23/24 VOLUME 12 / NO. 3
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FEB
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2023/24 SEASON
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EXPERIENCE
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TABLE OF CONTENTS PROGRAMS
January 20, 2024 January 21, 2024 January 28, 2024 February 17, 2024 Program Notes
nmphilfoundation.org STRATEGIES FOR
WISE GIVING
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.
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ARTISTS
Roberto Minczuk 8 Cármelo de los Santos 9 Emily Moss 9 Hannah Stephens 9 Catalina Cuervo 10 UNM Concert Choir/ David Edmonds 10–11 Quintessence: A Community of Singers/ Matthew Greer 11 YOUR NMPHIL
Donor Circles Legacy Society Thank You Sponsor a Musician NMPhil Foundation Donors & Trustees Steinway Society Sponsors Orchestra, Staff Board of Directors, Advisory Board
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BE PROACTIVE: Consult your own financial advisor to help you implement any of these. Please consider applying one or more of these strategies for your extra giving to the NMPhil. PLAN A WISE GIVING STRATEGY
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CONCERT PROGRAM .
POPEJOY CLASSICS
Capricious Capriccios
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Saturday, January 20, 2024, 6 p.m. 5 p.m. Pre-Concert Talk
Popejoy Hall
Roberto Minczuk Music Director Cármelo de los Santos violin
Capriccio sinfonico, SC 55
Giacomo Puccini (1858–1924)
Capriccio espagnol, Op. 34 I. Alborada II. Variazioni III. Alborada IV. Scena e canto gitano V. Fandango asturiano
Nikolai Rimsky-Korsakov (1844–1908)
This performance is made possible by: Art Gardenswartz & Sonya Priestly PRE-CONCERT TALK
Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin
I N T E R M I S S I O N
Caprice No. 24 in a minor Cármelo de los Santos violin
Niccolò Paganini (1782–1840)
Introduction and Rondo Capriccioso in a minor, Op. 28 Cármelo de los Santos violin
Camille Saint-Saëns (1835–1921)
Capriccio italien, Op. 45
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2023/24 Season / Volume 12 / No. 3
Pyotr Ilyich Tchaikovsky (1840–1893)
CONCERT PROGRAM .
POWER CONCERT:
The Violin & a Trip to Italy & Spain Sunday, January 21, 2024, 3 p.m.
JAN
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Immanuel Presbyterian Church
Roberto Minczuk Music Director Cármelo de los Santos violin
After the success of last year’s Power Concerts, we are back for a new season of illuminating, affordable, family-friendly concerts! The NMPhil Power Concerts series is geared toward introducing young audience members and their families to classical music, the orchestra, and the instruments that make it all possible. Join us on a musical sojourn to parts of the Mediterranean! Our second Power Concert of the season is rife with drama and flair, featuring music evocative of Italy and Spain and the magic of the violin, with our incomparable concertmaster, Cármelo de los Santos. Presenting the music of Paganini, Tchaikovsky, Rimsky-Korsakov, Chabrier, and more, this concert is sure to fill you with European wanderlust!
MAKING A DIFFERENCE
These performances are made possible by: Bernalillo County • Commission Chair Barbara Baca, District 1 • Commissioner Steven Michael Quezada, District 2 • Commissioner Walt Benson, District 4 Albuquerque City Council • Councilor Trudy E. Jones • Councilor Tammy Fiebelkorn • Councilor Renee Grout
The New Mexico Philharmonic
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CONCERT PROGRAM .
AFTERNOON CLASSICS
Winter Serenade
JAN
28
Sunday, January 28, 2024, 3 p.m.
Cathedral of St. John
Emily Moss conductor
Consort for Ten Winds I. Jeux II. Aubade III. Sautereau
Robert Spittal (b. 1963)
Serenade for Wind Instruments in d minor, Op. 44 (B. 77) I. Moderato, quasi marcia II. Minuetto. Tempo di minuetto III. Andante con moto IV. Finale: Allegro molto
Antonín Dvořák (1841–1904)
I N T E R M I S S I O N
“Grand Chœur dialogué” for Organ and Brass
Eugène Gigout (1844–1925) arr. D. Miller
Music for Brass Octet I. Allegro vivace II. Very slowly III. Theme and variations
Anthony Plog (b. 1947)
October for Brass Ensemble
Eric Whitacre (b. 1970) arr. D. Miller
Octet for Brasses and Piano I. Tempo moderato II. Andante moderato III. Tempo moderato
Florence Price (1887–1953)
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MAKING A DIFFERENCE
This performance is made possible by: Albuquerque Community Foundation
CONCERT PROGRAM .
POPEJOY CLASSICS
Karen McKinnon Special Concert: Mahler’s Resurrection
FEB
17 Popejoy Hall
Saturday, February 17, 2024, 6 p.m. 5 p.m. Pre-Concert Talk Roberto Minczuk Music Director Hannah Stephens soprano Catalina Cuervo soprano 2 UNM Concert Choir/David Edmonds director Quintessence: A Community of Singers/Matthew Greer director
Symphony No. 2 in c minor, “Resurrection” I. Allegro maestoso II. Andante moderato III. In ruhig fließender Bewegung (With quietly flowing movement) IV. “Urlicht” (Primal light) V. Im Tempo des Scherzos (In the tempo of the scherzo)
Gustav Mahler (1860–1911)
MAKING A DIFFERENCE
This performance is made possible by: The McKinnon Family Foundation & The New Mexico Philharmonic Foundation
PRE-CONCERT TALK
Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin
The New Mexico Philharmonic
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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. ●
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Cármelo de los Santos violin Brazilian-born violinist Cármelo de los Santos enjoys an exciting career as a soloist, chamber musician, and pedagogue. From his extensive concerto experience to his most recent performances of the 24 Caprices for Solo Violin by Paganini and the sonatas and partitas of Bach, his virtuosity and commitment to communicate the essence of music captivate audiences worldwide. Cármelo has performed as a guest soloist with more than 40 orchestras, including the New World Symphony, Santa Fe Pro Musica, the Santa Fe and New Mexico Symphonies, the Montevideo Philharmonic, Orquestra Musica d’Oltreoceano (Rome), and the major orchestras in Brazil. Cármelo is a winner of several international competitions including the 4th Júlio Cardona International String Competition (Portugal). In 2002, Cármelo made his New York debut as soloist and conductor in Weill Recital Hall at Carnegie Hall with the ARCO Chamber Orchestra. Cármelo is an Associate Professor of Violin at the University of New Mexico, Albuquerque, and plays on an Angelo Soliani violin, 1791. ●
Emily Moss conductor Dr. Emily Moss began her position as Professor of Music and Director of Bands at the University of New Mexico in August 2023, where she conducts the Wind Symphony, oversees the graduate conducting program, and teaches other courses in conducting and wind literature. Her previous position at California State University, Los Angeles (2011–2023), included conducting the Wind Ensemble and Symphonic Band, teaching undergraduate and graduate conducting and music education courses, and administering the instrumental music education program. She also held a similar position at the Conservatory of Music at Brooklyn College of the City University of New York. Originally from the Pacific Northwest, Dr. Moss began her collegiate music studies at the University of Washington in Seattle, earning a Bachelor’s degree in music education. After teaching middle school band for six years in both Washington and Arizona, Dr. Moss served as a teaching assistant with the University Bands at the University of Northern Colorado, earning her Master’s degree in wind conducting and the Doctor of Arts in music education and bassoon performance, studying with Kenneth Singleton, Richard Mayne, and Charles Hanson. As a conductor and clinician, Dr. Moss is in high demand across North America and regularly gives band clinics at middle and high schools in her local area and beyond. Her style of teaching and
rehearsing shows everyone in the room her commitment to music education, specifically to the musical skills and high-level performance ability of each student with which she gets to work. She is also an accomplished bassoonist, actively performing during her degree programs in Washington and Colorado, with the Conservatory Orchestra and other ensembles at Brooklyn College, and for student and faculty recitals at Cal State LA. Dr. Moss has presented at conferences across the United States on a variety of topics and is a contributor to the esteemed Teaching Music through Performance in Band series. Her professional memberships include College Band Directors National Association (CBDNA), where she recently served as the President of the Western Division; World Association for Symphonic Bands and Ensembles (WASBE), where she serves on the Board of Directors; National Association for Music Educators (NAfME); and the National Honor Society Phi Kappa Phi. She resides in Albuquerque, New Mexico, with her husband, Noah, and their two daughters, Ella and Sadie. ●
Hannah Stephens soprano Lyric coloratura soprano Hannah Stephens resides in Albuquerque, New Mexico, with her 6-year-old daughter, Amelia. Miss Stephens sang a stunning Mahler’s Fourth Symphony with the New Mexico Philharmonic in 2017. She returned to the orchestra in March 2020 for Mozart’s continued on 10
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ARTISTS . continued from 9
Great Mass in c minor and in 2022 for Orff’s incredible work Carmina Burana. Hannah’s successes in concert include Gorecki’s Symphony of Sorrowful Songs, Strauss’s Vier letzte Lieder, Schoenberg’s String Quartet No. 2, and Villa-Lobos’s Bachianas Brasileiras. With a voice known for its clarity and precision, she has become a favorite vocalist among several contemporary composers with whom she is now working on various new works. Miss Stephens has the versatility to sing in a variety of styles and is equally at home on the operatic stage. Some past highlights of her operatic career include the roles of the Queen of the Night, Musetta, and Gilda. She has sung with West Bay Opera, Pocket Opera, and Lyric Opera of Weimar. After her debut of Poppea in Handel’s Agrippina with West Edge Opera, critic Victor Cordell for ForAllEvents wrote, “Hannah Stephens’s soprano is light and bright as Poppea. The opera is replete with challenging coloratura and staccato passages for which her voice is particularly effective.” Born in the United Kingdom, Miss Stephens is a dual citizen and received her Master’s degree in vocal performance from Indiana University, studying with Carlos Montané, and her Bachelor’s degree from the University of New Mexico, studying with Marilyn Tyler. She currently attends the University of New Mexico School of Law. ●
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rock/metal music in Colombia, as well as being a model and a dancer. ●
Catalina Cuervo soprano Known as the “fiery soprano,” Colombian-American singer Catalina Cuervo holds the distinction of having performed the most productions of Piazzolla’s María de Buenos Aires in the history of the opera. Ms. Cuervo has performed the role of María more than 50 times and for numerous prestigious companies including New York City Opera, Florida Grand Opera, the Atlanta Opera, Cincinnati Opera, and Anchorage Opera, to name a few. Ms. Cuervo made her debut as Frida Kahlo in the revival of the opera Frida with Michigan Opera Theater in 2015 and performed the role with Cincinnati Opera (2017), Florida Grand Opera (2019), and Atlanta Opera (2019). Those productions ended with sold-out shows and triumphant reviews, one even calling Frida the best opera of the 2015 season. After these achievements, Catalina was named one of the five most successful Colombian sopranos in the opera world by the Ministry of Culture of Colombia. Catalina Cuervo has a prolific symphonic career as well. She debuted at Theatro Municipal de São Paulo, Brazil, singing Manuel de Falla’s El amor brujo and The Three-Cornered Hat. She has also performed with the Detroit Symphony Orchestra, New Mexico Philharmonic, the Atlanta Symphony, St. Louis Symphony, and Filarmonica de Medellin, to name a few. Besides singing opera, Catalina Cuervo is one of the leading voices of symphonic
UNM Concert Choir/ David Edmonds director SOPRANOS Nadine Adisho Kelsey Beer Isabella Clarkson Kate Cleal Quiara Cortez Autumn Crabb Chelsie Davis Kacey Eustis Claire Johnston Emma Kirchgessner Austyn Knecht
Magdalene Lowrance Emily Martinez Eleanor Matthews Mariah Michel Michelle Montez Cierra Moore Jacqueline Papp Amanda Rissman Taylor Stanley Jordyn Tatum Ally Thompson
ALTOS Ciara Barnett Maria Bollinger Christy Bryson Chloe Dugan Nadia Gilbert Citlalli Araujo Guzman Brooklyn Howard Rin Jones Kimberly Jurgens
Elena Kunze Amber Lujan Alix Martinez Elyse McWethy Nahomy Medina Beatriz Sanchez Sadie Sheets Nina Syaheda Rebecca Thomas
TENORS Mateo Barela Denilson Cisneros Maxwell Dillon Ken Easton Adal Esparza David Hernandez Vernon Johnson
Carlos Medina Sam Moreno Bailey Rutherford Levi Sommerdyke Jacob Webb Steven West
BASSES Tzvi Bat Asherah Eli Behrens Christian Carillo Avrian Clauss Nathan Cleaveland Andie Grobler Aiden Gilbert Shane Hall Carter Heinrich
Marshal Hollingsworth Shaw Jaramillo Ravijit Khalsa Henry Schuett Lucas Stafford Jack Vanlyssel Steven Villavicencio Caleb Ward Joel Zezulka
ARTISTS .
UNM Concert Choir As the leading choral ensemble in the Department of Music, the UNM Concert Choir maintains a full schedule of performing, touring, and recording. The Concert Choir regularly collaborates with other UNM ensembles including the Symphony Orchestra and the Health Science Center Orchestra, in recent years presenting works including Mozart’s Requiem, Antonio Estevez’s Cantata Criolla, and Vaughan Williams’s Five Mystical Songs. In the spring of 2022, the Concert Choir collaborated with the UNMSO to present the world premiere of Andrea Clearfield’s Singing into Presence. We invite you to watch and hear past UNM Concert Choir performances on YouTube.
David Edmonds, D.M.A., has served as Director of Choral Studies at the University of New Mexico since 2018, where he directs the UNM Concert Choir and University Chorus and teaches undergraduate and graduate conducting and choral repertoire. In addition to his role at UNM, Dr. Edmonds serves as Artistic Director and Conductor of Dolce Canto, a community-based choral ensemble in Missoula, Montana, and is the Interim Artistic Director of the New Mexico Symphonic Chorus for the 2023/2024 season. An advocate for students and preservice teachers, Edmonds recently completed a six-year appointment as ACDA National Repertoire & Resources Chair for Student Activities, working on
The New Mexico Philharmonic
the R&R team to create programming and initiatives supporting the ACDA national student membership. Dr. Edmonds obtained advanced degrees in conducting from the University of North Texas (D.M.A., 2012) and Westminster Choir College (M.M., 2010) after teaching high school choral music for six years in Iowa and Texas. His original compositions and arrangements are published by Alliance, Colla Voce, and MorningStar Music Publishers. He lives in New Mexico with his incredible wife and their two (often) well-behaved daughters. Contact: dmedmonds@unm.edu ●
Quintessence: A Community of Singers/ Matthew Greer director For almost 40 years, Quintessence: A Community of Singers has been a vibrant part of the Albuquerque musical community. The core of Quintessence’s roster is a select 32-voice chorus that includes both professional singers and highly committed volunteers, and performs a four-concert season. Through our Summer Choral Festival and community singing events (Beer Choir, Park Sings), Quintessence also provides a space for singers of all ages and ability levels to create music together. We are proud to have partnered with the VOCES8 Foundation and St. John’s Music Ministries to create “Sing Together Albuquerque,” an initiative that puts our teaching artists into local schools to foster singing in classrooms.
Matthew Greer was appointed Artistic Director of Quintessence in 2009. He also serves as Director of Music and Worship Arts at St. John’s United Methodist Church, where he oversees a comprehensive music program. In recent years, he has served on the choral faculty of the University of New Mexico and as a guest conductor for the New Mexico Philharmonic. In 2012, he was among the recipients of Creative Albuquerque’s Bravos! Awards, honoring artistic innovation, entrepreneurship, and community impact. His teachers have included Alice Parker, Jane Marshall, and Ann Howard Jones. A native of Kansas City, he has degrees in music education and theology from Trinity University and Boston University. ●
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PROGRAM NOTES .
NOTES BY DAVID B. LEVY
Giacomo Puccini
Capriccio sinfonico, SC 55 (1883) Italian master Giacomo (Antonio Domenico Michele Secondo Maria) Puccini was born on December 22, 1858, in Lucca, Italy, and died on November 29, 1924, in Brussels, Belgium. Cherished by opera lovers throughout the world for his numerous masterpieces (La bohème, Tosca, Il trittico [Il tabarro, Suor Angelica, and Gianni Schicchi], Madama Butterfly, and Turandot, to name but a few), Puccini also composed songs for voice and piano, sacred music, as well as instrumental works. His Capriccio sinfonico for orchestra was composed in 1883 upon his graduation from the Conservatory of Music in Milan, where it received its first performance on July 14 of that year under the baton of Franco Faccio, the Milanese composer and conductor famous for conducting the premieres of Verdi’s Aida and Otello. This short work is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trombones, tuba, timpani, percussion, harp, and strings. Approximately 13 minutes. As a prolific composer of opera, only three orchestral works stemmed from the pen of Puccini, the most interesting of which is his Capriccio sinfonico, not only for its brilliance of orchestration, but because it also contains thematic material that he later used in two of his most popular operas, La bohème and Tosca. At the time of its composition, Puccini was at work on one of his first operas, Le villi, which was followed a year later by his second opera, Edgar. While it is not surprising that ideas from his Capriccio made their way into Edgar, it is particularly interesting to hear references to the work some ten years later in the familiar motto that begins the first tableau of La bohème. The work opens with a dramatic roll of the kettledrum, ushering in a bold statement in the brass worthy of Puccini’s most effective tragic scenes. This is followed by gentle strokes by the harp,
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indicative of the composer’s bel canto instincts. After the opening gestures are repeated, the strings take up a plaintive melody that straddles the world between sorrow and consolation. A faster section ensues with the motto familiar to audiences of La bohème. A merry waltz follows as a logical extension of the motto, which now serves to accompany the tune. Puccini continues to develop these ideas in a highly skillful fashion before the mood of the first section returns, leading to a consoling tune in the solo oboe that builds, as only Puccini could do, into a moment of pure operatic rapture. Toward the end, one would be forgiven if the gentle harp gestures suggest the beautiful and touching scene at the end of Act II of Madama Butterfly (the “Humming Chorus”) in which the everhopeful Cio-Cio-San awaits the return of her beloved Pinkerton. This intriguing and wonderfully constructed early orchestral work was clearly a predictor of, and springboard for, the mature Puccini. While we can be grateful for that, one can’t help but wonder what other orchestral compositions the master might have produced had he continued to compose in the purely instrumental genre. ●
Nikolai Rimsky-Korsakov
Capriccio espagnol, Op. 34 (1887) The Russian master Nikolai Andreyevich Rimsky-Korsakov was born in Tikhvin, Russia, on March 18, 1844, and died in Lyubensk, near Luga (now Pskov district), on June 21, 1908. He was a brilliant composer, arranger, and teacher, whose illustrious students included Igor Stravinsky. A member of the group of composers known as “The Five,” Rimsky-Korsakov (along with Mussorgsky, Balakirev, Cui, and Borodin) played an important role in developing an idiosyncratic Russian musical voice. The author of a manual on orchestration, and prized by all as a master of the same, Rimsky-Korsakov is best known for his orchestral showpieces, including the
Great Russian Easter Festival Overture, Capriccio espagnol, and the most popular of them all, Scheherazade. Capriccio espagnol received its first performance on October 31, 1887, in Saint Petersburg with the composer leading the Imperial Orchestra. The work is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (including castanets), harp, and strings. Approximately 16 minutes. Few composers can match Nikolai Rimsky-Korsakov for sheer sonic opulence. This Russian master who was father and uncle to a family of musicians, not to mention the teacher of many composers, including Igor Stravinsky, carefully studied the orchestral scores of great masters during his youth and tour of duty as midshipman in the Russian Imperial Navy. Among the books he read was the Treatise on Instrumentation of the flamboyant Hector Berlioz. Not surprisingly, Rimsky-Korsakov himself later authored his own manual on orchestration. While most audiences in the West associate Rimsky-Korsakov with his brilliant and popular orchestral compositions—Sadko, the Antar Symphony, Scheherazade, Capriccio espagnol, and the Great Russian Easter Festival Overture foremost among them— he was even more active as a composer of operas. As one of the Russian nationalists known as “The Five,” it is not surprising that Rimsky-Korsakov would be interested in setting Russian texts to music. Capriccio espagnol is cast in five sections that run into each other without pause. The energetic first part is titled Alborada and evokes the spirit of a cheerful dawn in Asturia. The clarinet and solo violin are the featured instruments. This is followed by a slower movement, Variazioni, which begins with a melody in the horns that is picked up by the English horn and other instruments, and eventually by the entire orchestra. This, in turn, leads to an altered reprise of the Alborada. A bravura roll on the snare drum announces a fanfare in the trumpets and horns, as the solo violin plays a short cadenza. The drum then sets the
PROGRAM NOTES .
scene for a Scena that offers brief solos for the flute and clarinet. All this sets up the fiery Canto gitano, complete with flourishes in the solo violin and other solo instruments. The solo harp prepares the way for the final movement—a dramatic and lively Fandango asturiano in which the strings and winds imitate guitar-like effects. A new tune emerges in the brass and winds, colorfully accompanied by tambourine, castanets, and triangle. The work ends with a sped-up return of the Alborada theme, bringing the fiesta to a brilliant conclusion. ●
Niccolò Paganini
Caprice No. 24 in a minor (1802–1817) Italian violin virtuoso and composer Niccolò Paganini was born in Genoa, Italy, on October 27, 1782, and died in Nice, France, on May 27, 1840. During his lifetime and beyond, his name has become synonymous with musical virtuosity. His earliest musical education was at the hands of his father, Antonio, an amateur musician who taught his son to play the mandolin and violin. The precocious son later also picked up the guitar, an instrument for which he composed chamber music. He continued his education in composition and violin with local professional musicians. Among his many diverse compositions, he is best known for his five concertos for violin and his 24 Caprices for Solo Violin, composed between 1802 and 1817, and later published as his Opus 1. Each of these
caprices presents extraordinary technical challenges, but the last of these captured the imagination of many other composers and virtuosi, including pianist/composers Franz Liszt and Sergei Rachmaninoff, the latter of whom composed his popular Rhapsody on a Theme of Paganini, based upon Caprice No. 24. In 1970, American composer George Rochberg composed his Caprice Variations, also for solo violin, based on the original of Paganini. Approximately 5 minutes. A wonderful portrait of Paganini painted by Eugène Delacroix dating from 1832 beautifully captures the mystique that surrounded this wizard of the violin. Tall and lanky in stature, Paganini’s pyrotechnics on the violin led to flights of imagination that suggested that the man must surely have sold his soul to Satan in order to gain his exceptional skill. The portrait is quite dark, except for the area around the violinist’s face, left hand, and cravat. If one looks closely enough at the brightest part of the canvas, one might be able to identify another face—perhaps that of the Devil himself. A more plausible theory, proposed in an article published by a contributor to the Journal of the American Medical Association (JAMA), suggested that Paganini’s “supernatural” flexibility could have been the side effect of a disease known as Marfan’s syndrome, which usually affects people who are tall and thin with unusually long arms, legs, fingers, and toes. Whatever gave Paganini his uncanny technical ability, his 24 Caprices for Solo Violin remain the gold standard for violinistic virtuosity. Of these, the twenty-
Paganini’s pyrotechnics on the violin led to flights of imagination that suggested that the man must surely have sold his soul to Satan in order to gain his exceptional skill.
fourth Caprice, written in the form of a theme with eleven variations and finale, presents the violinist with a host of technical challenges for both the bow arm and the fingers of the left hand. ●
NOTES BY CHARLES GREENWELL
Camille Saint-Saëns
Introduction and Rondo Capriccioso in a minor, Op. 28 (1863) Camille Saint-Saëns was born on October 9, 1835, in Paris, France, and died on December 16, 1921, in Algiers, Algeria. Saint-Saëns’s career was one of music’s longest and most productive, and during his lifetime, composers as diverse as Tchaikovsky, Mahler, and Debussy were born and died. When Saint-Saëns died at age 86, he had made his mark as a virtuoso pianist and organist, a fine conductor, and as a writer of operas, symphonies, and concertos, along with a treasure trove of fascinating smaller works. Today, sadly, the general public knows just a fraction of his vast output, notably The Carnival of the Animals, two or three of his concertos, the opera Samson and Delilah, and the Third Symphony, the so-called “Organ” Symphony. Although he wrote in a traditional style, he recognized the importance of other composers’ works that were stylistically much more advanced than his own. Born less than a decade after the deaths of Beethoven and Schubert, he lived to witness the beginning of the age of radio and recordings, and in 1908 became the first significant composer to write music for a film. The Introduction and Rondo Capriccioso is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 9 minutes. Like his compatriots Bizet and Lalo, Saint-Saëns had a great fascination for Spanish music, a situation that continued into the Impressionist era of Debussy and Ravel. When the prodigiously gifted Spanish violin virtuoso Pablo de Sarasate (1844–1908) graduated from the Paris continued on 14
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Conservatory at the age of 15, he began a series of concert tours that earned the praise of audiences everywhere with his seemingly effortless playing. Like many composers who write concertos for instruments they don’t play, SaintSaëns welcomed the advice of Sarasate, whom he met just after his graduation. Saint-Saëns was 24 at the time, and later recalled the brilliant youngster as “fresh and young as spring itself.” Sarasate approached the older gentleman and asked him to compose something that he could play; the result was the A Major Violin Concerto, written in 1859. Four years later came the present work, Introduction and Rondo Capriccioso, a short but dazzling showpiece with a reflective beginning (almost like an operatic recitative) followed by a brilliant aria full of fireworks tailor-made to showcase Sarasate’s famed technique. Later on, in 1880, Saint-Saëns wrote the Violin Concerto in b minor for him, one of the finest of all of his concertos. Following the Introduction and Rondo Capriccioso’s premiere (whose date has apparently been lost!) and publication, Sarasate championed it and established the work’s great popularity, and ever since it has become a staple of the violin repertoire. It was so popular in its day that both Bizet and Debussy made transcriptions of the piece, the former making the accompaniment for piano, and the latter transforming it into a work for two pianos. The form of the Introduction and Rondo may have led Sarasate 20 years later to compose his Zigeunerweisen in a similar design, and perhaps even Ravel to write
his Tzigane in the new century. All three works are about the same length and begin with a bold theme in the minor leading to a brilliant ending in the major. Sarasate went on to enjoy a long and successful career as one of the greatest of Romantic virtuosos, and was the first important violinist to make recordings. He even tried his hand at composing, his Fantasy on Themes from Bizet’s Carmen having long since become another staple of the repertoire. ●
NOTES BY DAVID B. LEVY
Pyotr Ilyich Tchaikovsky
Capriccio italien, Op. 45 (1880) Pyotr Ilyich Tchaikovsky was born on May 7, 1840, in Votkinsk, Russia, and died on November 6, 1893, in Saint Petersburg. He remains one of the most popular composers of all time, beloved especially for his symphonies, ballets, and concertos. His arrangement of Italian melodies, Capriccio italien, the result of his visit to Rome, was composed in 1880 and received its premiere in Moscow on December 18 of that same year with the Imperial Russian Music Society Orchestra under the direction of Nikolai Rubinstein. Tchaikovsky also arranged the work for piano four-hands. The cellist Karl Davydov received the work’s dedication. Capriccio italien is scored for 3 flutes (third doubling piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 cornets, 2 trumpets, 3 trombones, tuba,
“I am not sure what actual musical value this work shall have, but I am sure […] that the orchestration will be effective and brilliant.” –Pyotr Ilyich Tchaikovsky
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timpani, percussion, harp, and strings. Approximately 15 minutes. Tchaikovsky and his brother, Modest, made a visit to Rome in 1879–1880 that extended into the Carnevale season. This was the composer’s third such visit to Rome, and the variety of music in the air during the festivities of the season grabbed the attention of his keen ear. His correspondence with Sergey Taneyev and his patron, Nadezhda von Meck, reveal his desire to compose an “Italian Suite based on folk melodies … in the manner of Glinka’s Spanish Fantasia.” Seemingly pleased with the way the work was developing, and upon his return to Russia, he continued to work on it, admitting to von Meck that “I am not sure what actual musical value this work shall have, but I am sure in advance that it will sound well, i.e., that the orchestration will be effective and brilliant.” By the time the work was finished in May 1880, Tchaikovsky settled on its final title of “Capriccio.” The composer’s self-evaluation was prophetic. An encore was demanded at its first performance and the work has remained one of Tchaikovsky’s favorite compositions. Not as noisy as the 1812 Overture composed roughly during the same period of the composer’s life, Capriccio italien is a musical suite of tunes he encountered during his visit. It begins with a brass fanfare inspired by the bugle call “Il Silenzio d’Ordinanza,” a tune analogous to “Taps.” Tchaikovsky and his brother would hear this melody on a daily basis from their room at the Hotel Costanzi, located near the barracks of the Royal Italian Cuirasseurs, which may explain why the composer chose to follow this by a melancholic dirge, punctuated by dramatic Verdian shudders, often associated with death in the Italian master’s operas. A more opulent-sounding fanfare, now played by the full orchestra, leads eventually to the evocation of an Italian street band playing a merry Tuscan waltz theme “Bella ragazza dale trecce bionde,” which, when repeated by the entire orchestra, takes a dramatic turn leading into a lively tarantella. ●
PROGRAM NOTES .
NOTES BY LORI NEWMAN
Robert Spittal
Consort for Ten Winds (2005) Award-winning composer and educator Robert Spittal was born in Cleveland, Ohio, in 1963. He received his DMA in wind conducting from the Cincinnati College-Conservatory of Music and is Professor of Music at Gonzaga University, where he teaches conducting, music theory, and composition. Dr. Spittal led the Gonzaga Wind Ensemble for 27 years. His works have been commissioned and performed throughout North and South America, Europe, and Asia. Consort for 10 Winds is scored for 2 flutes, 2 oboes, 2 bassoons, 2 clarinets, and 2 horns. Approximately 12 minutes. DR. ROBERT SPITTAL WRITES:
Each movement of Consort acknowledges “Les Grandes Hautboise,” the court wind band of France’s great “Sun King,” Louis XIV. This court was seen throughout Europe as the most resplendent of its time, and the presence of a court wind band there encouraged other courts in Europe to imitate and establish their own wind bands. This system of patronage continued to develop through the Classical era, mostly in Germany, Austria, and Czechoslovakia, resulting in notable wind ensemble pieces by composers such as Mozart, Haydn, and Beethoven. Despite the decline of court music in the early 19th century, 19th- and 20th-century composers, most notably Dvořák, Strauss, and Stravinsky, continued to pay homage to the harmonie tradition. Consort is this composer’s attempt to pay homage to the origins of that tradition. The outer movements “Jeux” (Games) and “Sautereau” (a French saltarello) are whimsical, lively dances that reflect the frivolities and excesses of the court. They also refer to the importance of dance at the French court. The court’s composer, and founder of “Les Grandes Hautboise,” Jean-Baptiste Lully, established France’s first ballet academy during his tenure. The
“All musical materials in this work are original and not based on any specific pieces of that period. Rather, this is contemporary music that acknowledges the prevailing influences of music from an earlier time.” —Dr. Robert Spittal middle movement “Aubade” (Morning Song) is more intimate and lyrical and is influenced by the imitative styles of vocal music of the period. All musical materials in this work are original and not based on any specific pieces of that period. Rather, this is contemporary music that acknowledges the prevailing influences of music from an earlier time. ●
NOTES BY DAVID B. LEVY
Antonín Dvořák
Serenade for Wind Instruments in d minor, Op. 44 (B. 77) (1878) The Czech master Antonín Dvořák was born in Nelahozeves, Bohemia, Austrian Empire (now the Czech Republic), near Kralupy, on September 8, 1841, and died in Prague on May 1, 1904. His Serenade for Wind Instruments, Op. 44, was composed in 1878. B. 77 refers to Jarmil Burghauser’s thematic catalogue of the composer’s works, comparable to thematic catalogues such as the ones created by Köchel for the works of Mozart. This charming work is dedicated to the music critic/composer Louis Ehlert. Dvořák submitted this work, among others, for the Austrian State Stipendium award, and it was first performed on November 17, 1878, on an all-Dvořák concert led
by the composer in Prague’s Prozatimní (Czech Provisional Theater). It is scored for 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 3 horns, cello, and contrabass. The string instruments were added later to reenforce the bass line. Approximately 26 minutes. Dvořák had few peers of his generation for creating musical compositions of comparable tunefulness and sheer delight. Loyal to his Czech origins throughout his life, he had the uncanny ability to create music that at once reflected his heritage while at the same time enchanting audiences across all national boundaries. It is important to bear in mind that the Czechlands in Dvořák’s day were still part of the old Habsburg Empire. While some individuals in Vienna tried to resist his musical idiom, no less a figure than Johannes Brahms was to become one of Dvořák’s most devoted advocates. As a judge of the Austrian State Stipendium competition, the Serenade for Wind Instruments was one of the works that won Brahms’s favor. The Serenade for Wind Instruments evokes a long tradition of works for winds with the title of “Serenade” or “Cassation.” Dvořák’s contribution to the genre comprises four movements. The first movement, Moderato, quasi marcia, as its name implies, evokes the spirit of a military march. It may be no coincidence that a later Czech composer, Leoš Janáček, invoked military music in his Sinfonietta. The second movement is continued on 16
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a Minuetto, whose central trio section is a Furiant—a fast-moving Czech dance in triple meter. The lyrical third movement, Andante con moto, ravishes the ear with achingly beautiful writing for the clarinet and oboe. Its middle section is more agitated, exploiting a plaintive three-note motive, while the end of the movement adds a touch a pathos before coming to its gentle conclusion. The finale, Allegro molto, is a spirited romp filled with rustic energy. A special treat is the return of the military march theme from the first movement, which yields to the high spirits of the movement’s opening, bringing the work to a joyful and heroic conclusion. ●
NOTES BY LORI NEWMAN
Eugène Gigout
“Grand Chœur dialogué” for Brass and Organ (1881) French organist, teacher, and composer Eugène Gigout was born in Nancy, France, on March 23, 1844, and died in Paris on December 9, 1925. He was a student of the celebrated French composer Camille Saint-Saëns, served as organist at Paris’s famed Saint-Augustin Church for a whopping 62 years, taught at the Paris Conservatory, and founded his own school of music for organ and improvisation. The “Grand Chœur dialogué” was published in 1881 and is the last movement of Gigout’s 6 Pièces d’orgue (6 Pieces for Organ). The work opens with
a grand and stately four-measure phrase that is the building block for the piece. This opening material is repeated several times and achieves an antiphonal, call-andresponse effect by changing the organ’s registration on subsequent iterations. In the arrangement for brass and organ on this program, the effect is accomplished by placing the organ and brass as opposing forces. While monothematic in nature, the middle section adds imitation and canon, resulting in a more contrapuntal texture. Scored for piccolo trumpet, 3 trumpets, 2 horns, 2 trombones, bass trombone, euphonium, tuba, and organ. Approximately 6 minutes. ●
Anthony Plog
Music for Brass Octet (1987) Born in Glendale, California, on November 13, 1947, Anthony Plog is a composer, teacher, and trumpet player. He has taught at the University of Southern California, the Music Academy of the West, and Indiana University (U.S.), as well as the Schola Cantorum (Basel, Switzerland), the Malmo Music Academy (Sweden), the Academia di Santa Cecilia (Rome, Italy), the Norwegian Music Academy, and the Freiburg Musik Hochschule (Germany). He has held positions with orchestras around the world, including the Los Angeles Chamber Orchestra, the Malmo Symphony, and the Basel Symphony, and has performed on tour with the Stockholm
“Something about the crisp autumn air and the subtle changes in light always make me a little sentimental, and as I started to sketch, I felt the same quiet beauty in the writing.” —Eric Whitacre 16
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Royal Philharmonic Orchestra and Buenos Aires Symphony. As a soloist, he has toured throughout the United States, Europe, Australia, and Japan, and has numerous solo recordings to his credit. Plog is a prolific composer of operas, symphonic music, and chamber works. The Music for Brass Octet is a threemovement work with a unifying theme found in all movements. The first two measures of the first movement, Allegro vivace, state this theme, and it is the germ from which the rest of the movement sprouts. This first movement is filled with pointed rhythms, and even the more lyrical sections contain rhythmic accompaniment. The second movement, Very slowly, starts with sustained notes that move in and out of dissonance and consonance, with more emphasis on dissonance. When the instruments find their way to these brief harmonic resolutions, it creates lovely moments of repose. The theme from the first movement appears and sets the stage for the faster middle section before the opening calm returns. The third movement is in theme-and-variations style. The theme is marked moderato and is 11 measures long, a somewhat odd length for musical form. The four variations that follow are marked allegro vivace and are highlighted by driving rhythms, syncopation, and virtuosic writing, with the opening theme from movement one appearing toward the end of Variation 4. Scored for 4 trumpets and 4 trombones. Approximately 12 minutes. ●
Eric Whitacre
October for Brass Ensemble (2000) American composer, conductor, and lecturer Eric Whitacre was born on January 2, 1970, in Reno, Nevada. He earned a Bachelor’s degree in composition from the University of Nevada, Las Vegas, and went on to complete his Master’s degree at The Juilliard School, also in composition. Whitacre is a prolific composer of works for choir, wind band, orchestra, film and television, and the stage, and was awarded a GRAMMY® in 2012 for the album Light and Gold.
PROGRAM NOTES .
Aside from his compositions, Whitacre is perhaps best known for his Virtual Choir project, the first of which united 185 singers from 12 countries in 2010, long before the COVID–19 pandemic made the practice a necessity. October was written in 2000 for wind ensemble; it was premiered in May 2000 by the Nebraska Wind Consortium and is dedicated to Brian Anderson, the Consortium’s organizer. It is a moody and evocative piece that manages to be both introspective and soaring. Whitaker says of the work: “Something about the crisp autumn air and the subtle changes in light always make me a little sentimental, and as I started to sketch, I felt the same quiet beauty in the writing. The simple, pastoral melodies and the subsequent harmonies are inspired by the great English Romantics, as I felt this style was also perfectly suited to capture the natural and pastoral soul of the season.” This arrangement for brass is scored for 3 trumpets, flugelhorn, 2 horns, 2 trombones, bass trombone, euphonium, and tuba. Approximately 7 minutes. ●
NOTES BY DAVID B. LEVY
Florence Price
Octet for Brasses and Piano (1948–1949) African-American composer, organist, pianist, and educator Florence Beatrice Price (née Smith) was born in Little Rock, Arkansas, on April 9, 1887, and died in Chicago, Illinois, on June 3, 1953. Active as a composer and performer in the worlds of symphonic and commercial music, Price is also renowned for her choral and solo vocal compositions. Her settings of spirituals were performed by some of the 20th-century’s greatest singers, including Marian Anderson and Leontyne Price. She was also the first African-American woman to have a symphonic work performed by a major American orchestra, when Frederick Stock led the premiere of her Symphony No. 1 in e minor with the Chicago Symphony Orchestra in June 1933. Much
of Price’s music remained unpublished until after her death, but in 1918, the firm G. Schirmer acquired the rights to her works, and more recent scholarship has led to increasing performances of her music. Her Octet for Brasses and Piano was composed between 1948 and 1949. Its orchestration calls for 2 trumpets, 2 horns, 2 trombones, tuba, and piano. Approximately 13 minutes. While in the United States in the early 20th century, Antonín Dvořák admonished American composers to look for their essence in the roots of Native and African-American music. This advice began to bear fruit in the 1930s, as two prominent Black composers, William Grant Still and Florence Price, began to rise to prominence. The fact that the latter was a woman made her achievements, and the challenges she faced, all the more impressive. Born in the American South, Price sought to escape racism by moving from Little Rock and Atlanta to the friendlier climes of Chicago. Her extraordinary contribution to the classical repertory reflects, in her own soulful manner, the powerful late-Romantic style of Dvořák’s music, as exhibited in the Czech master’s popular Symphony No. 9 in e minor (“From the New World”) mixed with the authentic voice of AfricanAmerican culture—a beautiful example of cross-pollination. Many works by Florence Price remained unpublished after her death. Her Octet for Brasses and Piano was found in her abandoned summer home near St. Anne, Illinois, in 2009, along with several other of her works and papers. The combination of brass ensemble and piano is unusual, but Price composed this lovely threemovement work well, striking a nice balance among the instruments. The work is quite original, exhibiting influences of spirituals and jazz. The individual movements are labeled Tempo moderato, Andante cantabile, and Tempo moderato. Another interesting feature of this work is that each of its three movements is composed in a different key (D Major, B-flat Major, and G Major). ●
Gustav Mahler
Symphony No. 2 in c minor, “Resurrection” (1888–1894) Gustav Mahler was born in Kalischt, near Iglau (Kaliště, Jihlava), Bohemia, on May 7, 1860, and died in Vienna on May 18, 1911. His principal musical activity was that of a conductor and administrator, presiding over many important posts, including most significantly the Vienna Court Opera (Hofoper) (now the Vienna State Opera [Staatsoper]), the Metropolitan Opera, and the New York Philharmonic. His compositional output centered almost exclusively on songs and symphonies, work on which was largely carried out during the summer months. The first three movements of Mahler’s Symphony No. 2 were first performed in Berlin on March 4, 1895, conducted by the composer (not Richard Strauss, as once believed). Mahler conducted the Berlin Philharmonic in the premiere of the entire work on December 13, 1895. The huge score calls for 4 flutes (all doubling on piccolo), 4 oboes (3rd and 4th doubling on English horn), 3 clarinets (3rd doubling on bass clarinet), 2 E-flat clarinets, 4 bassoons (3rd and 4th doubling on contrabassoon), 10 horns (4 off-stage in the finale), 8 trumpets (4 off-stage in the finale), 4 trombones, tuba, organ, 2 harps, 2 sets of timpani, bass drum, cymbals, tam-tams, triangle (more percussion off-stage), 2 snare drums, glockenspiel, bells, rute (birch brush), strings, soprano and alto soloists, and large mixed choir. Approximately 80 minutes. “Just as I find it banal to compose program music, I regard it as unsatisfactory and unfruitful to try to make program notes for a piece of music. This remains so despite the fact that the reason why a composition comes into being at all is bound to be something the composer has experienced, something real, which might after all be considered sufficiently concrete to be expressed in words,” Gustav Mahler writing to Max Marschalk, Hamburg, 26 March 1896. The great Austrian composer wrote these words as a preface to a “program” continued on 18
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in which he explains his plan for his monumental Second Symphony (“Resurrection”). Mahler was too truthful an individual and musician to simply contrive a story that has no roots in reality, just to satisfy his critics. Rarely has there been a composer more self-aware about his detractors. Yet at the same time, there rarely has been a composer willing to take on the kind of artistic risks that this work represented for Mahler. Before exploring the program that Mahler related to Marschalk later in this letter, some words of background concerning the composer and his Second Symphony are necessary. Mahler had finished his First Symphony in 1888, at which time he immediately set to work on his new effort, beginning with the first movement, which he named Todtenfeier (Death Ritual). Some years later, he explained that his conception was to bury “the hero of my D Major Symphony, who is being borne to his grave, his life being reflected, as in a clear mirror, from a vantage point.” Mahler ceased work on the remainder of the symphony, six painful years intervening before returning to it, years that witnessed the death of both parents and one of his sisters. By 1893, Mahler was able to complete the next two movements, one of which was the scherzo, an adaptation and expansion of one of his settings of a poem from the Achim von Arnim and Clemens Brentano collection, “Des Knaben Wunderhorn” (“The Youth’s Magic Horn”). The orchestral song in question was the cynical “St. Anthony of Padua’s Sermon to the Fishes” (“Des Antonius von Paduas Fischpredigt”), in which the holy man, finding the church empty, preaches to the fish. Just like their human counterparts, the fish continue to behave just as wickedly after the sermon as before. “Des Knaben Wunderhorn” also provided material for the fourth movement of the Second Symphony, the song “Urlicht” (“Primal Light”), which was conceived independent of its subsequent role in the symphony. Mahler worked on these movements in the solitude of his composing hut on the banks of the Attersee in the picturesque
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“… the reason why a composition comes into being at all is bound to be something the composer has experienced, something real, which might after all be considered sufficiently concrete to be expressed in words.” —Gustav Mahler, writing to Max Marschalk, Hamburg, 26 March 1896 Salzkammergut, far from the hubbub of his frantic conducting schedule in Vienna. The death of the famous conductor Hans von Bülow in 1894 provided Mahler with the necessary inspiration for the stupendous final movement. By this time, he knew that the finale would be choral, but he was reluctant to embark on its composition for several reasons. One of these was the immense shadow of Beethoven’s choral Ninth Symphony, to which Mahler’s own would surely be compared, another was the lack of a text commensurate with the grand vision that was emerging in his mind. Bülow was a person whom Mahler deeply respected, despite the fact that the conductor had made extremely unkind remarks about the first movement of Mahler’s Second Symphony when the composer played it for him at the piano in 1891, saying bluntly, “If that is still music, then I do not understand a single thing about music.” Slighted or no, Mahler still saw fit to attend Bülow’s funeral, at which was sung a hymn to words penned by the 18th-century poet Klopstock titled “Der Auferstehung” (“The Resurrection”). Mahler immediately seized upon the first two stanzas of the poem, adding words of his own to complete the long sought-after text for his finale. Once this compositional obstacle had been overcome, the final
stages of the Second Symphony’s composition fell neatly into place, and the work could now be presented to the public in performance. But achieving a performance would be no small task, as Mahler had created a huge eighty-minute composition that called for enormous performing forces. In addition to an immense orchestra with extra brass, winds, and percussion, the Second Symphony called for soprano and alto soloists and a large choir. The first three movements, which are purely instrumental, were performed on March 4, 1895, in Berlin as part of a concert conducted by the composer Richard Strauss. Mahler himself directed the torso of his new work. The premiere of the full work, again conducted by the composer, took place in the same city on December 13, 1895, after a highly intensive rehearsal period. When Mahler awoke on the day of the performance, he found himself suffering from a severe migraine headache, but after all he had been through, he was not about to let this prevent the premiere from taking place. After the concert, the composer collapsed from exhaustion in his dressing room. Despite the expected negative reviews from many critics hostile to Mahler’s muse, the event proved to be triumphant, winning many new disciples for the
PROGRAM NOTES .
composer. Universal approbation for the Second Symphony would not come until the 1960s—long after the composer’s death, and largely thanks to the advocacy of the late Leonard Bernstein—at which time it could find an audience in sympathy with Mahler’s prophetic vision. Since that time, the work has been an inspiration to countless audiences. Although numerous recordings of the work are currently available, live performances of it are relatively rare because of its complexity and requisite large performing forces. At this point, we may again pick up the thread of Mahler’s reluctant “program” for the Second Symphony as related in his letter to Marschalk. The composer characterizes the first movement, Allegro maestoso, as a scenario in which we are standing by the coffin of a beloved person, whose “sufferings and his accomplishments on earth once more for the last time pass before us.” We are meant to contemplate no less a question than the meaning of one’s existence. “What next? What is life and what is death? Why did you live? Why did you suffer? Is it all nothing but a huge, frightful joke? Will we live on eternally? Do our life and death have a meaning?” The music of this movement is appropriately heroic and dramatic. Much of it is given over to a funeral march, but moments of tenderness also occur. The recapitulation is an event of particular high drama. The composer’s explicit direction to the conductor mandates that a pause of “at least five minutes” should follow the first
movement. While these instructions rarely are observed literally, a clear interval of time usually is permitted to pass before proceeding with the remainder of the work. The second movement is a Ländler (an Austrian folk dance, akin to the waltz) in five parts. The final statement of the principal theme is especially piquant, as the string instruments all play it pizzicato, in imitation of a guitar. Mahler preferred that the violins and violas put down their bows and hold their instruments accordingly. His program for this movement reads as follows: “A memory, a ray of sunlight, pure and cloudless, out of the departed’s life. You must surely have had the experience of burying someone dear to you, and then, perhaps, on the way back, some long-forgotten hour of shared happiness suddenly rose before your inner eye, sending, as it were, a sunbeam into your soul—not overcast by any shadow—and you almost forgot what had just taken place.” The third movement, In ruhig fliessender Bewegung (In gently flowing movement), begins with an arresting twonote timpani stroke that opens the way for an adaptation of the Wunderhornlied mentioned above. An unusual percussion instrument, the branch (rute) adds a special color to the broad palette of sounds that Mahler employs here. Irony and humor (Mahler even indicates “Mit Humor” in the score) hold sway through most of this scherzo, broken only by a sentimental trumpet melody that demarks the trio section. Near the end,
O Röschen rot! Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein! Je lieber möcht’ ich im Himmel sein! Da kam ich auf einen breiten Weg: Da kam ein Englein und wollt’ mich abweisen. Ach nein! Ich liess mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!
Mahler introduces a foreshadowing of the apocalypse that will begin the finale. Luciano Berio gave this movement an interesting afterlife in 1968 when he used it as the canvas for the third movement of his Sinfonia. Mahler’s scherzo becomes the bearer of the entire history of music, as Berio pastes dozens of musical quotations, singing, and spoken words on it in a surreal, stream-ofconsciousness collage. Returning to the program that Mahler sent to Marschalk, we read: “When you awaken from that blissful dream [the second movement] and are forced to return to this tangled life of ours, it may easily happen that this surge of life ceaselessly in motion, never resting, never comprehensible, suddenly seems eerie, like the billowing of dancing figures in a brightly lit ballroom that you gaze into from outside in the dark—and from a distance so great that you can no longer hear the music. Then the turning and twisting movement of the couples seems senseless. You must imagine that, to one who has lost his identity and his happiness, the world looks like this—distorted and crazy, as if reflected in a concave mirror. Life then becomes meaningless. Utter disgust for every form of existence and evolution seizes him in an iron grip, and he cries out in a scream of anguish.” Mahler wrote of the fourth movement, “Urlicht,” that the “moving voice of naïve faith sounds in our ears.” The alto soloist ceremoniously sings in childlike fashion the following poem from “Des Knaben Wunderhorn”:
O rosebud red! Mankind lies in deepest need! Mankind lies in deepest pain! How dearer would I dwell in heaven! I then came upon a wide road: Then came a little angel who wished to send me back. But no! I will not be sent back! I am of God and will return to God! The beloved God will give me a small lamp, Will light my way to the eternal blessed life!
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The complex finale begins by recalling the apocalyptic vision from the scherzo, now unleashed in its full fury. Horn and trumpet fanfares (Mahler labeled them the “Voice of the Caller”) announce the Day of Judgment, as the beginning of the Gregorian Dies irae is intoned. The trombone and trumpet then announce the “Resurrection” theme. A new section follows, probably inspired by a theme from Wagner’s Parsifal, in which an anxious theme is played by the woodwinds and cellos. The Dies irae is reintroduced, leading once again to the “Resurrection” theme, now triumphantly punctuated by brass and wind fanfares. The Parsifal atmosphere returns, as the trumpets pierce the air in a unison high note. A frightening percussion crescendo demarks the opening of the graves, as the dead now “march in a mighty procession: rich and poor, peasants and kings, the whole church with bishops and popes. All have the same fear, all cry and tremble alike because in the eyes of God, there are no just men.” A solo trombone begins to intone the Parsifal music, picked up once more by the cellos, but this time punctuated by bizarre military music sounded off-stage by trumpets and percussion. The apocalyptic vision returns as the music reaches its terrifying climax, leading to an aweinspiring passage, as off-stage horns and trumpets announce “der grosse Appell” (“the great call”), answered by the solo flute and piccolo (“like a bird’s voice”).
As this dies away, the seated chorus softly intones the beginning of Klopstock’s “Resurrection,” followed by Mahler’s own interpolated text: Aufersteh’n, ja aufersteh’n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben! Unsterblich Leben Wird der dich rief dir geben. Wieder aufzublühn wirst du gesät! Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben!
The Parsifal music now returns, sung this time by the alto and soprano soloists: O glaube, mein Herz, O glaube: Oh believe, my heart, oh believe: Es geht dir nichts verloren! Nothing has been lost for you! Dein ist, was du gesehnt! What you desired is yours! Dein, was du geliebt, Yours, what you loved, Was du gestritten! For what you have striven! O glaube, Oh believe, Du wardst nicht umsonst geboren! You were not born in vain! Hast nicht umsonst gelebt, Have not lived in vain, Gelitten! [or] suffered! The chorus, joined by the alto, sings: Was entstanden ist Das muss vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben!
O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heissem Liebesstreben, Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen! Sterben werd’ ich, um zu leben! Aufersteh’n, ja aufersteh’n Wirst du, mein Herz, in einem Nu! Was du geschlagen Zu Gott wird es dich tragen!
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2023/24 Season / Volume 12 / No. 3
What has come into being must perish! What has passed, rise again! Cease trembling! Prepare to live!
Assured of everlasting life, the vocal soloists continue with the following text, joined by the chorus, and leading to the triumphant reaffirmation of eternal life, supplemented by organ and church bells:
(Klopstock/Mahler, transl. David B. Levy)
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Rise again, yes rise again you shall you my dust, after short rest! Eternal life! Eternal life will be granted by he who calls you. You were sown to bloom anew! The Lord of Harvest goes and gathers in [like] sheaves us, who have died!
Oh pain! You all-penetrating! From you have I been wrested! Oh death! You all-masterer! Now are you mastered! With wings, won for myself, In hot striving of love, Will I soar upwards To light, to which no eye has been drawn! I died, so that I may live! Rise again, yes rise again will you, my heart, in a twinkling! What you have conquered Shall lead you to God!
DONOR CIRCLES .
Donor Circles Thank You for Joining a Circle BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund New Mexico Philharmonic Foundation
BEETHOVEN CIRCLE
Donation of $25,000–$49,999 Anonymous Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Eugenia & Charles Eberle 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 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 Optum Bob & Bonnie Paine Cynthia Phillips & Thomas Martin Estate of George Richmond Sandia Foundation, Hugh & Helen Woodward Fund Terrence Sloan, MD Dr. Dean Yannias
BRAHMS CIRCLE
Donation of $5000–$9999 Carl & Linda Alongi Anonymous Paula & William Bradley City of Rio Rancho Richard & Margaret Cronin ECMC Foundation Bob & Fran Fosnaugh Helen Fuller David Gay Gerald & Lindy Gold Chris & Karen Jones
Harry & Betsey Linneman Myra & Richard Lynch Menicucci Insurance Agency Karl & Marion Mueller 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 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 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 Estate of Joyce Kaser Linda S. Marshall Tyler M. Mason Edel & Thomas Mayer Foundation Jon McCorkell & Dianne Cress
The New Mexico Philharmonic
Ed & Nancy Naimark David & Audrey Northrop David Peterson Jacquelyn Robins Joan Robins & Denise Wheeler 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
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Donation of $1000–$1932 Anonymous Joel & Sandra Baca Tonianne Baca-Green William Bechtold Richard & Maria Berry Ruth Bitsui Rod & Genelia Boenig Dennis & Elizabeth Boesen James Botros & Jeremy Wirths Robert Bower & Kathryn Fry Michael & Cheryl Bustamante Butterfield’s Jewelers Margaret Casbourne Edwin Case Brian & Aleli Colon The Coracle Fund Phil & Krys Custer Marjorie Cypress & Philip Jameson D’Addario Foundation Thomas & Martha Domme Leonard & Patricia Duda Robert Godshall 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 Jean 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 Singleton Schrieber LLP/Brian Colon 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 Howard & Debra Friedman 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 Claudia Moraga Dorothy White Morse Ed Muller Mark Napolin Ruth & Charles Needham 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 Christine Sauer Susan D. Sherman Ronald Shettlesworth George & Vivian Skadron Suzanne Slankard Mark & Maria Stevens Sarah Stevens-Miles Charles Stillwell Robert Taylor George Thomas Tamara Tomasson 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 David C. Carr Ann Carson 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
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DONOR CIRCLES .
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 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 John Homko Mary Hermann Hughes 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 Chena Mesling Jerry & Azantha Middleton Bruce & Jill Miller Jim Mills & Peggy Sanchez Mills
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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 Barbara Rivers Paul Rodriguez Catalin Roman Socorro Kiuttu Ruddy Carey Salaz Sandia Resort & Casino Sarafian’s Oriental Rugs Anjella Schick Brigitte Schimek & Marc Scudamore John & Karen Schlue Laura Scholfield Rahul Sharma Silk Road Connection R.J. & Katherine Simonson Rae Siporin Lillian Snyder Steven & Keri Sobolik Stan & Marilyn Stark Jennifer Starr Joseph & Carol Stehling John & Patricia Stover Jonathan Sutin Betsey Swan Larry & Susan Tackman Gary Talda & Cyndia Choi Gary & Nina Thayer Maxine Thévenot & Edmund Connolly, in honor of Laurence Titman 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
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FRIENDS OF THE PHILHARMONIC
Donation of $25–$124 Harro & Nancy Ackermann 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 Graham Bartlett Edie Beck Michael Bencoe Helen Benoist Kirk & Debra Benton Dorothy & Melbourne Bernstein Nancy & Cliff Blaugrund Thomas & Suzanne Blazier 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 Dante & Judith Cantrill 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 Sandy Donaldson Carl & Joanne Donsbach Michael & Jana Druxman 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 Eric & Cristi Furman Mary Day Gauer 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 Stephen Hoffman & James McKinnell 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 Hareendra & Sanjani Kulasinghe 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 Peter & Lois McCatharn Marcia McCleary Kathleen Miller Robert F. Miller Ben Mitchell Bryant & Carole Mitchell Robert & Phyllis Moore Roy & Elizabeth Morgan Letitia Morris 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 Allen & Jean Ann Spalt Charlie & Alexandera Steen Theodore & Imogen Stein Brent & Maria Stevens Elizabeth Stevens & Michael Gallagher Stone Age Climbing Gym Gary Swanson Texas Roadhouse Julie Tierney Dave Tighe Valerie Tomberlin John & Karen Trever Sally Trigg Caren Waters Dale A. Webster Tom Wheatley Leslie White Lisa & Stuart White, in honor of Thomas Martin’s op-ed Robert & Amy Wilkins Kathryn Wissell Daniel & Jane Wright Kenneth Wright Kari Young Zinc Wine Bar & Bistro 12/9/2023
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THANK YOU .
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 E. Jones & the Albuquerque City Council The Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Amanda Colburn & the Bernalillo County Special Projects Councilor Tammy Fiebelkorn Councilor Renee Grout
BUSINESS & ORGANIZATION APPRECIATION 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 Chris Kershner 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 12/9/2023
Giving for the future
Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier Nancy Berg Sally A. Berg Gerald McBride 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 12/9/2023
SPONSOR
A MUSICIAN We invite you to engage more deeply with the orchestra and its musicians. This program comes with wonderful benefits that give you a chance to develop a personal relationship with one of our stellar musicians. Please call to find out the benefits and cost of sponsorship. SPONSOR TODAY
(505) 323-4343 DWAYNE & MARJORIE LONGENBAUGH Principal Viola Sponsorship: LAURA CHANG Principal Cello Sponsorship: AMY HUZJAK
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The New Mexico Philharmonic
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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 Sue Johnson & Jim Zabilski Marlin E. Kipp Thomas & Greta Keleher Lawrence & Deborah Blank Susanne Brown
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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. 3
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 12/9/2023
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THANK YOU .
Steinway Society Piano Fund Steinway Society members make dedicated donations for current and future purchases and maintenance of our Steinway & Sons Grand Piano Model D. 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
The New Mexico Philharmonic
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 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 12/9/2023
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ENVIRONMENTALLY & ECONOMICALLY PRUDENT. THAT’S MUSIC TO OUR EARS.
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Schedule a FREE solar evaluation to learn more & find out if solar is a good fit. 505.344.0071 • PositiveEnergySolar.com
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THANK YOU .
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.
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Bernalillo County bernco.gov
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City of Albuquerque cabq.gov
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D’Addario Foundation daddariofoundation.org
David S. Campbell, Attorney davidscampbell.com
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HOLMANS USA CORPORATION holmans.com
Hunt Family Foundation huntfamilyfoundation.com
Jennings Haug Keleher McLeod jhkmlaw.com
Menicucci Insurance Agency mianm.com
Meredith Foundation
Moss Adams mossadams.com
Music Guild of New Mexico musicguildofnewmexico.org
New Mexico Arts nmarts.org
Optum nm.optum.com
RBC Wealth Management rbcwealthmanagement.com
Urban Enhancement Trust Fund cabq.gov/uetf
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With Each Other Olga Kern International With Empathy, Compassion, and Integrity PianoRespect, Competition olgakerncompetition.org
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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,
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The full gray lockup should be used on solid, light backgrounds on grayscale collateral where the tagline is completely legible.
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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
#0C515A
#137E8D
#6B8AC7
#BE750E
Typography
Collateral
Noto Serif is used for main headers (h1, h2).
All print and online collateral, such as fliers and
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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
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pitch presentations, should use the new 12 brand. / No. 3 2023/24 Season / Volume If you need a template or have a question,
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NMPHIL .
New Mexico Philharmonic
BOARD OF DIRECTORS Maureen Baca
The Musicians FIRST VIOLIN Cármelo de los Santos
Karen McKinnon Concertmaster Chair
Sarah Tasker •••
Assistant Concertmaster
Ana María Quintero Muñoz Joan Wang + Heidi Deifel Juliana Huestis Barbara Rivers Nicolle Maniaci Barbara Scalf Morris
CELLO Amy Huzjak • Jonathan Flaksman ••• Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps Lisa Collins Elizabeth Purvis BASS Mark Tatum ••• Katherine Olszowka Terry Pruitt Marco Retana Frank Murry
SECOND VIOLIN Rachel Jacklin • Carol Swift ••• Julanie Lee Jessica Retana ++ Liana Austin Lidija Peno-Kelly Sheila McLay Brad Richards
FLUTE Valerie Potter • Esther Fredrickson Jiyoun Hur ••+ Noah Livingston ••++
VIOLA Laura Chang • Kimberly Fredenburgh ••• Allegra Askew Christine Rancier Laura Steiner Michael Anderson Lisa DiCarlo Joan Hinterbichler Laura Campbell
PICCOLO Esther Fredrickson
E-FLAT CLARINET Lori Lovato BASS CLARINET Jeffrey Brooks BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb •+ Alana Yee +++ Allison Tutton Andrew Meyers Maria Long •••• TRUMPET John Marchiando • Brynn Marchiando Sam Oatts ••• TROMBONE Aaron Zalkind • Byron Herrington BASS TROMBONE David Tall + Robinson Schulze ++
OBOE Kevin Vigneau • Amanda Talley
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 Marian Tanau Tatiana Vetrinskaya Michael Wallace ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Roland Gerencer, MD William Wiley
TUBA Richard White •
ENGLISH HORN Melissa Peña ••+ Rebecca Ray ••++
TIMPANI Micah Harrow •+
CLARINET Marianne Shifrin • Lori Lovato ••• Jeffrey Brooks
PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius
Principal • Associate Principal •• Assistant Principal ••• Assistant •••• Leave + One-year position ++ Half-year position +++
STAFF 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
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Welcome
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