Exuberant Beethoven!
Sunday, April 30, 2023, 3 p.m.
Radu Marian Paponiu conductor
Akilan Sankaran piano
Camilo Vasquez cello
Die schöne Melusine Overture
Felix Mendelssohn-Bartholdy (1809–1847)
APR 30
Immanuel Presbyterian Church
MAKING A DIFFERENCE
This performance is made possible by:
Piano Concerto No. 2 in c minor, Op. 18
Sergei Rachmaninoff
I. Moderato (1873–1943)
Akilan Sankaran piano
INTERMISSION
Cello Concerto in e minor, Op. 85
Music Guild of New Mexico’s Jackie McGehee Young Artists’ Competition
Additional support provided by:
The Cates Team/RBC Wealth Management
Edward Elgar
I. Adagio—Moderato (1857–1934)
II. Lento—Allegro molto
Camilo Vasquez cello
Symphony No. 1 in C Major, Op. 21
Ludwig van Beethoven
I. Adagio molto—Allegro con brio (1770–1827)
II. Andante cantabile con moto
III. Menuetto: Allegro molto e vivace
IV. Adagio—Allegro molto e vivace
2022/23 Season / Volume 11 / No. 6 10 CONCERT PROGRAM
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. 5, 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
The New Mexico Philharmonic nmphil.org 11 ARTISTS
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. ●
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
Maxine Thévenot organ Versatile, engaging, and spirited Canadian-American organist, conductor, composer, and educator Maxine Thévenot is driven by a passion for music in all its forms and styles. Equally at home with repertoire from the classical canon and more contemporary compositions,
“… her playing is, as always, excellent.”
“… [her playing] is extremely tender and very thrilling.”
–The Diapason Magazine, (Prairie Sounds CD), July 2021
Maxine Thévenot is among the foremost artists of her generation, hailed across North America and Europe for her skillful, musical playing and inventive programming. As a collaborative artist, Maxine has given the U.S. and New Mexican premiere performances of numerous works for organ and orchestra, including Ottorino Respighi’s Suite in G
for Organ and Strings with conductor/ violinist David Felberg; Concerto for Organ and Orchestra in C by British composer/ conductor Andrew Carter; the U.S. premiere of Concerto for Organ, Strings, and Timpani by UK composer/conductor Philip Moore; Francis Poulenc’s Concerto for Organ, Timpani, and Strings in g minor with the New Mexico Philharmonic Orchestra under conductor Grant Cooper; the U.S. premiere of Canadian composer Andrew Ager’s Concerto for Organ and Orchestra under the baton of Dr. Justin Bischof; and Concerto for Organ and Strings by Richard Proulx under the baton of Dr. Julian Wachner at Chicago’s Symphony Hall, as part of the 2006 National Convention of the American Guild of Organists.
Dr. Thévenot’s most recent appearances as organist have included the NM premiere and collaborative performance of Voiceless Mass by Pulitzer Prizewinning Diné composer, performer, and installation artist Raven Chacon; a recital for St. James-in-the-City, Los Angeles, on the International Laureates Organ Recital Series; a recital for the Guild of Scholars of the Episcopal Church at The Episcopal Cathedral of St. John, Albuquerque; and a solo recital for the Royal Canadian College of Organists in Saskatoon, SK, Canada.
Dr. Thévenot serves as Director of Cathedral Music and Organist at the Episcopal Cathedral of St. John, Albuquerque, where she oversees a large choral music program and is artistic director of their extensive community outreach ministry, Friends of Cathedral Music.
Maxine is the Founding and Artistic Director of Polyphony: Voices of New Mexico, the state’s first professional, resident vocal ensemble. She is also an adjunct faculty member at the University of New Mexico, where she teaches pipe organ and, from 2006-2020, served as director of the UNM women’s choir, Las Cantantes.
A member of the duo Air & Hammers, Maxine concertizes with her husband, acclaimed English baritone Edmund Connolly, specializing in programs that combine song repertoire from the 19th
Matthew Forte conductor
2022/23 Season / Volume 11 / No. 6 12 ARTISTS
and 20th centuries with new works by living composers. A published composer with Paraclete Press, her compositions have recently been premiered at the Cambridge University colleges of Clare, Selwyn, and St. John’s, as well as at Balliol College; Oxford University, UK; and subsequently performed across the UK and North America.
Recognized for her excellence as a recording artist, Dr. Maxine Thévenot has released 16 well-received CDs on Raven CD.
A native of Saskatchewan, Canada, Thévenot received the Doctor of Musical Arts and Master of Music from the renowned Manhattan School of Music, NYC, in organ performance, and was twice awarded the Bronson Ragan Award for “most outstanding organ performance.”
She earned her Bachelor of Music in music education (with distinction) at the University of Saskatchewan, Canada. Maxine is an Associate of the Royal Canadian College of Organists and of the Royal Conservatory of Music, Toronto. She was made an Honorary Fellow of the National College of Music, London, UK, in 2006 for her “services to music.” maxinethevenot.com ●
podium presence, is increasingly in demand with orchestras across the continent and this season, Chafetz will be on the podium in Detroit, Houston, Milwaukee, Naples, Philly Pops, Cincinnati Pops, Pittsburgh, San Diego, and Winnipeg. He enjoys a special relationship with The Phoenix Symphony where he leads multiple programs annually.
He’s had the privilege to work with renowned artists including Chris Botti, 2 Cellos, Hanson, Rick Springfield, Michael Bolton, Kool & The Gang, Jefferson Starship, America, Little River Band, Brian McKnight, Roberta Flack, George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker, and Bernadette Peters.
He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. He’s led numerous Spring Ballet productions at the world-renowned Jacobs School of Music at Indiana University.
In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra in addition to his role as that orchestra’s timpanist.
Aaron Finley vocals
Born and raised in Bozeman, Montana, Aaron C. Finley’s career has spanned from coast to coast as a professional actor and singer. Educated at Pacific Lutheran University in Seattle, he quickly became a top-tier talent in the Pacific Northwest, appearing in productions of Jesus Christ Superstar (Jesus/ Judas), Rent (Roger), Fiddler on the Roof (Perchik), Hairspray (Link Larkin), and It Shoulda Been You (Greg Madison). Among his other regional roles, Aaron originated the role of Billy in the new musical Diner, based on the Barry Levinson film, with music and lyrics by Sheryl Crow and direction by Kathleen Marshall.
Stuart Chafetz conductor
Stuart Chafetz is the Principal Pops
Conductor of the Columbus Symphony and the newly appointed Principal Pops Conductor of the Chautauqua and Marin Symphonies. Chafetz, a conductor celebrated for his dynamic and engaging
When not on the podium, Chafetz makes his home near San Francisco, California, with his wife Ann Krinitsky. Chafetz holds a Bachelor’s degree in music performance from the CollegeConservatory of Music at the University of Cincinnati and a Master’s degree from the Eastman School of Music. ●
Aaron made his Broadway debut in 2013, starring as Drew Boley in Rock of Ages. Next, he took over the role of Brian Howard in It Shoulda Been You, directed by David Hyde Pierce. He most recently was seen in the Broadway production of Kinky Boots as leading man, Charlie Price. Among his other work in New York, he participated in a lab production of George Takei’s Broadway musical, Allegiance, as well as other workshops and readings of new works.
Follow him on Twitter/Instagram @aaroncfinley and aaroncfinley.com. ●
The New Mexico Philharmonic nmphil.org 13 ARTISTS
Brook Wood vocals
Brook Wood is a singer based in New York City. She is currently touring with some of Broadway’s best singers in Neil Berg’s 50 Years of Rock and Roll all over the country. She originated the role of J.P. Morgan in the Adirondack Theatre Festival’s production of Nikola Tesla Drops the Beat. She was also seen in the PATH Fund’s Rockers on Broadway at Le Poisson Rouge benefiting Tom Kitt. She most recently toured with “Post Modern Jukebox on Deck” this past summer. Brook is a native of Indianapolis, Indiana, and a proud graduate of Indiana University. Instagram: @browood. ●
In addition, he teaches drumming for the Chautauqua Institution “I Can Drum” School Residency throughout Chautauqua County. As a drum-set artist, he has performed with Dave Grusin, Eddie Daniels, Len Boogsie Sharpe, the Pittsburgh Symphony Orchestra, Cleveland Orchestra, Phoenix Symphony, and recorded with the Central Standard Time Jazz Quartet. ●
breathtaking conflation of grace and grit, and at times downright ferocious.”
Brian Kushmaul is the principal percussionist for the Chautauqua Symphony Orchestra. He regularly performs with the orchestras of Buffalo, Columbus, St. Louis, and Pittsburgh.
Jennifer Frautschi violin
Two-time GRAMMY® nominee and Avery Fisher career grant recipient, Jennifer Frautschi has garnered worldwide acclaim as a deeply expressive, musically adventurous violinist with impeccable technique and a wide-ranging repertoire. Equally at home in the classic and contemporary repertoire, her recent seasons have featured performances and recordings of works ranging from Robert Schumann and Lili Boulanger to Barbara White and Arnold Schoenberg. She has also had the privilege of premiering several new works composed for her by prominent living composers. Critics have described her performances as “electrifying,” “riveting,” and “mesmerizing,” lauding her “staggering energy and finesse” and “fierce expression.” After a recent performance of the Brahms Violin Concerto, Cleveland Classical wrote: “We witnessed the most magnificent performance by a guest soloist in recent memory. From the outset of the Brahms Concerto, she was a stunning presence, her playing a
Ms. Frautschi’s concerto appearances have included the Los Angeles Philharmonic under Pierre Boulez, the Chicago Symphony Orchestra under Christoph Eschenbach, Minnesota Orchestra under Osmo Vänska, Boston Philharmonic, Buffalo Philharmonic, Cincinnati Symphony, Florida Orchestra, Milwaukee Symphony, Rhode Island Philharmonic, Saint Paul Chamber Orchestra, Utah Symphony, Lincoln Center’s Mostly Mozart Festival, and Orchestra of the Teatro di San Carlo Opera House. Her 2022/23 season features engagements with the Indianapolis Symphony and New World Symphony, reengagements with the New Mexico Philharmonic and the Santa Rosa Symphony, and a residency at the North Carolina School of the Arts. During the 2022 summer season, she has been invited to perform at Chamber Music Northwest, Charlottesville Chamber Music Festival, Music@Menlo, Santa Fe Music Festival, Salt Bay Chamberfest, Sarasota Music Festival, Tippet Rise, and Vivace Festival.
Ms. Frautschi is an Artist Member of the Boston Chamber Music Society, and has performed at virtually all of the premier chamber music series and festivals in the United States: Caramoor, Charlottesville, Lake Champlain, La Musica, Moab, Newport, Ojai, Salt Bay, Santa Fe, Seattle, and Spoleto USA Chamber Music Festivals; Bravo! Vail, Chamber Music Northwest, La Jolla Summerfest, Music@Menlo, and Tippet Rise Arts Center; and at the Library of Congress, New York’s Metropolitan and Guggenheim Museums of Art, the 92nd Street Y, Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, Phillips Collection, and Mainly Mozart in San Diego.
Internationally, she has been invited to present recitals in the Salzburg Mozarteum, Vienna Konzerthaus, Amsterdam Concertgebouw, La Cité de la Musique in Paris, Brussels’s Théâtre Royal de la Monnaie, London’s Wigmore Hall, and Beijing’s Imperial Garden, as
Brian Kushmaul percussion
2022/23 Season / Volume 11 / No. 6 14 ARTISTS
well as toured England with musicians from Prussia Cove. She has performed at Chanel’s Pygmalion Series in Tokyo, the Cartagena International Music Festival in Columbia, San Miguel de Allende Festival in Mexico, the Spoleto Festival of the Two Worlds and Rome Chamber Music Festival in Italy, Pharo’s Trust in Cyprus, Kutna Hora Festival in the Czech Republic, Toronto Summer Music in Canada, and St. Barth’s Music Festival in the French West Indies. She has premiered important new works by Barbara White, Mason Bates, Oliver Knussen, Krzysztof Penderecki, Michael Hersch, and others, and has appeared at New York’s George Crumb Festival and Stefan Wolpe Centenary Concerts. Her extensive discography includes several discs for Naxos: the Stravinsky Violin Concerto with the Philharmonia Orchestra of London, conducted by the legendary Robert Craft, and two GRAMMY-nominated recordings— Schoenberg’s Concerto for String Quartet and Orchestra (nominated for “Best Instrumental Soloist Performance” in 2006) and the Schoenberg Third String Quartet (nominated for “Best Chamber Music Performance” in 2011). Her most recent releases are with pianist John Blacklow on Albany Records: the complete sonatas of Robert Schumann, and American Duos, featuring works by contemporary American composers Barbara White, Steven Mackey, Elena Ruehr, Dan Coleman, and Stephen Hartke. The three recordings she released on Artek have received universal acclaim: the two Prokofiev Concerti with Gerard Schwarz and the Seattle Symphony; music of Ravel and Stravinsky for violin and piano; and 20th-century works for solo violin. Other recent recordings include a disc of Romantic Horn Trios, with hornist Eric Ruske and pianist Stephen Prutsman, and the Stravinsky Duo Concertant with pianist Jeremy Denk.
Born in Pasadena, California, Ms. Frautschi began the violin at age 3 under the Suzuki Method. She was a student of Robert Lipsett at the Colburn School for the Performing Arts in Los Angeles. She attended Harvard, the University of
Southern California, the New England Conservatory of Music, and finished her studies with Robert Mann at The Juilliard School. She is an Artist-in-Residence at Stony Brook University. She performs on a glorious Antonio Stradivarius violin from 1722, the ‘ex-Cadiz,’ on generous loan to her from a private American foundation with support from Rare Violins In Consortium. ●
Orchestra, St. Louis Symphony Orchestra, and Konzerthausorchester Berlin, and he has assisted conductors including Andrey Boreyko, Iván Fischer, Fabio Luisi, Stéphane Denève, Hans Graf, Donald Runnicles, Cristian Măcelaru, Bernard Labadie, and Ludovic Morlot. Radu has served on the conducting faculty of the Juilliard Pre-College, as well as conductor for the Summer Performing Arts with Juilliard in Shanghai, China, and the Southeast Asia Music Festival in Hanoi, Vietnam.
Radu Marian Paponiu conductor Radu Paponiu is Artistic and Music Director of the Southwest Florida Symphony Orchestra, Associate Conductor of the Naples Philharmonic, and Music Director of the Naples Philharmonic Youth Orchestra. Since 2017, Radu has conducted the Naples Philharmonic in more than 100 different classical, education, and pops programs. As a guest conductor, Radu has appeared with Teatro Comunale di Bologna Orchestra, Transylvania State Philharmonic Orchestra, Banatul Philharmonic, Louisiana Philharmonic Orchestra, Rockford Symphony Orchestra, Colorado Music Festival Orchestra, North Carolina Symphony, California Young Artists Symphony, and National Repertory Orchestra. Radu has collaborated with notable soloists such as Evgeny Kissin, Yefim Bronfman, Midori, Vladimir Feltsman, Robert Levin, Charles Yang, Nancy Zhou, Stella Chen, and the Ébène Quartet. Radu has served as cover conductor with the Dallas Symphony
Radu completed his Master of Music degree in orchestral conducting at the New England Conservatory of Music, where he studied with Hugh Wolff. While in Boston, Radu was also conductor apprentice with the Handel and Haydn Society. In the summer of 2017, Radu was appointed assistant conductor of the National Repertory Orchestra in Colorado, as well as conducting fellow for the Cabrillo Festival Workshop in California. Radu participated in the prestigious American Academy of Conducting at the Aspen Music Festival and School as the recipient of both the Albert Tipton Aspen Fellowship and the David A. Karetsky Memorial Fellowship. In Aspen, Radu furthered his studies under the guidance of Robert Spano, Larry Rachleff, Leonard Slatkin, Patrick Summers, and Federico Cortese.
Radu began his musical studies on the violin at age 7, studying privately with Carmen Runceanu and Ștefan Gheorghiu. After coming to the United States at the invitation of the Perlman Music Program, Radu completed two degrees in violin performance under the guidance of Robert Lipsett at the Colburn Conservatory in Los Angeles. As a soloist and chamber musician, Radu has appeared in festivals throughout Europe and North America, collaborating with artists such as Itzhak Perlman, Clive Greensmith, Martin Beaver, Merry Peckham, and Vivian Hornik Weilerstein.
Radu currently resides in Naples, Florida, with his wife, flutist Blair Francis Paponiu. In his spare time, he enjoys chamber music reading parties, fishing, biking, and playing tennis. ●
The New Mexico Philharmonic nmphil.org 15 ARTISTS
Akilan Sankaran piano
Fifteen-year-old pianist Akilan Sankaran is a student of Lawrence Blind at the New Mexico School of Music. Akilan has performed at distinguished venues such as the Weill Recital Hall in Carnegie Hall, Mazzoleni Hall in the Royal Conservatory of Music, and the Église de Verbier. He was the only junior pianist selected to attend the 2022 Verbier Festival as part of the Verbier Academy. He has had master classes with renowned musicians including Kirill Gerstein, Jean-Efflam Bavouzet, Stephen Kovacevich, Olga Kern, Gábor Tákacs-Nagy, Mathieu Herzog, Mihaela Martin, and Augustin Dumay. Akilan is a three-time winner of the Dennis Alexander Piano Competition, two-time winner of Professional Music Teachers of New Mexico’s State Honors Audition, and winner of the 2021 Jackie McGehee Young Artists’ Competition. Akilan won the New Mexico state Music Teachers National Association junior piano competition in 2021. He was also awarded the National Gold Medal by the Royal Conservatory of Music twice. He has been studying piano since he was 5 years old.
Akilan is currently in the tenth grade at Albuquerque Academy. Besides piano, Akilan plays the drums and enjoys being part of a piano trio group at Albuquerque Academy. He also loves singing and was part of New Mexico Educators Association’s All State Choir in 2018. He plays jazz piano in his school’s jazz band and was selected to the 2022 All-State Jazz Band.
Outside of piano, he also enjoys crosscountry running and frequently participates in math and science contests. He won first place in the mathematics category of the Regeneron International Science fair in 2022, the Samueli Foundation prize in the 2021 Broadcom Masters competition, and first place in the New Mexico state Mathcounts competition. As the champion of New Mexico’s spelling bee competition, Akilan represented New Mexico in the Scripps National Spelling Bee in 2017. ●
and the Bosque Cantate choir, plus he participated in the New Mexico All-State Music Festival each year.
Camilo enjoys playing in chamber groups when not playing orchestral and solo repertoire. Some of his favorite memories from his time with AYS are the Christmas concerts, playing with Opera Southwest, and the amazing teachers, conductors, and friends he made during the AYS chamber music performances and gigs. His goal is to continue his studies to be able to give back to his community through music in different ways. ●
Camilo Vasquez cello
Camilo Vasquez is a sophomore at the University of North Texas College of Music, pursuing a Bachelor of Music degree in cello performance as part of the cello studio of Professor Nikola Ruzevic. Accolades include scholarships to the Sphinx Performance Academy at the Cleveland Institute of Music in 2019 and 2020, second place in the 2020/2021 Castro Concerto Competition with the Albuquerque Youth Symphony, and first-place winner of the Jackie McGehee Young Artists’ Competition in 2021.
Camilo graduated magna cum laude from Bosque School in 2021. His music education started in elementary school with violin and piano lessons. Then he switched to cello with instructor Leslie Alperin. Throughout high school, Vasquez studied with renowned cellist Joel Becktell. He was also in the Albuquerque Youth Symphony program for five years, the AYS chamber music program, the Bosque Serenata strings ensemble,
2022/23 Season / Volume 11 / No. 6 16
ARTISTS
DAVID B. LEVY
Francis Poulenc
Concerto for Organ, Strings, and Timpani, FP 93 (1934–1938)
Francis Poulenc was born in Paris on January 7, 1899, and died there on January 30, 1963. His earlier works, many of which were of a lighter or satirical character, led audiences and critics to dismiss Poulenc as a serious composer despite having composed some important sacred works. His Concerto for Organ, Strings, and Timpani was composed between 1934 and 1938 upon a commission from Princess Edmond de Polignac. Its first performance took place at the princess’s salon on December 16, 1938, with the famed organist Maurice Duruflé as soloist and conducted by Nadia Boulanger. A public performance followed in June of 1939, again with Duruflé as soloist.
The name of American-born Winnaretta Singer is probably one of the least known figures in the history of music in the early20th century. An heiress to the Singer sewing machine fortune, this woman was one of the most influential patrons of music in Paris during her lifetime. Born in Yonkers, New York, Singer was one of Isaac Singer’s twenty-four children, whose mother was the French-born Isabella Eugénie Boyer. Winnaretta, although a lesbian, married twice. Her second husband, who was gay, Edmond de Polignac, was, like his lavender bride, an amateur musician. At the time of their marriage, she was 28 years old and he was aged 59. Their mutual love of music led them to establish a Parisian salon in the music room of their mansion. The composers who benefited from their generosity were a veritable “who’s who” of the Parisian musical world: Emmanuel Chabrier, Claude Debussy, Maurice Ravel, Gabriel Fauré, Igor Stravinsky, Erik Satie, Darius Milhaud, Jean Françaix, Francis Poulenc, Nadia Boulanger, Ethel Smyth, and several others. As if this weren’t enough, the Princess also
supported the careers of many performers, dancers (Isadora Duncan), architects (Le Corbusier), scientists (Marie Curie), artistic entrepreneurs (Sergei Diaghilev), and artists (Jean Cocteau and Claude Monet).
Two works by Poulenc were the results of Polignac’s commissions: the sprightly Concerto for Two Pianos (1932) and the more solemn Concerto for Organ, Strings, and Timpani. The original commission was offered to Françaix, but after he declined, it fell to Poulenc. The composer’s turn toward a more serious musical idiom was inspired in part by the death in 1936 of his friend and fellow composer Pierre-Octave Ferroud. Poulenc was not an organist himself, so he subsequently studied the great works of the Baroque era by Bach and Buxtehude and sought advice from Maurice Duruflé, who gave the work its premiere performances in 1938 and 1939. Twenty minutes in duration, the Concerto is conceived in one continuous movement comprising seven sections distinguished by tempo and style. It has become one of the most frequently performed concertos for organ. ●
Georges Bizet Symphony in C (1855)
French composer Georges Bizet was born in Paris on October 25, 1838, and died in Bougival (near Paris) on June 3, 1875. Although his compositional output was wide-ranging, he is best known and loved for the opera Carmen. His youthful Symphony in C Major was composed in a few short weeks in the autumn of 1855, when the composer was only 17 years old. Written as a student work, there is no evidence that it was performed at the Paris Conservatory during Bizet’s time there. Bizet showed no interest in publishing
it either, and the work remained in the archives of the Conservatory until it was discovered in 1933. The manuscript was shown to Felix Weingartner, who led its first performance in Basel, Switzerland, on February 26, 1935. The Symphony in C Major is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings.
Few works in the symphonic repertoire can match Bizet’s Symphony in C for sheer verve of expression and spontaneity of tunefulness. Bizet penned this work in 1855 at the age of 17, while a student of Charles Gounod at the Paris Conservatory; at the time, he was transcribing his teacher’s Symphony in D. Naturally, the influence of Gounod may be discerned by those who know this work, but the spirit of Schubert, whose music Bizet may have known a little, permeates this work. Like Schubert and the young Felix Mendelssohn, Bizet was a precocious talent who stemmed from a family that encouraged his natural abilities. Admitted to the Conservatory at the tender age of 10, Bizet’s Symphony in C easily represents the finest work of his youth. One can hardly be blamed for forming a comparison with another, and earlier, composer who produced one of his first masterpieces at the same age as Bizet’s Symphony—Felix Mendelssohn and his Overture to Shakespeare’s A Midsummer Night’s Dream.
Bizet cast the work in the classical four-movement design, opening with a spirited Allegro vivo in sonata form. The energetic opening theme is based on a rising and falling arpeggiated chord that allows the composer ample opportunity for clever developments. The lyrical second theme, however, is so nicely self-contained (a Schubertian trait) that
continued on 18 The New Mexico Philharmonic nmphil.org 17 PROGRAM NOTES
Admitted to the Conservatory at the tender age of 10, Bizet’s Symphony in C easily represents the finest work of his youth.
continued from 17
Bizet had little choice but to repeat it in new keys and orchestrations. An early sign of his maturity lies in the fact that the listener rarely tires of this theme’s repetitions. The second movement, Adagio, is cast in the contrasting key of a minor (although, interestingly enough, it begins with a progression that starts in F Major). A repeated dotted pattern in the winds prefigures the evocative and exotic principal melody of the movement, which is sung in long phrases by the solo oboe. Once again, the ghost of Schubert may be discerned by those familiar with the second movement of the Viennese master’s Symphony No. 9 (“The Great”). The middle section of Bizet’s slow movement shows that the composer had been paying close attention to his counterpoint lessons at the Conservatory, as it features a finely wrought fugato. But what lingers in the ear from this Adagio is the haunting oboe tune. The Scherzo is a whirling Allegro vivace whose trio section is particularly piquant because of the bagpipe-like drones and modal (Lydian) inflections of its melody. The opening theme of the finale is a perpetual motion Allegro vivace, which, as was the case with the first movement, is balanced by a tuneful second theme. Bizet found the opportunity in later years to make further use of these themes in the entr’acte of his opera Don Procopio.
In recent years, Bizet’s Symphony in C has been quite popular with concert audiences, as well as aficionados of ballet, even though the composer never intended it to be used for as a work for the theater. For reasons that are not entirely clear, Bizet never made any effort to have his Symphony performed or published. Perhaps he feared that Gounod, and the Parisian public, would accuse him, at best, of lack of originality, or, at worst, plagiarism. We should be grateful, however, that the manuscript survived. ●
Wolfgang Amadeus Mozart Violin Concerto in A Major, “Turkish,” K. 219 (1775)
Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg and died on December 5, 1791, in Vienna. During most of his adult life, he preferred using the French version of his name, Amadé. The Concerto for Violin in A Major, K. 219 [No. 5], is dated December 20, 1775, and was presumably first performed in Salzburg during the Christmas season. The “K” number used for Mozart’s works refers to the name Ludwig Ritter von Köchel, who first issued the Chronological-Thematic Catalogue of the Complete Works of W.A. Mozart in 1862. The Köchel catalogue has been updated and revised many times to keep pace with musicological revelations. The autograph manuscript of the score now resides in Washington, D.C., as one of the treasures of the Library of Congress. The work is scored for solo violin, 2 oboes, 2 horns, and strings.
Given the fact that Mozart’s father, Leopold, was the author of one of the most important treatises on playing the violin, it is hardly a surprise that his son authored several violin concertos, five of which are authentic—K. 207, 211, 216, 218, and 219. He possibly may have composed two others—K. 268/ C14.04 and K. 271a/271i—but these have survived in either fragmentary form, or are of doubtful authenticity. The fact that the five authentic violin concertos all emerged between April and December of a single year—1775—is less easy to explain.
There is reason to believe that these concertos were written for Gaetano Brunetti, the concertmaster of the Salzburg Court. Evidence for this is provided by an alternate finale for K. 207 (K. 261a) and a substitute second movement for K. 219 (K. 261). This latter movement was described by Leopold as a new “Adagio for Brunetti, since the one was too studied for him.” Be that as it may, one can hardly imagine how anyone could have been unhappy with the original Adagio, whose melodiousness,
grace, and expressivity are unsurpassed by any of its sister concertos.
The opening of the first movement, Allegro aperto, contains a charming surprise. After the obligatory opening ritornello for the orchestra, the first entry of the soloist is in a new tempo, Adagio, as if to say to the orchestra that something is amiss. The original tempo resumes, but now with a soaring new theme entrusted to the solo violin. This theme, in fact, is the missing element from the beginning of the movement. With things now set aright, the movement continues on its merry way.
The last movement, Tempo di Menuetto, is a rondo that begins with a graceful, dance-like theme whose final cadence is a delicately rising arpeggio. The second theme is no less enchanting, but the third one displays considerably more passion. After another reprise of the minuet, the real surprise of the finale ensues as the tempo shifts from triple to duple meter; the tempo is marked Allegro, and the key changes from A Major to a minor. It is here that the episode that gives this concerto its nickname, “Turkish,” begins. Turkish music was extremely popular in Austria in the eighteenth century—a reflection of, and response to, the fact that the Ottoman Empire twice laid siege to Vienna, in 1532, and again in 1683. The musical features that define the “Turkish” style are minor keys and the use or imitation of the percussion instruments (Janissary) associated with the Ottoman military forces. Mozart even borrows a quotation from another piece in the same style, his ballet music for the opera Lucio Silla of 1773. The best-known Turkish music by Mozart comes from his 1782 opera The Abduction from the Seraglio (parts of which were shown in the 1984 film Amadeus) as well as the “Rondo alla Turca” finale of his Sonata for Piano, K. 331/300i, composed in 1778 Perhaps the most extraordinary thing about the Turkish episode of the finale of the Violin Concerto is its duration in relationship to the rest of the movement. Once the storm has passed, however, the charming first two themes come back, with a varied reprise of the minuet theme having the wistful last word. ●
2022/23 Season / Volume 11 / No. 6 18 PROGRAM NOTES
Gustav Mahler Symphony No. 1 in D Major (“Titan”) (1887–1888)
Gustav Mahler was born in Kalischt, near Iglau (Kaliště, Jihlava), Bohemia, on May 7, 1860, and died in Vienna on May 18, 1911. His principal musical activity was that of a conductor and administrator, presiding over many important posts, including most significantly the Vienna Court Opera (now the Vienna State Opera), the Metropolitan Opera, and the New York Philharmonic. His compositional output centered almost exclusively on songs and symphonies, work that was largely carried out during the summer months. Mahler’s Symphony No. 1 was composed in the years 1887-88 and was first performed in Budapest on November 20, 1889, conducted by the composer. The premiere was largely a failure and the composer continued revising the work over the next ten years. The huge score calls for 4 flutes (3rd and 4th doubling on piccolo), 4 oboes (3rd doubling on English horn), 3 clarinets (3rd doubling on bass clarinet), E-flat clarinet, 4 bassoons (3rd and 4th doubling on contrabassoon), 7 horns (4 off-stage in the finale), 4 trumpets (2 of which play off-stage in the first movement and reinforced by one extra in the finale), 4 trombones, tuba, timpani, percussion, strings, and harp.
Mahler’s First Symphony, by any standard, is an astonishing achievement. To find a first symphony its equal, one must look to Brahms’s First Symphony, or perhaps Berlioz’s Symphonie fantastique
In considering Brahms, however, one
encounters the work of an artist in his forties who already had several works for orchestra under his belt before composing his First Symphony. Mahler, on the other hand, was in his twenties, with relatively little experience in writing for orchestra (his much-neglected cantata Das klagende Lied is almost the sole exception) and standing rather early in his career as a conductor. Mahler’s First Symphony, therefore, is a testimony not only to his innate talent and fertile imagination, but to his keen receptivity to the compositional models he encountered during his days as a student in his native Bohemia and at the Conservatory of Music in Vienna.
Like Brahms, Mahler was reluctant to write his First Symphony. In fact, its earliest version (1888), first performed in Budapest, was presented as a “Symphonic Poem in Two Parts.” Such a title, of course, explicitly implied that the music contained extra-musical meanings. Symphonic poems were the “invention” of Franz Liszt, and Mahler’s slightly younger contemporary Richard Strauss had already started shaking up the musical establishment with his impressive works in that genre such as Don Juan and Death and Transfiguration. One should also bear in mind that Richard Wagner had implanted the notion in the mind of many that the symphony as a genre was a dinosaur, now replaced by the “music of the future,” i.e., the Wagnerian opera or music drama. Mahler’s admiration for the symphonies of Anton Bruckner was probably, at least partly, the reason why he wrote a symphony at all. It is not surprising, therefore, that Mahler’s Budapest audience was baffled to find no hints as to the content of Mahler’s
program. The only specific designation came in the French title for the fourth of its five movements: A la pompes funèbres
Mahler responded to this criticism by “clarifying” the work’s program in several ways when he reintroduced it in Hamburg in 1893. To start, he added the title “Titan” (taken from a novel by Jean Paul Richter) to the entire work, now calling it a “symphonic poem in the form of a symphony”:
Part I: “From the Days of Youth: Flower, Fruit, and Thorny Pieces”
Endless Springtime. (Introduction and Allegro commodo). The introduction portrays the awakening of nature after a long winter’s sleep.
“Blumine” (Andante)
“In Full Sail” (Scherzo)
Part II: “The Human Comedy”
“Abandoned!” (a funeral march in “Callot’s Manner”)
“From the Inferno” (Allegro furioso) follows, as the sudden outbreak of doubt of a deeply wounded heart This “program” underwent still further modifications in Weimar (1894) and Berlin (1896), but by the time the full score was published in 1899, Mahler removed the short “Blumine” Andante, reducing the five-movement work to four, and abandoning all programmatic titles with their references to Jean Paul, Dante, and Callot. (Many conductors choose to reinstate the lovely “Blumine” movement, which offers hints as to events in the symphony’s finale.) Mahler soon began complaining to friends about how trapped he felt by programmatic titles because they led to misunderstandings and forced him to give his music the appearance of greater specificity than he wished to ascribe. Nevertheless, knowing these titles still provides a useful insight into the spirit of many of Mahler’s movements.
I. (Slow, dragging. Like a sound of nature, followed by Very moderately). Mahler’s first movement begins shrouded in a miasma of mystery. This effect is produced by its striking orchestration—a seven-octave deep pedal tone—from which emerges distant fanfares and cuckoo calls. The main body of the
continued on 20
The New Mexico Philharmonic nmphil.org 19 PROGRAM NOTES
Mahler was reluctant to write his First Symphony […] symphony as a genre was a dinosaur, now replaced by the “music of the future,” i.e., the Wagnerian opera.
movement is based upon the second song from Mahler’s cycle Songs of a Wayfarer, “This Morning I Travelled Across the Field” (Ging heut’ morgen). The music trades back and forth between moments of static activity and great energy. The triumphal entry of the “whooping” horns at the recapitulation thrust the movement toward its exciting conclusion.
II. (Scherzo. Powerfully moving, but not too fast). Here is an extroverted Ländler (a popular Austrian folk dance in triple meter). Its quasi-yodeling is patterned after one of Mahler’s most charming early songs “Hans und Grete.” Also enjoyable are the sassy stopped notes in the French horns. The middle, trio section offers repose after the high energy of the scherzo.
III. (Ceremoniously and measured, without dragging). This is easily one of Mahler’s most droll creations. Hopefully everyone will recognize the popular round “Frère Jacques” (“Bruder Martin” in German) played in the minor mode starting with a solo string bass! Several theories have been proposed as to the meaning of this bizarre march. Mahler once made a reference to a woodcut by Moritz von Schwind titled “The Huntsman’s Funeral” in which forest animals bear the huntsman’s body in a strange procession (Nature’s revenge on mankind?), suggesting that this is what he had in mind. The allusion to “Callot’s manner” in the Hamburg version, however, may offer even further clarification. Jacques Callot was a 17th-century engraver known for his surreal imagery such as his “Temptation of St. Anthony.” Among Callot’s sincerest admirers was the early–19th century German author, composer, and critic
E.T.A. Hoffmann, who himself wrote a series of “Fantasy Pieces in the Manner of Callot.” Could Mahler, by using “Frère Jacques,” have been invoking that same surreal atmosphere? (“Are you sleeping, brother Jacques [Callot]?”). While it is difficult to ascertain whether Mahler knew Callot’s etchings, he was very familiar with Hoffmann’s stories. Mahler’s Jewish roots also play a role in this strange movement, as the “cheap” and boozy sounds of a klezmer band insert themselves into the picture, although some have argued that
these gestures refer more to Bohemian tavern music than Jewish elements. A more contemplative moment arrives when Mahler introduces the melody borrowed from the fourth and final song from Songs of a Wayfarer, “The Two Blue Eyes” (Zwei blaue Augen).
IV. (Stormily) Mahler wished for the finale to begin without any break after the third movement, entering like a thunderclap, and depicting the “sudden outburst of a wounded heart.” Storminess indeed is the order of the day in this movement, with a few serene interludes of wonderful lyricism. Listen carefully for the return of thematic material from the first movement! This reprise serves as a harbinger of the ultimate triumph that breaks forth in a joyful “chorale” led by the French horns, and that eventually brings the symphony to its rousing and lofty conclusion. ●
Felix Mendelssohn-Bartholdy Die schöne Melusine Overture, Op. 32 (1834)
(Jacob Ludwig) Felix Mendelssohn (-Bartholdy) was born on February 3, 1809, in Hamburg and died on November 4, 1847, in Leipzig. Die schöne Melusine Overture (The Fair Melusine Overture or Ouvertüre zum Märchen von der schönen Melusine) was composed in 1834 by Mendelssohn to celebrate the birthday (November 14) of his sister, Fanny (Hensel). She, like her brother, was a gifted composer and pianist. The work was given its premiere performance in London on April 7, 1834. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.
The concert overture was a contribution to the orchestral repertory of the Romantic era whose origins may be traced to that
musical idol of German romanticism, Beethoven (e.g., Leonore Overture No. 3). As with Chopin’s Preludes for piano, these pieces are not intended to introduce anything in particular, but instead are intended to stand alone as self-contained compositions. Concert overtures are meant to evoke the spirit of something extra-musical (a poem, painting, landscape, or drama). Because the extra-musical references are vague, however, concert overtures need to stand on their own feet, structurally speaking. More often than not, these pieces make use of classical sonata-form design, such as one encounters in the first movement of symphonies.
Mendelssohn’s Fair Melusine Overture is one such work, standing alongside his more popular Hebrides Overture (Fingal’s Cave) and the one composed when he was only 17 years old for Shakespeare’s comedy A Midsummer Night’s Dream. The title of the overture derives from a German legend of Melusine, a water nymph, who marries a human Count Raimund. Literary forms of this story were written by Ludwig Tieck (1800) and Friedrich de la Motte Fouqué, using the name Undine (1811), were generally well-known in Germany. An opera based on the subject titled Melusina was composed by Conradin Kreutzer to a libretto by the Viennese poet and friend of Beethoven Franz Grillparzer. Many other musical compositions inspired by the legend include, among others, Antonín Dvořák’s opera Rusalka, and a Sonata for Flute and Piano (“Undine”) by Carl Reinecke. Mendelssohn’s Overture does not attempt to follow the plotline of the story, but it does suggest the essence of the title character by its gentle opening theme in a lilting 6/4 meter, whose rhythm and arpeggios suggest flowing water.
from 19 2022/23 Season / Volume 11 / No. 6 20 PROGRAM NOTES
In Edward Elgar’s final years, when asked about the “meaning” of the Cello Concerto, he called it “a man’s attitude to life.”
continued
A more robust theme in the contrasting parallel minor key can be interpreted as the presence of her husband, Count Raimund. Mendelssohn, ever self-critical of his compositions, made revisions to the score in 1835 before it appeared in print the next year. ●
CHARLES GREENWELL
Edward Elgar
Born June 2, 1857, in Broadheath, England
Died February 23, 1934, in Worcester, England
Cello Concerto in e minor, Op. 85 (1919)
Scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. (Approx. 30 minutes)
For people here in the U.S. with no direct experience of the First World War, it is virtually impossible to comprehend what that “War to End All Wars” was about. Many historians are of the opinion that World War I was the most traumatic event in the history of Western civilization. Certainly, there had been wars, religious conflicts, plagues, earthquakes, and disasters of every kind that regularly tore Europe apart, many of them changing political and geographical boundaries, changing ruling houses, or even significantly altering basic philosophies. However, nothing that had occurred prior to The Great War had so drastically altered the fundamental assumptions about how our civilization functioned. In just the four years between 1914 and 1918, the fearful destructiveness of modern instruments of war became frighteningly apparent, the fragile nature of human life and our institutions, culture, and civilized order was brought home as never before, and it can be said with reasonable certainty that World War I shaped the modern world, in the process virtually wiping out an entire generation of young European men. One prominent English writer summed it up like this:
The scale of the war was apocalyptic, and before it happened few people had
thought that such destruction was even possible. In Britain, the public’s notion of “modern” warfare had been formed by the Second Boer War (1899–1902), in which 22,000 British troops had died during that two-and-a-half-year conflict. In this new war, nearly that many soldiers were killed in a single day in July of 1916 on the first day of the Battle of the Somme. Over the course of four years, nearly one million people from Britain and the Empire countries lost their lives: not only men, but women, too, serving as nurses. Even as the conflict raged, many people realized that they were now living in a changed society.
In 1916, the celebrated writer D.H. Lawrence wrote, “… so much beauty and pathos of old things passing away and no new things coming: My God, it breaks my soul.” The massive and pervasive effects of the conflict profoundly touched practically everyone in the West, with artists of all sorts feeling those effects with unique sensitivity. Edward Elgar was no exception to this, having been devastated by the loss of many close friends in the conflict, and writing afterwards, “Everything pleasant and promising in my life is dead: I no longer have the happiness of friends to console me as I had 50 years ago. I feel that life has gone back so far when I was alone and there was no one to stand between me and disaster … now that has come back and I feel more alone and the prey of circumstances than ever before.” This outpouring of his feelings is underscored by the fact that the Cello Concerto was the last major work he wrote. Moreover, the warmth and confidence that had been in evidence in the Enigma Variations and the Cockaigne Overture were now severely diminished, and never fully returned. Elgar became the voice for those composers who longed for the comfortable optimism of the past but realized that it was gone forever, replacing it with sadness, introspection, and pessimism.
Compared with most of Elgar’s works, the Cello Concerto is a sudden departure from what had gone before, not just in stylistic terms, but also with regard to
the basic music materials and overall mood. Elgar was famous for the sense of dignity, order, and pride in his music, and that in turn was a reflection of the English aristocracy and the whole concept of an orderly and stable civilization. This, however, is a concerto of sadness and disillusionment, that owes a great deal to Dvořák’s great concerto for the instrument, particularly in regard to technical matters. Elgar wanted the cello to dominate the proceedings, and while the orchestra here is sizable, the writing is almost always economical and transparent and never overpowers the soloist. In addition to the psychological and emotional traumas that Elgar was dealing with in the aftermath of the war, his health was also becoming unstable, and so, realizing that her husband needed someplace to recapture a sense of solitude and peace, Lady Elgar—who was also having health issues—found a lovely cottage in rural Sussex with a studio in the garden and a surrounding area perfect for taking long walks. In March 1918, Elgar had a septic tonsil removed (a dicey operation for a 61-year-old man), and on the day he left the nursing home he asked for pencil and paper and immediately wrote down the opening theme of the Cello Concerto. The following summer, in the house that was named Brinkwells, Elgar began work in earnest on the concerto. It was sadly to be the last summer that he and his wife spent together. As he recalled, she “… grew mysteriously smaller and more fragile, and seemed to be fading away before one’s very eyes.” The work was finished and delivered to the publisher in early August, and the premiere was scheduled for the opening concert of the London Symphony Orchestra’s 1919/1920 season in October 1919 with Elgar conducting. Elgar asked the distinguished English cellist Felix Salmond to be the soloist, and worked with him closely at Brinkwells during that summer.
Unfortunately, the premiere was a disaster because the performers were denied adequate rehearsal time. The performance was scheduled so that Elgar would conduct the concerto and the
continued on 22
The New Mexico Philharmonic nmphil.org 21 PROGRAM NOTES
continued from 21
rest of the program would be led by the orchestra’s Russian-born chief conductor, Albert Coates, noted for being something of an egotistical tyrant. In the rehearsal, Coates went well over his scheduled time, leaving Elgar with very little time to do anything other than simply read through the new work. By the time Coates was finished rehearsing, Elgar—who had been waiting patiently offstage— uncharacteristically lost his temper at this breach of manners. In her diary, Lady Elgar referred to Coates as “… that brutal, selfish, ill-mannered bounder … who went on and on rehearsing.” As might be imagined, the premiere was a shamble and received mostly scathing reviews. The celebrated critic Ernest Newman observed, “The orchestra was often virtually inaudible, and when just audible was merely a muddle. No one seemed to have any idea of what the composer wanted. The sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself.” For the record, Elgar was actually a very fine conductor, particularly of his own music. Elgar put no blame whatsoever on Salmond, and later said that if it had not been for the cellist’s diligent and excellent work in preparing the concerto, he would have removed the work from the concert.
In a traditional concerto, the orchestra introduces the work with statements of the first movement’s principal themes, after which the soloist enters and takes it from there. In this concerto, the cello plays right at the outset, placing the listener in the middle of the musical argument from the very beginning. Moreover, the work is cast in four movements instead of the usual three. The first movement is bold and powerful, with two contrasting themes. The whimsical scherzo is like a lovely and fleeting dance, holding three separate themes and with the orchestral accompaniment of the utmost delicacy. In his program note for the premiere of the First Symphony, Elgar described the work (which was popular right from the start and played frequently) as “… a composer’s outlook on life.” In his final years, when asked about the “meaning” of the Cello Concerto, he called it “a man’s attitude
to life.” Elgar’s beloved wife passed away in April 1920, and in August of that year the composer wrote, “I am lonely now and do not see music in the old way and cannot believe that I shall complete any new work … sketches I still make but there is no inducement to finish anything … of ambition, I have none …” In his definitive biography of Elgar, the English writer Michael Kennedy summed up this extraordinary concerto in these words: Here is the elegy for an age. The slaughter of war … had grieved Elgar, but this requiem is not a cosmic utterance on behalf of mankind, it is wholly personal … There is no massive hope for the future in this music, only the voice of an aging, embittered man, a valediction to an era and to the powers of music that he knew were dying with him. This is music that our own unsettled age might do well to experience with a receptive heart. ●
DAVID B. LEVY
Sergei
Rachmaninoff
Piano Concerto No. 2 in c minor, Op. 18 (1900–1901)
Sergei Vassilevich Rachmaninoff was born in Oneg, Novgorod, on March 20/ April 1, 1873, and died in Beverly Hills, California, on March 28, 1943.* Famed as both pianist and composer, Rachmaninoff left Russia after the Revolution of 1917, eventually taking up residence in the United States. His Piano Concerto No. 2 was composed in 1900-01 and received the first performance of its last two movements in Moscow on December 2/15, 1900, in Moscow. The first performance of the entire piece took place on October 27/ November 9, 1901.* On both occasions,
the composer himself was the soloist with Alexander Siloti conducting the Moscow Philharmonic. The Concerto No. 2 is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. [*NB: The variation of dates reflects the difference between the Julian and Gregorian calendars.]
The Russian-born pianist and composer Rachmaninoff falls into the tradition of the great performercomposers of the Romantic style that included figures such as Niccolo Paganini and Franz Liszt. Like his great predecessors at their best, his music avoids the self-indulgent kind of virtuosity-for-its-own-sake practiced by less gifted musicians. His music often is quite sentimental, but his melodic gifts were more than sufficient to prevent it from becoming maudlin. Although Rachmaninoff composed a wide variety of music, he is best known for his works for the piano, and his Concerto No. 2 is by far the most frequently performed of the four that he composed. His Rhapsody on a Theme of Paganini is also a popular favorite.
After the failure of his First Symphony in Saint Petersburg, Rachmaninoff recorded in his Recollections that he lost all hope for any future success. In 1900, he sought psychiatric assistance from Dr. Nikolai Dahl, who, according to the composer, hypnotically persuaded him to continue work on a new piano concerto. Dr. Dahl’s positive approach seems to have worked, and he became the recipient of the dedication of the Piano Concerto No. 2. The work received its first performance in 1901 in Moscow, and it was greeted with both critical and popular acclaim.
The work is in three broad movements. The first of these, Allegro moderato,
“This is music that our own unsettled age might do well to experience with a receptive heart.”
—Michael Kennedy
2022/23 Season / Volume 11 / No. 6 22 PROGRAM NOTES
begins quietly with chords solemnly played by the unaccompanied soloist. These grow in intensity, ushering in the lush first theme in the strings. A lyrical second theme emerges from the soloist, followed by a proper development section and a stirring recapitulation in martial style. ●
Ludwig van Beethoven Symphony No. 1 in C Major, Op. 21 (1799–1800)
One of history’s pivotal composers, Ludwig van Beethoven was born on December 16 or 17, 1770, in Bonn, and died in Vienna on March 26, 1827. His Symphony No. 1, Op. 21, was composed in 1799–1800 and was first performed in Vienna’s Burgtheater on April 2 of that same year. Both the autograph and manuscript orchestral parts are lost. The work was published (in parts) in 1801. The symphony is dedicated to Baron Gottfried van Swieten, one of Vienna’s most prominent musical patrons. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.
Beethoven’s genius in strategic planning was not solely limited to his abilities as a composer. Known throughout Vienna since his arrival in 1792 as a virtuoso pianist and composition student of Haydn, the young apprentice took his time before launching his own works in the very genres in which his teacher was the acknowledged master. It is no accident that Beethoven’s first efforts as a composer of string quartets (Op. 18) were published well after he was certain that Haydn was no longer interested in composing quartets. Indeed, Beethoven’s hasty issuance of his official Opus 1, a set of three trios for piano, violin, and cello—another favorite genre of Haydn— led to some friction between teacher and pupil, particularly regarding the third Trio in c minor. By the middle of the last decade of the eighteenth century, 1795 to be precise, Haydn had authored and premiered his final twelve symphonies for London. This marked the end of an
extraordinary career that produced 107 symphonies over a period of nearly 40 years, and which witnessed the growth of a relatively modest piece intended for princely amusement into a sonata writ large intended for a broader and larger paying public. ●
When one takes measure of the reputation Beethoven carved out for himself during his first eight years as a resident of Vienna, his ever-growing admirers were most deeply impressed by his earliest Piano Sonatas (ten of which predate the First Symphony), the aforementioned Piano Trios, assorted chamber music, and above all, his Septet, Op. 20, a work that shared the program with the premiere of his First Symphony along with a symphony (unidentified) by Mozart, excerpts from Haydn’s Creation, and an improvisation at the piano and the first performance of either his C Major Piano Concerto, Op. 15, or the earlier (despite its higher opus number) Piano Concerto No. 2 in B-flat Major, Op. 19. Much to his annoyance, the Septet proved to be more popular than the Symphony, yet the latter work did not fail to make an impression on a critic writing for the Leipzig Allgemeine musikalische Zeitung:
[Beethoven] … improvised in a masterly way, and at the end a symphony of his composition was performed in which there was very much art, novelty, and a wealth of ideas. However, the wind instruments were used far too much so that there was more music for wind instruments than for a full orchestra.
—From The Critical Reception of Beethoven’s Compositions by His German Contemporaries, vol. 1, ed. Wayne M. Senner, Robin Wallace, and William Meredith (U Nebraska Press, 1999).
The review goes on to sternly criticize the poor performance by the orchestra, citing that “in the second part of the symphony [the players] became so lax that in spite of all efforts, no fire could any longer be brought forth in their playing, particularly not in the wind instruments.” It was a sad fact that Beethoven’s Vienna was poorly equipped for performing symphonies.
Donald Francis Tovey categorized Beethoven’s First Symphony as a “comedy of manners” that inherited much from the wit of Haydn’s music and Mozart’s comic operas and lighter instrumental music. The notorious use of heavy wind scoring, however, reminds us that Beethoven was every bit the ill-mannered “unlicked bear cub,” a sobriquet coined later by the composer Luigi Cherubini. The audacious “off-key” beginning of the Adagio molto, brilliantly scored for winds and pizzicato strings (a trick he used again almost immediately in his Overture to the ballet The Creatures of Prometheus) immediately announces the composer’s humor. The dramatic and thoroughly Beethovenian fury that marks the climax of the development section reminds us that all great comedy is ultimately about something important. The fugato exposition of the Andante cantabile con moto second movement begs comparison with the Andante scherzoso quasi Allegretto of the String Quartet in c minor, Op. 18, No. 4. The fact that Beethoven calls the third movement Allegro molto e vivace a Menuetto is in itself a kind of joke (the translation of the word scherzo). The mere fact that Beethoven wrote Menuetto in the score may be taken as further evidence of his irreverence for convention. The trio section, with its static harmonic motion, may have been inspired by the analogous passage in Haydn’s Symphony No. 101 (“Clock”). The introduction to the finale also has been cited by many writers, particularly for the Beethovenian surprise of making a crescendo, only to drop back the softer dynamic of piano at the end. Tovey’s image for this Adagio introduction of a cat being let out of a bag is especially appropriate. But Tovey also reminds his reader that young lions and tigers are kittens, too, and the young kitten named Beethoven certainly has an opportunity to roar in the Allegro molto e vivace comedy that brings the First Symphony to its merry conclusion. ●
The New Mexico Philharmonic nmphil.org 23 PROGRAM NOTES
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
Jay & Janet Grear
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
Jonathan & Ellin Hewes
HOLMANS USA
CORPORATION, John
Santoru
Dal & Pat Jensen
Christine Kilroy
Walter & Allene Kleweno
Dwayne & Marjorie
Longenbaugh
Trust of Margaret E. Macy
Terri L. Moll, in honor of Mark
J. Moll
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, MD
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
Richard & Margaret Cronin
Bob & Fran Fosnaugh
Friends of Music Inc.
Hancock Family Foundation
Robert & Elisa Hufnagel
Chris & Karen Jones
Harry & Betsey Linneman
ListenUp
Edel & Thomas Mayer
Foundation
Menicucci Insurance Agency
Karl & Marion Mueller
New Mexico Arts
George & Mary Novotny
S. Scott Obenshain
Bob & Bonnie Paine
Robertson & Sons Violin Shop
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 “Betty” Baca
Nancy M. Berg
The Cates Team/RBC Wealth
Management
Club Culturale Italiano
French Funerals & Cremations
Charles & Judith Gibbon
Gerald Gold
A. Elizabeth Gordon
Bill & Carolyn Hallett
Bonnie & Hank Kelly
Michael & Roberta Lavin
Ed & Nancy Naimark
David & Audrey Northrop
Charles Olguin
Edward Rose, MD
Melissa & Al Stotts
Marian & Jennifer Tanau
GRACE THOMPSON
CIRCLE
Donation of $1933–$3499
Anonymous
Joel & Sandra Baca
Thomas Bird & Brooke Tully
Ann Boland
Ronald Bronitsky, MD, in honor of Anastasiya
Naplekova, Hedwig
Bronitsky, & Robert Alexander
Clarke & Mary Cagle
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
Harris Hartz
Stephen & Aida Ramos Heath
Donna Hill
Rosalyn Hurley
Sue Johnson & Jim Zabilski
Bruce A. Larson
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
Gary & Carol Overturf
Jerald & Cindi Parker
Dick & Marythelma Ransom
Deborah Ridley & Richard S. Nenoff
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
Anonymous
Teresa Apple & Richard Zabell
Jonathan & Deborah
Armerding
William Bechtold
Benevity Fund
Lawrence & Deborah Blank
Robert Bower & Kathryn Fry
Drs. Kathleen L. Butler & M.
Steven Shackley
Butterfield’s Jewelers
Edwin Case
Daniel & Brigid Conklin
John Crawford & Carolyn
Quinn
Phil & Krys Custer
Robert & Mary Custer
Leonard & Patricia Duda
James & Teresa Edens
Susan Evatt
Richard & Virginia Feddersen
David Foster
Helen Fuller
Ralph Garza
George F. Gibbs
Scott Goodman
Peter Gould
Stephen Hamm
Roger & Katherine Hammond
Nataliya & Daniel Higbie
Hal Hudson, in memory of
Carolyn Hudson
Stephanie & David Kauffman
Steve & Elisa Kephart
Judith Levey
Marcia Lubar
Myra & Richard Lynch
Linda S. Marshall
Kathy & John Matter
Ranne B. Miller & Margo J.
McCormick
Miller Stratvert, P.A.
Robert Milne & Ann DeHart
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
Joan Robins & Denise Wheeler
The Rodey Law Firm
Roberta & Barry Romo
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
Jane & Doug Swift Fund for Art & Education
Tamara Tomasson
Michael Wallace
Eugene & Barbara Wasylenki
Peter & Judy Basen Weinreb
Robert & Trudie White
Bill & Janislee Wiese
Bill Wingate & Emily Rogers
David & Evy Worledge
CONCERTMASTER CIRCLE
Donation of $500–$999
Dennis Alexander
Anonymous
Anonymous
Anonymous
Richard & Linda Avery
Michael & Leanore Baca
Daniel Balik
Jan Bandrofchak & Cleveland
Sharp
Dave Barney
Hugh & Margaret Bell
Richard & Maria Berry
Michael Blackledge
Monica Boehmer
Rod & Genelia Boenig
Mike Boice
Walt & Celia Bolic
Bosque School Community
Builders Immersive
Marie Brown-Wagner
Michael & Cheryl Bustamante
David & Shelly Campbell
Camille Carstens
Douglas Collister
James Connell
Cathy Conrad
Stephanie & Bert Coxe
Michael Dexter
Thomas Dyble
Martha Egan
Jane & Michael Flax
Diane Fleming
Denise Fligner & Terry
Edwards
Howard & Debra Friedman
Carolyn Gerhard, in memory of
Barbara Lipinski
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
Ronald Lipinski
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
Patricia Rodgers & Harry
Stumpf
Anjella Schick
Frederick & Susan Sherman
Ronald Shettlesworth
Rae Siporin
George & Vivian Skadron
Suzanne Slankard
William E. Snead
2022/23 Season / Volume 11 / No. 6 24 DONOR CIRCLES .
Sarah Stevens-Miles
Charles Stillwell
Phyllis Taylor & Bruce
Thomson
George Thomas
Margaret Vining
Marie Weingardt
Carl G. & Janet V. Weis
Jeffrey West
Tad & Kay West
Paula Wynnyckyj, in memory of Anne Peterfeso
Diana Zavitz
PRINCIPALS CIRCLE
Donation of $125–$499
Marsha Adams
Gerald Alldredge
Amazon Smile
Anderson Organizing Systems
William Anderson & Paula
Baxter
Anonymous
John & Polly Arango
Leonard & Stephanie
Armstrong
Janice J. Arrott
David Baca
Sally Bachofer
Douglas Bailey
Charlene Baker
Olive Baker-Brown
Nicole Banks
Harold & Patricia Baskin
Susan Beard
Edie Beck
Michael Bencoe
Gay & Stan Betzer
Elaine Bleiweis & Karen
Hudson
Kelly Block
David & Sheila Bogost
James & Ann Bresson
Douglas Brosveen
Carolyn R. Brown & William
Ranken
Terry Brownell & Alpha Russell
The Bruckner Society of America, Inc.
Nancy Brunson
Marcia Bumkens
Caliber’s Safe Store
Carol Callaway
Dante & Judith Cantrill
David C. Carr
Robert E. & Shirley Case
Roscoe & Barbara Champion
Dan & Tina Chan
Richard Chapman & Jan Biella
Gregory & Karen Chase
Olinda Chavez
Lance & Kathy Chilton
Sharon Christensen
Thomas & Judith Christopher
Beth Clark
Paul & Linda Cochran
Jane & Kenneth Cole
Donna Collins
Lloyd Colson III
Henry & Ettajane Conant
Marcia Congdon
Susan Conway
Bob Crain
Jasha Cultreri
John & Sally Curro
Stephen & Stefani Czuchlewski
Paul & Kathleen Deblassie
Ronald & Faye Detry
Jerry & Susan Dickinson
Raymond & Anne Doberneck
Carl & Joanne Donsbach
Gale Doyel, in memory of The Honorable James A. Parker
Reverend Suzanne & Bill Ebel
Gary Echert
Michael & Laurel Edenburn
Jeffrey Edgar
The Eichel Family Charitable Fund
Richard & Mildred Elrick
Jay Ven Eman
Robert & Dolores Engstrom
Jackie Ericksen
David & Frankie Ewing
David & Regan Eyerman
Peggy Favour
Helen Feinberg
Lori Finley, in memory of David
Waymire
Heidi Fleischmann & James
Scott
William & Cheryl Foote, in memory of David Waymire
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
Patricia B. Guggino, in memory of The Honorable
James A. Parker
Kirk & Jan Gulledge
Robert & Elene Gusch
Ruth Haas
Herman Haase
Lee & Thais Haines
Ron & Nancy Halbgewachs
Leila Hall
Debbie Hammack
Bennett A. Hammer
Joan Harris
Darren Hayden
Bruce & Ann Hendrickson, in memory of The Honorable
James A. Parker
Patricia Henning & Anthony
Lazzaro
Pamelia Hilty (Snow Blossom
Gift Fund)
Laura Hoberg
Toppin & Robert Hodge
Ulton & Jean Hodgin
Diane Holdridge
Bernhard E. Holzapfel
Nancy Kay Horton
Janet Humann
Betty Humphrey
Bryan “Lance” & Debrah Hurt
Christopher & Venessa
Johnson
Marilyn & Walt Johnson, in memory of David Waymire
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
Elizabeth Kubie
Woody & Nandini Kuehn
Karen Kupper
Nick & Susan Landers
Jeffery & Jane Lawrence
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
Joan M. Lucas
Ruth Luckasson & Dr. Larry
Davis
Robert & Linda Malseed
The Man’s Hat Shop
Jim & Helen Marquez
Jeffrey Marr
Carolyn Martinez, in memory of The Honorable James A.
Parker
Sallie McCarthy
Roger & Kathleen McClellan
Linda McNiel
Jerry & Azantha Middleton, in memory of The Honorable
James A. Parker
Bruce & Jill Miller
Martha Ann Miller & Henry
Pocock
Jim Mills & Peggy Sanchez
Mills
Louis & Deborah Moench
Robert & Phyllis Moore
Jim & Penny Morris
Dorothy White Morse
Dorothy White Morse, in honor of Guillermo Figueroa’s 70th birthday
Dorothy White Morse, in honor of Dr. Robert Supple
Ted & Mary Morse
Karen Mosier & Phillip
Freeman
Lynne Mostoller & Kathryn
McKnight
Mr. Tux
Betsy Nichols
Rebecca Okun
John & MacKenzie Ordorica
Patrick Ortiz
Outpost Productions, Inc.
Del Packwood & Barbara
Reeback
Geri Palacios
Pavlos & Nicolette
Panagopoulos
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
Bradford Richards
Erika Rimson & David
Bernstein
Peggy Rodriguez
John & Faye Rogers
Catalin Roman
Glenn & Amy Rosenbaum
Carole Ross
Sofya Rubinchik
Socorro Kiuttu Ruddy
John Salas
Carey Salaz
Santa Fe Opera
Sarafian’s Oriental Rugs
Christine Sauer
John & Karen Schlue
Laura Scholfield
Leslie Schumann
Kendra Scott
Marc Scudamore & Brigitte
Schimek
Meryl & Ron Segel
Daniel & Barbara Shapiro
R.J. & Katherine Simonson
Carol Smith
Steven & Keri Sobolik
Karen Soutar
Sport Systems
Jennifer Starr
John & Patricia Stover
Larry & Susan Tackman, in honor of NMPhil musicians
David & Jane Tallant
Gary & Nina Thayer
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
Marybeth White
Kris Williams
Dot Wortman
Andrea Yannone
Peng Yu
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
Judith Anderson Anonymous
Julie Atkinson
Jackie Baca & Ken Genco
Thomas J. & Helen K. Baca
Harper Baird
Adam Banks
Therese Barts
Elizabeth Bayne
Judy Bearden-Love
Helen Benoist
Kirk & Debra Benton
Mark & Beth Berger
Barry Berkson
Suzanne Bernhardt
Dorothy & Melbourne Bernstein
Marianne Berwick
Karen Bielinski-Richardson
Nancy & Cliff Blaugrund, in memory of The Honorable
James A. Parker
Nancy Blaugrund
Thomas & Suzanne Blazier
William Blumenthal
Henry Botts
J.M. Bowers & B.J. Fisher
Marilyn Bowman
Richard & Iris Brackett
Samuel Brandt
Carolyn Brown
James & Jan Browning, in memory of The Honorable
James A. Parker
Hank & Miriam Burhans
Elizabeth Burki
Robert & Marylyn Burridge
Douglas & Ann Calderwood
Luana Carey
CarMax
James Carroll
Bradley & Andrea Carvey
Joseph Cella
Laura Chang
Frank Chavez & Steven Melero
Cheesecake Factory
Wayne & Elaine Chew, in memory of Judith Lackner
Wayne & Elaine Chew, in memory of The Honorable
James A. Parker
Barry Clark
James & Pauline Clements continued on 26
The New Mexico Philharmonic nmphil.org 25 DONOR CIRCLES .
continued from 25
James & Joan Cole
Randall & Valerie Cole
Lawrence & Mary Compton
Amy Couch
Abel Cuevas & Thi Xuan, in honor of Richard White
John & Katherine Cunningham
Mark A. Curtis
Cara & Mark Curtiss
Marjorie Cypress & Philip Jameson
The Daily Grind
Hubert Davis
Merrick & Leigh Ann Dean
Debby De La Rosa, in memory of The Honorable James A.
Parker
Kurt & Yvonne Deshayes
Thomas & Elizabeth Dodson
Stephen R. Donaldson
Barbara Druxman
Michael & Jana Druxman
Jeff & Karen Duray
Sondra L. Eastham, in memory of Dr. Herb Freidman
Sondra L. Eastham, in memory of Judith Lackner
John Eckert
Helene Eckrich
Bradley Ellingboe
Jane Farris
Jane Farris & Michael Pierson, in honor of Sally & Tom
Hinkebein
Jane Farris & Michael Pierson, 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
Martin & Ursula Frick
Greg & Jeanne Frye-Mason
Eric & Cristi Furman
Jonathan & Julia Gallegos
Yolanda Garcia
Ilse Gay
Walter Gerstle
Lawrence Jay Gibel, MD
Ronald Goldsmith
The Golf Mart
Lois Gonzales
Stephen Ray Goode
Great Harvest Bakery
Alfred & Patricia Green
Ann Green, in memory of The Honorable James A. Parker
Charles & Kathleen Gregory
Ginger Grossetete
Kevin & Teresa Grunewald
Birgitta Gustafson
J. Michele Guttmann
Stan & Janet Hafenfeld, in memory of David Waymire
Fletcher & Laura Hahn
Kerry L. Harmon
William & Janet Harrington
Noah Harris
Matt Hart
John & Diane Hawley
Douglas & Willie Haynes-
Madison
Jo Ellen Head
Drew Henry
Cynthia Heredia
Marvin & Anne Hill, in memory of J.L. Tischhauser
Nancy Hill
Ursula Hill, in memory of David
R. Waymire
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
Lori Johnson
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 Judith Lackner
Barbara Kleinfeld, in memory of Karen McKinnon
John & Gretchen Kryda
Mark Kunzman
Kathryn Lackner
Molly “Mary” Lannon
LeRoy Lehr
Marc Limmany
Carl & Sheila Litsinger
Virginia Loman, in memory of The Honorable James A.
Parker
Mariana Lopez
Laurence & Patricia Loucks
Mary Loughran, in memory of The Honorable James A.
Parker
Sam Lucero & Ron Lahti
Bob & Maureen Luna
Robert Lynn & Janet Braziel
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
Tom & Constance Matteson
Jean-Luc Matton
Janet Matwiyoff
Charles McCormack
Brian McDonald
David & Jane McGuire
Judith W. Mead
Joyce Mendel
Kathleen Miller
Natalie Miller
Robert F. Miller
John Mims
Bryant & Carole Mitchell
Phillip Mitchell
Dr. William Moffatt
Roy & Elizabeth Morgan
Letitia Morris
Shirley Morrison
Baker H. Morrow & Joann
Strathman
Peter Mostachetti
Brian Mulrey
Andrea Mungle
Nambé
Jim & Beth Nance, in memory of Barbara Lipinski
Napoli Coffee
Albert & Shanna Narath
Bruce & Ruth Nelson
Geri Newton
Maude Nielsen
Candace & Frank Norris
Richard & Marian Nygren
Ruth Okeefe
Ooh! Aah! Jewelry
Joseph Opuszenski
William Owen
Peter Pabisch
Eric Parker
Robert Parker
Mark & Diane Parshall
Howard Paul
Honorine Payne
PayPal Giving Fund
Brian Pendley
PF Chang’s
Barbara Pierce
Ed Pierce
Helen Priest
Daniel Puccetti
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
Charles Rundles
Aubree Russell
Robert Sabatini & Angela
Bucher
John Sale & Deborah Dobransky
Evelyn E. & Gerhard L.
Salinger
Katherine Saltzstein
Warren Saur
Savoy Bar & Grill
Peter & Susan Scala
Peggy Schey
David & Marian Schifani
Sheila Schiferl
Seasons 52
Seasons Rotisserie & Grill
Laurel Sharp & David Smukler
Arthur & Colleen Sheinberg
Dasa Silhova
Beverly Simmons
John Simpson
Norbert F. Siska
Matthew & Diane Sloves
Joseph Smith
Kirk Smith
Catherine Smith-Hartwig
Smith’s Community Rewards
Cynthia Sontag
Allen & Jean Ann Spalt
Linda Srote
Philip & Lois Ann Stanton
Stan & Marilyn Stark, in memory of George Dubois
Stan & Marilyn Stark, in memory of The Honorable
James A. Parker
Stan & Marilyn Stark, in honor of Malka Sutin’s 80th birthday
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
Julie Tierney
Dave Tighe, in memory of The Honorable James A. Parker
Dr. Steven Tolber & Louise
Campbell-Tolber
Valerie Tomberlin
John Tondl
Marian Towne
John & Karen Trever
Jorge Tristani
Linda Trowbridge
Robert Walston
William & Cynthia Warren
Caren Waters
Elaine Watson
Dale A. Webster
Kevin & Laurel Welch
Tom Wheatley, in memory of
Barbara Lipinski
Charles & Linda White
Leslie White
Roland & Wendy Wiele
Robert & Amy Wilkins
Kathryn Wissell
Margaret Wolak & Angelo
Tomedi
Judith Woods, in memory of David Waymire
Judith Woods, in memory of Bob Woods
Daniel & Jane Wright
Kenneth Wright
Kari Young
Kenneth & Barbara Zaslow
Charles & Nancy Zimmerman
Michael & Anne Zwolinski 3/17/2023
●
2022/23 Season / Volume 11 / No. 6 26
DONOR CIRCLES .
New Mexico Philharmonic 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, MD
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
Lawrence & Deborah Blank
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, MD
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, Dennis Chavez Development Corp.)
Harold & Darlene Van Winkle
Lana Wagner
Dale Webster
Kevin & Laurel Welch
Liza White
Marc & Valerie Woodward
Diana Zavitz
Michael & Jeanine Zenge
Linda R. Zipp, MD
Jeffrey G. Allen
Marilyn Bowman
Stephen & Merilyn Fish
Lorraine B. Gordon
Hareendra & Sanjani
Kulasinghe
David C. McGuire Jr.
William & Cynthia Warren
John Vittal
Margaret Lieberman
Judith Anderson
Marcia Congdon
Genevieve Davidge
Winnie Devore
Karen Duray
Jackie Ericksen
John & Nancy Garth
Allison Gentile
Andrea Granger
Fred & Joan Hart
Edgarton (E.R.) Haskin Jr.
Theresa Homisak
Stephanie Kauffman
Basil Korin
Frederic & Joan March
Cristina Pereyra
Luana Ramsey
J. Sapon & Allison Gentile
Michael & Lisa Scherlacher
John & Sherry Schwitz
Beverly Simmons
Alexandra Steen
Kathleen Stratmoen
Dean Tooley
Kenneth Wright
Kenneth & Barbara Zaslow
Andrew & Lisa Zawadzki
Peter & Ann Ziegler
Mary J. Zimmerman
Alvin Zuckert
Dante & Judie Cantrill
Lori Johnson
Douglas Cheney
Martha Corley
Barbara Killian
Gary Mazaroff
Theodore & Sue Bradigan-
Trujillo
Christopher Behl
Mary Compton
Henry Daise
Arthur Flicker
Andrew McDowell & Natalie
Adolphi
Claude Morelli
Noel Pugach
Bonnie Renfro
Elizabeth Stevens
Arthur Alpert
Stanley & Helen Hordes
Edward & Carol Ann Dzienis
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
Helen Feinberg
Volti Subito Productions
Melbourn & Dorothy Bernstein 3/17/2023
The New Mexico Philharmonic nmphil.org 27 THANK YOU
●
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
• Special short video presented before one concert at Popejoy Hall
• Two annual private dinners with artist(s) of choice
• Donor Lounge access
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
$20,000–$50,000
• 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
• Donor Lounge access
$6000–$19,999
• 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 $50–$499
• Special mention in the Program Book Steinway Society section
• Special annual reception for all Steinway Society donors
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
Terrence Sloan, MD
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
Elene & Robert Gusch
Jonathan & Ellin Hewes
Christine Kilroy
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
Edward Rose, MD
Marian & Howard Schreyer
Bruce & Sandra Seligman
Frederick & Susan Sherman
David & Heather Spader
Al & Melissa Stotts
2022/23 Season / Volume 11 / No. 6 28 THANK YOU
PIANO FRIENDS LEVEL
Donation of $50–$499
Wanda Adlesperger
Fran A’Hern-Smith
Joe Alcorn & Sylvia Wittels
Dennis Alexander
Anonymous
Judy Bearden-Love
Karen Bielinski-Richardson
David & Sheila Bogost
Robert Bower & Kathryn Fry
Dante & Judie Cantrill
Camille Carstens
Olinda Chavez
Beth L. Clark
Henry & Ettajane Conant
John & Katie Cunningham
Marjorie Cypress & Philip Jameson
Thomas & Martha Domme
Martin J. Doviak
Robert B. Engstrom
Jackie Ericksen
Elle J. Fenoglio
David Fillmore
Blake & Liz Forbes
George & Karen Gibbs
Ginger Grossetete
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
Tom & Constance Matteson
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
3/17/2023
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
Terrence Sloan, MD
Jeanne & Sid Steinberg
William Sullivan
Dean Tooley
Betty Vortman
Maryann Wasiolek
William A. Wiley
Charles E. Wood
Dot & Don Wortman
3/17/2023
Thank You for Your Generous Support Volunteers, Expertise, Services, & Equipment
The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment.
CITY & COUNTY APPRECIATION
Mayor Tim Keller & the City of Albuquerque
Trudy Jones & the Albuquerque City Council
The Bernalillo County Board of Commissioners
Dr. Shelle Sanchez & the Albuquerque Cultural Services Department
Hakim Bellamy & the Albuquerque Cultural Services Department
Amanda Colburn & the Bernalillo County Special Projects
BUSINESS & ORGANIZATION APPRECIATION
Immanuel Presbyterian Church
The New Mexico Philharmonic Foundation
The Albuquerque Community Foundation
INDIVIDUAL APPRECIATION
Lee Blaugrund & Tanager
Properties Management
Ian McKinnon & The McKinnon
Family Foundation
Billy Brown
Alexis Corbin
Anne Eisfeller
Drew Henry
Chris Kershner
Jim Key
VOLUNTEERS HOSTING VISITING MUSICIANS
Don & Cheryl Barker
Ron Bronitsky & Jim Porcher
Tim Brown
Isabel Bucher & Graham Bartlett
Mike & Blanche Griffith
Suzanne & Dan Kelly
Ron & Mary Moya
Steve & Michele Sandager
3/17/2023
●
Jackie McGehee
Brad Richards
Barbara Rivers
Emily Steinbach
Brent Stevens
● The New Mexico Philharmonic nmphil.org 29 THANK YOU
●
Sponsors & Grants
Sound Applause
Albuquerque Community Foundation albuquerquefoundation.org
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.
Hotel Andaluz hotelandaluz.com
Bernalillo County bernco.gov
Century Bank mycenturybank.com
City of Albuquerque cabq.gov
French Funerals & Cremations frenchfunerals.com
Computing Center Inc. cciofabq.com
GARDENSWARTZ REALTY
Gardenswartz Realty
D’Addario Foundation daddariofoundation.org
David S. Campbell, Attorney davidscampbell.com
HOLMANS USA CORPORATION holmans.com
Hunt Family Foundation huntfamilyfoundation.com
John Moore Associates johnmoore.com
Jennings Haug Keleher McLeod jhkmlaw.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
New Mexico Philharmonic Foundation Inc. nmphilfoundation.org
Olga Kern International Piano Competition olgakerncompetition.org
RBC Wealth Management rbcwealthmanagement.com
Robertson & Sons Violin Shop robertsonviolins.com
Sandia Laboratory Federal Credit Union slfcu.org
Scalo Italian Restaurant scaloabq.com
Urban Enhancement Trust Fund cabq.gov/uetf
Verdes Cannabis verdesfoundation.org
YOUR NMPHIL Interested in becoming a sponsor of the NMPhil? Call today! (505) 323-4343. 2022/23 Season / Volume 11 / No. 6 30 THANK YOU
SUPPORT
New Mexico Philharmonic
The Musicians
FIRST VIOLIN
Cármelo de los Santos
Karen McKinnon Concertmaster Chair
Sarah Tasker •••
Assistant Concertmaster
Ana María Quintero Muñoz
Laura Steiner
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
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
Frank Murry
FLUTE
Valerie Potter •
Jiyoun Hur ••
OBOE
Kevin Vigneau •
Amanda Talley
ENGLISH HORN
Melissa Pena ••+
Lauren Keating ••++
CLARINET
Marianne Shifrin •
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 •+
BOARD OF DIRECTORS
Maureen Baca Chair
Al Stotts
Vice Chair
David Peterson Secretary
Kory Hoggan Treasurer
Joel Baca
Ruth Bitsui
David Campbell
Thomas Domme
Fritz Eberle
Roberto Minczuk
Jeffrey Romero
Edward Rose, MD
Terrence Sloan, MD
Rachael Speegle
Marian Tanau
Tatiana Vetrinskaya
Michael Wallace
ADVISORY BOARD
Thomas C. Bird
Lee Blaugrund
Clarke Cagle
Roland Gerencer, MD
Heinz Schmitt
William Wiley
Principal •
Assistant Principal ••
Associate Principal ••• 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
Leif Atchley
Production Manager
Dasa Silhova
Personnel Manager
Terry Pruitt Principal Librarian
Nancy Naimark Director of Community Relations & Development Officer
Crystal Reiter Office Manager
Luis DeVargas
Front of House Manager
Grace Marks Intern
Mary Montaño Grants Manager
Joan Olkowski Design & Marketing
Lori Newman Editor
The New Mexico Philharmonic nmphil.org 31 NMPHIL
2022/23 Season / Volume 11 / No. 6 32 Alameda & Pan American (505) 821-4000 • mercedesabq.com Proud Sponsor of New Mexico Philharmonic Attentive, Responsive, Imaginative. It’s like no electric car you’ve seen or felt.
The EQS.
