance Agency

Hosted by KHFM’s Alexis Corbin

Tchaikovsky

Tchaikovsky

Sylvia Thereza piano

Popejoy

Third Olga Kern International Piano Competition Finals

Saturday, October 29, 2022, 6 p.m. 5:00 p.m. Pre-Concert Talk

Francesco Lecce-Chong conductor

The Olga Kern International Piano Competition (OKIPC) provides New Mexico Philharmonic audiences the opportunity to see developing world-class pianists at the beginning of their professional careers.

The finalists and winners of the Competition will go on to long and acclaimed careers performing before diverse audiences on every continent, and New Mexico Philharmonic audiences will always remember that their careers began here. The Competition takes place every three years in Albuquerque, New Mexico, and is open to pianists 18 to 32 years old. For more information, visit olgakerncompetition.org.

PROGRAM & COMPETITORS

TBD

MAKING A DIFFERENCE

This performance is made possible by: City of Albuquerque

Steinway & Sons Heritage Hotels & Resorts Inc.

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

Hosted by KHFM’s Alexis Corbin

Popejoy Hall

The Magic of the Bandoneón

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

Roberto Minczuk Music Director

Richard Scofano bandoneón

Four Dances from Estancia Alberto Ginastera

I. Los Trabajadores Agricolas (The Farm Workers) (1916–1983)

II. Danza del Trigo (The Wheat Dance)

III. Los Peones de Hacienda (The Cattle Men)

IV. Danza Final (Malambo)

Bandoneón Concerto, “Aconcagua”

Astor Piazzolla

I. Allegro marcato (1921–1992)

II. Moderato

III. Presto

Richard Scofano bandoneón

Libertango Piazzolla arr. Passarella Richard Scofano bandoneón

Oblivion Piazzolla

Richard Scofano bandoneón

INTERMISSION

La Tierra Sin Mal

Richard Scofano bandoneón

La noches de los mayas

Popejoy Hall

Richard Scofano (b. 1976)

MAKING A DIFFERENCE

This performance is made possible by: Art Gardenswartz & Sonya Priestly

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

Hosted by KHFM’s Alexis Corbin

Silvestre Revueltas

I. “Noche de los mayas,” molto sostenuto (1899–1940)

II. “Noche de jaranas,” scherzo

III. “Noche de Yucatán,” andante espressivo

IV. “Noche de encantamiento,” tema y variaciones

Roberto Minczuk Music Director

In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history.

Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires.

A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having

worked 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. ●

Sylvia Thereza piano Sylvia Thereza is a piano virtuoso, a star in the Brazilian classical music scene, and a rising star internationally. More recently, Sylvia was invited by the violinist Daniel Hope to participate in the recording of his CD, America, released by Deutsche Grammophon in February 2022.

She is a protégé of the famous pianist Maria João Pires, who brought her to Europe and with whom she has shared the stage countless times around the world with enormous success. Maria João Pires invited her to become her assistant professor at the Queen Elisabeth Music Chapel in Belgium, a post that she held from 2012 to 2016.

Sylvia was also guided by the greats Nelson Freire, Bella Davidovich, Maria da Penha (disciple of Marguerite Long, Guiomar Novaes, and Jozef Turczynski), and Myrian Dauelsberg (disciple of Vlado Perlemuter and Heitor Villa-Lobos). Later in Belgium, she studied with Alan Weiss at the Master’s program of the University of Leuven. Precious support also came from Earl Wild and Sergio Tiempo.

Sylvia combines a great mixture of charisma, artistic depth, youth, experience on the concert stage, and social awareness and responsibility. She has conducted social projects in Brazil, Africa, and Belgium that have benefited more than 30,000 children by introducing them to classical music. For this work, she has received great recognition from government institutions, the public, and the media in many countries.

Sylvia Thereza was born in Rio de Janeiro, Brazil, and began her musical studies improvising with her father at the age of 3. Sylvia has been performing since the age of 6 as a soloist, chamber musician, and recitalist all over Europe, the Americas, the Middle East, South Korea, and Japan. Her way of experiencing art has taken her to important stages around the world and, in contrast, to some of the most underprivileged communities.

She was an award winner (special mention of the Jury) in the “Martha Argerich Edition” of the International Piano Competition of Vigo, Spain, in 2019, that had Martha Argerich, Nelson Freire, Tamas Vasary, and Sergio Tiempo on the jury, and winner of the “Nelson Freire Competition” held in Rio de Janeiro in 2004. Sylvia has been regularly invited to play in many festivals and with many orchestras, including the Brussels Philharmonic, the Kremlin Chamber Orchestra, the Hannover Chamber Orchestra, the Philadelphia Youth Orchestra, and, among others, all major orchestras of Brazil.

Sylvia Thereza is an enthusiastic chamber musician and plays regularly in many different chamber music formations. She has performed with musicians such as Maria João Pires, Augustin Dumay, Daniel Hope, Misha Taits, and Ning Kam, among others.

She is the founder of the ONG Uaná— Association for the Arts in Belgium, an organization that provides access to culture for underprivileged children with special needs. For this program, she brought together great names in the music world who, with their valuable contribution, participate as educators bringing their art to these segments of society through music education, concerts, exhibitions, and recordings.

In 2021, Sylvia accepted the position of professor of piano at the prestigious University Luca School of Arts in Belgium, a member of the KU Leuven Association. On her calendar for the year 2022, she has already confirmed performances in Italy, Belgium, Spain, Holland, France, Brazil, Thailand, and the United States. ●

Francesco Lecce-Chong conductor

Conductor Francesco Lecce-Chong is the Music Director of the Eugene Symphony in Oregon, and the Santa Rosa Symphony, performing at the Green Music Center in Northern California.

The press has described him as a “fast-rising talent in the music world” with “the real gift” and recognized his dynamic performances, fresh programming, and deep commitment to commissioning and performing new music, as well as to community outreach. Mr. Lecce-Chong has appeared with orchestras around the world including the San Francisco Symphony, New York Philharmonic, Seattle Symphony, National Symphony, Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Symphony, and Hong Kong Philharmonic and collaborated with top soloists including Renée Fleming and Itzhak Perlman.

In spring 2019, Mr. Lecce-Chong debuted in subscription concerts with the San Francisco Symphony. The San Francisco Chronicle called his conducting “first rate” praising the “vitality and brilliance of the music-making he drew from members of the San Francisco Symphony.” Other recent subscription debuts include the Seattle Symphony, Colorado Symphony, Louisville Orchestra, Louisiana Philharmonic, and Xi’An Symphony Orchestra. Mr. Lecce-Chong has also returned to conduct the Civic Orchestra of Chicago and the Milwaukee and San Diego Symphonies. In 2019, he also debuted with the New York

Philharmonic as part of the legendary Young People’s Concert Series. The 2020/2021 season will mark his subscription debuts with the Utah and the North Carolina Symphonies.

In the past season, heavily impacted by the pandemic, Mr. Lecce-Chong created and led a series of virtual performances with both the Santa Rosa and the Eugene Symphonies. The full season of performances was streamed for free to thousands of enthusiastic viewers around the world. In addition, the Santa Rosa Symphony reached more than two million households in the Bay Area through its “Santa Rosa Symphony Presents” TV broadcasts. Mr. Lecce-Chong embraced the digital format, using interviews with members of the ensembles, guest artists, and composers to overcome the challenges of connecting with audiences not physically present in the concert hall. The programming included more than 20 works by living composers, including a groundbreaking partnership with the renowned Ellen Taaffe Zwilich—a project that will culminate in a recording of her music by the Santa Rosa Symphony to be commercially released in 2022.

Following the paths of renowned Music Directors of the Eugene and the Santa Rosa Symphonies including Marin Alsop, Giancarlo Guerrero, and Jeffrey Kahane, Mr. Lecce-Chong has quickly made his mark with the two orchestras, introducing a series of new music and community initiatives. During the 2021/2022 season, both orchestras will continue the fouryear “First Symphony Project” that is commissioning a symphony each year from a young American composer, including multiple residencies in the community. The Eugene Symphony will embark on a three-part concert presentation of Wagner’s epic opera Tristan und Isolde and the Santa Rosa Symphony will begin a cycle of the large orchestral works of Rachmaninoff paired with legendary film composers titled “Rachmaninoff and the Hollywood Sound.”

Across both orchestras in just a single season, Mr. Lecce-Chong will lead the world premieres of five major orchestral works including an ecology-inspired

work by GRAMMY®-winning composer

Michael Daugherty, a work for mariachi and orchestra by Enrico Chapela, and a dramatic work with actors based on the life of Olympic athlete Steve Prefontaine by David Schiff.

During his successful tenures as Associate Conductor with the Milwaukee Symphony under Edo de Waart and the Pittsburgh Symphony under Manfred Honeck, Mr. Lecce-Chong also dedicated his time to opera, building his credentials as staff conductor with the Santa Fe Opera and conducting Madama Butterfly at the Florentine Opera with the Milwaukee Symphony.

Mr. Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award. Trained also as a pianist and composer, he completed his studies at the Curtis Institute of Music with Otto-Werner Mueller after attending the Mannes College of Music and Accademia Musicale Chigiana in Italy. He has had the privilege of being mentored and supported by celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, Manfred Honeck, Donald Runnicles, and Michael Tilson Thomas. ●

Richard Scofano bandoneón

A master of the bandoneón, Richard Scofano was born in Paso de los Libres, Argentina, and is the descendant of three generations of bandoneónists. Beyond his renowned virtuosity, musicality, and sensibility, Scofano is also an accomplished composer (proponent of the Nuevo Chamamé), arranger, and musical director. He began his studies at age 5, with his father, Ricardo Scofano, himself a landmark in the Argentine musical genre of the Chamamé. Richard grew up in the center of the folk traditions and culture of Northeast Argentina in a home constantly filled with musicians and singers and, nowadays, his artistry is a testimony to his mastering of the genre, to his musical craft, and to his ability to combine both through an exceptional creative genius. Scofano always nurtured interest for the music of neighboring Brazil and is passionate about the study of European classical traditions. With more than thirty years of professional work, Scofano has taken his music literally throughout the world and is held in high esteem by fellow musicians and audiences alike. Richard has worked as a performer, composer, arranger, and music director for decades. He has played throughout South America, North America, Europe, Japan, China, and Australia. In 2014/15, he toured China as director of the show “Identidad,” which included some of his music in the program. In 2015, he composed the music for Carmen de Buenos Aires,

an adaptation of the script of the opera Carmen in a tango/flamenco version, that premiered in Boston in November of that year. Also in 2015, he created a duo with pianist Alfredo Minetti, and they toured extensively throughout the U.S. and Puerto Rico, as well as Argentina and Brazil. In October 2016, he premiered his Iberá (concerto for bandoneón and orchestra) with the Oistrakh Symphony of Chicago under the direction of Mina Zikri. This concerto has been performed in the U.S. and Argentina (including at the prestigious Sala Ballena Azul at the CCK in Buenos Aires), as well as in Brazil. The year 2016 also marked the release of his CD Estaciones with his original compositions, interpreted by his duo with Minetti. In this recording, Scofano debuted his original contribution to his native genre, the “Nuevo Chamamé.” In 2017, he was invited to play a concert of his music by the Jacobs School of Music in Bloomington, Indiana. In 2018, he was invited by Yamandú Costa to perform with him at the Guitar Salon International in Santa Monica, California. He performed again with Yamandú in 2019 in New York at the Sony Hall Concert; in Montreal, Canada, at the Montreal Jazz Festival; and at the Vail Jazz Festival, in Vail, Colorado. In 2020, he received a commission by the River Oaks Chamber Orchestra (ROCO) and wrote a symphonic poem entitled La Tierra Sin Mal (for bandoneón and orchestra), inspired by a Guarani legend, which he premiered with ROCO in September of that same year. He’s done numerous TV and radio appearances, interviews, and shows. His music has been featured in radio, including on Performance Today, conducted by Fred Child. He has participated as producer, arranger, and/ or performer on many recordings, and this year he will be the musical director and bandoneónist of an upcoming production of Astor Piazzolla’s María de Buenos Aires in four Brazilian cities. ●

ONLY BRUCKNER!

NOVEMBER 18, 2022

HOLIDAY POPS!

MUSIC FROM BLOCKBUSTERS

NOVEMBER 19, 2022 WINTERFEST!

HALLELUJAH

DECEMBER 3, 2022

DECEMBER 17, 2022 WINTERFEST!

CAROL OF THE BELLS

DECEMBER 18, 2022

THE GREATEST: BEETHOVEN’S 9TH FEBRUARY 11, 2023

HAYDN & MOZART

FEBRUARY 26, 2023

MESSIAH

DECEMBER 9, 2022

DECEMBER 10, 2022

DECEMBER 11, 2022

SCHEHERAZADE: A MUSICAL MASTERPIECE

JANUARY 14, 2023

A MORNING OF MUSIC FOR STRINGS MARCH 10, 2023

BRASS & WINDS VIRTUOSITY

JANUARY 22, 2023

A NIGHT WITH OTTMAR LIEBERT MARCH 11, 2023

SEASON

Program Notes

DAVID B. LEVY

Pyotr Ilyich Tchaikovsky “Cossack Dance” from Mazeppa (1883)

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 three-act opera Mazeppa is set in Ukraine and is based on the historically based poem “Poltava” by Alexander Pushkin. The libretto for the opera was fashioned by Victor Burenin. The opera was composed between June 1881 and April 1883 and received its premiere in Moscow’s Bolshoi Theater on February 15, 1884. The “Cossack Dance” from Act I is a popular work that finds itself on concert programs.

Tchaikovsky was, of course, a master composer of symphonies and ballets. Operas also caught his attention, and Mazeppa, like Eugene Onegin, is based on Pushkin. Mazeppa, however, never has enjoyed the same popularity as Onegin As is the case with the “Polonaise” from that opera, the “Cossack Dance” from Act I of Mazeppa, is a brief and welcome orchestral showpiece. The scene is set at a festive party at the estate of Vasily and Lyubov Kochubey in honor of their guest. Audiences who treasure the brilliant displays of orchestral opulence found in Tchaikovsky’s symphonies and ballet scores, can only delight in this brief excerpt. ●

DAVID B. LEVY

Tchaikovsky

Piano Concerto No. 2 in G Major, Op. 44 (1879–1880)

Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 2 was composed in 1879-80 and received its first performance in New

York City on November 12, 1881, with Madeline Schiller as soloist with the New York Philharmonic conducted by Theodore Thomas. It is dedicated to Nikolai Rubinstein (1835–1881), although the pianist never performed the work. The Concerto No. 2 is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. The absence of trombones is notable. Tchaikovsky’s Second Piano Concerto has never risen to the popularity of his Concerto No. 1 (1874-5, rev. 1876 and 1889), which arguably is the most famous work of its kind in the entire repertory. Despite Rubinstein’s harshly negative reaction to Concerto No. 1, the pianist nevertheless became an ardent fan of the work and was rewarded with the dedication of the Concerto No. 2. A composer who often revised his works, the Concerto No. 2 comes down to us in more than one form. One of his students, Alexander Siloti made some cuts to the original score, as did Tchaikovsky himself. Siloti’s Nouvelle Édition revue et diminuée d’après les indications de l’auteur became the version most frequently performed at least until 1949, at which time Tchaikovsky’s original version was republished.

Most audiences know Tchaikovky’s second excursion into the world of piano concertos through the balletic choreography of George Balanchine, who created his Ballet Impérial in 1941, the title of which was later changed simply to “Tchaikovsky Piano Concerto No. 2.” Given Tchaikovsky’s success as the composer of ballets, many of which were choreographed by Marius Petipa and others associated with the grand Russian

tradition of Saint Petersburg, it should come as no surprise that some of the composer’s other works would also be found worthy of balletic interpretations.

The first movement of the concerto, Allegro brillante e molto vivace, begins as a grand march in the orchestra, the tune of which is soon played by the soloist with exuberant responses from the orchestra. This rather four-square pattern soon yields to the composer’s more melancholy side. Virtuosity abounds as the movement is punctuated by extensive cadenzas for the soloist, especially during the middle development section. The recapitulation is severely shortened, although it succeeds in restoring the grandeur of the movement’s opening theme. The second movement, Andante non troppo, is unusual for its extensive writing for solo violin and cello, and the finale, Allegro con fuoco, lives up to its tempo indication— “with fire,” and is dominated by its vigorous opening theme that sets as merry a mood as Tchaikovsky ever penned. ●

CHARLES GREENWELL

Tchaikovsky

Romeo and Juliet, Overture-Fantasy (1880)

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Approximately 19 minutes.

Shakespeare’s moving drama of the star-crossed lovers Romeo and Juliet has been a potent source of inspiration down through the centuries for writers, artists, composers, and filmmakers alike. The

Shakespeare’s tragedy and Tchaikovsky’s tortured personal life combine to produce the first true expression of his genius as a composer.

idea for putting the story into symphonic terms was given to Tchaikovsky by Mily Balakirev (1837–1910), a Russian composer, conductor, and teacher who is perhaps best remembered for having been the influential center of the group of composers known popularly as “The Five” (the other four being Rimsky-Korsakov, Mussorgsky, Borodin, and Cui). Balakirev, who was essentially the founding father of Russian nationalism, recognized the extraordinary potential in the young Tchaikovsky, and his discerning and helpful hand was just the sort of validation that Tchaikovsky needed at the time. Balakirev gave his younger colleague a detailed program for the work (even including musical suggestions) in 1869, and Tchaikovsky related to the subject matter immediately and earnestly. He struggled with the initial version of the piece for several months, and it was given its premiere in Moscow the following year, but not at all successfully. This first version is a masterpiece in its own right (and has even been recorded), but it was not until the final version that Tchaikovsky was completely satisfied. Some of the intense emotion and sweeping lyricism of the work may have been the result of the composer’s despair over having been rejected two years previously by the only woman he ever was truly in love with, a Belgian opera singer named Désirée Artôt. Whatever the case, Tchaikovsky was quite dissatisfied with this first version and continued to work on it sporadically for the next ten years. While in Switzerland in the summer of 1870, he fundamentally revised the work, and outlined the changes in a letter to Balakirev when he returned to Moscow that September, but Balakirev was not entirely satisfied

with this version and asked Tchaikovsky to make further revisions to the score. He did so, and this second version was performed in Saint Petersburg in February of 1872, but again was not a success. Tchaikovsky left the work alone for several years, and in August of 1880 he finally came up with a satisfactory version that was premiered that September, was published the following year, and which is now rightly regarded as one of his most inspired creations. The changes here were confined to the final 80 bars of the work, of which 34 were completely new. In 1884, the piece was awarded a prize as one of the best works in Russian classical music, and Tchaikovsky received 500 rubles as part of the award. The long and somber introduction is related to the character of Friar Laurence; next comes a fiery fast section representative of the conflict between the Montagues and the Capulets; then comes the beautiful love music of Romeo and Juliet. Later on, all of the principal themes are combined in masterful fashion, followed by music suggestive of a funeral procession, and this great tragedy comes to a conclusion with several strong chords and a final sustained note all thundered out by the full orchestra. In this intense and powerful work, Shakespeare’s tragedy and Tchaikovsky’s tortured personal life combine to produce the first true expression of his genius as a composer: a tautly constructed masterpiece that distills the Bard’s narrative down to its essentials in 20 minutes of music, which is by turns thunderingly dramatic and intensely beautiful, careening between the tension of the rival Montague and Capulet houses and the heartbreaking tenderness of the protagonists’ love. ●

CHARLES

Tchaikovsky 1812 Overture, Op. 49 (1880)

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, optional brass band, and strings. Approximately 18 minutes.

In 1880, Tchaikovsky received a commission from Nikolai Rubinstein, director of the Moscow Conservatory of Music and the Moscow branch of the Russian Musical Society, for a festive work that could be used for one of three important occasions. In 1881, Tsar Alexander II would be celebrating the 25th anniversary of his accession to the throne, the following year would see the opening of the All-Russia Arts and Industry Exhibition in Moscow, and the consecration of the Cathedral of Christ the Savior, which was being built to commemorate the Battle of Borodino and the subsequent liberation of Moscow from Napoleon’s armies in 1812. Tchaikovsky initially was not enthusiastic, but Rubinstein persisted, and finally got a promise from the composer for “… a big solemn overture … very showy and noisy …” for the Cathedral ceremony. He began work on the new piece in October of 1880 and finished it in six weeks’ time. The scoring was to be for a very large orchestra, a brass band, cannon, and church bells, and the work would be performed outdoors—a combination that actually had a precedent in 1789, when Giuseppe Sarti, Court Conductor to Catherine the Great, had written a Te Deum to celebrate the capture of Ochakov from the Turks, and which was performed by similar forces (including a chorus) in front of Catherine’s palace. For the 1812 event, the cannon were to be fired electrically from a set of switches on the conductor’s music stand, and at the climactic moment all of the bells of the Cathedral would peal along with hundreds of other bells in the nearby Kremlin towers. The event as planned would have been

“… very loud and noisy, but without artistic merit, because I wrote it without warmth and love.”

—Pyotr Ilyich Tchaikovsky

spectacular, but unfortunately it never took place. In March of 1881, the Tsar was assassinated by a group of fanatical terrorists, throwing the country into turmoil, confusion, and panic. As a result, all outdoor ceremonies were banned for some time, and the work finally received its premiere as part of the Exhibition festivities in August of 1882, but it was performed in a tent next to the unfinished cathedral, of course minus the special outdoor trappings. For the record, the cathedral was finally finished in May of 1883. In addition, Nikolai Rubinstein never got to hear the work performed, because he had died unexpectedly in Paris just a few days after the Tsar had been killed by the terrorist bombs. The work makes use of three well-known patriotic tunes: the Russian hymns “God Preserve Thy People” and “God “Preserve the Tsar” and the French national anthem, “La Marseillaise.” While he was writing the overture, Tchaikovsky complained to his patroness Mme. Von Meck that the work would be “… very loud and noisy, but without artistic merit, because I wrote it without warmth and love.” Nevertheless, the work made the composer’s estate exceptionally wealthy, as it went on to become one of the most frequently performed and recorded works in his entire catalog. One interesting sidelight: during the Communist era in Russia, the Tsar’s anthem melody was replaced by a chorus from Mikhail Glinka’s historical opera A Life for the Tsar in which the words proclaim “Glory, Glory to you, holy Russia!” and even musical scores of the

overture published in Russia at the time contained this substitution. Fortunately, with the fall of the Soviet Union, the original musical content was restored. ●

DAVID B. LEVY

Alberto Ginastera Four Dances from Estancia (1941)

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion (triangle, tambourine, castanets, snare drum, cymbal, bass drum, tam-tam), and strings.

The 20th-century Argentine master Alberto (Evaristo) Ginastera was born in Buenos Aires on April 11, 1916, and died in Geneva on June 25, 1983. The suite derived from his ballet Estancia is his most frequently performed orchestral work. It received its premiere at the Teatro Colón in Buenos Aires on May 12, 1943.

Estancia is the second ballet composed by Ginastera, Argentina’s most prominent composer. The work had been commissioned by the American Ballet Caravan in 1941, but the premiere of the complete ballet was postponed until 1952 because of the dissolution of that organization. The scenario, which celebrates Argentine rural life (the title means “ranch”), relates the efforts of a “city slicker” who competes with some gauchos for the affections of a ranch girl.

Although Ginastera had to wait for a performance of the ballet, he extracted four dances—one thinks of Aaron

Copland’s analagous Rodeo “Dance Episodes”—to form a kind of suite, which he conducted at the Teatro Colón in Buenos Aires on May 12, 1943. Estancia is representative of Ginastera as a folkloric composer. Later in his career (after 1958) he turned to serialism. Known mainly for his stage and dramatic works, his sexually explicit opera, Bomarzo (1966-67), became an international sensation.

The Four Dances from Estancia begin with a rough and rhythmically energetic movement titled “Los trabajadores agrícolas” (“The land workers”). The gentle “Danza del trigo” (“Wheat dance”) serves as a slow movement. This is followed by the low timbre and rhythmic complexity of “Los peones de hacienda” (“The cattle men”). Listeners may discern a kinship of this movement to Stravinksy’s Petrushka. The final movement, “Danza final (Malambo),” is a wild and wooly celebration, whose last part (Tempo di malambo) acts as a kind of rondo. The French horns in particular have a merry time of it in the digressions from the main theme. ●

CHARLES GREENWELL

Astor Piazzolla

Born March 11, 1921, in Mar del Plata, Argentina

Died July 4, 1992, in Buenos Aires, Argentina Bandoneón Concerto, “Aconcagua” (1979)

Scored for solo bandoneón (or accordion), percussion, harp, piano, and strings.

Approximately 22 minutes.

Astor Pantaleon Piazzolla was an Argentine composer, arranger, and virtuoso on the bandoneón, an Argentine type of accordion that has buttons instead of keys. His works changed the traditional tango into a new style called nuevo tango (new tango), which incorporated elements of jazz and classical music. Although in our time his name has become virtually synonymous with the tango, he certainly did not create the dance, but elevated it to new heights and in the process placed it firmly in both the dance halls and concert halls of the world. In this regard he was able, through the force

Piazzolla eventually became so enamored of the tango that he destroyed almost all of his early compositions and devoted the rest of his life to writing works with that rhythm as its basis.

and compelling qualities of his works, to transform a very popular idiom into a new and sophisticated form of music. Although he was imbued with the folk elements of his native Argentina and other Latin-American cultures, he was able to study with the legendary Nadia Boulanger in Paris, whose influence can be heard in the unusual harmonies and rhythms in his tangos and other works. By the time Piazzolla got to it, the tango already had been filtered through European, African, and Cuban influences, and had arisen in the slums of Buenos Aires in the late 19th century. The dance itself is characterized by almost violent movements along with abrupt rhythmic and dynamic contrasts, and the sung tango lyrics are emotional, sentimental, and often very dark and negative. Piazzolla eventually became so enamored of the tango that he destroyed almost all of his early compositions and devoted the rest of his life to writing works with that rhythm as its basis. He developed this process to a point where it is often difficult to recognize the dance in his most complex and sophisticated works. Until comparatively recently, his music was not widely known outside of South America, but now his works are very popular and played all over the world. This Bandoneón Concerto was commissioned by the Banco de la Provincia de Buenos Aires, and was first performed in December of 1979 in that city with Piazzolla himself as the soloist. After his death in 1992, his agent and publisher gave the work the nickname of “Aconcagua,” the name of the highest peak in the Andes Mountains, and by inference, the highest peak of Piazzolla’s entire output. The accompanying ensemble excludes winds and brass, which serves to intensify the presence of the soloist. It is in the three-movement form of a classical concerto and is based on the milonga, a ballroom dance and forerunner of the tango that originated in the Rio de la Plata region of Argentina and Uruguay, and evolved from a fusion of the Cuban habanera, the polka, and the Brazilian macumba. There are elements of the tango all through the concerto: a melancholy alternation between major

and minor, very extreme and disjointed articulation, expressive solo lines, and a pensive way of subtly changing the tempo. The first movement begins with strong, syncopated rhythms that blend into a lyrical middle section featuring two cadenzas for the soloist. The middle movement is slow and dreamy and builds to a passionate climax. After beginning in a whirlwind of fast, exciting music, the finale—like the first movement—slows down into a reflective section, then builds to a shattering climax over very strong and heavy rhythms.

CHARLES GREENWELL

Until comparatively recently, LatinAmerican music was not heard very often on concert programs in the United States. The great names in LatinAmerican concert music are limited to the 20th century, but the contribution of these figures has been substantial. Of all composers from that part of the Western hemisphere, Astor Piazzolla has become the most widely performed, and indeed has achieved something resembling pop-star status. He was a composer, bandleader, and a virtuoso on the bandoneón, an Argentine type of accordion that has buttons instead of keys. His family emigrated to New York in 1924, but he returned to Buenos Aires

in 1937, and in 1944 formed a small orchestra to play his own compositions. In 1954, he wrote a symphony for the Buenos Aires Philharmonic that won him a scholarship to study with the legendary Nadia Boulanger in Paris, where he eventually settled in 1974. His very distinctive and trend-setting tangos included fugues, extreme chromaticism, dissonance, and elements of jazz. Initially, this music was condemned by the traditionalists, and found favor mainly in the U.S. and France. By the 1980s, however, his work became widely accepted, and he was even regarded by many as the savior of the tango, the musical soul of Argentina. At that time, his works were taken up by many classical performers, among them the Kronos Quartet, Mstislav Rostropovich, Michael Tilson Thomas, Gidon Kremer, and Daniel Barenboim. Piazzolla forged a new music that fused folkloric beauty with contemporary practices, and in so doing challenged the traditional concepts of concert music. It is no exaggeration to say that he is the single most important figure in the history of the tango, a towering giant whose influence looms large over everything that preceded and followed him. His place in tango music can be roughly equated with that of Duke Ellington in jazz, that is, a genius who took an earthy, sensual, and even disreputable folk music and elevated it into a sophisticated form of high art. In addition, Piazzolla was a virtuoso performer with a nearly unequaled mastery on the bandoneón. In his hands, the tango was lifted out of the realm of dance music and infused with an entirely new harmonic and rhythmic vocabulary made for the

Piazzolla arr. Roberto Passarella Libertango (1974; arr. 2020) Piazzolla Oblivion (1982)

Piazzolla forged a new music that fused folkloric beauty with contemporary practices, and in so doing challenged the traditional concepts of concert music.

concert hall more than the ballroom. With Stravinsky-esque rhythms, sparsetextured counterpoint, and driving bass lines, he renewed the tango’s universality and its basic essence, in the process bringing him great international acclaim, particularly in Europe and Latin America. It also earned him the lasting enmity of many tango purists who mercilessly attacked him for what they considered his abandonment of tradition, and this was enough to force him out of Argentina during the dark years of the military junta in the 1970s. In spite of this, he remained true to his vision, and became the tango’s principal ambassador to the world at large until he died in 1992. He was a true original because of his artistic uniqueness and innovative honesty.

Libertango, which was recorded and published in 1974 in Milan, is one of Piazzolla’s most frequently performed works. The title is a portmanteau combining Libertad (Spanish for liberty) and Tango, which here marked a change from Classical Tango to Tango Nuevo (New Tango), a new style of the master’s compositions. This sultry work with spicy rhythms and a striking melody also features an accordion, which gives the music a folk-like element, and has kept it at the forefront of the modern tango. Although it was originally an instrumental work, in 1990 the Argentinian poet Horacio Ferrer added Spanish lyrics concerned with the theme of freedom.

The haunting and atmospheric Oblivion, another of Piazzolla’s most popular tangos, became widely known from the soundtrack of the 1984 Italian film Henry IV the Mad King. Based on Luigi Pirandello’s play of the same name, it tells the story of a man, played by Marcello Mastroianni, who, after falling off his horse and receiving a concussion, spends the next 20 years of his life believing he was Henry IV, the 11th-century German king and Holy Roman Emperor. The film was directed by Marco Bellochio, a highly regarded mainstay of the Italian film industry who is sadly little-known outside of Italy. This is one of Piazzolla’s most traditional tangos, less jazzy and angular

than many of his works, which owes much to the work of the Brazilian composer, pianist, and singer Antonio Carlos Jobim, one of the greatest exponents of Brazilian music, and the man who made the bossa nova internationally famous. ●

RICHARD SCOFANO

Richard Scofano La Tierra Sin Mal (2020)

This piece is inspired by the Guaraní account of the “land without evil” (la tierra sin mal—yvy marãhey). The South American indigenous peoples called the Guaraní-occupied areas of the continent this before the arrival of the Europeans. Today, their descendants inhabit parts of Bolivia, Brazil, Paraguay, and Argentina. Their “land without evil” is a place where everything thrives, where there is no suffering, no illnesses, no death … where everything is in harmony. According to their beliefs, this land could be reached in life, and it should be found somewhere at the center of earth, where their hero Ñanderuvuçú had built his house in time immemorial. This place was to be found toward the East, beyond the seas, and this belief justified population movements and displacements for centuries. They tackled the unknown, faced enemy groups, crossed forests, rivers, waterfalls, and endured suffering and illnesses so that they could reach their yvy marãhey.

Growing up, I took this myth as testimony of the Guaraní courage, endurance, and resilience, but above all, of the enthralling and overwhelming beauty of their culture, of their ways. I

remember envisioning mysterious and dangerous places and situations every time the search for “la tierra sin mal” was recounted. Dense forests, wetlands, vast grasslands, darkness and light, the anticipation, the challenges and dangers, the unknown, and above all, the moments of peace and rest, their settlements, their rituals, their dances, and festivities. I could almost taste their mbeyús with honey while sipping mate. And I was fascinated by their profound spirituality, the transcendent and redemptive character of their myths, as well as with their symbiosis with the environment.

In this piece, I have drawn musical landscapes and commented on many of those elements, sometimes intentionally, mostly unconsciously. The piece is filled with human emotions and sensorial experiences: sights, smells, and sounds of the forest, the rivers and of the Guaraní settlements, their celebrations, and their people. But I prefer to leave it to musicians and audiences to find them according to their imagination, as the “poem” unfolds … as it is performed.

In the process of writing this piece, the myth was evermore present; it became personal, resonating with the current challenges that we all have been experiencing … another challenge, one more threshold to be crossed, and the new beginning that will follow as we continue the search for our “land without evil.” I think that this search may have to be directed toward our inner selves … as “la tierra sin mal” may very well be hidden deep inside each and every one of us … it may have been there from time immemorial. ●

Their “land without evil” is a place where everything thrives, where there is no suffering, no illnesses, no death … where everything is in harmony.

DAVID B.

Silvestre Revueltas La noches de los mayas (1936)

Mexican composer, conductor, and violinist Silvestre Revueltas was born on December 31, 1899, in Santiago Papasquiaro, Durango, and died on October 5, 1940, in Mexico City. One of his country’s foremost composers, trained both in his native land and in the United States, he also pursued an active career as a violinist and conductor, having performed and conducted in, among others, San Antonio, Mobile, and Mexico City. Revueltas was invited by Carlos Chávez in 1929 to become an assistant conductor of the Mexico Symphony Orchestra, a post he held for six years. In addition to his frequently performed Sensemayá, Revueltas’s compositions include several ballets, orchestral works, chamber music, songs, and film scores, of which La noches de los mayas, composed in 1936 is an example. The music was composed for the film of the same name that was an adaptation by director Chano Urueta of a story by Antonio Mediz Bolio, an advocate for Mayan culture. In 1960, the composer and conductor José Yves Limantour created a four-movement suite based on Revueltas’s score. Limantour’s orchestration calls for 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets (both doubling E-flat clarinet), bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, percussion (bongos, caracol (conch shell), drum—with snares, drum—without snares, guiro, huehuetl (cylindrical drum), Indian drum, sonajas (metal rattles), tam-tam, tomtoms, tumbadora (conga drum), tumkul, and xylophone), piano, and strings.

Concert audiences may be familiar with Revueltas’s evocative Sensemayá (1938), and the present suite taken from Urueta’s film that celebrated and lamented the glory and decline of Mayan culture as it clashed with modern culture. No less a figure than Paul Hindemith took an interest

in Revueltas’s music for La noches de los mayas, creating his own two-movement arrangement in 1946 and reducing the size of the originally huge percussion. In 1959, Mexican conductor José Yves Limantour made a four-movement suite from the film score. In this version, Limantour felt free to make alterations that included an extensive “improvisation” of exotic percussion instruments that was not the work of Revueltas. The four movements are as follows, taking the shape of a kind of symphony:

“Noche de los mayas,” molto sostenuto “Noche de jaranas,” scherzo “Noche de Yucatán,” andante espressivo “Noche de encantamiento,” tema y variaciones

Limantour’s version was first performed on January 30, 1961, by the Guadalajara Symphony Orchestra. The music is highly evocative from start to finish. ●

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

MOZART CIRCLE

Donation of $10,000–$24,999

Albuquerque Community Foundation, NDB & CEB Fund Meg Aldridge Anonymous

Bernalillo County Commission George & Sibilla Boerigter

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

Trust of Margaret E. Macy

The Honorable & Mrs. James A. Parker Cynthia Phillips & Thomas Martin Real Time Solutions, Inc. Rio Rancho Kiwanis Foundation

Sandia Foundation, Hugh & Helen Woodward Fund Terrence Sloan, in honor of Ronald Bronitsky’s Grandfather Sophia’s Foundation for Autism United Way Community Fund Estate of Charles E. Wood Dr. Dean Yannias

BRAHMS CIRCLE

Donation of $5000–$9999

Albuquerque Community Foundation, The Ties Fund

Carl & Linda Alongi Anonymous

James Botros & Jeremy Wirths Paula & William Bradley Bob & Fran Fosnaugh

Friends of Music Inc.

Hancock Family Foundation Jonathan & Ellin Hewes

Robert & Elisa Hufnagel Chris & Karen Jones

Christine Kilroy

Harry & Betsey Linneman

ListenUp

Edel & Thomas Mayer Foundation

Menicucci Insurance Agency

Karl & Marion Mueller

New Mexico Arts George & Mary Novotny Scott Obenshain

Bob & Bonnie Paine

Sandia Laboratory Federal Credit Union

Richard Vandongen

The Verdes Foundation

Kathleen & David Waymire

Diane Chalmers Wiley & William Wiley Lance Woodworth

John Wronosky & Lynn Asbury Janet Youngberg

CHOPIN CIRCLE

Donation of $3500–$4999 Anonymous Anonymous Mary Baca Nancy M. Berg

The Cates Team/RBC Wealth Management Richard & 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 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 Century Bank D’Addario Foundation Thomas & Martha Domme Fritz Eberle & Lynn Johnson David & Ellen Evans Firestone Family Foundation First United Methodist Church, Kaemper Music Series Frank & Christine Fredenburgh Roland Gerencer, MD Jean & Bob Gough Helen Grevey Madeleine Grigg-Damberger & Stan Damberger Stephen & Aida Ramos Heath Donna Hill Rosalyn Hurley Sue Johnson & Jim Zabilski Bonnie & Hank Kelly

Bruce A. Larson, in memory of The Rev. Samuel L. Hall

Jon McCorkell & Dianne Cress

Bob & Susan McGuire

Jan Mitchell

Moss-Adams 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 Seargeant

Vernon & 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 Grant

Teresa Apple & Richard Zabell Jonathan & Deborah Armerding Benevity Fund

Lawrence & Deborah Blank

Robert Bower & Kathryn Fry

Drs. Kathleen L. Butler & M. Steven Shackley Butterfield’s Jewelers

Edwin Case Edwin Case, in memory of Deborah Case

Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin John Crawford & Carolyn Quinn Robert & Mary Custer Leonard & Patricia Duda James & Teresa Edens

Susan Evatt, in memory of R. Nim Evatt

Richard & Virginia Feddersen David Foster Helen Fuller Ralph Garza George F. Gibbs Scott Goodman Peter Gould Stephen Hamm

Roger & Katherine Hammond Harris Hartz, in memory of Dr. Larry Lubar

Hal Hudson, in memory of Carolyn Hudson Stephanie & David Kauffman Steve & Elisa Kephart, in honor of Richard White & the Low Brass Judith Levey Marcia Lubar, in memory of Larry Lubar

Myra & Richard Lynch Linda S. Marshall

Kathy & John Matter

Ranne B. Miller & Margo J. McCormick

Miller Stratvert, P.A. Robert Milne & Ann DeHart, in memory of Clare Dreyer

Mark Moll

David & Alice Monet

National Christian Foundation

Southwest

New Mexico School of Music, Tatiana Vetrinskaya

James O’Neill & Ellen Bayard

Joyce & Pierce Ostrander

Stuart & Janice Paster

Mary Raje

Dr. Barry & Roberta Ramo

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

Joan Robins & Denise Wheeler

The Rodey Law Firm

Ruth Ronan

Dr. Harvey Ruskin

Howard & Marian Schreyer Bruce & Sandra Seligman

Barbara Servis

Richard & Janet Shagam

Janet & Michael Sjulin

David & Heather Spader

David E. Stinchcomb, in memory of Ann Stinchcomb

Jane & Doug Swift Fund for Art & Education

Tamara Tomasson

Margaret Vining

Michael Wallace

Eugene & Barbara Wasylenki

Peter & Judy Basen Weinreb

Robert & Trudie White

Bill & Janislee Wiese

David & Evy Worledge

CONCERTMASTER CIRCLE

Donation of $500–$999

Joe Alcorn & Sylvia Wittels Dennis Alexander Anonymous Anonymous Richard & Linda Avery Michael & Leanore Baca Daniel Balik

Jan Bandrofchak & Cleveland Sharp Hugh & Margaret Bell, in memory of Joan Allen Richard & Maria Berry

Michael Blackledge, in memory of our colleague Robert O. Woods, from the Last Thursday Book Club of Albuquerque Monica Boehmer, in memory of Leonie Boehmer

Rod & Genelia Boenig

Mike Boice

Walt & Celia Bolic

Bosque School Community Builders

Immersive

Marie Brown-Wagner

Michael & Cheryl Bustamante, in memory of Cheryl B. Hall David & Shelly Campbell

Camille Carstens

James Connell

Cathy Conrad

Stephanie & Bert Coxe

Michael Dexter

Thomas Dyble

Martha Egan

Jane & Michael Flax

Diane Fleming, in memory of Robert Fleming

Denise Fligner & Terry Edwards

Howard & Debra Friedman

Dennis & Opal Lee Gill

Drs. Robert & Maria Goldstein

Yvonne Gorbett Marcia Gordon

Berto & Barbara Gorham

Lauro Guaderrama

Kathleen Hammar

Harris Jewelers

Martha S. Hoyt

Robin Jackson Photography

Steve Kemp

Robert & Toni Kingsley

Marlin Kipp

Herbert & Shelley Koffler

Noel & Meredith Kopald

Christina Kreuz

Stephanie & Kenneth Kuzio Drew Lamprich

Mildred Langston

Donald & Margaret Lenk

Thomas & Donna Lockner

Dr. Ronald & Ellen Loehman

Tyler M. Mason

C. Everett & Jackie McGehee

Christine & Russell Mink

Cary & Eve Morrow

Michael & Judy Muldawer

Mark Napolin

Lynne Newton

Richard & Susan Perry

John Provine

Barbara Rivers

Patrica Rodgers & Harry Stumpf, in memory of Blossom Kite

Anjella Schick

Frederick & Susan Sherman, in memory of Judith Lackner

Ronald Shettlesworth

Rae Siporin

William E. Snead

Sarah Stevens-Miles

Charles Stillwell

Phyllis Taylor & Bruce Thomson

Marie Weingardt

Carl G. & Janet V. Weis

Diana Zavitz, in memory of Pat & Ray Harwick

PRINCIPALS CIRCLE

Donation of $125–$499

Marsha Adams

Gerald Alldredge

Amazon Smile Anderson Organizing Systems

John & Polly Arango

Leonard & Stephanie Armstrong

Janice J. Arrott

David Baca

Sally Bachofer

Douglas Bailey Olive Baker-Brown

Nicole Banks

Harold & Patricia Baskin

William Bechtold Edie Beck

Michael Bencoe Gay & Stan Betzer

Elaine Bleiweis & Karen Hudson, in memory of Blossom Kite Kelly Block James & Ann Bresson Douglas Brosveen Terry Brownell & Alpha Russell Nancy Brunson

Marcia Bumkens

Caliber’s Safe Store

Carol Callaway

Dante & Judith Cantrill

Robert E. & Shirley Case Roscoe & Barbara Champion Gregory & Karen Chase Olinda Chavez Lance & Kathy Chilton Sharon Christensen Beth Clark Paul & Linda Cochran Jane & Kenneth Cole Donna Collins Lloyd Colson III Henry & Ettajane Conant Marcia Congdon Susan Conway Jasha Cultreri Stephen & Stefani Czuchlewski Paul & Kathleen Deblassie Ronald & Faye Detry Raymond & Anne Doberneck Carl & Joanne Donsbach Reverend Suzanne & Bill Ebel Gary Echert

Michael & Laurel Edenburn Jeffrey Edgar

The Eichel Family Charitable Fund Richard & Mildred Elrick Jay Ven Eman Jackie Ericksen

David & Frankie Ewing Peggy Favour Helen Feinberg Heidi Fleischmann & James Scott William & Cheryl Foote Joseph Freedman & Susan Timmons Maureen Fry Mary Day Gauer

Thomas & Linda Grace Paul & Marcia Greenbaum

Justin M. & Blanche G. Griffin Stanley & Sara Griffith Mina Jane Grothey Kirk & Jan Gulledge Robert & Elene Gusch Ruth Haas Herman Haase Lee & Thais Haines Ron & Nancy Halbgewachs Leila Hall, in memory of Samuel Hall Debbie Hammack Bennett A. Hammer Joan Harris Darren Hayden

Patricia Henning & Anthony Lazzaro

Pamelia Hilty (Snow Blossom Gift Fund)

Laura Hoberg

Toppin & Robert Hodge

Ulton & Jean Hodgin Diane Holdridge

Kiernan Holliday

Bernhard E. Holzapfel Nancy Kay Horton

Janet Humann

Betty Humphrey

Bryan “Lance” & Debrah Hurt Christopher & Venessa Johnson Nancy Joste

Robert & Mary Julyan Carol Kaemper

John & Mechthild Kahrs Norty & Summers Kalishman Thomas & Greta Keleher Ann King

Gerald Kiuttu & Candace Brower Phil Krehbiel

Jennifer C. Kruger Woody & Nandini Kuehn Karen Kupper Nick & Susan Landers Jae-Won & Juliane Lee

Susan Lentz

Robert Lindeman & Judith Brown Lindeman

John Linder & 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

Jeffrey Marr

Carolyn Martinez

Sallie McCarthy Roger & Kathleen McClellan Linda McNiel

Martha Ann Miller & Henry Pocock Jim Mills & Peggy Sanchez Mills Louis & Deborah Moench Robert & Phyllis Moore Jim & Penny Morris Ted & Mary Morse

Lynne Mostoller & Kathryn McKnight, in honor of Richard White Mr. Tux Betsy Nichols Rebecca Okun

John & MacKenzie Ordorica Patrick Ortiz, in memory of Karen McKinnon Del Packwood & Barbara Reeback Michelle Pent Elizabeth Perkett

Phil & Maggie Peterson

Lang Ha Pham & Hy Tran Judi Pitch

Placitas Artists Series

PNM Resources

James Porcher

Dan & Billie Pyzel

Jane Rael

Jerry & Christine Rancier

Ray Reeder

Robert Reinke

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 Salas

Carey Salaz

Santa Fe Opera

Sarafian’s Oriental Rugs

Christine Sauer

John & Karen Schlue

Laura Scholfield

Kendra Scott

Marc Scudamore & Brigitte Schimek

Meryl & Ron Segel, in honor of Joan Zucker’s retirement

Daniel & Barbara Shapiro

R.J. & Katherine Simonson

George & Vivian Skadron

Carol Smith

Steven & Keri Sobolik

Karen Soutar

Sport Systems

John & Patricia Stover

David & Jane Tallant

Natalia Tikhovidova

Craig Timm & James Wilterding

Laurence Titman

Jacqueline Tommelein

True Rest Float Spa

Leonard & Mary Joan Truesdell

Kimberly Tuozzoli

Arthur Vall-Spinosa & Sandra Louise Nunn

Vara Winery & 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 Wortman

Paula Wynnyckyj Andrea Yannone

Peng Yu, in honor of Steve & Maureen Baca

Tony Zancanella

FRIENDS OF THE PHILHARMONIC

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

Anonymous

Julie Atkinson

Jackie Baca & Ken Genco

Thomas J. & Helen K. Baca

Harper Baird

Adam Banks

Therese Barts

Elizabeth Bayne

Susan Beard

Judy Bearden-Love

Kirk & Debra Benton

Mark & Beth Berger

Barry Berkson

Suzanne Bernhardt

Marianne Berwick

Karen Bielinski-Richardson

Nancy & Cliff Blaugrund, in honor of Judge Parker on his birthday Nancy Blaugrund, in honor of Judy Lackner

Thomas & 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 CarMax

James Carroll

Joseph Cella

Laura Chang

Cheesecake Factory Wayne & Elaine Chew

Barry Clark

James & Pauline Clements

James & Joan Cole

Randall & Valerie Cole Amy Couch

John & Katherine Cunningham

Mark A. Curtis

Marjorie Cypress & Philip Jameson

The Daily Grind

Hubert Davis

Merrick & Leigh Ann Dean Kurt & Yvonne Deshayes

Stephen R. Donaldson

James & Julie Drennan

Barbara Druxman, in memory of Dr. Larry Lubar Michael & Jana Druxman

Jeff & Karen Duray

Sondra L. Eastham, in memory of Judith Lackner

Sondra L. Eastham, in memory of Dr. Herb Freidman

John Eckert

Helene Eckrich

Bradley Ellingboe

Robert & Dolores Engstrom

Jane Farris, in honor of Brent & Maria Stevens

John Adam Farris

Howard Fegan Ella J. Fenoglio

Irene Fertik

David Fillmore

Mary Filosi

Sally Fish

Joy Fishel-Eaton

James Fisk

Rabbi Arthur Flicker Blake & Liz Forbes

Walter & Beverly Forman David Foushee

Greg & Jeanne Frye-Mason Eric & Cristi Furman

Jonathan & Julia Gallegos Yolanda Garcia Walter Gerstle

Ronald Goldsmith

The Golf Mart

Lois Gonzales

Stephen Ray Goode Great Harvest Bakery Alfred & Patricia Green

Ginger Grossetete

Kevin & Teresa Grunewald

Birgitta Gustafson, in honor of Richard White

J. Michele Guttmann Fletcher & Laura Hahn

Kerry L. Harmon William & Janet Harrington Noah Harris Matt Hart

John & Diane Hawley Jo Ellen Head Drew Henry Cynthia Heredia Marvin & Anne Hill, in memory of J.L. Tischhauser Nancy Hill Heidi Hilland Glenn & Susan Hinchcliffe Fred Hindel

Kory & Roseann Hoggan, CPA Steven Homer Thomas & Mary Ann Horan Stanley & Helen Hordes Stephanie Hurlburt Ralph & Gay Nell Huybrechts

James & Kristin Jackson Jenica Jacobi Jerry & Diane Janicke Gwenellen Janov Michael & Sandra Jerome Robert & Nanette Jurgensen Joyce Kaser Julia Kavet

Janet & Michael Keller, in memory of Blossom Kite Margaret Keller Nancy Kelley Fern Kelly Bill Kent

J. Dianne Keyson M.J. Kircher Barbara Kite, in memory of Blossom Kite Ralph & Heather Kiuttu Barbara Kleinfeld, in memory of Karen McKinnon Barbara Kleinfeld, in memory of Judith Lackner John & Gretchen Kryda Mark Kunzman

Kathryn Lackner Molly Lannon

LeRoy Lehr & Veronica Reed Marc Limmany Carl & Sheila Litsinger Mariana Lopez

Laurence & Patricia Loucks Sam Lucero & Ron Lahti Bob & Maureen Luna, in memory of Robert O. Woods Morgan MacFadden Frank Maher James & 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. Woods Kathleen Miller Natalie Miller Robert F. Miller John Mims

Phillip Mitchell, in memory of Beatriz Mitchell Dr. William Moffatt

Letitia Morris Shirley Morrison Baker H. Morrow & Joann Strathman Karen Mosier & Phillip Freeman Peter Mostachetti Brian Mulrey Andrea Mungle Nambé

Napoli Coffee Albert & Shanna Narath Bruce & Ruth Nelson Geri Newton Maude Nielsen Candace & Frank Norris Ruth Okeefe

Ooh! Aah! Jewelry

Joseph Opuszenski William Owen Eric Parker Mark & Diane Parshall Howard Paul Honorine Payne PayPal Giving Fund Brian Pendley

PF Chang’s Barbara Pierce Ed Pierce, in memory of Judith Lackner Helen Priest

Therese Quinn

David & Tracey Raymo Kerry Renshaw Kay Richards George & Sheila Richmond Margaret Roberts Gerald & Gloria Robinson Gwenn Robinson, MD & Dwight Burney III, MD Jeff & Marin Robinson

Judith Roderick

Christopher Rosol

Dick & Mary Ruddy

Aubree Russell

Robert Sabatini & Angela Bucher

John Sale & Deborah Dobransky

Evelyn E. & Gerhard L. Salinger

Katherine Saltzstein

Warren Saur

Savoy Bar & Grill

Peggy Schey

David & Marian Schifani

Sheila Schiferl

Seasons 52

Season’s Rotisserie & Grill

Laurel Sharp & David Smukler

Arthur & Colleen Sheinberg

Dasa Silhova

Beverly Simmons

Norbert F. Siska

Matthew & Diane Sloves

Joseph Smith

Kirk Smith

Smith’s Community Rewards

Catherine Smith-Hartwig

Cynthia Sontag

Allen & Jean Ann Spalt

Linda Srote, in memory of Karen McKinnon

Philip & Lois Ann Stanton

Lauren Starosta

Theodore & Imogen Stein

Frances Steinbach

Luis & Patricia Stelzner

Brent & Maria Stevens

Elizabeth C. Stevens

Stone Age Climbing Gym

Bryan Stoneburner

Arthur Stuart Jonathan Sutin

Gary & Rosalie Swanson

Jeffrey & Georgeann Taylor

Dr. Steven Tolber & Louise CampbellTolber Valerie Tomberlin

John Tondl

Marian Towne

John & Karen Trever

Jorge Tristani Linda Trowbridge

Robert Walston

Caren Waters Elaine Watson Dale A. Webster

Kevin & Laurel Welch

Charles & Linda White

Leslie White

Roland & Wendy Wiele

Robert & Amy Wilkins

Kathryn Wissell

Margaret Wolak & Angelo Tomedi

Kenneth Wright

Kari Young

Kenneth & Barbara Zaslow

Charles & Nancy Zimmerman

Michael & Anne Zwolinski

10/4/2022

●

New Mexico

Foundation

DONORS & TRUSTEES

The McKinnon Family Foundation

Lee Blaugrund

Charles, Trustee, & Eugenia Eberle

Barbara Rivers, Trustee

Robert & Frances Fosnaugh

Thomas Martin, Trustee, & Cynthia Phillips

Stephen, Trustee, & Maureen Baca

Estate of Marian Ausherman

Chavez

Dr. Dean Yannias

William E. Cates

Mary Baca (aka Betty)

Christine Kilroy Keith Gilbert

Ann & Robert Boland

Thomas & Edel Mayer

Robert Milne

David Northrop

John & Karen Schlue Susan Spaven

Tyler M. Mason

Jerald Parker Richard VanDongen Roland Gerencer

Jonathan Hewes

George Thomas

Richard Zabell & Teresa Apple

Scott Obenshain

Sydney (Al) & Melissa Stotts

Marian & Jennifer Tanau

Charles & Judith Gibbon

Alice J. Wolfsberg

Scott & Carol Schaffer

Joel & Sandra Baca

Dorothy M. Barbo

Henry & Jennifer Bohnhoff

Clarke & Mary Cagle

Kenneth Conwell II

Bob & Greta Dean

Howard & Debra Friedman

Robert & Jean Gough

Justin Griffin

Mike & Blanche Griffin

Mary Herring

Elisa Kephart

Alan Lebeck

Sonnet & Ian McKinnon

James O’Neill

W. Pierce & Joyce Ostrander

Clifford Richardson III

Jacquelyn Robins

Jay Rodman & Wendy Wilkins

John Rogers

Heinz & Barbara Schmitt

Michael & Janet Sjulin

Peter & Judy Weinreb

Jim Zabilski & Sue Johnson

Marlin E. Kipp Thomas & Greta Keleher

Susanne Brown

Michael Dexter

Thomas M. Domme

Martha Egan

David Espey

John Homko

Frances Koenig

Letitia Morris

Michael & Judy Muldawer

Ken & Diane Reese

Jeff Romero

Nancy Scheer

Neda Turner

Michael Wallace

Thomas & Ann Wood

Anonymous Maria Stevens

John & Julie Kallenbach

Kay F. Richards Stan & Gay Betzer

Kenneth & Jane Cole Leonard Duda

Mary E. Lebeck

Robert & Judy Lindeman

Martha A. Miller

Betsy Nichols Lee Reynis

Warren & Rosemary Saur

John & Patricia Stover Leonard & Stephanie Armstrong

Robert Bower & Kathryn Fry Christopher Calder & Betsey Swan

Judith & Thomas Christopher Fran DiMarco

Dr. Lauro G. Guaderrama Lawrence & Anne Jones Karen Lanin Geri Newton Edward Rose Christine Sauer

James Sharp & Janice Bandrofchak

Rae Lee Siporin Bruce Thompson & Phyllis Taylor

Lawrence & Katherine Anderson Douglas & Dianne Bailey Edie Beck Jeffrey Bridges A.J. Carson Thomas & Elizabeth Dodson Harry & June Ettinger

Helen Feinberg

Carl Glenn Guist

Fletcher & Laura Hahn

Robert & Linda Malseed Robert & Rebecca Parker

Elizabeth Perkett

Shelley Roberts

Thomas Roberts & Leah Albers

Gruia-Catalin Roman Donald & Carol Tallman

Peter & Mary Tannen Rosario Fiallos

James & Ann Breeson

Carl & Jeannette Keim Andrea Kilbury Linda McNiel

Albert & Shanna Narath David & Cynthia Nartonis

Ray Reeder

Charles & Ruth Snell Henry & Ettajane Conant Nancy Hill Daniel T. O’Shea Charles & Linda White Dal Jensen Charlotte McLeod David Peterson 505 Southwest Auto Ninon Adams

David Baca

Mark & Beth Berger Charleen Bishop John Bowers & B.J. Fisher Eric R. Brock & Mae S. Yee Camille Carstens

Joseph Cella Robert Chamberlin

Dennis Chavez Development Corp

Olinda Chavez Helene Chenier Hugh & Kathleen Church James Cole Barbara L. Daniels Drina Denham Jerry & Susan Dickinson Vicky Estrada-Bustillo Alfred & Patricia Green Peter Gregory Karen Halderson Samuel & Laila Hall Herman Haase Jo Ellen Head Kiernan Holliday Michael & Sandra Jerome Robert H. & Mary D. Julyan Julia Kavet

Henry Kelly

Robert & Toni Kingsley Walter & Allene Kleweno, in memory of Pegg Macy Gerald Knorovsky L.D. & Karen Linford Betty Max Logan Douglas Madison Elizabeth Davis Marra Salvatore Martino Donald McQuarie Dr. William Moffatt

James B. & Mary Ann Moreno Cary & Evelyn Morrow Karen Mosier

David & Marilyn Novat Richard & Dolly O’Leary Maureen Oakes Eric P. Parker Michael Pierson & Jane Ferris Karla Puariea Russell & Elizabeth Raskob George & Sheila Richmond Margaret E. Roberts Matthew Roberts Judith Roderick Marian Schreyer

Drs. M. Steven Shackley & Kathleen L. Butler Joseph Shepherd & Julie Dunleavy

Lillian Snyder

Julianne Stangel

Ronald T. Taylor

Marta Terlecki

Betty Tichich

Marvin & Patricia Tillery Robert Tillotson

Jorge Tristani (President, Denis Chavez Development)

Harold & Darlene Van Winkle

Lana Wagner Dale Webster

Kevin & Laurel Welch

Liza White

Marc & Valerie Woodward

Diana Zavitz

Michael & Jeanine Zenge

Linda R. Zipp MD

Jeffrey G. Allen Marilyn Bowman Stephen & Merilyn Fish

Lorraine B. Gordon Hareendra & Sanjani

Kulasinghe

David C. McGuire Jr.

William & Cynthia Warren John Vittal

Margaret Lieberman Judith Anderson

Marcia Congdon

Genevieve Davidge

Winnie Devore Karen Duray Jackie Ericksen John & Nancy Garth Allison Gentile Andrea Granger Fred & Joan Hart Edgarton (E.R.) Haskin Jr. Theresa Homisak Stephanie Kauffman Basil Korin

Frederic & Joan March

Cristina Pereyra Luana Ramsey J. Sapon & Allison Gentile Michael & Lisa Scherlacher John & Sherry Schwitz Beverly Simmons Alexandra Steen Kathleen Stratmoen Dean Tooley Kenneth Wright Kenneth & Barbara Zaslow

Andrew & Lisa Zawadzki

Peter & Ann Ziegler

Mary J. Zimmerman

Alvin Zuckert

Dante & Judie Cantrill

Lori Johnson Douglas Cheney Martha Corley Barbara Killian Gary Mazaroff Theodore & Sue BradiganTrujillo Christopher Behl Mary Compton

Henry Daise Arthur Flicker Andrew McDowell & Natalie Adolphi

Claude Morelli

Noel Pugach

Bonnie Renfro

Elizabeth Stevens

Arthur Alpert

Stanley & Helen Hordes

Edward & Carol Ann Dzienis Bob Crain

Denise Fligner & Terry Edwards

Stephen Schoderbek

Krys & Phil Custer

Deborah Peacock & Nathan Korn

Rita Leard

Carol Diggelman

Paul Isaacson

Sarah Barlow

Martin & Ursula Frick

Robert & Phyllis Moore

Gary & Nina Thayer

Sharon Moynahan & Gerald Moore

Jeffrey West

Ina Miller Bruce Miller

Julie Kaved Jeffery & Jane Lawrence Dolores Teubner

Ronald & Sara Friederich

Elen Feinberg

Volti Subito Productions Melbourn & Dorothy Bernstein 10/4/2022

●

Steinway Society 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 finally able to fulfill this dream when we received a very generous low-interest loan to purchase the piano. Thanks to donations from Steinway Society members, the NMPhil is making great strides toward paying off this 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

Steinway Society Members

HOROWITZ LEVEL

Donation of $20,000–$50,000

Cliff & Nancy Blaugrund

Lee Blaugrund Charles & 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 Terry Sloan

PEDAL LEVEL

Donation of $500–$1999

Ronald Bronitsky

Michael & Cheryl Bustamante, in memory of Cheryl B. Hall Richard & Peg Cronin

Mr. & Mrs. Robert Duff Custer

Leonard & Patricia Duda

David Foster

Peter Gould

Jonathan & 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 Rose

Marian & Howard Schreyer

Bruce & Sandra Seligman

Frederick & Susan Sherman

$50–$499

David & Heather Spader

Al & Melissa Stotts

PIANO FRIENDS LEVEL

Donation of $50–$499

Fran A’Hern-Smith

Wanda Adlesperger

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

Robert B. Engstrom

Jackie Ericksen

Elle J. Fenoglio

David Fillmore

Blake & Liz Forbes

George & Karen Gibbs

Ginger Grossetete

Elene & Robert Gusch

Kerry L. Harmon Jo Ellen Head

Heidi Hilland

Glenn & Susan Hinchcliffe

Bryan “Lance” & Debrah Hurt

Nancy Joste

Julia Kavet

M.J. Kircher

Ralph & Heather Kiuttu

Larry W. Langford

Susan Lentz

Claire Lissance

Morgan MacFadden

James & Marilyn Mallinson

Nicholle Maniaci & John Witiuk

Martha Ann Miller & Henry Pocock

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

Peggy Schey

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

9/30/2022

●

Legacy Society Giving for the future

Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you.

Jo Anne Altrichter & Robin Tawney

Maureen & Stephen Baca

Evelyn Patricia Barbier

Nancy Berg

Sally A. Berg

Thomas C. Bird & Brooke E. Tully

Edison & Ruth Bitsui

Eugenia & Charles Eberle

Bob & Jean Gough

Peter Gregory

Ruth B. Haas

Howard A. Jenkins

Joyce Kaser

Walter & Allene Kleweno

Louise Laval

Julianne Louise Lockwood

Dr. & Mrs. Larry Lubar

Joann & Scott MacKenzie

Margaret Macy Thomas J. Mahler

Shirley Morrison

Cynthia Phillips & Thomas Martin

Eugene Rinchik

Barbara Rivers

Terrance Sloan Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Charles E. Wood Dot & Don Wortman 10/4/2022

●

Thank You for Your Generous Support

Volunteers, Expertise, Services, & Equipment

The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment.

CITY & COUNTY APPRECIATION

Mayor Tim Keller & the City of Albuquerque Trudy Jones & the Albuquerque City Council

The Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Hakim Bellamy & the Albuquerque Cultural Services Department Amanda Colburn & the Bernalillo County Special Projects

BUSINESS & ORGANIZATION APPRECIATION

Immanuel Presbyterian Church

The New Mexico Philharmonic Foundation

The Albuquerque Community Foundation

INDIVIDUAL APPRECIATION

Lee Blaugrund & Tanager Properties Management

Ian McKinnon & The McKinnon

Family Foundation Alexis Corbin Billy Brown

Anne Eisfeller Drew Henry

Chris Kershner

Jim Key

Jackie McGehee

Barbara Rivers

Brad Richards Emily Steinbach Brent Stevens

VOLUNTEERS HOSTING VISITING MUSICIANS

Don & Cheryl Barker

Ronald Bronitsky & Jim Porcher Tim Brown

Isabel Bucher & Graham Bartlett Mike & Blanche Griffith Suzanne & Dan Kelly

Ron & Mary Moya Steve & Michele Sandager 10/4/2022

●

Sponsors & Grants Sound Applause

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

Albuquerque Community Foundation albuquerquefoundation.org

Hotel Andaluz hotelandaluz.com

Bernalillo County bernco.gov

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

French Funerals & Cremations frenchfunerals.com

GARDENSWARTZ REALTY

Gardenswartz Realty

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

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

New Mexico Philharmonic

The Musicians

FIRST VIOLIN

Carmelo de los Santos • Karen McKinnon Concertmaster Chair

Sarah Tasker ••• Assistant Concertmaster

Ana María Quintero Muñoz

Joan Wang +

Juliana Huestis

Steve Ognacevic Barbara Rivers

Nicolle Maniaci Barbara Scalf Morris

SECOND VIOLIN

Carol Swift •••

Julanie Lee Gabriela Fogo + Heidi Deifel ++ Liana Austin Lidija Peno-Kelly Sheila McLay

Brad Richards Eric Sewell +

VIOLA

Laura Chang • Kimberly Fredenburgh ••• Allegra Askew  Christine Rancier Laura Steiner Virginia Lawrence Joan Hinterbichler

Lisa DiCarlo

CELLO

Amy Huzjak • Jonathan Flaksman •••

Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps

Lisa Collins

Elizabeth Purvis

BASS Jean-Luc Matton •+ Zachary Bush ++ Mark Tatum •• Katherine Olszowka Terry Pruitt Sam Brown Frank Murry FLUTE

Valerie Potter • Jiyoun Hur ••

OBOE

Kevin Vigneau • Amanda Talley

ENGLISH HORN

Melissa Pena ••+ Lauren Keating ••++

CLARINET

Marianne Shifrin •+ Ivan Valbuena ++ Lori Lovato ••• Timothy Skinner

E-FLAT CLARINET

Lori Lovato

BASS CLARINET

Timothy Skinner + Cory Tamez ++

BASSOON

Stefanie Przybylska • Denise Turner HORN

Peter Erb • Allison Tutton Katelyn Lewis •• Maria Long ••••

TRUMPET

John Marchiando • Brynn Marchiando Sam Oatts ••

TROMBONE

Aaron Zalkind • Byron Herrington

BASS TROMBONE

David Tall

TUBA Richard White • TIMPANI Micah Harrow • PERCUSSION

Jeff Cornelius • Kenneth Dean Emily Cornelius

HARP Matthew Tutsky •+

Principal

Assistant Principal

Associate

Assistant

Leave

One-year position

STAFF

Marian Tanau

President & CEO

Roberto Minczuk Music Director

Christine Rancier

Vice President of Business

Matt Hart Vice President of Operations

BOARD OF DIRECTORS

Maureen Baca Chair

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

Leif Atchley Production Manager

Dasa Silhova Personnel Manager

Eric Sewell Principal Librarian

Crystal Reiter Director of Community Relations & Office Manager

Jess Bess

Front of House Manager Mary Montaño Grants Manager

Joan Olkowski

Design & Marketing Lori Newman Editor