New Mexico Philharmonic Program Book • 2023/24 Season • Volume 12 • No. 2 by New Mexico Philharmonic

23/24 VOLUME 12 / NO. 2

NOV

DEC

2023/24 SEASON

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WELCOME LETTER FROM THE

MUSIC DIRECTOR

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There are many ways to support the New Mexico Philharmonic and the New Mexico Philharmonic Foundation. We thank our members, donors, volunteers, sponsors, and advertisers for their loyalty and enthusiasm and their help in ensuring the future of symphonic music in New Mexico for years to come. LOOKING TO MAKE SMART DONATIONS? Based on presentations by professional financial advisors, here are some strategies for giving wisely, following recent changes in the tax law. The advisors identified five strategies that make great sense. Here they are in brief: GIVE CASH: Whether you itemize deductions or not, it still works well. GIVE APPRECIATED ASSETS: This helps you avoid capital gains taxes, will give you a potentially more significant deduction if you itemize, and can reduce concentrated positions in a single company. BUNCH GIVING: Give double your normal amount every other year to maximize deductions. QUALIFIED CHARITABLE DISTRIBUTION/REQUIRED MINIMUM DISTRIBUTION: If you are required to take an IRA distribution, don’t need the cash, and don’t want the increased taxes, have the distribution sent directly to a qualified charity. HIGH-INCOME YEARS: If you are going to have high-income years (for any number of reasons), accelerate your deductions, avoid capital gains, and spread out gifts through a Donor-Advised Fund. BE PROACTIVE: Consult your own financial advisor to help you implement any of these. Please consider applying one or more of these strategies for your extra giving to the NMPhil.

The start to the season was a great success! For the first time, we featured a movie with live music—Harry Potter—which brought in 5,000 new audience members, adults and children, some of them hearing your NMPhil for the first time. We then celebrated Rachmaninoff’s 150th birthday with a wonderful concert featuring his Piano Concerto No. 2 and Symphony No. 1. Then, it was the Mozart Festival, a four-concert festival featuring music from the movie Amadeus, the Rimsky-Korsakov opera Mozart and Salieri which inspired that movie, an array of movements from various concertos written for different instruments, an evening of some of the best moments from his operas, and we ended with Mozart’s first and last symphonies and first and last piano concertos. You, the audience, were wonderful as you packed the house and brought palpable energy and excitement. We have a series of wonderful concerts remaining. We are continuing the Mahler cycle with Symphony No. 2, “Resurrection,” and are bringing many other loved works to the stage such as the Beethoven Violin Concerto and works by Tchaikovsky, Khachaturian, Respighi, and more. I look forward to sharing the magic of this great music with you. I am honored to continue to lead this amazing group of musicians and to be in front of you—an audience I love. Experience the excitement!

TABLE OF CONTENTS PROGRAMS

November 18, 2023 December 8, 2023 December 9, 2023 December 10, 2023 December 15, 2023 December 16, 2023 Program Notes

5 6–7 6–7 6–7 9 11 13

ARTISTS

Roberto Minczuk Fabio Mechetti Tatiana Shafran Bradley Ellingboe Gabrielle Dietrich Shelly Ley Angelynn Gomez Yasmeen Lookman Cameron Brammer Joe Mitchell Coro Lux Chamber Chorus Manzano Day School Chorus Jamie Jones Albuquerque Youth Symphony Dan Whisler

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YOUR NMPHIL

Roberto Minczuk Music Director

In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). ●

Sponsor a Musician Thank You Legacy Society Donor Circles NMPhil Foundation Donors & Trustees Steinway Society Sponsors Orchestra, Staff Board of Directors, Advisory Board

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CONCERT PROGRAM .

POPEJOY CLASSICS

Symphonie Fantastique

NOV

Saturday, November 18, 2023, 6 p.m. 5 p.m. Pre-Concert Talk

NOVEMBER 25-26 DECEMBER 2-3 AT POPEJOY HALL

Popejoy Hall

Fabio Mechetti conductor Tatiana Shafran piano

PRESENTED BY:

Overture to Le roi d’Ys

Édouard Lalo (1823–1892)

TI C KE TS $1 1 - $ 65 P U R C H A S E N O W AT:

Piano Concerto No. 23 in A Major, K. 488 I. Allegro II. Adagio III. Allegro assai

FEATURING:

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Wolfgang Amadeus Mozart (1756–791)

MAKING A DIFFERENCE

This performance is made possible by: Optum New Mexico

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin

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Symphonie fantastique I. Rêveries—Passions (Daydreams—Passions) II. Un bal (A Ball) III. Scène aux champs (Scene in the Fields) IV. Marche au supplice (March to the Scaffold) V. Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath)

Hector Berlioz (1803–1869)

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Get connected to a Medicare licensed insurance agent.† 1-505-456-0060, TTY 711 Monday through Friday, 8 a.m. to 5 p.m. Let us help you choose a doctor and a plan that’s right for you.

* Beginning Jan. 1, 2024

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CONCERT PROGRAM .

HANDEL’S MESSIAH

HANDEL’S MESSIAH (continued)

Handel’s Messiah

DEC PART I

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

Friday, December 8, 2023, 7:30 p.m. Saturday, December 9, 2023, 7:30 p.m. Sunday, December 10, 2023, 3 p.m. Bradley Ellingboe conductor Gabrielle Dietrich soprano Shelly Ley soprano Angelynn Gomez mezzo-soprano Yasmeen Lookman mezzo-soprano Cameron Brammer tenor Joe Mitchell baritone Bradley Ellingboe bass Coro Lux Chamber Chorus

Messiah

George Frideric Handel (1685–1759)

First United Methodist Church

DEC

First United Methodist Church

DEC

V. Sue Cleveland High School

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

Coro Lux Chamber Chorus Bradley Ellingboe director Soprano Gabrielle Dietrich Tania Hopkins Jen Jones Shelly Ley Elizabeth Wenrich LaVonne Yazzie Alto Angelynn Gomez Sharlotte Kramer Yasmeen Lookman Sarah Rulfs Janet Vrudny

MAKING A DIFFERENCE PART II

Tenor Mark Adrian Cameron Brammer Bryan Butler Casey Haynes Darryl Starkes Bass Martin J. Doviak Richard Macklin Joe Mitchell Peter A. Stoll Anthony Worsham

Behold the Lamb of God, Chorus He was despised, Mezzo-Soprano, Angelynn Gomez Surely He hath borne our griefs, Chorus And with His stripes we are healed, Chorus All we like sheep have gone astray, Chorus All they that see Him, Baritone, Joe Mitchell He trusted in God, Chorus Thy rebuke has broken His heart, Tenor, Cameron Brammer Behold and see, Tenor, Cameron Brammer He was cut off out of the land of the living, Soprano, Shelly Ley But Thou didst not leave His soul in Hell, Soprano, Shelly Ley Unto which of the angels said He at any time, Tenor, Cameron Brammer Thou art gone up on high, Mezzo-Soprano, Yasmeen Lookman The Lord gave the word, Chorus Their sound is gone out into all lands, Chorus Why do the nations so furiously rage? Baritone, Joe Mitchell He that dwelleth in Heaven, Tenor, Cameron Brammer Thou shalt break them, Tenor, Cameron Brammer Hallelujah, Chorus

These performances are made possible by: Albuquerque Community Foundation

PART III

Since by man came death, Chorus Behold, I tell you a mystery, Bass, Bradley Ellingboe The trumpet shall sound, Bass, Bradley Ellingboe Worthy is the Lamb that was slain—Amen, Chorus

2023/24 Season / Volume 12 / No. 2

The New Mexico Philharmonic

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CONCERT PROGRAM .

COFFEE CONCERT

Part Bach, Part Pärt

DEC

Friday, December 15, 2023, 10:45 a.m.

South Broadway Cultural Center: The John Lewis Theatre

Roberto Minczuk Music Director

Brandenburg Concerto No. 3 in G Major, BWV 1048 I. [Allegro] II. Adagio III. Allegro

Fratres for Strings and Percussion

Johann Sebastian Bach (1685–1750)

MAKING A DIFFERENCE

This performance is made possible by: Meredith Foundation

Arvo Pärt (b. 1935)

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

PERFORMING

Orchestral Suite No. 3 in D Major, BWV 1068 I. Ouverture II. Air III. Gavotte I/II IV. Bourée V. Gigue

Bach

Albuquerque Academy is going places. Join us for the journey. Apply now for Fall 2024! Visit aa.edu/admission. (505) 828-3208 | Grades 6-12

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CONCERT PROGRAM .

ROCK & POPS

EXPERIENCE

Holiday Pops!

DEC

Saturday, December 16, 2023, 6 p.m.

Popejoy Hall

Roberto Minczuk Music Director Manzano Day School Chorus/Jamie Jones director Albuquerque Youth Symphony/Dan Whisler director

IN LEARNING Now accepting applications for 2024-2025 1801 Central Avenue NW - 505.243.6659 manzanodayschool.org

NMPHIL RAFFLE 2024

A Christmas Festival A Winter Miracle The Night Before Christmas

Mercedes GLA 250

MAKING A DIFFERENCE

Vivaldi/Traditional/Berens

This performance is made possible by: Bernalillo County

Randol Alan Bass

Selections from The Nutcracker Marche Dance of the Sugar Plum Fairy

Pyotr Ilyich Tchaikovsky

Walking in the Air

Howard Blake/arr. John Leavitt

The Polar Express

Glen Ballard / Alan Silvestri arr. Audrey Snyder

Additional support provided by: Singleton Schreiber

Manzano Day School Chorus Selections White Christmas

YOUR GARAGE COULD BE HOME TO A BRAND NEW

Leroy Anderson

Irving Berlin / arr. R.R. Bennett

Sleigh Ride

Leroy Anderson

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NEW MEXICO PHILHARMONIC

2024 ANNUAL CAR RAFFLE

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Overture to Die Fledermaus

Johann Strauss II

There’s Christmas in the Air

arr. Carl Strommen

Christmas Medley

arr. Arthur Harris

Christmas at the Movies

arr. Bob Krogstad

A Charlie Brown Christmas

arr. David Pugh

Christmas Sing-Along

arr. Jeff Tyzik

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PROGRAM NOTES .

NOTES BY DAVID B. LEVY

Édouard Lalo Born January 27, 1823, in Lille, France Died April 22, 1892, in Paris, France

Overture to Le roi d’Ys (1875–1878) Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Approximately 11 minutes.

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

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His musical talents were at first encouraged by his parents and he studied violin and cello. He left home for Paris after his father discouraged him from taking his musical studies seriously. Upon arrival, he continued his education at the Paris Conservatoire, studying violin with violinist/conductor FrançoisAntoine Habeneck and composition with Julius Schulhoff and J.-E. Crèvecoeur. Although best known to audiences today for his five-movement work for violin and orchestra based on Spanish music, Symphonie espagnole (1874–5), as well as his Concerto for Cello (1877), Lalo wrote in a wide variety of genres including song, chamber music, and opera. Composed between 1875–8, and later revised in 1886, his opera Le roi d’Ys received its first performance at the Paris Opera on May 7, 1888, to great acclaim. Its overture, however, was first performed at the Concerts Pasdeloup in 1876. In France, Édouard Lalo’s fame was based largely upon the success of his opera Le roi d’Ys. Composed between 1875 and 1878, its libretto by Édouard Blau is based on a Breton legend set in the Middle Ages about a drowned city. The fact that Lalo’s wife, the contralto Julie de Maligny, was from Brittany no doubt drew his attention to the story, and she took part in the 1888 premiere of the opera singing the role of Margared, the daughter of the title character. Despite its success and popularity in France, Le roi d’Ys is performed seldomly, although its dramatic overture appears occasionally on concert programs. The story of the opera concerns the destruction by flood of the legendary city d’Ys, ruled over by its (unnamed) king.

Mozart’s concertos for piano were the “popular” entertainment of their time, and not viewed as “classics.” His daughter, Margared, causes the city’s doom in a fit of jealousy. Interestingly, the fate of d’Ys also was the inspiration for Claude Debussy’s piano prelude The Sunken Cathedral (La cathédrale engloutie), composed in 1910. The Overture to Le roi d’Ys captures many elements of the opera. Beginning mysteriously, the first part breaks into lyrical passages for the oboe and clarinet. The main body is filled with allusions to medieval pageantry in the brass, combined with high dramatic energy, as well as a long melody for the solo cello in the middle. Lalo was accused by some of his French critics for bringing Wagnerian elements into his score to this opera. Indeed, some have noticed quotations of music from Wagner’s opera Tannhäuser in the overture. This may be true, given that the “Paris” version of Wagner’s opera was performed there in 1861, to considerable controversy. It seems highly likely that Lalo was present at the Paris premiere. ●

Wolfgang Amadeus Mozart Born on January 27, 1756, in Salzburg, Austria Died on December 5, 1791, in Vienna, Austria

Piano Concerto No. 23 in A Major, K. 488 (1786) Scored for solo piano, flute, 2 clarinets, 2 bassoons, 2 horns, and strings. Approximately 26 minutes.

The Piano Concerto No. 23 in A Major, K. 488 is dated March 2, 1786. The work’s first performance took place in Vienna shortly thereafter. The autograph manuscript for the piece also includes Mozart’s own cadenza for the first movement. 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 Wolfgang Amadé Mozart in 1862. The Köchel catalogue has been updated and revised many times to keep pace with musicological revelations. Mozart’s interest in the genre of the piano (or rather, keyboard) concerto began when he was a mere twelve-yearold who made arrangements of sonata movements by various composers. While many concertos were being composed in the mid-18th century by a wide variety of German-speaking and Italian composers, Mozart may have been most directly influenced by examples by Johann Christian Bach (1735–82), the youngest son of Johann Sebastian and half-brother to Carl Phillip Emanuel, himself the author of several concertos and one of the classic treatises on keyboard technique. Mozart wrote 28 keyboard concertos throughout his life, in addition to isolated rondos and two concertos for two or three keyboard instruments. Of these, twenty-one of them are original and complete compositions. The fact that fully one third of these were published during the composer’s lifetime is the surest indicator of the success that these concertos enjoyed. The kind of piano for which Mozart composed is vastly different from the modern piano in many respects. Modern scholars often refer to this instrument as the fortepiano. More flexible in its dynamic range than the harpsichord, the fortepiano had an extremely light and fast action. The frame of the instrument was much smaller and was constructed mostly out of wood. The tone of the fortepiano decayed far more quickly than that of a modern piano. These instruments also were equipped continued on 14

The New Mexico Philharmonic

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PROGRAM NOTES .

continued from 13

to produce effects that simply do not exist on modern pianos. Achieving the proper balance between solo instrument and orchestra using modern instruments poses special challenges in this repertoire. Mozart’s concertos, however, like all works of transcendent genius, move and thrill audiences regardless of whatever tools are used in their transmission—be they replicas of Johann Walter fortepianos or modern Steinway grands. One of the practices of society and culture in 18th- and 19th-century Europe dictated that operas were not to be performed during Lent. This holy season thus became “prime time” for composers and performers—often one and the same individual—to hold subscription concerts, either for the benefit of charity or to further their own careers. Sometimes (as in the case of the premiere of K. 482), a concerto might be performed, in the English tradition of Handel, as the intermission feature of the performance of a new oratorio. The patrons of these concerts often were music-loving aristocrats, at whose palaces and townhouses these events usually took place. The Lenten season of 1784 saw Mozart busy with the composition of no fewer than four new piano concertos (E-flat Major, K. 449; B-flat Major, K. 450; D Major, K. 451; and G Major, K. 453). The season of 1786 produced three new concertos, (E-flat Major, K. 482; A Major, K. 488; and c minor, K. 491). This was also a period of intensive work on Mozart’s towering achievement in the realm of comic opera, Le nozze di Figaro,

K. 492. A distinguishing feature of the concertos of 1786 is the astonishing passages for woodwind instruments. Mozart’s orchestration, especially for flute, clarinet, and bassoon, in these concertos adds an expressive color and depth to their already bountiful store of melodic and harmonic beauty. Mozart was no stranger to woodwind instruments, having earlier composed concertos for flute, oboe, horn, and bassoon (the exquisite Clarinet Concerto was to come later). This hardly explains the prominent concertante role that the winds play in the piano concertos composed between 1784 and 1786. Another issue surrounding K. 488 is the relatively sparse scoring of the solo piano part, suggesting the likelihood that Mozart brought his legendary skills as an improviser to bear when he performed the piece. Nowhere is this more apparent than in the haunting Adagio second movement in f-sharp minor (an unusual feature in its own right), which offers moments of stark bareness. When this quasi-siciliano is performed as published, as is often the case, the movement’s essentially tragic nature is made all the more poignant by its occasional lapses into silence. The finale, by contrast, is a sprightly rondo, Allegro assai, in duple meter whose opening theme and high spirits dispel the second movement’s melancholic mood. Indeed, as Mozart scholar Neal Zaslaw has astutely observed, Mozart’s concertos for piano were the “popular” entertainment of their time, and not viewed as “classics.” Modern audiences would do well to enjoy them in that same spirit. ●

… in the most vivid ways possible, [Berlioz’s] work reflects the events and emotions he experienced in the course of his passionate and sometimes unstable existence.

NOTES BY CHARLES GREENWELL

Hector Berlioz Born December 11, 1803, in La Cote St.Andre, France Died March 8, 1869, in Paris, France

Symphonie fantastique (1830) Scored for piccolo, 2 flutes, 2 oboes, English horn, E-flat clarinet, 2 clarinets, 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, 2 tubas, timpani, percussion, 2 harps, and strings. Approximately 50 minutes.

Berlioz stands as the leading musician in France at a time when that country’s main artistic output was literary, and whose musical pioneers were German. In many ways, the Romantic movement found full expression in his works, but Berlioz had strong Classical roots and stood apart from many of the ideals of that movement. He worked tirelessly as a composer, conductor, and critic to advance new ideas, and though there were people who recognized greatness in his music right from the beginning, it was not until the 20th century that his extraordinary genius was fully appreciated. No Romantic composer’s music is more strongly linked with the circumstances of his life than Berlioz, and in the most vivid ways possible, his work reflects the events and emotions he experienced in the course of his passionate and sometimes unstable existence. He had a strong distaste for authority of all kinds, particularly toward the entrenched musical academicians of his day. His music has a grand sweep of phrase, a freedom of form, and extremes of dynamic contrast. Another typically Romantic aspect of his music is his penchant for huge orchestral and choral forces. His reputation has long rested on his supreme skill as an orchestrator, with instrumental color being a basic element of his music. He brought into his panorama instruments from outside the orchestral norm, such as the harp, English horn, bass clarinet, valve trumpet, and saxhorn. It is not, however, the novelty of the instruments that is so striking; rather, it is the remarkable skill with which he used

them, and his ear was most acute and inventive in combining and contrasting the winds, writing for them in layers more often than in solos. The influence of his orchestration was enormous, particularly on Liszt, Wagner, Strauss, Mahler, and the Russians, and more than that was the way in which he liberated traditional ideas of orchestration. Even more than Liszt, Berlioz is now regarded as the quintessential arch-Romantic among composers, with the colorful and somewhat improbable episodes of his life contributing to this. Among those were his all-consuming but rather tenuously based infatuation with the Irish Shakespearean actress Harriet Smithson, with whom he fell totally in love after seeing her just once on the stage; a number of later and equally unstable emotional involvements; and frequent impulses (happily never fulfilled) to avenge perceived slights of love by crimes of passion and even suicide. It is certainly not surprising that these biographical elements of unfettered romanticism are reflected in the man’s music, and several of his works are unabashedly autobiographical, chief among them this extraordinary and groundbreaking symphony. Even here, however, most of his music preserves a strong strain of classicism, and maintains clear links with traditional forms. By the way, Berlioz’s involvement with Smithson was not just romantic: for him, Shakespeare represented the zenith of poetic expression, and his plays were to provide the basis of three major works— Romeo and Juliet, Beatrice and Benedict, and the King Lear Overture. Berlioz read and quoted Shakespeare throughout his life, and put him on an equal footing with the ancient Roman poet Virgil. Students’ infatuation with actresses was nothing new at the time, and it is not surprising that Berlioz fell madly in love with the Irish beauty Smithson after seeing her as Juliet and Ophelia in productions of Shakespeare in Paris in 1827. The plays were presented in English, and even though the 23-year-old spoke hardly a word of that language, he was somehow able to understand what the plays were all about. He then started sending her a

Berlioz wanted to be remembered for his total love of art and for a commitment to the highest ideals, and no other composer wrote as frequently of his devotion to beauty. barrage of letters declaring his love and admiration, but inasmuch as she had never heard of the lad, she wisely ignored them. His next step was to arrange a concert of his works at considerable expense in an attempt to impress her, but she ignored that as well. There was now only one thing left to do, and that was to write this symphony about his stricken condition, and to make sure that all of Paris knew that Smithson was the adored lady in the work. So even before the symphony got underway, he published explanatory notes in the newspapers in the hope that concertgoers would read them in advance of the premiere. Berlioz’s own program for the Symphonie begins, “A young musician of nervous temperament and fiery imagination has been so distracted by unrequited love that he has poisoned himself with opium. Having taken a dose too weak to kill him, it instead puts him into a deep sleep which is interrupted by strange nightmares. As these sensations, emotions, and memories pass through his fevered mind, they are transformed into musical imagery. His beloved herself appears as a melody which becomes a recurrent theme, or idée fixe.” The five movements are then described as follows: First Movement: Daydreams— Passions. The young musician relives the agitation, dark longings, joy, and melancholy he experienced before meeting his Beloved. He then remembers the cataclysmic love she instantly aroused in him, followed by anxiety, jealousy, tenderness, and finally, the consolation of religion.

Second Movement: A Ball. In a grand ballroom, amid the flurry of a gala celebration, the hero briefly encounters his Beloved again. Third Movement: Scene in the Fields. On a summer’s eve, the hero comes across two young shepherds piping calls to their flocks. All that is in this scene combines to inspire in the youth a serenity he has seldom known. Suddenly, his Beloved reappears, filling his heart with forebodings and doubts of her fidelity. The melody resumes, now played by a single herdsman. The sun sets, increasing the hero’s desolation. There is a distant rolling of thunder. Fourth Movement: March to the Scaffold. Still dreaming, the youth has murdered his Beloved and faces a death sentence. His walk to the place of execution is underscored by a march, by turns solemn, vivid, and wild. The procession suddenly halts, and in his last moments, the idée fixe returns—but suddenly, it, too, stops. The axe has descended. Fifth Movement: Dream of a Witches’ Sabbath. The musician now imagines himself to be among the grotesques at a Witches’ Sabbath in observance of his funeral. Unearthly groans, cackles, and shrieks suggest tormented souls. The idée fixe recurs, now as a hideous travesty of its former self. Welcomed by raucous cries, the Beloved joins the orgy of the damned. Funeral bells toll: the Dies irae is burlesqued. As the hellish celebration reaches its peak, the Dies irae and the infernal dance are combined. continued on 16

2023/24 Season / Volume 12 / No. 2

The New Mexico Philharmonic

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PROGRAM NOTES .

continued from 15

Symphonie fantastique premiered in Paris in December of 1830. It was a tremendous success and established Berlioz as the unquestioned leader of the avant garde. As to the romance that inspired it, there is not enough space here to do that relationship full justice! Smithson did not go to the premiere, but she did hear it later on and met Berlioz the next day. A troubled courtship ensued between these two illmatched people, and in October of 1833 they were married, with Franz Liszt and Heinrich Heine as witnesses. After this, Smithson suffered a series of reversals, her once-great popularity declined, and she was seriously injured in an accident that marred her beauty and left her an invalid. Their marriage was a tragic history of debts, health problems, jealousy, and estrangement, and eventually the two separated. This once-popular actress died penniless in Paris in March of 1854, and this occasioned a remarkable letter to Liszt, which said in part, “In spite of everything, she was always so dear to me. For the last 12 years we have not been able to live together or to part. These very tortures we suffered together have made this final separation even more painful for me. She has been delivered from an appalling existence …” Seven months after Harriet’s death, Berlioz remarried. The man wanted to be remembered for his total love of art and for a commitment to the highest ideals, and no other composer wrote as frequently of his devotion to beauty. He was probably the first of the truly great conductors, and his ideas about the craft of conducting laid the basis for the very rules of the profession. In addition, he was a keen observer of people and the human condition, and his early training in medicine certainly contributed to that ability. Berlioz’s style is one of the most idiosyncratic and easily recognizable in all of 19th-century music, and his life and particularly his music continue to

fascinate us because his orientation to people, events, and artistic trends was so consistently out of step. ●

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

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

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

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

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

the entire score, orchestration and all, in the amazing space of just 24 days! He set out for Ireland in early November and arrived in Dublin on November 18. The trip across the water proved to be a revitalizing experience, and in spite of the hard work that the new oratorio season would require, it was almost like a holiday, away from the financial, artistic, and personal problems that he had been dealing with in London. In addition, when he came to Dublin, he was greeted with the kind of adulation that had greeted his arrival in London some 30 years previously, and once again he was idolized, fussed over, feted wherever he went, and in general, treated like some kind of royalty. The music-loving people of Ireland had in Dublin several musical societies that were unusual in that they were all organized for charitable purposes. This was largely due to the terrible social conditions in the country, compared with the poor people of London and the inmates of its prisons and hospitals who were relatively well off. The citizens of Dublin, appalled by the miserable conditions in their prisons and hospitals, wanted to do everything they could to alleviate this wretched state of affairs, and so they raised money for humanitarian purposes by sponsoring public concerts. There was then a new Music Hall in the city that was built on order from the Charitable Music Society and their guiding light, a wealthy and influential music publisher named William Neale. He was also the secretary of Dublin’s Charities Commission, and he not only had a commanding position in all that was to follow, but in all likelihood had a hand in the invitation that brought Handel to Dublin and resulted in the production of Messiah. On March 27, 1742, the Dublin Journal printed an announcement for a new benefit concert, stating that it would take place at the Music Hall on April 12, at which time would be performed “… Mr. Handel’s new Grand Oratorio, called Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some concertos on the Organ by Mr. Handel.” As it turned out, the concert did

“My Lord, I should be sorry if I only entertained them. I wished to make them better.” —George Frideric Handel not take place until April 13, but there was a public rehearsal on April 9, about which the Journal had written: “Yesterday Mr. Handel’s new Grand Sacred Oratorio called Messiah was rehearsed…and was performed so well that it gave universal satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard ...” In that article and again on the day of the performance there were requests to the audience that ladies come without hoops in their dresses and that gentlemen come without their swords, so that the greatest number of people could be squeezed into the hall. At the formal premiere, this resulted in an audience of 700 pressed into a space designed to hold 600, but nobody seems to have been upset in the slightest. The premiere was an unqualified triumph, and the press notices outdid themselves in praising the work and its performance, with particular praise being given to the fact that everyone performed gratis, thereby helping to raise more than 400 pounds for the advertised charities. Because of its great success, Handel was asked to repeat the work at his last Dublin concert, and so began the career of one of the most popular, beloved, and frequently performed works in the history of music. Messiah was given its first performance in London in March of 1743, but it was not at all the great success it had been in Dublin. It is possible that Handel anticipated certain objections to the work, as he advertised it as “a New Sacred Oratorio” without mentioning its title, but he was certainly unprepared for the hostility it received in some quarters. There were many who were greatly upset that the Scriptures formed the basis for what was presented as secular entertainment and were very vocal in

objecting to its having been presented in a theatre with several famous singers as soloists. Even librettist Jennens, after hearing the work for the first time, said that he was dissatisfied with what he called “some weak parts” in the score. As a result of this, Messiah was rarely performed in London in the mid-1740s, while at the same time it was being performed regularly in Dublin. In 1749, things made a dramatic turnaround, and once again the prime force was a connection with charity. Handel had always been known as a kind and generous man, and at the time he had become interested in the recently created Foundling Hospital for young orphans and children in dire need. In May of 1749, he proposed a concert for the hospital’s benefit, and ultimately was appointed a governor of the establishment. On May 27, the concert was given in the newly built chapel, and it was a great success. The hospital received a considerable sum of money from the concert, and that sum was further increased by a very generous gift from the King. The following year, Handel put together a new season of oratorio, and Messiah played a prominent role. It was given at the Foundling Hospital on May 1, 1750, and the chapel was so packed with eager listeners that the work had to be repeated on May 15. These were successes on the scale of the Dublin premiere, and marked the beginning of the oratorio’s great popularity in London and elsewhere. In the years to come, Handel made it a tradition to include Messiah in his oratorio seasons during Lent, and also performed it every year at the Foundling Hospital. (Incidentally, although the Foundation still exists and thrives in London, the chapel in which Handel played, and to which he left a score and parts to Messiah in continued on 18

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his will in order that the performances might continue, was declared unsafe and demolished in 1926. It was the last remaining building in London in which he had promoted concerts.) He continued to conduct performances of Messiah right up until his death, and in fact in March of 1759 gave three performances at Covent Garden. The annual Foundling Hospital performance was scheduled for May 3, but before the rehearsals could begin Handel was taken seriously ill. After a week of steady deterioration, he finally succumbed on April 14, 1759—the day after Good Friday. He had asked to be given a private burial in Westminster Abbey, but because he was so famous and beloved a figure, he was accorded a very public ceremony on the occasion of his internment on April 20. Of all the memorial statues in the Abbey, his is one of the most striking and memorable: In his right hand is a sheet of music containing the opening bars of the great aria from Messiah, “I know that my Redeemer liveth.” After the first London performance, Handel said to a friend, “My Lord, I should be sorry if I only entertained them. I wished to make them better.” He clearly intended the oratorio to mean something special to his audiences because it meant something special to him. At a Messiah performance in 1759 on the occasion of his 74th birthday, Handel responded to the very enthusiastic applause by saying, “Not from me—but from Heaven—comes all.” ●

DAVID B. LEVY

Johann Sebastian Bach

Brandenburg Concerto No. 3 in G Major, BWV 1048 (1721) Approximately 10 minutes.

Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig on July 28, 1750. He looms as one of history’s pivotal figures whose music is venerated and admired by many composers who followed him, from Haydn to Bartók and beyond. During his own lifetime, Bach

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Fratres (“Brothers”) is a kind of metaphor for the “instant and eternity [that] are struggling within us.” —Arvo Pärt was more revered as an organist and keyboard virtuoso than as a composer. His enormous output covers virtually every genre of the Baroque era, except for opera. But even here, the drama found in much of his sacred choral music (Church Cantatas, Passions, Oratorios, the Magnificat, and Mass in b minor) and other works showed considerable dramatic flair. The Six Concerts avec plusieurs instruments, as the dedicatory letter to the Margrave of Brandenburg of 1721 calls them, are known collectively as the Brandenburg Concertos. Each concerto is scored for a different group of instruments. The Brandenburg Concerto No. 3 is scored for 3 violins, 3 violas, 3 cellos, and the basso continuo group, normally comprising a bass stringed instrument and harpsichord. In 1729, Bach reworked the first movement of this concerto as the sinfonia to the cantata Ich liebe den Höchsten von ganzem Gemüte, BWV 174, adding three oboes and two horns to the mix. While Bach probably meant each of the violin, viola, and cello parts to be performed by a soloist, it is common to have each part played by multiple performers. During Bach’s employment as Kapellmeister for Prince Leopold of Anhalt-Köthen from 1717 to 1723, the composer compiled six concertos— works that collectively are known as the Brandenburg Concertos, taking their name from the Margrave in Berlin to whom Bach sent the concertos in the hope of receiving a more lucrative appointment than the one he held. The Third Concerto is an example of a ripieno concerto, as opposed to a solo concerto or concerto grosso (for multiple soloists, as in the Brandenburg Concertos Nos. 2, 4, and 5). Because of its style and

instrumentation for string instruments only (three violins, three violas, three cellos, and basso continuo), scholars believe that Bach may have written the Third Brandenburg as early as 1711–13, while still employed at the church in Weimar. Even if this conjecture is wrong, it surely was performed in Köthen during Bach’s tenure there. The Brandenburg Concerto No. 3 comprises two Allegro movements (the first movement actually has no tempo designation), linked by two chords during which a brief cadenza for violin or harpsichord is usually interpolated. The polyphonic skill for which so much of Bach’s music is prized is abundantly displayed throughout the rest of the piece. No less appealing is the music’s inexorable rhythmic energy, a trait that Bach had learned from his careful study of Vivaldi and other Italian masters. ●

triad, while the other moves in stepwise motion. The effect evokes a kind of neomedievalism inspired by the composer’s deep religiosity. His music has resonated with audiences throughout the world to such an extent that it is performed more frequently than any modern composer except for John Williams. Fratres, which was composed originally without any fixed instrumentation, exists in multiple versions and arrangements, ranging from violin and piano to large orchestrations, and many combinations in between these extremes. The version for strings and percussion dates from 1991. If finding one’s own true voice is the goal of any artist, Arvo Pärt certainly has been successful. Fratres (“Brothers”) is one of his most frequently performed works. Its hypnotic effect is created by variations on a six-measure theme. Pärt himself, speaking of the work’s combination of serenity and activity, remarked that the piece is a kind of metaphor for the “instant and eternity [that] are struggling within us.” In the version for strings and percussion, the latter section produces a motif the composer refers to as “refuge.” In addition to its life on the concert stage, Fratres has been used in the soundtrack for several films. ●

CHARLES GREENWELL

Arvo Pärt

Fratres for Strings and Percussion (1991) Approximately 10 minutes.

Estonian composer Arvo Pärt was born in Paide, the capital of Estonia’s Järva County, on September 11, 1935. Known for the quiet spirituality of his music, Pärt turned away from his earlier modernistic style, to develop a mode of composition in the 1970s called “tintinnabuli.” The root of this style evokes the ringing of bells. First applied in his works Für Alina (1976), Fratres (1977), and Spiegel im Spiegel (1978), the technique involves the intricate interconnection of two musical lines, one of which outlines the arpeggiation of a

Johann Sebastian Bach

Orchestral Suite No. 3 in D Major, BWV 1068 (c. 1730) Scored for 2 oboes, 3 trumpets, timpani, and strings. Approximately 20 minutes.

When Bach died in the summer of 1750, he was mourned as one of the greatest organists and keyboard players of his time, but his compositions were relatively unknown. When he died, his manuscripts were divided among his sons, and many of them were lost. When the big Bach revival began in the mid1800s, only a small fraction of his works were recovered. Orchestral suites were

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very popular in Germany during the first part of the 18th century, and were called by various names such as Partie, but Bach called all four of his works Ouvertures, using the French spelling to indicate a reliance on the French style that influenced the form. Using the term Orchestral Suite is acceptable, but these works were written for forces that were just beginning to evolve into what we would now call an actual orchestra. Bach did use the term Orchestre just once in his output, but no one is sure what he really meant by it. These four suites, or ouvertures, have generally been thought of as a collection, in spite of the fact that they were not composed as a set (like the English Suites) or compiled from existing works (like the Brandenburg Concertos). He almost certainly wrote more than the four we have, but if so, they are part of the body of tragically lost compositions, and even these have come down to us not in their original form but in later reorchestrations. Unlike the popular Brandenburg Concertos, surviving manuscripts of the Suites contain no scores in Bach’s handwriting and only a few orchestral parts, and no mention of the works has been found in documents of the time, either by Bach or any of his contemporaries. Exact information about the Suites’ composition is almost nonexistent, but modern scholars think that some, if not all, of the Suites were written in Leipzig, where Bach served as cantor of the famous St. Thomas School from 1723 until just before his death. The suite had its origin in the early 16th century, when composers turned to printed collections of dance music in order to satisfy their employers’ enormous demands for new music to be used at court balls and other entertainments. At the time, the dances were grouped by type, and the musicians would assemble suites according to what was required and the available musical forces. By Bach’s time, most of the dances found in the earlier suites had gone out of fashion, and the suite had moved from the ballroom and banquet hall to the concert room. In so doing, the group of dance movements

was now preceded by a lengthy and grandiose Ouverture, patterned after opera overtures by the great French Baroque master Jean-Baptiste Lully. In Bach’s hands, the opening movements were so extensive and of such musical substance that they became the most important part of the suite. ●

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ARTISTS .

Roberto Minczuk Music Director In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history. Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires. A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having

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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. ●

Fabio Mechetti conductor In 2008, Fabio Mechetti was appointed music director and principal conductor of the Orquestra Filarmônica de Minas Gerais in Belo Horizonte, with the task of creating a brand-new, fully professional orchestra in Brazil’s third-largest city. Since then, the orchestra has become a leader in symphonic activities in Brazil, garnering praise and prizes for its outstanding growth and artistic progress. Besides positioning this orchestra as a leading organization in Brazil, its artistic results have prompted it to develop a recording partnership with Naxos. It was also nominated for a Latin GRAMMY® in 2021. In 2015, he concluded a 14-year tenure with the Jacksonville Symphony Orchestra, having now become its music director emeritus, and with the Malaysian Philharmonic Orchestra, as its principal conductor. Mr. Mechetti has also held the post of music director of the Spokane Symphony Orchestra from 1993 to 2004. After eleven years of inspiring leadership, he was named music director laureate of that orchestra. He also led the Syracuse Symphony for ten seasons, beginning as associate conductor in 1989 and becoming music director in 1993. In addition to his Carnegie Hall debut with the New Jersey Symphony in 1993, Mr. Mechetti has appeared as guest conductor with the Quebec Symphony, Seattle Symphony, Pacific Symphony Orchestra, Utah Symphony, Buffalo and Rochester Philharmonics, Phoenix

Symphony, Charlotte Symphony, and various orchestras in Mexico, Spain, Brazil, and Venezuela. He traveled to New Zealand to lead the Auckland Philharmonia, to Scotland to conduct the BBC Scottish Symphony Orchestra, to Finland to conduct the Tampere Philharmonic, to Italy to conduct the Rome Symphony, and to Madrid to lead the ORTVE. He has made several very successful tours of Japan that included concerts with the Tokyo, Hiroshima, and Sapporo Symphonies. Having made his European debut with the Danish Radio Orchestra in 1990, Mr. Mechetti is a frequent guest of Scandinavian orchestras. During the last few seasons, he made his first appearances with the Bogotá Philharmonic, the National Symphony of Colombia, and the Buenos Aires Philharmonic at the Teatro Colón. Upcoming concerts include the Puerto Rico Symphony at the Casals Festival. A highly acclaimed operatic conductor, Mr. Mechetti made his American debut with the Washington Opera in 1990 and has served as music director of the Theatro Municipal Opera House in Rio de Janeiro. He has directed opera productions of Tosca, Turandot, La bohème, Madama Butterfly, Carmen, Così fan tutte, Don Giovanni, The Barber of Seville, Macbeth, Otello, and La traviata, among others. Winner of the 1989 Malko International Conducting Competition in Denmark, Mr. Mechetti served as resident conductor of the San Diego Symphony in 1986 and associate conductor of the National Symphony Orchestra from 1985 through 1989. During his years with the National Symphony, he led more than 75 concerts at the Kennedy Center Concert Hall, also conducting performances on the West Lawn of the U.S. Capitol and at Wolf Trap Farm Park for the Performing Arts. His children’s programs in Washington won the National Endowment for the Arts Award for Best Educational Programming in the United States in 1985. He has worked with some of the greatest artists of several generations, including masters such as Mstislav Rostropovich, Alicia de Larrocha, Magda

Tagliaferro, Nicanor Zabaleta, Frederica von Stade, Thomas Hampson, Kathleen Battle, Gil Shaham, Sarah Chang, Hilary Hahn, Arnaldo Cohen, Nelson Freire, and André Watts, among others. Fabio Mechetti holds Master’s degrees in conducting and composition from The Juilliard School of Music. ●

Tatiana Shafran piano Born in Kiev, Ukraine, in 1989, Tetiana Shafran started playing piano at the age of 3. She graduated from the Lysenko Special Music School and the Tchaikovsky National Music Academy of Ukraine with A. Vasin (2012) and O. Yablonskaya Piano Academy with Prof. Oxana Yablonskaya (USA-Israel), and from 2015–2017, studied in Spain and Israel. Tetiana is the prizewinner of several international piano competitions. Among those prizes are: 1 award of Concours International de Piano France-Amériques (Paris, France, 2019); 3 award of VII Parnassos International Piano Competition (Monterey, Mexico, 2018); 3 award of 18th Jose Iturbi International Piano Competition (Valencia, Spain, 2013); 2 award of Concorso Pianistico Internazionale “Città di San Donà di Piave” (Italy, 2019); 2 award of International Piano Competition “Monopoli Prize” (Barletta, Italy, 2015); 1 award of Emil Gilels International Piano Competition (Odessa, Ukraine, 2015); 1 award of the Carl Filtsch International Piano Competition (Sibiu, Romania, 2016); 1 award of Antonio Napolitano International Piano Competition (Salerno, Italy, 2017). continued on 22

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She has performed in some of the most prestigious concert halls of Europe, North and South America, Africa, and Asia, including the Grand Theatre (Shenzhen, China), Lindeman Hall (Oslo, Norway), Llewellyn Hall (Canberra, Australia), Main Hall of Palau de la Musica (Valencia, Spain), Theatre Mohammed V (Rabat, Morocco), Sala Cecilia Meireles (Rio de Janeiro, Brazil), Felicja Blumental Music Center (Tel Aviv, Israel), Congress Hall (Gabala, Azerbaijan), and many others. She has performed with many orchestras and conductors, including maestros D. Yablonsky, H. Earle, F. Krager, G. Glinka, M. Dyadyura, M. Anamammedov, and many others. She has also recorded for radio and TV productions for Italian, Israeli, Spanish, and Ukrainian broadcasts. In 2022, Ms. Shafran released her debut CD, featuring the works of Ravel, Chopin, and Tchaikovsky, on the Steinway & Sons label. ●

Bradley Ellingboe conductor Bradley Ellingboe has led a wide-ranging career in the world of singing, including accomplishments as a choral conductor, soloist, composer, scholar, and teacher. As a choral conductor, he has led festival choruses in 35 states and 14 countries. As a bass-baritone soloist, he has sung under such conductors as Robert Shaw, Helmuth Rilling, and Sir David Willcocks. Ellingboe has more than 160 pieces of music in print, including his Requiem for chorus and orchestra, which has been performed more

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

York, Shelly sang with the New York City Master Chorale, helped start a new music charter school, and later had her own music education business in the Hudson Valley. Being back in New Mexico not only gives Shelly a chance to reunite with former choir directors, but also lets her work with the best fine arts team as an APS music teacher! ●

Gabrielle Dietrich soprano Gabrielle Dietrich has happily returned to the West after an eight-year sojourn in Pennsylvania. She has sung in choirs from a very early age and studied music at University of the Pacific, University of Colorado at Boulder, and the Kodály Institute in Kecskemét, Hungary. Gabby loves geeky TV shows, cooking glutenfree food that aims to make gluten eaters jealous, hanging out with her two dogs and cat, and exploring New Mexico with her fiancé, Mike. ●

Shelly Ley soprano Shelly Ley is back in New Mexico after 10 years in New York. She always tries to live in states that are New. Shelly sang with Brad in a choir about 15 years ago, and when he saw her at the Flying Star, unexpectedly, this summer, he made her promise she would sing with him again— this time in a new chorus. While in New

Angelynn Gomez mezzo-soprano Angelynn Gomez was born and raised in Albuquerque and was drawn to music from a young age. She studied piano as a child and played the cello in the Albuquerque Youth Orchestra as a teen, but it was choral music that truly captured her heart. She sang in the Cibola High School Concert Choir and completed her Bachelor’s degree in music education from the University of New Mexico. Annie began singing with the Coro Lux Oratorio Society and Chamber Chorus in 2018. She directed the choral program at James Monroe Middle School from 2014 to 2022 before becoming a stay-at-home mom, then joining the Coro Lux staff in 2023 as the Executive Assistant. In her free time, Annie enjoys reading, being outdoors, and spending time with her wonderful husband, Leo, and vivacious daughter, Margo. ●

Yasmeen Lookman mezzo-soprano Yasmeen Lookman received a Bachelor of Music in vocal performance from the University of New Mexico. She continues her love of music and the performing arts at The Lensic Performing Arts Center where she works in development. Yasmeen enjoys singing with various local choirs and is thrilled to be singing with friends, old and new, as a part of the wonderful Coro Lux. ●

Cameron Brammer tenor Originally from Springfield, Missouri, Cameron shared his love for music as an elementary music teacher in Albuquerque before his recent move to Danville, Virginia, with his fiancée. He is excited to share his love for music with our vibrant choir. ●

Joe Mitchell baritone Joe Mitchell started his musical career in Belen, New Mexico, playing the trumpet in 6th grade. This led to high school marching band, choir, talent shows, and musicals. While pursuing his Bachelor of Music degree in music education at UNM, he sang with the Men’s Chorus, Dolce Suono, Concert Choir, Chamber Singers, and Opera Studio. He graduated in 2017 and is now the middle school choir and exploratory music teacher at Tres Volcanes Community Collaborative School. Joe believes everyone’s lives should be filled with musical experiences and is excited to share some of those experiences with Coro Lux!

Coro Lux Chamber Chorus Coro Lux (“Chorus of Light”) is an auditioned community chorus based in Albuquerque, founded in the fall of 2015. Under Artistic Director Bradley Ellingboe, continued on 24

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The New Mexico Philharmonic

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ARTISTS .

THANK YOU .

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

Manzano Day School Chorus Jamie Jones director The Manzano Day School Chorus is a non-auditioned group comprised of the entire fourth and fifth grades of the school. Chorus rehearsals are built into the six-day rotation as part of the music curriculum. In addition to chorus, students also have general music classes, focused on singing, playing, moving, creating, and reading music. Music has long been valued as an integral part of education at this historic school, which is now in its eighty-sixth year. The chorus performs in multiple concerts throughout the year and a full musical play each spring. The chorus

2023/24 Season / Volume 12 / No. 2

was privileged to sing for many Holiday Pops concerts with the New Mexico Philharmonic. As service projects, they have sung for hospitals and senior centers. Jamie Jones is in her tenth year of teaching at Manzano Day School. Jamie has a diverse performing arts education career, having been a band director, choral instructor, theater teacher, private oboe teacher, and general music educator. With training in Kodály, Orff-Schulwerk, and Gordon pedagogy methods, Jamie strives to stimulate young children’s proficiency in music literacy. An Eastman School of Music graduate, Jamie has performed in the Eastman Wind Ensemble and the Eastman Philharmonia Orchestra, as well as in the Eastman Women’s Chorus. Throughout the many years as both a performing artist and an educator of all ages, she has prided herself on helping children embrace music through playbased curriculum, movement, drama, and creativity. Jamie is a proud military wife and mother of two budding musicians. Manzano Day School is an independent prekindergarten through fifth grade elementary school near Old Town in Albuquerque. Manzano moved to its present location in 1942, having previously held classes in the historic Huning Castle starting in 1938. Our La Glorieta, an adobe hacienda, was originally the home of early Spanish settler Don Diego Trujillo. Generations of families have cherished the history and warm atmosphere of Manzano Day School. Students learn core curriculum in innovative ways in small classes. In addition, all students receive instruction in music, visual arts, physical education, Spanish, and technology. ●

Albuquerque Youth Symphony Dan Whisler director The Youth Symphony is the Albuquerque Youth Symphony Program’s premier ensemble. It is comprised of 60–80 of the most talented and dedicated string, woodwind, brass, and percussion players from across the Albuquerque area. Youth Symphony students have the opportunity to hone their skills while performing a wide variety of advanced orchestral repertoire as well as works by contemporary composers. Dan Whisler has conducted more than 600 works with more than 100 ensembles, including professional orchestras in the USA, England, Spain, Lithuania, Hungary, and Romania. His awards as a conductor include the Downbeat Award in 2011 for Best U.S. College Classical Ensemble (conducting Halffter’s Tiento del primer tono y batalla imperial), the Bel Canto Award for Excellence in Conducting, and winner of the 2015 American Prize in Conducting. Mr. Whisler’s recent former positions include director of orchestras at the Youth Performing Arts School in Louisville, Kentucky; conductor of the Indianapolis Youth Philharmonic Orchestra in Indianapolis, Indiana; director of orchestras at Center Grove Community School Corporation in Greenwood, Indiana; founding and principal conductor with Intimate Opera of Indianapolis; and faculty member of the String Quartet Program of Northern Colorado in Greeley, Colorado.

An active supporter of new music, Mr. Whisler has premiered 35 works, both as a conductor and as a performer, including conducting the world premiere of the Celtic ballet Deirdre of the Sorrows. He is comfortable with opera and musical theatre literature as well, having been on the conducting staff of Mozart’s Don Giovanni and Così fan tutte, Puccini’s Suor Angelica and Gianni Schicchi, numerous opera scenes concerts for the University of Northern Colorado Opera Theatre, Sondheim’s Sweeney Todd for Theater Workshop of Owensboro (Kentucky), Holst’s Sāvitri and Handel’s Giulio Cesare with Intimate Opera of Indianapolis, and Gilbert and Sullivan’s The Mikado, Purcell’s The Fairy Queen, and Monteverdi’s L’incoronazione di Poppea with the YPAS music department. An experienced musician (string bass and horn) and music educator, Mr. Whisler has worked with youth orchestras in Kansas, Colorado, New Mexico, New York, Indiana, and Kentucky. At Center Grove, he increased orchestra student enrollment by more than 37 percent and won 17 ISSMA Gold awards in just three years. Under his direction, the YPAS Philharmonia was selected to perform in the 2015 Music for All National Orchestra Festival, the 2016 and 2019 Kentucky Music Educators Association Conferences, The Midwest Clinic (2019), and Heritage Festivals in Chicago (2017) and New York City (2018), as well as international tours to Costa Rica, England, and Wales. He graduated summa cum laude with a BME from Wichita State University (Kansas) and earned an M.M. in orchestral conducting from the University of Northern Colorado. His primary conducting teachers include Russell Guyver and Mark Laycock, with additional studies at 15 conducting institutes throughout the USA, Canada, South America, and Europe with internationally renowned mentors, including Jorma Panula, Craig Kirchhoff, Markand Thakar, Colin Metters, Victor Yampolsky, Larry Livingston, and Benjamin Zander. ●

The New Mexico Philharmonic

Thank You for Your Generous Support

Legacy Society

Volunteers, Expertise, Services, & Equipment

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

The New Mexico Philharmonic would like to thank the following people for their support and 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 Councilor Trudy E. Jones Councilor Tammy Fiebelkorn

BUSINESS & ORGANIZATION APPRECIATION Immanuel Presbyterian Church The New Mexico Philharmonic Foundation The Albuquerque Community Foundation HOLMANS USA CORPORATION

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Ian McKinnon & The McKinnon Family Foundation Alexis Corbin Billy Brown Anne Eisfeller Drew Henry Chris Kershner Jim Key Jackie McGehee Barbara Rivers Brad Richards Emily Steinbach Brent Stevens

VOLUNTEERS HOSTING VISITING MUSICIANS Don & Cheryl Barker Ron Bronitsky, MD, & Jim Porcher Tim Brown Isabel Bucher & Graham Bartlett Mike & Blanche Griffith Suzanne & Dan Kelly Ron & Mary Moya Steve & Michele Sandager 10/19/2023

Giving for the future

Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier Nancy Berg Sally A. Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Eugenia & Charles Eberle Bob & Jean Gough Peter Gregory Ruth B. Haas Howard A. Jenkins 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 George Richmond 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 10/19/2023

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DONOR CIRCLES .

Donor Circles Thank You for Joining a Circle BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund

BEETHOVEN CIRCLE

Donation of $25,000–$49,999 Anonymous Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Jay & Janet Grear The Meredith Foundation

MOZART CIRCLE

Donation of $10,000–$24,999 Meg Aldridge Anonymous Anonymous Anonymous Bernalillo County Commission City of Albuquerque Eugenia & Charles Eberle Art Gardenswartz & Sonya Priestly Keith Gilbert Mary Herring Jonathan & Ellin Hewes Robert & Elisa Hufnagel Christine Kilroy Walter & Allene Kleweno Dwayne & Marjorie Longenbaugh Terri L. Moll Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings New Mexico Philharmonic Foundation Optum Bob & Bonnie Paine Cynthia Phillips & Thomas Martin Estate of George Richmond Terrence Sloan, MD Dr. Dean Yannias

BRAHMS CIRCLE

Donation of $5000–$9999 Anonymous Paula & William Bradley City of Rio Rancho Richard & Margaret Cronin ECMC Foundation Helen Fuller David Gay Gerald & Lindy Gold Chris & Karen Jones Harry & Betsey Linneman Myra & Richard Lynch Menicucci Insurance Agency Karl & Marion Mueller Ruth & Charles Needham

DONOR CIRCLES .

George & Mary Novotny S. Scott Obenshain Dick & Marythelma Ransom Sandra P. & AFLt/Col (r.) Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson, Jr., & Josephine A. & Angelo “A.J.” Asciolla Robertson & Sons Violin Shop Sandia Laboratory Federal Credit Union Melissa & Al Stotts John Wronosky & Lynn Asbury

CHOPIN CIRCLE

Donation of $3500–$4999 Albuquerque Community Foundation, NDB & CEB Fund Carl & Linda Alongi Mary “Betty” Baca Estate of Evelyn Patricia Barbier Ron Bronitsky, MD The Cates Team/RBC Wealth Management Club Culturale Italiano Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Fritz Eberle & Lynn Johnson French Funerals & Cremations Charles & Judith Gibbon A. Elizabeth Gordon Madeleine Grigg-Damberger & Stan Damberger Bonnie & Hank Kelly Michael & Roberta Lavin Bob & Susan McGuire James O’Neill & Ellen Bayard Deborah Ridley & Richard S. Nenoff Edward Rose, MD Marian & Jennifer Tanau

GRACE THOMPSON CIRCLE

Donation of $1933–$3499 Anonymous Ann Boland Clarke & Mary Cagle Century Bank David & Ellen Evans Estate of Joyce Kaser Firestone Family Foundation Frank & Christine Fredenburgh Cynthia Fry & Daymon Ely Roland Gerencer, MD Hancock Family Foundation Harris Hartz Rosalyn Hurley JHKM Lawyers Sue Johnson & Jim Zabilski Linda S. Marshall Edel & Thomas Mayer Foundation Jon McCorkell & Dianne Cress Ed & Nancy Naimark David & Audrey Northrop David Peterson Jacquelyn Robins Joan Robins & Denise Wheeler

2023/24 Season / Volume 12 / No. 2

Jay Rodman & Wendy Wilkins Vernon & Susannah Smith Rogan & Laurie Thompson The Verdes Foundation Tatiana Vetrinskaya Betty & Luke Vortman Endowment Kathleen & David Waymire Diane Chalmers Wiley & William Wiley

BACH CIRCLE

Donation of $1000–$1932 Anonymous Joel & Sandra Baca Tonianne Baca-Green William Bechtold Richard & Maria Berry Ruth Bitsui Rod & Genelia Boenig James Botros & Jeremy Wirths Robert Bower & Kathryn Fry Michael & Cheryl Bustamante Butterfield’s Jewelers Margaret Casbourne Edwin Case The Coracle Fund Phil & Krys Custer Marjorie Cypress & Philip Jameson D’Addario Foundation Thomas & Martha Domme Leonard & Patricia Duda Yvonne Gorbett Marcia Gordon Nancy Elizabeth Guist Roger & Katherine Hammond Stephen & Aida Ramos Heath Nataliya & Daniel Higbie Donna Hill Hal Hudson Stephanie & David Kauffman Dave Leith Tyler M. Mason Richard & Melissa Meth Miller Stratvert, P.A. Robert Milne & Ann DeHart Mark Moll David & Alice Monet Charles Olguin Jerald & Cindi Parker Stuart & Janice Paster Mary Raje Dr. Barry & Roberta Ramo Ruth Ronan Dr. Harvey Ruskin Howard & Marian Schreyer Richard & Janet Shagam William E. Snead Jane & Doug Swift Fund for Art & Education Michael Wallace Bill Wingate & Emily Rogers Alice Wolfsberg David & Evy Worledge

CONCERTMASTER CIRCLE

Donation of $500–$999 Marsha Adams, in honor of Dorothy Morse Anonymous

Anonymous Richard & Linda Avery Marguerite Baca Michael & Leanore Baca Daniel Balik Dave Barney Eileen Barrett Benevity Fund Stan Betzer Sheila Bogost, in memory of David Bogost Carolyn R. Brown & William Ranken Edward Cazzola Paul Clem Douglas Collister James Connell John Crawford & Carolyn Quinn Michael Dexter Garrett F. & Alma J. Donovan Trust Jackie Ericksen Roberta Favis Richard & Virginia Feddersen Denise Fligner & Terry Edwards Carolyn Gerhard George F. Gibbs Dennis & Opal Lee Gill Howard & Janis Gogel Drs. Robert & Maria Goldstein Berto & Barbara Gorham Jean & Bob Gough Justin M. & Blanche G. Griffin Kathleen Hammar Kory & Roseann Hoggan, CPA Marlin Kipp Noel & Meredith Kopald Stephanie & Kenneth Kuzio Nick & Susan Landers Ronald Lipinski Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Marcia Lubar Martha Ann Miller & Henry Pocock Christine & Russell Mink Dorothy White Morse Ed Muller Mark Napolin Claire Nelson Opera Southwest Richard & Susan Perry Estate of Shirley Puariea, in memory of Shirley Puariea Quantum Healing Energy LLC Lee Reynis & David Stryker Aaron & Elizabeth Robertson Robin Jackson Photography Susan D. Sherman Ronald Shettlesworth George & Vivian Skadron Suzanne Slankard Mark & Maria Stevens Sarah Stevens-Miles Charles Stillwell Robert Taylor George Thomas Total Wine & More Margaret Vining Peter & Judy Basen Weinreb Jeffrey West

Tad & Kay West Bill & Janislee Wiese Judith Woods Paula Wynnyckyj Diana Zavitz

PRINCIPALS CIRCLE

Donation of $125–$499 Gerald Alldredge Jo Anne Altrichter & Robin Tawney William Anderson & Paula Baxter Anonymous Barbara Baca David Baca Sally Bachofer Charlene Baker Barbara Barber Harold & Patricia Baskin Elizabeth Bayne Susan Beard Steven Belinsky David & Judith Bennahum Barry Berkson Betty’s Bath & Day Spa Dusty & Gay Blech J.M. Bowers & B.J. Fisher Terry Brownell & Alpha Russell The Bruckner Society of America, Inc. Marcia Bumkens Caliber’s Carol Callaway David & Shelly Campbell Dante & Judith Cantrill David C. Carr Camille Carstens Casa Verde Spa Robert E. & Shirley Case Dan & Tina Chan Richard Chapman & Jan Biella Victor Chavez Wayne & Elaine Chew Lance & Kathy Chilton Thomas & Judith Christopher Donna Collins Bob Crain John & Sally Curro Stephen & Stefani Czuchlewski Kathleen Davies Jerry & Susan Dickinson Raymond & Anne Doberneck Stephen R. Donaldson Gale Doyel Gary Echert Michael & Laurel Edenburn The Eichel Family Charitable Fund Richard & Mildred Elrick Robert & Dolores Engstrom David & Frankie Ewing David & Regan Eyerman Elen Feinberg Helen Feinberg Mary Filosi Lori Finley Heidi Fleischmann & James Scott Mark Fleisher & Merle Pokempner Fogo de Chao Brazilian Steakhouse

David Foster Howard & Debra Friedman Mary Day Gauer Thomas & Linda Grace Alfred & Patricia Green Stanley & Sara Griffith Patricia B. Guggino Robert & Elene Gusch J. Michele Guttmann Lee & Thais Haines Ron & Nancy Halbgewachs Darren Hayden Bruce & Ann Hendrickson Pamelia Hilty (Snow Blossom Gift Fund) Toppin & Robert Hodge Diane Holdridge Bernhard E. Holzapfel Betty Humphrey Marilyn & Walt Johnson Robert & Mary Julyan John & Mechthild Kahrs Norty & Summers Kalishman Margaret Keller Nancy Kelley Ann King Phil Krehbiel Jennifer C. Kruger Elizabeth Kubie Woody & Nandini Kuehn Karen Kupper Jeffery & Jane Lawrence Jae-Won & Juliane Lee Robert Lindeman & Judith Brown Lindeman Joan M. Lucas & David Meyerhofer Ruth Luckasson & Dr. Larry Davis Robert & Linda Malseed The Man’s Hat Shop Jeffrey Marr Walton Marshall Carolyn Martinez Sallie McCarthy Roger & Kathleen McClellan C. Everett & Jackie McGehee Jane McGuigan Linda McNiel Edward McPherson Jerry & Azantha Middleton Bruce & Jill Miller Jim Mills & Peggy Sanchez Mills Louis & Deborah Moench Dr. William Moffatt Jim & Penny Morris Shirley Morrison Cary & Eve Morrow Ted & Mary Morse Karen Mosier & Phillip Freeman Melissa Nunez Joyce & Pierce Ostrander Outpost Productions, Inc. Geri Palacios Pavlos & Nicolette Panagopoulos Alan & Ronice Parker Lang Ha Pham & Hy Tran Judi Pitch Placitas Artists Series

Dan & Billie Pyzel Jane Rael Ray Reeder Loretta Reeves Bradford Richards Paul Rodriguez Catalin Roman Socorro Kiuttu Ruddy Carey Salaz Sandia Resort & Casino Sarafian’s Oriental Rugs Christine Sauer Anjella Schick John & Karen Schlue Laura Scholfield Rahul Sharma Silk Road Connection R.J. & Katherine Simonson Rae Siporin Steven & Keri Sobolik Jennifer Starr John & Patricia Stover Larry & Susan Tackman Gary Talda & Cyndia Choi Gary & Nina Thayer Laurence Titman Dr. Steven Tolber & Louise Campbell-Tolber Jacqueline Tommelein Arthur Vall-Spinosa & Sandra Louise Nunn Charles & Barbara Verble Chuck & Jean Villamarin John Vittal & Deborah Ham William & Cynthia Warren Wolfgang & Carol Wawersik Iris Weinstein & Steven Margulin Kevin & Laurel Welch Margaret Wente Marybeth White Bronwyn Willis Willow, Women’s Clothing Adam Wright

FRIENDS OF THE PHILHARMONIC

Donation of $25–$124 David & Elizabeth Adams Natalie Adolphi & Andrew McDowell Albuquerque Little Theatre Amazon Smile Judith Anderson Anonymous Anonymous Maria Archuleta-Gabriele & Peter Gabriele Julie Atkinson Kathleen Austin Jackie Baca & Ken Genco Thomas J. & Helen K. Baca Douglas Bailey Rom Barnes Edie Beck Michael Bencoe Helen Benoist Kirk & Debra Benton Dorothy & Melbourne Bernstein Nancy & Cliff Blaugrund Thomas & Suzanne Blazier

The New Mexico Philharmonic

Elaine Bleiweis & Karen Hudson Bookworks Henry Botts Marilyn Bowman Richard & Iris Brackett Stephen & Heidi Brittenham James & Jan Browning Alfred Burgermeister Robert & Marylyn Burridge Douglas & Ann Calderwood California Pizza Kitchen James Carroll Bradley & Andrea Carvey Joseph Cella Robert & Sharon Chamberlin Roscoe & Barbara Champion Frank Chavez & Steven Melero Sharon Christensen Barry Clark Brian & Aleli Colon, in honor of Maureen Baca Lloyd Colson III Lawrence & Mary Compton Abel Cuevas & Thi Xuan Mark A. Curtis Cara & Chad Curtiss The Daily Grind/Caruso’s Hubert Davis Debby De La Rosa Mary Ann & Michael Delleney Thomas & Elizabeth Dodson Carl & Joanne Donsbach Reverend Suzanne & Bill Ebel John Eckert Lester & Eleanor Einhorn Sabrina Ezzell B.J. & R.L. Fairbanks Jane Farris Howard Fegan Mary Filosi, in honor of Susan & Jerry Dickinson William & Cheryl Foote Joseph Freedman & Susan Timmons Martin & Ursula Frick Greg & Jeanne Frye-Mason Ilse Gay Lawrence Jay Gibel, MD Great Harvest Bakery Ann Green Charles & Kathleen Gregory Ginger Grossetete Mina Jane Grothey Kevin & Teresa Grunewald Stan & Janet Hafenfeld Fletcher & Laura Hahn Havanna House Cigar Shop John & Diane Hawley Douglas & Willie HaynesMadison Marvin & Anne Hill Ursula Hill Fred Hindel Steven Homer Greggory Hull Stephanie Hurlburt Jerry & Diane Janicke Michael & Sandra Jerome Lori Johnson Gerald Kiuttu & Candace Brower

Barbara Kleinfeld, in memory of Judith Lackner Marshall Lambert Molly “Mary” Lannon Rebecca Lee & Daniel Rader LeRoy Lehr Daniel Levy Virginia Loman Los Pinos Fly & Tackle Shop Mary Loughran Robert Lynn & Janet Braziel Shila Marek Elizabeth Marra April & Benny Martinez Yilian Martinez Tom & Constance Matteson Janet Matwiyoff Marcia McCleary Kathleen Miller Robert F. Miller Ben Mitchell Bryant & Carole Mitchell Robert & Phyllis Moore Roy & Elizabeth Morgan Baker H. Morrow & Joann Strathman John & Patsy Mosman Brian Mulrey Andrea Mungle Katarina Nagy Jim & Beth Nance Daniel & Patricia Nelson Ronald & Diane Nelson Richard & Marian Nygren Ruth Okeefe Peter Pabisch Robert Parker Howard Paul Brian Pendley P.F. Chang’s Barbara Pierce Daniel Puccetti Jerry & Christine Rancier Range Cafe John Rask Kay Richards Donna Rigano Gwenn Robinson, MD, & Dwight Burney III, MD Glenn & Amy Rosenbaum Christopher Rosol Miranda Roy, in memory of Ruth “Mombo” Schluter Charles Rundles Robert Sabatini & Angela Bucher Debra Saine Evelyn E. & Gerhard L. Salinger Katherine Saltzstein Savoy Bar & Grill Peter & Susan Scala Leslie Schumann Timothy Schuster Jane & Robert Scott Kendra Scott Seasons 52 Seasons Rotisserie & Grill Joe Shepherd Beverly Simmons John Simpson Norbert F. Siska

Bob & Cynthia Slotkin Stephen Smith Catherine Smith-Hartwig Smith’s Community Rewards Stan & Marilyn Stark Charlie & Alexandera Steen Theodore & Imogen Stein Brent & Maria Stevens Elizabeth C. Stevens Stone Age Climbing Gym Jonathan Sutin Gary & Rosalie Swanson Texas Roadhouse Julie Tierney Dave Tighe Valerie Tomberlin John & Karen Trever Sally Trigg Caren Waters Dale A. Webster Tom Wheatley Lisa & Stuart White, in honor of Thomas Martin’s op-ed Robert & Amy Wilkins Kathryn Wissell Daniel & Jane Wright Kari Young Zinc Wine Bar & Bistro 10/19/2023

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THANK YOU .

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

THANK YOU .

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

2023/24 Season / Volume 12 / No. 2

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 BradiganTrujillo Christopher Behl Mary Compton Henry Daise Arthur Flicker Andrew McDowell & Natalie Adolphi Claude Morelli

Noel Pugach Bonnie Renfro Elizabeth Stevens Arthur Alpert Stanley & Helen Hordes Edward & Carol Ann Dzienis Bob Crain Denise Fligner & Terry Edwards Stephen Schoderbek Krys & Phil Custer Deborah Peacock & Nathan Korn Rita Leard Carol Diggelman Paul Isaacson Sarah Barlow Martin & Ursula Frick Robert & Phyllis Moore Gary & Nina Thayer Sharon Moynahan & Gerald Moore Jeffrey West Ina Miller Bruce Miller Julie Kaved Jeffery & Jane Lawrence Dolores Teubner Ronald & Sara Friederich Helen Feinberg Volti Subito Productions Melbourn & Dorothy Bernstein 10/19/2023

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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. 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. View benefits online at nmphil.org/steinway-society. 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 Michael & Roberta Lavin Diane & William Wiley Dr. Dean Yannias

BLACK KEYS LEVEL

Donation of $2000–$5999 Meg Aldridge Carl & Linda Alongi Joel & Sandra Baca Stephen & Maureen Baca William & Paula Bradley Clark & Mary Cagle Phillip & Christine Custer Art Gardenswartz & Sonya Priestly Robert & Jean Gough Helen Grevey Bill & Carolyn Hallett Stephen & Aida Heath 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 Ron Bronitsky, MD Michael & Cheryl Bustamante, in memory of Cheryl B. Hall Daniel & Brigid Conklin, in memory of Marina Oborotova 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

PIANO FRIENDS LEVEL

Donation of $50–$499 Wanda Adlesperger Fran A’Hern-Smith Joe Alcorn & Sylvia Wittels Dennis Alexander Anonymous Elizabeth Bayne Judy Bearden-Love Karen Bielinski-Richardson Sheila Bogost Robert Bower & Kathryn Fry Stephen & Heidi Brittenham 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 Jane McGuigan Martha Ann Miller & Henry Pocock Robert & Phyllis Moore

The New Mexico Philharmonic

Cary & Evelyn Morrow Katarina Nagy 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 10/19/2023

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APR

Saturday April 27, 2024 5:30–9:30 p.m. THE VIEW EVENT CENTER 1550 Tramway Blvd NE Albuquerque, NM 87112

Dinner Wine Cocktail Hour Live & Silent Auction Music $175/PERSON ($50 fair market value)

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THANK YOU .

NMPHIL .

Sponsors & Grants

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

Sound Applause

New Mexico Philharmonic The Musicians FIRST VIOLIN Cármelo de los Santos

Karen McKinnon Concertmaster Chair

Sarah Tasker •••

Assistant Concertmaster

Bernalillo County bernco.gov

Albuquerque Community Foundation albuquerquefoundation.org

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

GARDENSWARTZ REALTY Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

HOLMANS USA CORPORATION holmans.com

Hunt Family Foundation huntfamilyfoundation.com

Meredith Foundation

Moss Adams mossadams.com

BRAND ONE SHEET

David S. Campbell, Attorney davidscampbell.com

Jennings Haug Keleher McLeod jhkmlaw.com

Music Guild of New Mexico musicguildofnewmexico.org

Values

We are dedicated to achieving justice for each client to improve lives and our communities.

Fearlessness For Individual and Community Justice To Hold the Harmful Accountable

New Mexico Philharmonic Foundation Inc. nmphilfoundation.org

Excellence In Professionalism In Knowledge In Results and Continous Improvement

New Mexico Arts nmarts.org

Collaboration With Clients

With Each Other Olga Kern International With Empathy, Compassion, and Integrity PianoRespect, Competition olgakerncompetition.org

Main Logo

Logo Variants

The full color lockup should be used on solid, light backgrounds on print and digital collateral where the tagline is completely legible.

The full white lockup should be used on solid,

backgrounds on print and digital collateral Robertson & Sons dark Violin Shop where the tagline is completely legible. robertsonviolins.com

The full gray lockup should be used on solid, light backgrounds on grayscale collateral where the tagline is completely legible.

Singleton Schreiber singletonschreiber.com

Optum nm.optum.com

Urban Enhancement Trust Fund cabq.gov/uetf

Colors

RBC Wealth Management rbcwealthmanagement.com

Ana María Quintero Muñoz Joan Wang + Steve Ognacevic Heidi Deifel Juliana Huestis Barbara Rivers Nicolle Maniaci Barbara Scalf Morris

BASS Mark Tatum ••• Katherine Olszowka Terry Pruitt Marco Retana Frank Murry FLUTE Valerie Potter • Esther Fredrickson Jiyoun Hur ••+ Noah Livingston ••++

SECOND VIOLIN Rachel Jacklin • Carol Swift ••• Julanie Lee Jessica Retana ++ Liana Austin Lidija Peno-Kelly Sheila McLay Brad Richards

TRUMPET John Marchiando • Brynn Marchiando Sam Oatts ••• TROMBONE Aaron Zalkind • Byron Herrington BASS TROMBONE David Tall + Robinson Schulze ++

PICCOLO Esther Fredrickson

TUBA Richard White •

OBOE Kevin Vigneau • Amanda Talley

TIMPANI Micah Harrow •+ PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

ENGLISH HORN Melissa Peña ••+ Rebecca Ray ••++ CLARINET Marianne Shifrin • Lori Lovato ••• Jeffrey Brooks

VIOLA Laura Chang • Kimberly Fredenburgh ••• Allegra Askew Christine Rancier Laura Steiner Michael Anderson Lisa DiCarlo Joan Hinterbichler Laura Campbell

Chair

Al Stotts

Vice Chair

David Peterson Secretary

Kory Hoggan Treasurer

Joel Baca Ron Bronitsky, MD David Campbell Thomas Domme Fritz Eberle Idalia Lechuga-Tena 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 William Wiley

E-FLAT CLARINET Lori Lovato BASS CLARINET Jeffrey Brooks BASSOON Stefanie Przybylska • Denise Turner

CELLO Amy Huzjak • Jonathan Flaksman ••• Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps Lisa Collins Elizabeth Purvis

HORN Peter Erb •+ Alana Yee +++ Allison Tutton Andrew Meyers Maria Long ••••

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

Verdes Cannabis verdesfoundation.org

STAFF

CMYK (full color in print) C:86 M:80 Y:42 K:37

CMYK (full color in print) C:81 M:62 Y:0 K:0

CMYK (full color in print) C:4 M:47 Y:100 K:0

RGB (full color on screen) R:47 G:51 B:81

RGB (full color on screen) R:66 G:103 B:176

RGB (full color on screen) R:238 G:151 B:33

Pantone (spot color in print) 534 C

Pantone (spot color in print) 7455 C

Pantone (spot color in print) 7408 U

Hex (full color on web) #2F3351

Hex (full color on web) #4267B0

Hex (full color on web) #EE9721

#137E8D

#6B8AC7

#BE750E

Typography

Collateral

Noto Serif is used for main headers (h1, h2).

All print and online collateral, such as fliers and

Menicucci Insurance Agency mianm.com

March 20, 2023 | Version 1.0

Mission

#0C515A

Gardenswartz Realty

BOARD OF DIRECTORS Maureen Baca

SUPPORT YOUR NMPHIL CMYK (full color in print) C:0 M:0 Y:0 K:0 Interested in becoming a sponsor of the NMPhil? RGB (full color on screen) R:255 G:255 B:255 Call today! (505) 323-4343 Pantone (spot color in print) 000 C

Hex (full color on web) #FFFFFF

#F5C27A

pitch presentations, should use the new 12 brand. / No. 2 2023/24 Season / Volume If you need a template or have a question,

Helvetica Neue is for subheaders (h3, h4, etc.) and body copy (p), including in email correspondence.

please email person@singletonschreiber.com. The new brand should also appear in your email signature. A sample of what it should look like is to the right.

#F9DCB3

Marian Tanau

Ian Mayne-Brody

Crystal Reiter

Joan Olkowski

Roberto Minczuk

Terry Pruitt

Luis DeVargas

Lori Newman

Christine Rancier

Genevieve Harris

Laurieanne Lopez

Matt Hart

Nancy Naimark

President & CEO Music Director

Vice President of Business Vice President of Operations

Personnel Manager Principal Librarian Assistant Librarian

Director of Community Relations & Development Officer

The New Mexico Philharmonic

Office Manager

Front of House Manager

Design & Marketing Editor

Young Musician Initiative Program Manager

Mary Montaño Grants Manager

nmphil.org

Welcome

Appreciating Luxury and the service that goes with it. - Thomas Bohlman, Managing Partner

Proud Sponsor of New Mexico Philharmonic Alameda & Pan American (505) 821-4000 • mercedesabq.com