New Mexico Philharmonic Program Book • 2023/24 Season • Volume 12 • No. 6

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.

BE PROACTIVE: Consult your own financial advisor to help you implement any of these. Please consider applying one or more of these strategies for your extra giving to the NMPhil.

PLAN A WISE GIVING STRATEGY nmphil.org/ways-to-donate

AFTERNOON CLASSICS

Schubert the Great!

Sunday, April 28, 2024, 3 p.m.

Elinor Rufeizen conductor

Symphony No. 8 in b minor, “Unfinished,” D. 759 Franz Schubert

I. Allegro moderato (1797–1828)

II. Andante con moto

28 Volcano Vista High School (Performing Arts Center)

MAKING A DIFFERENCE

This performance is made possible by: The Meredith Foundation

INTERMISSION

Symphony No. 9 in C Major, “The Great,” D. 944 Schubert

I. Andante—Allegro, ma non troppo

II. Andante con moto

III. Scherzo. Allegro vivace

IV. Allegro vivace

Early Beethoven

Friday, May 3, 2024, 10:45 a.m.

Na’Zir McFadden conductor

Anthony Ratinov piano

Overture to The Creatures of Prometheus, Op. 43

Ludwig van Beethoven (1770–1827)

Piano Concerto No. 3 in c minor, Op. 37

I. Allegro con brio

II. Largo

III. Rondo. Allegro—Presto

Anthony Ratinov piano

Beethoven

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South Broadway Cultural Center: The John Lewis Theatre

MAKING A DIFFERENCE

This performance is made possible by: The Meredith Foundation

Additional support provided by:

The City of Albuquerque

Symphony No. 2 in D Major, Op. 36

I. Adagio molto—Allegro con brio

II. Larghetto

III. Scherzo. Allegro vivo

IV. Allegro molto

Beethoven

GO NOW!

A TRIBUTE TO THE MUSIC OF THE MOODY BLUES

Saturday, May 4, 2024, 8 p.m.

GO NOW!

Michael Krajewski guest conductor

Mick Wilson lead vocals

Gordy Marshall drums

The New Mexico Philharmonic performs the Music of The Moody Blues featuring the band GO NOW! Including Michael Krajewski, guest conductor; Mick Wilson (known from 10cc), lead vocals; and Gordy Marshall (known from The Moody Blues), drums.

Join your NMPhil and experience this timeless music live, performed by GO NOW!, led by Gordy Marshall, 25-year drummer with Rock and Roll Hall of Famers The Moody Blues. This is an incredible tribute to the greatest classic rock band of a generation. Gordy presents a super-group of world-class musicians, singers, and songwriters, including Mick Wilson, lead singer with 10cc for more than 25 years, who, between them, perform the Moodies’ legendary and timeless catalogue of songs and hits. These include “Tuesday Afternoon,” “Go Now,” “Legend of a Mind (Timothy Leary’s Dead),” “I Know You’re out There Somewhere,” “Question,” “Isn’t Life Strange,” plus “Forever Autumn” and a show-stealing rendition of “Nights in White Satin.”

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MAKING A DIFFERENCE

This performance is made possible by: Bernalillo County

Popejoy Hall

Roman Echoes

Saturday, May 18, 2024, 6 p.m. 5 p.m. Pre-Concert Talk

Roberto Minczuk Music Director

Anna Tifu violin

Overture to Ruslan and Lyudmila

Violin Concerto in d minor

Hosted by KHFM’s Alexis Corbin POPEJOY CLASSICS

Popejoy Hall

Mikhail Glinka (1804–1857)

Aram Khachaturian

I. Allegro con fermezza (1903–1978)

II. Andante sostenuto

III. Allegro vivace Anna Tifu violin

INTERMISSION

Spartacus Suite No. 2

I. Adagio of Spartacus and Phrygia

II. Entrance of the Merchants—Dance of a Roman Courtesan

III. General Dance

IV. Entrance of Spartacus—Quarrel

V. Treachery of Harmodius

VI. Dance of the Pirates

Pines of Rome, P. 141

Khachaturian

MAKING A DIFFERENCE

This performance is made possible by: The Albuquerque Community Foundation

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

Ottorino Respighi

I. I pini di Villa Borghese (“The Pines of the Villa Borghese”) (1879–1936)

II. Pini presso una catacomba (“Pines Near a Catacomb”)

III. I pini del Gianicolo (“The Pines of the Janiculum”)

IV. I pini della via Appia (“The Pines of the Appian Way”)

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

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

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

worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco.

Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival.

Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone Award of Excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin GRAMMY in 2004 and was nominated for an American GRAMMY in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival, including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include

a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 5, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prizewinner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album.

Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. In 2017, Minczuk received the Medal of Commander of Arts and Culture from the Brazilian government. A child prodigy, Minczuk was a professional musician by the age of 13. He was admitted into the prestigious Juilliard School at 14 and by the age of 16, he had joined the Orchestra Municipal de São Paulo as solo horn. During his Juilliard years, he appeared as soloist with the New York Youth Symphony at Carnegie Hall and the New York Philharmonic Young People’s Concerts series. Upon his graduation in 1987, he became a member of the Leipzig Gewandhaus Orchestra at the invitation of Kurt Masur. Returning to Brazil in 1989, he studied conducting with Eleazar de Carvalho and John Neschling. He won several awards as a young horn player, including the Mill Santista Youth Award in 1991 and I Eldorado Music. ●

Roberto Minczuk Music Director

Elinor Rufeizen conductor

Rising Israeli conductor Elinor Rufeizen has distinguished herself as a compelling presence on the podium and in the opera pit. She was recently named an Equilibrium Young Artist and will be working with her mentor, singer-conductor Barbara Hannigan, throughout the 2022/2023 season, in addition to making her debut at the Stadttheater Giessen, and serving brief stints as an assistant conductor for the New York Philharmonic and National Symphony Orchestra (Washington, D.C.).

Elinor has conducted the Haifa Symphony, New Jersey Symphony, Orchestre de Chambre de Paris, Juilliard Orchestra, Bridgeport Symphony, and Metropolis Ensemble. She was also a conducting fellow at the Dallas Opera and was selected to work with Riccardo Muti and conduct Nabucco with Orchestra Giovanile Luigi Cherubini in Fondazione Prada, Milan.

She has collaborated with many artists, among them Emanuel Ax, Daniil Trifonov, and Susan Graham; members of the Ébène, Kronos, Juilliard, and Cleveland Quartets; and living composers Jörg Widmann, Shulamit Ran, Steven Stucky, Steven Mackey, Philippe Hersant, and Andrew Norman.

Elinor graduated from The Juilliard School with a Master’s degree in orchestral conducting, studying with Alan Gilbert and David Robertson. She is a recipient of the Bruno Walter Memorial Scholarship, Charles Schiff Conducting

Award for Outstanding Achievement, Morse Teaching Fellowship Award, and scholarships from the American-Israel Cultural Foundation. Initially a clarinetist, she received a Bachelor’s degree at the Cleveland Institute of Music and studied at the Conservatoire Nationale Supérieur de Musique et de Danse de Paris. ●

Na’Zir McFadden conductor

American conductor Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra, under the guidance of Music Director Jader Bignamini. McFadden also serves as Music Director of the Detroit Symphony Youth Orchestra.

Establishing his presence on the classical music scene, McFadden’s 2023/24 season includes debuts with the North Carolina Symphony, New Mexico Philharmonic, and a return to the Philadelphia Ballet; he will also serve as a guest cover conductor for the Baltimore Symphony Orchestra, in addition to maintaining several ongoing engagements with the Detroit Symphony Orchestra.

The Boston Symphony Orchestra recently announced McFadden as one of the 2024 TMC Conducting Fellows. As a fellow, McFadden will conduct the Tanglewood Music Center Orchestra in numerous performances and participate in masterclasses led by Andris Nelsons, Alan Gilbert, and Dima Slobodeniouk.

In the 2022/23 season, he made his subscription debut with the Detroit Symphony Orchestra, alongside bass-

baritone Devóne Tines and clarinetist Anthony McGill. In March 2024, he will conduct the DSO’s Classical Roots program, premiering two new works by composers Billy Childs and Shelly Washington.

Other career highlights have included debuts with the Utah Symphony Orchestra, Kalamazoo Symphony Orchestra, and Philadelphia Ballet. Additionally, McFadden led a recording project with the Civic Orchestra of Chicago—featuring Hilary Hahn as cocollaborator and soloist.

In 2020, McFadden was named the inaugural Apprentice Conductor of the Philadelphia Ballet, a position he held until 2022. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021.

At the age of 16, Na’Zir conducted his hometown orchestra—The Philadelphia Orchestra—in their “Pop-Up” series, meeting their Music Director Yannick Nézet-Séguin, who has been a mentor ever since. The Philadelphia Inquirer praised his “great stick [baton] technique and energetic presence on the podium” in their concert review. ●

Anthony Ratinov piano

Award-winning pianist Anthony Ratinov has been praised internationally for his “precision, crystalline sharpness, and great inner energy” (L’Ape Musicale) as well as his “class, style, technical mastery, and solo prowess” (Beckmesser). Anthony is the recent winner of Second Prize at the prestigious continued on 10

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64th Ferruccio Busoni International Piano Competition in Bolzano, Italy, where his performance of Prokofiev’s Third Piano Concerto was lauded for “sporting a pianism at the highest level … with admirable dexterity and with stainless precision” (L’Ape Musicale).

Anthony has won top prizes at many other international competitions, including First Prize at the 2023 Ricard Viñes International Piano Competition, Second Prize and the Audience Favorite Prize at the 2023 València Iturbi International Piano Competition, and Second Prize at the 2022 Olga Kern International Piano Competition. His performances of Spanish works have also been recognized by special prizes at competitions across Spain, including awards at both the València Iturbi Competition and the Maria Canals Competition for the best performance of Spanish music.

Anthony began studying piano at the age of 4 with his grandmother, Edit Ratinova, who taught at the renowned Gnessin Music School in Moscow, Russia, for 45 years and was a student of the school’s founder, Elena Fabianovna Gnesina. Anthony was recently accepted into the highly selective and prestigious Artist Diploma program at The Juilliard School and joined the studio of Robert McDonald in fall 2023. He completed his graduate studies at the Yale School of Music, studying with Boris Berman and Boris Slutsky, and previously studied at Yale University, where he majored in chemical engineering and graduated with honors, in addition to studying piano with Wei-Yi Yang.

This past season, Anthony has appeared as a soloist with orchestras across Spain, Italy, and the United States, performing concertos such as Brahms No. 2, Prokofiev No. 3, and Beethoven No. 3. He has given solo concert tours across the Netherlands and South Florida, and performed at such prominent venues as The Royal Concertgebouw in Amsterdam, the ORF RadioKulturhaus performance hall in Vienna, and the Kennedy Center for the Performing Arts. Highlights of the upcoming season include a solo concert tour in València and a concert tour as

a soloist with the Orquestra Simfònica del Vallès across Spain, including a performance at the Palau de la Música in Barcelona. Anthony’s debut CD will also be released next year on KNS Classical, featuring works by Albéniz, Scriabin, Chopin, and Bach.

A celebrated and sought-after chamber musician, Anthony has won several prestigious chamber music competitions as a member of the piano trio Trio Ondata—recently winning First Prize and the Audience Favorite Prize at the 2023 Chamber Music in Yellow Springs Competition and the Silver Medal at the 2022 Fischoff Chamber Music Competition. Anthony actively performs and participates in summer festivals, including the Taos School of Music Chamber Music Festival, the Bowdoin International Music Festival, the Mimir Chamber Music Festival, the Semaine Internationale de Piano in Switzerland, the Virtuoso & Belcanto Festival in Italy, the International Holland Music Sessions, and the International Summer Academy in Vienna, where he was featured on the highlight performances CD from the festival’s recent years.

Anthony also enjoys exploring new music and working with composers, having commissioned several piano solo and chamber music works, and has performed as part of new music programs such as the Gamper Contemporary Music Festival at the Bowdoin International Music Festival, the New Music New Haven series at the Yale School of Music, and the “Just Composed” program at the International Summer Academy in Vienna. ●

Michael Krajewski guest conductor

Known for his entertaining programs and engaging personality, Michael Krajewski is a much sought-after pops conductor in the U.S., Canada, and abroad.

His twenty-year relationship with the Houston Symphony included seventeen years as Principal Pops Conductor. He also served as Principal Pops Conductor of the Long Beach Symphony for eleven years, Principal Pops Conductor of Atlanta Symphony for eight years, Music Director of the Philly Pops for six years, and Principal Pops Conductor of the Jacksonville Symphony for twenty-five years.

Krajewski’s busy schedule as a guest conductor includes concerts with major and regional orchestras across the United States. In Canada, he has appeared with the orchestras of Toronto, Ottawa, Vancouver, Calgary, Edmonton, Winnipeg, Regina, and KitchenerWaterloo. Overseas, he has performed in Ireland, Spain, the Czech Republic, Iceland, Malaysia, and China.

Krajewski has conducted concerts featuring notable musicians and entertainers from many diverse styles of music. He has worked with such classical luminaries as vocalist Marilyn Horne, flutist James Galway, pianist Alicia de Larrocha, and guitarists Pepe and Angel Romero.

In the field of popular music, he has performed with Roberta Flack, Judy Collins, Art Garfunkel, Kenny Loggins, Ben Folds, Rufus Wainright, Jason Alexander, Patti Austin, Sandi Patty,

Megan Hilty, Matthew Morrison, Doc Severinsen, the Preservation Hall Jazz Band, The Chieftains, Chicago, Pink Martini, and Big Bad Voodoo Daddy.  Born in Detroit, Krajewski studied music education at Wayne State University and conducting at the Cincinnati College-Conservatory of Music. He was an Antal Dorati Fellowship Conductor with the Detroit Symphony Orchestra and subsequently served as the DSO’s assistant conductor for four years. Krajewski now lives in Florida with his wife, Darcy. In his spare time, he enjoys travel, photography, and solving crossword puzzles. ●

Mick Wilson lead vocals

As a vocalist and percussionist, Mick has performed with artists such as Lionel Ritchie, Kylie Minogue, Gary Barlow, Cher, Ellie Goulding, Paloma Faith, Chris Rea, Smokey Robinson, Jessie J, Robin Gibb, Lulu, and the KLF. Mick was also honored to be a part of the band for Jeff Lynne’s ELO concert in London’s Hyde Park.

Joining Graham Gouldman for an acoustic set in London some time ago, Mick soon became a regular in that incarnation of 10cc, taking on lead vocal duties and playing percussion, guitar, and keyboards. Graham and the band have performed extensively in Europe and toured Australia, Japan, New Zealand, and the U.S.

He is also a regular member of The SAS Band, which play all over the world, with guest performers such as Brian May,

Roger Daltrey, Roger Taylor, Kiki Dee, and Tony Hadley.

Mick has his own recording and production facility where he has produced and composed music for various TV and live events for companies such as Sky, BBC, ITV, McDonalds, BT, X-Factor, Levi’s, Toyota, Mercedes, and Ford, most recently providing the music for this year’s Volvo Ocean Race.

His debut solo album, So the Story Goes, was co-produced and co-written with Graham Gouldman. His latest release in 2022, Chameleon, is a collection of twelve of Mick’s favorite cover songs that he has performed over the years at his solo acoustic shows. To quote Mick: “Some of them are just a joy to sing and others I wish I had written, but either way, they all have a special connection for me. I hope that everyone enjoys them.”

Mick continues to be much in-demand as a session vocalist in and around London and can be heard on various TV and film productions, including the recent Cilla miniseries and Sunshine On Leith motion picture.

Most recently, Mick was the “singing voice” in the Academy Award-winning movie Bohemian Rhapsody for the actor who portrayed Queen’s drummer.

We are absolutely delighted he is singing and playing with us in GO NOW!— The Music of The Moody Blues. ●

Gordy Marshall drums

Gordy toured the world with The Moody Blues for 25 years. For six of those years, he also toured with Justin Hayward on the arena tours of Jeff Wayne’s The War of the Worlds

As a session musician, the list of artists on his CV include Sir Cliff Richard, Rod Stewart, Mariah Carey, Emma Bunton (Spice Girls), Joss Stone, Gary Barlow, Ricky Wilson (Kaiser Chiefs), Mike Batt, Katie Melua, Chris Spedding, Herbie Flowers, Level 42’s Mike Lindup, Chris Thompson, Russell Watson, Jason Donovan, and Asia’s John Payne.

In 2012, Splendid Books published Gordy’s first travel book, Postcards from a Rock & Roll Tour. It’s available on the GO NOW! website, Amazon, iTunes, Kindle, and as an audio book. Sections of the audio book have been serialized on BBC Radio.

In addition to his pop and rock work, Gordy has been involved in many West End musicals, including Fame, Grease, We Will Rock You, Mamma Mia!, Rent, Whistle Down The Wind, Thriller Live!, Wicked, and Hamilton ●

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Anna Tifu violin

Winner of the 2007 George Enescu

Competition in Bucharest, Anna Tifu is considered one of the leading violinists of her generation.

Born in Cagliari, she began playing the violin at the age of 6, under the guidance of her father, and began performing in public when she was only 8 years old, winning First Prize with special honors at the Vittorio Veneto concert series. At the age of 11, Anna made her debut as soloist with the Orchestre National des Pays de la Loire and at 12 years old, she performed the Bruch Violin Concerto at La Scala in Milan. At 14, she won First Prize at the Viotti Valsesia International Competition as well as in Stresa, where she won the Marcello Abbado International Competition. Anna received her Music Diploma in Cagliari at the age of 15 with special honors. Anna studied with Salvatore Accardo at the Academy Walter Stauffer in Cremona and at the Academy Chigiana of Siena where, in 2004, she obtained the Certificate of Honor. She was supported by the Mozart Gesellschaft Dortmund and at the age of 17, Anna was accepted to the Curtis Institute of Music in Philadelphia where she studied with Aaron Rosand, Shmuel Ashkenzay, and Pamela Frank. Later, she was awarded a scholarship from the International Music Academy in Cagliari to study in Paris where she received the Diplome Superieur de Concertiste at the Ecole Normale.

Anna has appeared with many of the world’s finest orchestras and chamber ensembles, including Orchestra Nazionale di Santa Cecilia, Orchestra Nazionale della RAI di Torino, Orchestra della Fondazione Arena di Verona, Orchestra del Teatro Carlo Felice di Genoa, Orchestra Filarmonica Arturo Toscanini, Orchestra Haydn di Bolzano e Trento, Orchestra del Teatro La Fenice di Venezia, Simòn Bòlivar Orchestra of Venezuela, Stuttgarter Philarmoniker, Dortmunder Philharmoniker, George Enescu Philarmonic Orchestra and Radio Orchestra of Bucharest, Lithuanian Chamber Orchestra, Munich Chamber Orchestra, KZN Philarmonic of Durban, Israel Philharmonic, Prague Chamber Orchestra, and Orchestra Filarmonica del Qatar.

She has worked with conductors such as Yuri Temirkanov, Gustavo Dudamel, Diego Matheuz, David Afkham, Juraj Valcuha, Mikko Franck, Daniele Gatti, Christoph Poppen, Justus Frantz, Cristian Mandeal, Horia Andreescu, Sergiu Commissiona, Lü Jia, Julian Kovatchev, Hubert Soudant, Gèrard Korsten, and Gabor Ötvös.

Highlights of her recent and upcoming engagements include performances at the George Enescu International Festival of Bucharest with Orchestra RAI of Torino and Juraj Valcuha; a tour in Russia with Orchestra RAI; a concert with Gustavo Dudamel and the Simòn Bòlivar Orchestra; season-opening concerts with the Orchestra del Teatro Carlo Felice di Genoa, where she played on the famous violin Guarneri del Gesù “IL CANNONE” of Niccolò Paganini, in Venice for the Teatro La Fenice with Diego Matheuz, in Milano for Società dei Concerti, where she is regularly invited, in Verona for Amici della Musica, and in Paris with Orchestre Philarmonique de Radio France, under the baton of Mikko Franck; a performance at the Stradivari Festival in Cremona, where she performed with the Etoile Carla Fracci; concerts in Rome with Yuri Temirkanov and Orchestra Accademia Santa Cecilia.

Most recently, she made her debut for Warner Classics where she recorded with Italian pianist Giuseppe Andaloro.

She has collaborated with musicians such as Maxim Vengerov, Yuri Bashmet, Ezio Bosso, Enrico Dindo, Julien Quentin, Giuseppe Andaloro, Mario Brunello, Michael Nyman, the Etoile Carla Fracci, the actor John Malkovich, and Andrea Bocelli, who invited Anna as a special guest for concerts in Italy, Egypt, and the United States.

She has performed in famous festivals such as the Tuscan Sun Festival, Festival de Musique Menton, Ravello Festival, Al Bustan in Beirut, and the George Enescu Festival, where she is regularly invited, as well as in some of the best-known institutions and concert halls including, La Scala di Milano, Auditorium Parco della Musica di Roma, Sala Verdi di Milano, Great Hall of Saint Petersburg, Tchaikovsky Concert Hall of Moscow, Konzerthaus of Dortmund, Konzerthaus of Berlino, Beethoven-Saal of Stuttgart, Teatro La Fenice di Venezia, Rudolphinum Dvořák Hall of Prague, Ateneo and sala Palatului of Bucharest, Madison Square Garden of New York, Staples Center of Los Angeles, and Simòn Bòlivar Hall of Caracas.

Anna Tifu has been a spokesperson for the Italian airline Alitalia, along with Riccardo Muti, director Giuseppe Tornatore, and dancer Eleonora Abbagnato. In celebration of the 2020 summer solstice, the Orchestra Accademia Nazionale di Santa Cecilia and Anna Tifu— who wore three Fendi Couture dresses for the occasion—performed “Summer” from The Four Seasons by Antonio Vivaldi for the Anima Mundi project for Maison Fendi online streaming. In 2020, she was awarded a Paul Harris Fellow from the Rotary Club Milano Sempione.

Anna plays the 1783 “Kleynenberg” Giovanni Battista Guadagnini on loan from the Canale Foundation of Milan. ●

NOTES

BY CHARLES GREENWELL

Franz Schubert

Symphony No. 8 in b minor, “Unfinished,” D. 759 (1822)

Franz Schubert was born on January 31, 1797, in Vienna, Austria, and died on November 19, 1828, in Vienna. Symphony No. 8 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 26 minutes.

This famous symphony was started by Schubert in 1822 but left with only two movements, even though he lived for another six years. To this day, musicologists and historians have no real answer as to why he failed to complete the symphony. As a result, this twomovement torso has achieved almost mythical status, and is normally viewed as a one-off occurrence. In fact, Schubert was a chronic un-finisher of compositions, and these include symphonies, piano sonatas, string quartets, and even some songs. He was also notoriously absentminded, and it is well-established that he actually lost quite a number of movements and shorter pieces. As to this work and its incompletion, there have been a number of theories advanced, among them: He was distracted by the inspiration of his Wanderer Fantasy for solo piano, which occupied his time right after writing the two movements; the first two movements are both in triple meter (3/4 for the first and 3/8 for the second), and having the third movement also in triple meter, the usual rhythm for a scherzo, may have made him lose interest in the project; that year of 1822 was when he was diagnosed with the illness that would eventually take his life, and perhaps there were bad associations as a result; and the late Nikolaus Harnoncourt has stated, “I am convinced that Schubert found it impossible to continue after the second movement. There came a time when he thought this cannot be continued: The form is perfect, and there is simply nothing else to say.”

“The form is perfect, and there is simply nothing else to say.”

—Nikolaus Harnoncourt

This probably makes the most sense: We know that he intended to finish the symphony, as there exists a virtually complete third movement in a piano sketch with about 20 bars of orchestration. However, the musical quality of the third movement is so far inferior to the two completed ones, that it is possible he just gave up, realizing that he had run out of inspiration. Some have argued that the b minor entr’acte in the Rosamunde music is the completed but discarded finale, but musically this holds little water. Another interesting idea, proposed in 1938 by the German musicologist Arnold Schering, is that the two completed movements form a musical setting of Schubert’s own 1822 fantasy-romance story entitled Mein Traum (My Dream), and that there was nothing more to say. Whatever the reasons might be, these two completed movements complement each other perfectly, and together form one of the supreme masterpieces in music history. A new world of sound is created here with harmony finely graded to the color of each instrument, melody shaded to an extraordinary degree, and the whole written in a style of vast range and tremendous power. There is as well a depth of feeling that had earlier appeared mainly in his songs. (For the record, in 1928, the Columbia Gramophone Company of England actually considered hosting a competition for the best completion of the symphony! Fortunately, this never happened.)

When the 25-year-old Schubert began writing this symphony, he was charting new musical terrain. His first six symphonies, wonderfully joyous works influenced by Haydn and Mozart, were in the past, and he simply was unable to return to that style. So instead of trying to compete with Beethoven on his own ground, Schubert found a new way of shaping time and tonality that no other

symphonic composer up to then had managed. In the history of the symphony, this music was unprecedented. There is also a fearlessness and directness about the symphony that might have come from his experience of a world of darkness and pain following the diagnosis in 1822 of the disease that would kill him six years later. One can say that the gulf between the Sixth Symphony and the “Unfinished” was to some extent bridged by the symphony sketches from 1818 and 1821 that he never completed. The story behind this symphony’s creation is just as fascinating. In 1823, the Graz Music Society gave Schubert an honorary diploma, and he felt obligated to dedicate a symphony to them in return. He then sent to his friend Anselm Huttenbrenner, a leading member of the Society, the two completed movements plus the first two pages of the beginning of the scherzo. The existence of this score was public knowledge from at least 1836, but the manuscript remained in the Huttenbrenner family until 1865—why is uncertain— when the conductor Johann von Herbeck retrieved it and subsequently gave the work its first performance in December of that year. On that occasion, the bubbly finale of Schubert’s Third Symphony was added as a totally incongruous finale. Nevertheless, the performance was received with great enthusiasm by the audience. In the final analysis, this extraordinary two-movement torso is one of the wonders of the music world, and we simply need to be grateful that it exists. As in much of Schubert’s instrumental music, this symphony’s melodic invention demonstrates his remarkable skills as a songwriter. Departing from models of Haydn and Beethoven, who often would thoroughly explore a few themes and then navigate long and ingenious paths between sections, Schubert keeps the focus concentrated on an exquisite

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succession of melodies. Moreover, the subdued ending after the two movements is certainly not the way one would normally end a symphony in that era, but right from the start this unique creation demonstrates a reluctance to conform to the Beethoven model of a symphony, and here, tacking on additional movements would have served no purpose. From an early age, its composer pursued his ambitious goals in the face of discouragements that would have deterred lesser men, and a close study of his life reveals a tenacity of purpose that is quite amazing. In the words of one of his close friends, “Schubert was a little man physically, but musically he was a giant.” ●

NOTES BY DAVID B. LEVY

Franz Schubert

Symphony No. 9 in C Major, “The Great,” D. 944 (1825–1826)

Schubert composed a wide variety of music, but his most enduring contributions were to the repertory of song for voice and piano. As best as can be determined, Schubert composed more than 600 accompanied songs in his brief life, as well as a large number of solo piano compositions, operas, sacred vocal works, and chamber music. His gift as a lyrical composer may also be heard in his purely instrumental music, including his chamber music and symphonies. The Symphony No. 9 remained unperformed during Schubert’s lifetime. The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 55 minutes.

Establishing an accurate chronology for Schubert’s symphonies has been difficult. The tedious and gruesome details for this need not be reviewed here, but for our purposes, it is safe to assert that the work before us is, indeed, Schubert’s Ninth Symphony. One also can report with certainty that Schubert worked on it from 1825–1826, with some possible revisions dating as late as 1827, and that this work is the very same one referred

Schubert’s Eighth and Ninth Symphonies are truly revolutionary works whose influence on the next generation of composers might nearly have been as wideranging as Beethoven’s.

to in some historical sources as the “Gastein” Symphony. It is intriguing that the library of Vienna’s Gesellschaft der Musikfreunde contains a complete set of parts dating from that year, an indicator that a performance of the work was contemplated at that time. Performance conditions for orchestral music in Vienna at the time were woefully inadequate, as both Beethoven and Schubert were painfully aware. The first performance of the Ninth Symphony had to wait until Felix Mendelssohn conducted it at Leipzig’s Gewandhaus Concert on March 21, 1839. The first Viennese performance of Schubert’s Ninth took place later that year. (Schubert’s more popular “Unfinished” Symphony No. 8 did not come to performance until 1865!)

It is fascinating to contemplate where Schubert stood as a composer of symphonies in relation to the career of his contemporary Ludwig van Beethoven. From our modern standpoint, we can now recognize that Schubert’s Eighth and Ninth Symphonies are truly revolutionary works whose influence on the next generation of composers might nearly have been as wide-ranging as Beethoven’s towering masterpieces. In what ways was Schubert breaking new ground? How did he differ from his more famous contemporary? Without getting too technical, the answer lies in three principal areas: melody, harmony, and tone color. Schubert, the unchallenged master of the art song, or lied, brought a new kind of lyricism to instrumental music in which Beethoven seldom indulged. While Schubert’s fondness for using

close-formed melodies sometimes stood in opposition to the exigencies of classical structure, who even now would be willing to sacrifice their beauties at the altar of the necessities of sonataform development sections? Who, moreover, would want to live without the melodiousness of the Andante con moto (so reminiscent of the opening song of Schubert’s song cycle Winterreise) or the intoxicating waltz theme that forms the trio section of the Ninth Symphony’s scherzo? Schubert’s melodic gifts meant that his instrumental movements would run at greater length than those by his peers. Robert Schumann, whose honor it was to discover the Ninth Symphony from among the composer’s affects left in the possession of Schubert’s brother, Ferdinand, acknowledged this fact and wrote of the Ninth Symphony’s “heavenly lengths.” In the realm of harmony, Schubert proved to be far more adventurous than Beethoven. Schubert loved, for example, to explore harmonic and tonal by-paths, on both the short-term and long-term levels. Passages in the exposition and recapitulation sections of the outer movements of Schubert’s Ninth Symphony demonstrate this splendidly. No less impressive is Schubert’s innovative use of orchestral color. Note, for example, the beautiful scoring of the opening theme for two unaccompanied horns and the pianissimo entrances of the trombones—instruments hitherto used to add volume and power to the orchestra. One must not be left with the impression, however, that Schubert could not rise to the occasion when he needed

to create Beethovenian drama in his Ninth Symphony. The passages in the first movement referred to earlier, with their strange harmonic excursions and soft trombone entrances, move inexorably toward triumphant climaxes that are no less exhilarating than those encountered in Beethoven’s Seventh Symphony. So, it is, too, with the shattering climax of the second movement. And speaking of Beethoven: Am I the only one who hears an echo of the “Ode to Joy” in the clarinets in the finale of Schubert’s own Ninth Symphony? ●

Ludwig van Beethoven Overture to The Creatures of Prometheus, Op. 43 (1801)

Ludwig van Beethoven, one of history’s pivotal composers, was born on December 15 or 16, 1770, in Bonn, Germany, and died in Vienna on March 26, 1827. His Overture to the ballet

The Creatures of Prometheus (Die Geschöpfe von Prometheus) was one of the composer’s early successes in the sphere of public performances after his move to Vienna from his native Bonn. Based upon a libretto by Salvatore Viganò, who was also a dancer, its premiere took place in the Burgtheater on March 28, 1801, and went on to enjoy more than twenty performances. The work is dedicated to Maria Christiane Fürstin von

Lichnowsky. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings. Approximately 5 minutes.

Beethoven wrote only one complete ballet score, the product of his early years in Vienna. The commission offered him the opportunity to try out orchestral effects that proved useful as he continued turning his attention to the composition of symphonies. The first chords we hear in the introduction to his Symphony No. 1, Op. 21, which had its premiere in 1800, are reused in the Adagio opening of the Overture to The Creatures of Prometheus. The music for the ballet itself includes a thunderstorm in its opening scene, and we can hear in this the origins of Beethoven’s even more effective storm in his “Pastoral” Symphony. The original scenario for Viganò’s ballet is lost, but a note in the program describes the title character as “an exalted spirit, who found the humans of his time in a condition of ignorance, refined them through science and art, and brought to them civilized manners, customs, and morals … Two statues have been brought to life and introduced into this ballet, and these, through the power of harmony, are made sensible to the passions of human life. Prometheus leads them to Parnassus so that Apollo, God of the arts, might enlighten them. Apollo gives them Amphion, Arion, and Orpheus to instruct them in music; Melpomene to teach them tragedy; Thalia, comedy; Terpsichore and Pan, the dance of shepherds; and Bacchus, the heroic dance.” The work, in short, reflects ideals

“Two statues have been brought to life and introduced into this ballet, and these, through the power of harmony, are made sensible to the passions of human life.”

—Salvatore Viganò

consistent with those associated with the Enlightenment (Aufklärung), a movement with which Beethoven had great empathy. More specifically, the idea of the arts as a humanizing agent was one articulated most powerfully by Friedrich Schiller in his Letters on the Aesthetic Education of Man, published in 1794. As we know, Schiller again loomed large in Beethoven’s thinking in his setting of this poet’s “An die Freude” (“Ode to Joy”) in the finale of his Ninth Symphony. Indeed, Beethoven (along with many other composers) was drawn to Schiller’s poem soon after its publication in 1786, and Beethoven’s earliest ideas for his setting stem from the 1790s, even though they did not achieve fruition until 1824.

After the introduction of the Overture, with its surprising opening chord and noble oboe theme, the tempo shifts to an Allegro molto e con brio, which rushes along with tremendous energy, following the traditional structure of sonata form but filled with early signs of the audacity that form the hallmark of the Beethoven “Eroica” Symphony, such as bold syncopations (off-beat accents). ●

Beethoven

Piano Concerto No. 3 in c minor, Op. 37 (1800)

Beethoven’s Third Piano Concerto is dated 1803, although the earliest concept sketch dates back as far as 1796. The score was published in 1804, with a dedication to the Prussian Prince Louis Ferdinand. It received its first performance at Beethoven’s Akademiekonzert on April 5, 1803, in Vienna’s Theater an der Wien, sharing the program with Beethoven’s first two symphonies and his oratorio Christus am Oelberge. The composer wrote his own cadenza for the first movement of the work in 1809. The Concerto is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 34 minutes.

The start to Beethoven’s career in Vienna was a good one. His reputation as continued on 16

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a brilliant pianist was quickly established and commissions poured in steadily. His first two concertos for piano demonstrated clearly that he had learned well from the models offered by Mozart’s masterpieces of the 1780s. He also composed several sonatas and sets of variations during these early stages of his Viennese career.

The Piano Concerto No. 3 in c minor, Op. 37, is a work whose boldness was inspired in no small part to the availability of an instrument built by the French manufacturer Erard that boasted a wider range than the five-octave fortepiano heretofore at his disposal. Beethoven, upon hearing a performance of Mozart’s c minor Piano Concerto (K. 491) remarked to the English composer and pianist J.B. Cramer, “Ah, dear Cramer, we shall never be able to do anything like that.” Another influence may have been a sonata by Johann F.X. Sterkel, whose theme bears an uncanny similarity to the second theme in the first movement of Op. 37. Beethoven’s concerto in turn inspired subsequent piano concertos by Louis Spohr, Johann Nepomuk Hummel, Frédéric Chopin, and the young Johannes Brahms.

The serious demeanor of Op. 37, Beethoven’s only concerto in a minor key, is its most distinguishing trait, making it kin to his other stormy c-minor compositions such as the Piano Sonatas Op. 10, No. 1, and Op. 13 (“Pathétique”); the String Quartet, Op. 18, No. 4; and the Symphony No. 5, to name but a few. The imposing first movement, marked Allegro con brio, signals a newer “symphonic” mode of expression not found in his first two concertos. Even when faced with a viable model, as was the case with this work, Beethoven had

the rare gift of absorbing it and then turning it to his unique creative purpose. Among this movement’s several magical moments, the listener is advised to pay close attention to the return of the orchestra following the cadenza. Normally at this point in the structure of a concerto, the soloist stops playing. Mozart’s K. 491 is an exception to this rule. Beethoven, however, heightens the dramatic effect even more than his idol could ever imagine.

The opening of the second movement, Largo, still has the ability to take the listener by surprise, despite the tranquility of its principal theme. The reason is Beethoven’s choice of a remote tonality—E Major (four sharps)—inserted between two movements in c minor (three flats). But, as usual, Beethoven is thinking along the lines of long-term strategic planning. The final chord of the Largo is marked forte (meaning “loud” or “strong”), which is no small surprise in its own right given how the music had been winding down in dynamics. The highest pitch in the final chord is a G-sharp, which Beethoven ingeniously reinterprets enharmonically as A-flat, forming the apex of the Rondo’s Allegro opening theme. Even for those of us who know the piece well, the effect of this juxtaposition of G-sharp and A-flat strikes the ear as freshly today as it surely must have done for those in attendance at its premiere in 1804. ●

Beethoven Symphony No. 2 in D Major, Op. 36 (1802)

The Symphony No. 2 is a relatively early work that consolidates Beethoven’s

“… it seemed to me impossible to leave this world until I have produced everything I feel it has been granted to me to achieve.”

—Ludwig van Beethoven

growing mastery of the genre. It received its first performance on April 5, 1803, at Vienna’s Theater an der Wien. This historic venue still exists and is the home for concerts and operas. Beethoven’s Symphony No. 2 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 32 minutes.

Three years separate Beethoven’s First and Second Symphonies. The intervening period witnessed an impressive outpouring of new compositions, including important works such as the Third Piano Concerto, Op. 37, the ballet The Creatures of Prometheus, Op. 43, seven Piano Sonatas, Opp. 26, 27/1 & 2, 28, and 31/1–3, the String Quintet, Op. 29, the Sonatas for Violin and Piano, Opp. 23, 24 (“Spring”), and 30/1–3, the Bagatelles for Piano, Op. 33, and numerous smaller works for an astonishing variety of media. Clearly, the young Beethoven’s career was now in full sail. The composer spent the summer of 1802 in the village of Heiligenstadt, which at that time was far removed from the cramped squalor and noise of the city of Vienna. It was here that Beethoven worked on the Sonatas for Violin and Piano, Op. 30, a set of Bagatelles for piano, the first two (probably) of the Piano Sonatas, Op. 31, as well as putting the finishing touches on the Second Symphony, which he dedicated to one of his patrons, Prince Karl Lichnowsky.

The issue of Vienna’s noisiness is not irrelevant, as these months also marked the period when Beethoven came to the realization that his hearing, in a state of deterioration since 1796 (so scholars surmise, as the precise setting of the date when his hearing began to fail is impossible to determine), was incurable. Beethoven confided in only a few of his friends, notably his physician friend Dr. Franz Wegeler and Karl Amenda. The previous year’s agony was exacerbated by the rejection of Beethoven’s proposal of marriage to the 17-year-old Countess Giulietta Guicciardi. The full force of Beethoven’s crisis is revealed in the famous “Heiligenstadt Testament,” penned in October 1802, in which Beethoven writes

to his brothers, [Caspar] Carl and Johann (whose name, perplexingly, is missing from the document). The “Heiligenstadt Testament” has been parsed in various ways, and it is clear that Beethoven’s despondency over his deafness was so deep that he had contemplated taking his own life. I quote the relevant excerpts:

Although born with a fiery and lively temperament, and even fond of the distractions of society, I soon had to cut myself off and live in solitude. When, occasionally, I decided to ignore my infirmity, ah, how cruelly I was then driven back by the doubly sad experience of my poor hearing, yet I could not find it in myself to say to people: “Speak louder, shout, for I am deaf.” Ah, how could I possibly have referred to the weakening of a sense which ought to be more perfectly developed in me than in other people … What humiliation [I felt] when someone, standing beside me, heard a flute from afar off while I heard nothing, or when someone heard a shepherd singing, and again I heard nothing! Such experiences have brought me close to despair, and I came near to ending my own life—only my art held me back, as it seemed to me impossible to leave this world until I have produced everything I feel it has been granted to me to achieve.

—From Ludwig van Beethoven, ed. Joseph Schmidt-Görg & Hans Schmidt (1970)

Nothing in the Second Symphony reveals any of this despair, however. One could, I suppose, read defiance in this work’s audacious virtuosity. Note, for example, the length and complexity of its opening Adagio molto introduction and the lightning speed and brilliance with which the first violins play in the ensuing Allegro con brio! The closest precedent, and possible model for this might have been Mozart’s “Prague” Symphony, although Haydn’s Symphonies Nos. 86 and 104 may also have proved influential (all of these predecessors are in D Major). Astute listeners also will not fail to take note of the introduction’s imposing descending d-minor arpeggio—a figure that will instantly be recognized by those

Glinka has been acknowledged as one of history’s first important Russian composers and is generally considered to be the founder of the Russian national style.

familiar with the principal theme of the first movement of the Ninth Symphony. The development section reaches its climax on c-sharp major harmony (functionally, the dominant of f-sharp minor). Note how cleverly Beethoven surrounds the C-sharp with pitches needed to lead smoothly back to the home key of D Major.

The droll Scherzo: Allegro (no feigned Menuetto this time!) is easily distinguishable by its alternating loud and soft dynamics. The finale, Allegro molto, is an interesting case of Beethoven’s humor, filled with many surprises and false endings. Its opening theme, one of Beethoven’s most sharply chiseled motives, may be seen as kin to the “short-long” figuration (ta-dah!) that opens, and may be found throughout, the first movement. The overall scope of the work led one Leipzig critic writing for the Zeitung für die Elegante Welt to observe that “[the Second Symphony] is a gross enormity, an immense wounded snake, unwilling to die, but writhing in its last agonies, and (in the Finale) bleeding to death.” ●

Mikhail Glinka

Overture to Ruslan and Lyudmila (1837–1842)

Russian composer Mikhail Glinka was born on June 1, 1804, in Novopasskoye (District of Smolensk) and died on February 15, 1857, in Berlin. His opera Ruslan and Lyudmila received its first performance on December 9, 1842, at Saint Petersburg’s Bolshoi Theater. The opera is set in Kiev

(Kyyv, now the capital of Ukraine). While the opera is rarely performed in modern times, its overture remains a popular favorite. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 5 minutes

Glinka’s second opera, Ruslan and Lyudmila, was composed in 1842. His first effort, A Life for the Tsar (1836), was based on a historical subject, but for Ruslan and Lyudmila he turned to a fairy tale-poem by Alexander Pushkin, a work recognized as a masterpiece of Russian literature. Unfortunately, the celebrated poet and playwright died before he could help Glinka develop the story into a satisfying opera libretto. The title characters are an ardent suitor and the daughter of the Grand Duke of Kiev. In the story, Ruslan is forced to vie not only with two other suitors, but evil wizards and fairies, too. In the end, however, he is victorious. Glinka’s librettists, not knowing how to weave the several episodes of Pushkin’s tale into a coherent dramatic unit, ended up creating an unwieldy text, which kept the opera from enjoying the success it might otherwise have had.

Stylistically, Glinka’s operas succeeded in synthesizing Italian bel canto qualities, the German Romantic style (exemplified by Carl Maria von Weber), and Russian folk material. He has been acknowledged as one of history’s first important Russian composers and is generally considered to be the founder of the Russian national style.

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The musical style of the Overture to Ruslan and Lyudmila, however, can hardly be deemed representative of indigenous Russian music, although this is the music by which Glinka is best known in the West. One may hope that the overture’s popularity might spark sufficient curiosity in Glinka’s music so that his “Russian” side will become better known. Whether this happens anytime soon or not, the Overture to Ruslan and Lyudmila, with its sparkling Italianate energy and attractive melodies—the lyrical second theme is derived from Ruslan’s aria, “O Ludmilla, See, the Gods Smile Upon Us”—will continue to enjoy a secure place in the repertory of symphony orchestras. ●

Aram Khachaturian

Violin Concerto in d minor (1940)

Spartacus Suite No. 2 (1950–1954)

Armenian-Soviet composer, conductor, and educator Aram Il’yich Khachaturian was born on June 6, 1903, in Tbilisi and died on May 1, 1978, in Moscow. He is best known internationally for his Piano Concerto (1936), the Violin Concerto (1940), and two of his ballet scores— Gayne (1942) and Spartacus (1950–4), excerpts of which have been used in numerous ways, including film scores

such as in Stanley Kubrick’s 2001: A Space Odyssey. Along with Prokofiev and Shostakovich, Khachaturian was a leading figure during the Soviet Era. Although his music received a rebuke from the Stalinist regime, he suffered fewer consequences than his fellow composers. Unlike many of the works of his colleagues, Khachaturian’s most popular works made no pretense of hiding their folkloric origins in Georgian and Armenian soil, couched in colorful, and even exotic, orchestrations. The Violin Concerto is scored for solo violin, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, suspended cymbals, tambourine), harp, and strings. Approximately 35 minutes. The Spartacus Suite No. 2 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Approximately 21 minutes.

Dedicated to David Oistrakh, and first performed by him on November 16, 1940, Khachaturian’s Violin Concerto has become one of the most popular works of its kind composed in the twentieth century. This piece arises, as the case with so much of Khachaturian’s music, out of the folkloric soil of his native Armenia. But more than this, the Violin Concerto is unabashedly obedient to the tradition of its Romantic forerunners.

Khachaturian’s Violin Concerto has become one of the most popular works of its kind composed. This piece arises, as the case with so much of Khachaturian’s music, out of the folkloric soil of his native Armenia.

One need not listen very long before perceiving the influence of Mendelssohn, and, even more clearly, that of Tchaikovsky. Khachaturian’s eclecticism seems as much a virtue as a vice in his Violin Concerto. Who, after all, can argue with a successful mixture of virtuosity, dance-like qualities, and tunefulness such as one finds in the three movements of this work? Added to these features are its surety of form and colorful orchestration, and its popularity with violinists and audiences vouches for its success.

The first movement, Allegro con fermezza, skillfully balances two main themes. The first of these, introduced by the soloist after a bumptious orchestral introduction, combines a vigorous repeated rhythmic figure with a dance melody. The second theme is a reverie clearly inspired by the model of the nineteenth-century Russian master Aleksandr Borodin. One clear sign of Khachaturian’s debt to Mendelssohn’s Violin Concerto lies in the placement of the cadenza between the end of the development section and the recapitulation.

The second movement, marked Andante sostenuto, begins with a spectral introduction in the lower strings and bassoon. The main theme is a slow and mournful waltz that builds to climaxes of great intensity. The jovial finale, Allegro vivace, is a rondo whose principal theme in D Major evokes memories of the violin concertos of Tchaikovsky and Sibelius. The Borodinlike theme of the first movement makes a reprise in the finale, and the work ends with a contrapuntal joining of this melody and the main rondo idea.

The ballet Spartacus is based loosely on the deeds of the leader of the slave uprising against the Romans during the Third Servile (Gladiator) War (ca. 73 BCE) described by Plutarch. The score won Khachaturian the Lenin Prize for composition in 1954, and the ballet was first staged in Leningrad on December 27, 1956, with choreography by Leonid Yakobson. The ballet’s principal characters are the Roman consul Crassus, his concubine, Aegina,

Spartacus, and his wife Phrygia. In 1955, Khachaturian arranged his music into four suites, the second of which will be performed this evening. ●

NOTES BY CHARLES GREENWELL

Ottorino Respighi

Pines of Rome, P. 141 (1924)

Ottorino Respighi was born on July 9, 1879, in Bologna, Italy, and died on April 18, 1936, in Rome, Italy. Pines of Rome is scored for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 4 trombones, timpani, percussion, harp, celesta, piano, organ, nightingale recording, and strings.

Approximately 23 minutes.

In 1830, the Russian composer Mikhail Glinka (1804–1857, often referred to as the Father of Russian music) went to Milan, Italy, to absorb the musical culture of the day, and brought back to Russia elements of the bel canto (beautiful singing) style of vocal composition, a new kind of lyricism that would influence the writing of opera in Russia for most of the next 100 years. In 1900, Respighi did the reverse, traveling to Russia where he was to spend the next two years playing viola in the Imperial Theatre Orchestra and studying composition and orchestration with the great and influential Nikolai Rimsky-Korsakov. From this tenure, Respighi was able to put into his compositions a good deal of Rimsky’s kaleidoscopic sense of color and sonority and his amazing capacity for descriptive instrumentation. Respighi thus became one of the most imaginative masters of orchestration in the first half of the 20th century, while at the same time adhering to his late-Romantic roots with very little influence from the revolutionary changes and experimentation that were going on in European music at that time. To many observers during this time, Italian music meant opera, with such greats as Rossini, Verdi, and Puccini leading the

“Pines of Rome […] uses nature as a point of departure, to recall memories and visions. The century-old trees that dominate so characteristically the Roman landscape become testimony for the principal events in Roman life.”

—Ottorino Respighi

way. Although Respighi did write operas, he became the first Italian composer of the period who achieved popularity, fame, and considerable financial rewards from writing purely orchestral works, the most famous of which, Fountains of Rome, Pines of Rome, and Roman Festivals, are emblematic of the colorful, powerful style that won him worldwide popularity. In this regard, one of the man’s hallmarks was an ability to go what many people consider “over the top” in his use of orchestral color and power— consider the endings of Pines of Rome and Roman Festivals as prime examples. One other thing that set Respighi apart from his fellow countrymen was a great love of early Italian music, and to this end he set about trying to revive Italy’s musical heritage by, among other things, transcribing and arranging music of the 17th and 18th centuries. This spilled over into his compositions, among them the delightful works for chamber orchestra such as The Birds and the three suites of Ancient Airs and Dances. In 1913, Respighi settled in Rome, was appointed Professor of Composition at the prestigious Accademia di Santa Cecilia, and began a lifelong love/hate affair with The Eternal City. When he died, he was given a state funeral attended by Italy’s foremost musicians, the King, and Premier Mussolini.

In 1920, Respighi began writing down some ancient children’s songs that his wife used to sing and hum around their house. Imagine her surprise when some of these songs turned up in the first movement of Pines of Rome, the second work in the Roman trilogy. It was written in 1923, and once again it was the Augusteo in Rome that housed its premiere the following year. Again, to quote Respighi, “While in Fountains of Rome, the composer sought to reproduce by means of tone an impression of nature, in Pines of Rome, he uses nature as a point of departure, to recall memories and visions. The century-old trees that dominate so characteristically the Roman landscape become testimony for the principal events in Roman life.” Pines was a huge success at its premiere, and performances all over the world followed rapidly. This is still the most popular and often-performed work of the trilogy, and contains in the third section something that was a remarkable innovation in its day: the use of a recording of the song of a nightingale as a part of the orchestral fabric. ●

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GARDENSWARTZ REALTY

Gardenswartz Realty

Jennings Haug Keleher McLeod jhkmlaw.com

Music Guild of New Mexico musicguildofnewmexico.org

Olga Kern International Piano Competition olgakerncompetition.org

Optum nm.optum.com

Menicucci Insurance Agency mianm.com

New Mexico Arts nmarts.org

RBC Wealth Management rbcwealthmanagement.com Robertson

Singleton Schreiber singletonschreiber.com

Donor Circles

Bob & Fran Fosnaugh

Helen Fuller

David Gay

Gerald & Lindy Gold

Chris & Karen Jones

Harry & Betsey Linneman

Myra & Richard Lynch

BENEFACTOR CIRCLE

Donation of $50,000 +

Albuquerque Community Foundation

Anonymous

Lee Blaugrund

Eugenia & Charles Eberle

New Mexico Philharmonic Foundation

Estate of Charles Stillwell

BEETHOVEN CIRCLE

Donation of $25,000–$49,999

Anonymous

Bernalillo County Commission

Computing Center Inc.,

Maureen & Stephen Baca

Jay & Janet Grear

The Meredith Foundation

MOZART CIRCLE

Donation of $10,000–$24,999

Meg Aldridge

Anonymous

City of Albuquerque

Bob & Greta Dean

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

Karl & Marion Mueller

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

Barbara Rivers

Sandia Foundation, Hugh & Helen Woodward Fund

Terrence Sloan, MD

Dr. Dean Yannias

BRAHMS CIRCLE

Donation of $5000–$9999

Carl & Linda Alongi

Anonymous

Mary “Betty” Baca

Paula & William Bradley

The Cates Team/RBC Wealth Management

City of Rio Rancho

Richard & Margaret Cronin

Fritz Eberle & Lynn Johnson

ECMC Foundation

Menicucci Insurance Agency

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

Estate of Evelyn Patricia

Barbier

Ron Bronitsky, MD

David & Shelly Campbell

Club Culturale Italiano

Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin

French Funerals & Cremations

Charles & Judith Gibbon

A. Elizabeth Gordon

Madeleine Grigg-Damberger & Stan Damberger

Hank & Bonnie 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

Albuquerque Community Foundation, The Ties Fund

Anonymous

Thomas Bird & Brooke Tully

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

The Hubbard Broadcasting Foundation

Rosalyn Hurley

JHKM Lawyers

Sue Johnson & Jim Zabilski

Estate of Joyce Kaser

Edward J Kowalczyk

Linda S. Marshall

Tyler M. Mason

Edel & Thomas Mayer

Foundation

Jon McCorkell & Dianne Cress

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

BACH CIRCLE

Donation of $1000–$1932

Anonymous

Richard & Linda Avery

Joel & Sandra Baca

Tonianne Baca-Green

William Bechtold

Richard & Maria Berry

Ruth Bitsui

Lawrence & Deborah Blank

Rod & Genelia Boenig

Dennis & Elizabeth Boesen

James Botros & Jeremy Wirths

Robert Bower & Kathryn Fry

Bueno Foods

Michael & Cheryl Bustamante

Butterfield’s Jewelers

Margaret Casbourne

Edwin Case

Brian & Aleli Colón

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

Deborah

Stephen & Aida Ramos Heath

Nataliya & Daniel Higbie

Donna Hill

Hal Hudson

Stephanie & David Kauffman

Thomas & Greta Keleher, in memory of James A. Parker

Dave Leith

Judith Levey

John & Brynn Marchiando

Jean Mason

Richard & Melissa Meth

Ina S. Miller

Miller Stratvert, P.A.

Robert Milne & Ann DeHart

Roberto Minczuk

Mark Moll

David & Alice Monet

NM Phil Audience $5 to Thrive

Charles Olguin

Jerald & Cindi Parker

Stuart & Janice Paster

Mary Raje

Dr. Barry & Roberta Ramo

Ruth Ronan

Dr. Harvey Ruskin

Howard & Marian Schreyer

Barbara Servis

Richard & Janet Shagam

Singleton Schrieber LLP/Brian Colón

William E. Snead

Jane & Doug Swift Fund for Art & Education

Michael Wallace

Bill Wingate & Emily Rogers

Linda Wolcott

Alice Wolfsberg

David & Evy Worledge

CONCERTMASTER

CIRCLE

Donation of $500–$999

Marsha Adams, in honor of Dorothy Morse

Albuquerque Community Foundation, Maisel/Goodman

Charitable Endowment Fund

Anonymous

Anonymous

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

Betsy Nichols

Opera Southwest

Richard & Susan Perry

John Provine

Estate of Shirley Puariea, in memory of Shirley Puariea

Quantum Healing Energy LLC

Lee Reynis & David Stryker

Aaron & Elizabeth Robertson

Robin Jackson Photography

John & Faye Rogers

Christine Sauer

Daniel & Barbara Shapiro

Susan D. Sherman

Ronald Shettlesworth

George & Vivian Skadron

Suzanne Slankard

Mark & Maria Stevens

Sarah Stevens-Miles

Robert Taylor

Ken & Annie Tekin

George Thomas

Tamara Tomasson

Total Wine & More

Margaret Vining

Peter & Judy Basen Weinreb

Jeffrey West

Tad & Kay West

Bill & Janislee Wiese

Charles & Marcia Wood

Judith Woods

Paula Wynnyckyj

Diana Zavitz

PRINCIPALS CIRCLE

Donation of $125–$499

Robert & Nancy Agnew

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

David Bernstein & Erika

Rimson

DONOR CIRCLES

continued from 21

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 C. Carr

Ann Carson

Camille Carstens

Casa Verde Spa

Robert E. & Shirley Case

Dan & Tina Chan

Richard Chapman & Jan Biella

Olinda Chavez

Victor Chavez

Wayne & Elaine Chew

Lance & Kathy Chilton

Thomas & Judith Christopher

Donna Collins

Marcia Congdon

Bob Crain

John & Sally Curro

Stephen & Stefani Czuchlewski

Kathleen Davies

Jerry & Susan Dickinson

Raymond & Anne Doberneck

Stephen R. Donaldson

Gale Doyel

Deann Eaton, in memory of Diann B. Bourget, a great pianist

Gary Echert & Nancy Stratton

Michael & Laurel Edenburn

The Eichel Family Charitable Fund

Richard & Mildred Elrick

Robert & Dolores Engstrom

David & Frankie Ewing

David & Regan Eyerman

Peggy Favour

Elen Feinberg

Helen Feinberg

Mary Filosi

Lori Finley

Heidi Fleischmann & James Scott

Mark Fleisher & Merle Pokempner

Diane Fleming

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

Bennett A. Hammer

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

William & Norma Lock

Joan M. Lucas & David Meyerhofer

Ruth Luckasson & Dr. Larry

Davis

Robert & Linda Malseed

The Man’s Hat Shop

Jeffrey Marr

Walton Marshall

Carolyn Martinez

Kathy & John Matter

Sallie McCarthy, in memory of Virginia Flanagan

Roger & Kathleen McClellan

C. Everett & Jackie McGehee

Jane McGuigan

Linda McNiel

Edward McPherson

Chena Mesling

Jerry & Azantha Middleton

Ross & Mary Miesem

Bruce & Jill Miller

Jim Mills & Peggy Sanchez

Mills

Louis & Deborah Moench

Dr. William Moffatt

Jim & Penny Morris

Cary & Eve Morrow

Ted & Mary Morse

Karen Mosier & Phillip

Freeman

Melissa Nunez

Rebecca Okun

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

Robert Reinke

Reverb & Young the Giant

Bradford Richards

Paul Rodriguez

Catalin Roman

Carole Ross

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

Lawrence Wells

Margaret Wente

Marybeth White

Bronwyn Willis

Willow, Women’s Clothing

Adam Wright

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

Jan Bandrofchak & Cleveland Sharp

Rom Barnes

Graham Bartlett

Edie Beck

Michael Bencoe

Helen Benoist

Kirk & Debra Benton

Dorothy & Melbourne Bernstein

Marianne Berwick

Nancy & Cliff Blaugrund

Thomas & Suzanne Blazier

Elaine Bleiweis & Karen Hudson

Bookworks

Henry Botts

Marilyn Bowman

Richard & Iris Brackett

Stephen & Heidi

Brittenham

Douglas Brosveen

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 Colón, 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

Jeff & Karen Duray

Reverend Suzanne & Bill

Ebel

John Eckert

Martha Egan

Lester & Eleanor Einhorn

Sabrina Ezzell

B.J. & R.L. Fairbanks

Jane Farris & Mike

Pierson, in honor of Sally & Tom Hinkebein

Jane Farris & Mike

Pierson, in honor of Brent & Maria Stevens

Howard Fegan

Jon & Laura Ferrier

Mary Filosi, in honor of Susan & Jerry Dickinson

Carol Follingstad, in honor of Sandy Seligman

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

Marilyn Gruen & Douglas

Majewski

Kevin & Teresa Grunewald

Stan & Janet Hafenfeld

Fletcher & Laura Hahn

Leila Hall

Michael Harrison

Havanna House Cigar Shop

John & Diane Hawley

Douglas & Willie HaynesMadison

Marvin & Anne Hill

Ursula Hill

Fred Hindel

Stephen Hoffman & James

McKinnell

Steven Homer

Julia Huff

Greggory Hull

Stephanie Hurlburt

Ralph & Gay Nell

Huybrechts

Jerry & Diane Janicke

Gwenellen Janov

Michael & Sandra Jerome

Lori Johnson

Lynn Kearny

Gerald Kiuttu & Candace

Brower

Barbara Kleinfeld, in memory of Judith Lackner

Gerald Knorovsky

Katherine Kraus

Hareendra & Sanjani

Kulasinghe

Marshall Lambert

Molly “Mary” Lannon

Rita Leard

Rebecca Lee & Daniel

Rader

LeRoy Lehr

Daniel Levy

Virginia Loman

Los Pinos Fly & Tackle Shop

Mary Loughran

Suzanne Lubar & Marcos

Gonzales, in memory of Larry Lubar

Robert Lynn & Janet

Braziel

Frank Maher

Shila Marek

Elizabeth Marra

April & Benny Martinez

Yilian Martinez

Tom & Constance

Matteson

Janet Matwiyoff

Peter & Lois McCatharn

Marcia McCleary

David & Jane McGuire

Moses Michelsohn

Kathleen Miller

Robert F. Miller

Ben Mitchell

Bryant & Carole Mitchell

Robert & Phyllis Moore

Roy & Elizabeth Morgan

Letitia Morris

Shirley Morrison

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

Eric Parker

Robert Parker

Howard Paul

Brian Pendley

Oswaldo Pereira & Victoria

Hatch

P.F. Chang’s

Barbara Pierce

Daniel Puccetti

Therese Quinn

Jerry & Christine Rancier

Range Cafe

John Rask

Kay Richards

Donna Rigano

Margaret Roberts

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

Robert & Joy Semrad

Arthur & Colleen

Sheinberg

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 & Alexandra Steen

Theodore & Imogen Stein

Dorothy Stermer & Stacy Sacco

Brent & Maria Stevens

Elizabeth Stevens & Michael Gallagher

Stone Age Climbing Gym

Marty & Deborah Surface

Gary Swanson

Texas Roadhouse

Julie Tierney

Dave Tighe

Valerie Tomberlin

John & Karen Trever

Sally Trigg

Caren Waters

Elaine Watson & David Conklin

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 3/15/2024

●

Thank You for Your Generous Support

Volunteers, Expertise, Services, & Equipment

The New Mexico Philharmonic would like to thank the following people for their support and inkind 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

Councilor Dan Lewis

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

Billy Brown

Alexis Corbin

Anne Eisfeller

Chris Kershner

Jackie McGehee

Brad Richards

Barbara Rivers

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 3/15/2024

●

Legacy Society

Giving for the future

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

Jo Anne Altrichter & Robin Tawney

Maureen & Stephen Baca

Evelyn Patricia Barbier

Edie Beck

Nancy Berg

Sally A. Berg

Thomas C. Bird & Brooke E. Tully

Edison & Ruth Bitsui

Eugenia & Charles Eberle

Bob & Jean Gough

Peter Gregory

Ruth B. Haas

Howard A. Jenkins

Joyce Kaser

Walter & Allene Kleweno

Louise Laval

Julianne Louise Lockwood

Dr. & Mrs. Larry Lubar

Joann & Scott MacKenzie

Margaret Macy

Thomas J. Mahler

Gerald McBride

Shirley Morrison

Betsy Nichols

Cynthia Phillips & Thomas Martin

George Richmond

Eugene Rinchik

Barbara Rivers

Terrence Sloan, MD

Jeanne & Sid Steinberg

Charles Stillwell

William Sullivan

Dean Tooley

Betty Vortman

Maryann Wasiolek

William A. Wiley

Charles E. Wood

Dot & Don Wortman 3/15/2024

●

The

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

Michael Dexter

Thomas M. Domme

Martha Egan

David Espey

John Homko

Frances Koenig

Letitia Morris

Michael & Judy Muldawer

Ken & Diane Reese

Jeff Romero

Nancy Scheer

Neda Turner

Michael Wallace

Thomas & Ann Wood

Anonymous

Maria Stevens

John & Julie Kallenbach

Kay F. Richards

Stan & Gay Betzer

Kenneth & Jane Cole

Leonard Duda

Mary E. Lebeck

Robert & Judy Lindeman

Martha A. Miller

Betsy Nichols

Lee Reynis

Warren & Rosemary Saur

John & Patricia Stover

Leonard & Stephanie

Armstrong

Robert Bower & Kathryn Fry

Christopher Calder & Betsey

Swan

Judith & Thomas Christopher

Fran DiMarco

Dr. Lauro G. Guaderrama

Lawrence & Anne Jones

Karen Lanin

Geri Newton

Edward Rose, MD

Christine Sauer

James Sharp & Janice

Bandrofchak

Rae Lee Siporin

Bruce Thompson & Phyllis

Taylor

Lawrence & Katherine

Anderson

Douglas & Dianne Bailey

Edie Beck

Jeffrey Bridges

A.J. Carson

Thomas & Elizabeth Dodson

Harry & June Ettinger

Helen Feinberg

Carl Glenn Guist

Fletcher & Laura Hahn

Robert & Linda Malseed

Robert & Rebecca Parker

Elizabeth Perkett

Shelley Roberts

Thomas Roberts & Leah Albers

Gruia-Catalin Roman

Donald & Carol Tallman

Peter & Mary Tannen

Rosario Fiallos

James & Ann Breeson

Carl & Jeannette Keim

Andrea Kilbury

Linda McNiel

Albert & Shanna Narath

David & Cynthia Nartonis

Ray Reeder

Charles & Ruth Snell

Henry & Ettajane Conant

Nancy Hill

Daniel T. O’Shea

Charles & Linda White

Dal Jensen

Charlotte McLeod

David Peterson

505 Southwest Auto

Ninon Adams

David Baca

Mark & Beth Berger

Charleen Bishop

John Bowers & B.J. Fisher

Eric R. Brock & Mae S. Yee

Camille Carstens

Joseph Cella

Robert Chamberlin

Dennis Chavez Development Corp.

Olinda Chavez

Helene Chenier

Hugh & Kathleen Church

James Cole

Barbara L. Daniels

Drina Denham

Jerry & Susan Dickinson

Vicky Estrada-Bustillo

Alfred & Patricia Green

Peter Gregory

Karen Halderson

Samuel & Laila Hall

Herman Haase

Jo Ellen Head

Kiernan Holliday

Michael & Sandra Jerome

Robert H. & Mary D. Julyan

Julia Kavet

Henry Kelly

Robert & Toni Kingsley

Walter & Allene Kleweno, in memory of Pegg Macy

Gerald Knorovsky

L.D. & Karen Linford

Betty Max Logan

Douglas Madison

Elizabeth Davis Marra

Salvatore Martino

Donald McQuarie

Dr. William Moffatt

James B. & Mary Ann Moreno

Cary & Evelyn Morrow

Karen Mosier

David & Marilyn Novat

Richard & Dolly O’Leary

Maureen Oakes

Eric P. Parker

Michael Pierson & Jane Ferris

Karla Puariea

Russell & Elizabeth Raskob

George & Sheila Richmond

Margaret E. Roberts

Matthew Roberts

Judith Roderick

Marian Schreyer

Drs. M. Steven Shackley & Kathleen L. Butler

Joseph Shepherd & Julie Dunleavy

Lillian Snyder

Julianne Stangel

Ronald T. Taylor

Marta Terlecki

Betty Tichich

Marvin & Patricia Tillery

Robert Tillotson

Jorge Tristani (President, Dennis Chavez Development

Corp.)

Harold & Darlene Van Winkle

Lana Wagner

Dale Webster

Kevin & Laurel Welch

Liza White

Marc & Valerie Woodward

Diana Zavitz

Michael & Jeanine Zenge

Linda R. Zipp, MD

Jeffrey G. Allen

Marilyn Bowman

Stephen & Merilyn Fish

Lorraine B. Gordon

Hareendra & Sanjani

Kulasinghe

David C. McGuire Jr.

William & Cynthia Warren

John Vittal

Margaret Lieberman

Judith Anderson

Marcia Congdon

Genevieve Davidge

Winnie Devore

Karen Duray

Jackie Ericksen

John & Nancy Garth

Allison Gentile

Andrea Granger

Fred & Joan Hart

Edgarton (E.R.) Haskin Jr.

Theresa Homisak

Stephanie Kauffman

Basil Korin

Frederic & Joan March

Cristina Pereyra

Luana Ramsey

J. Sapon & Allison Gentile

Michael & Lisa Scherlacher

John & Sherry Schwitz

Beverly Simmons

Alexandra Steen

Kathleen Stratmoen

Dean Tooley

Kenneth Wright

Kenneth & Barbara Zaslow

Andrew & Lisa Zawadzki

Peter & Ann Ziegler

Mary J. Zimmerman

Alvin Zuckert

Dante & Judie Cantrill

Lori Johnson

Douglas Cheney

Martha Corley

Barbara Killian

Gary Mazaroff

Theodore & Sue 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

3/15/2024

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

David Gay

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

Christine Kilroy

Dwayne & Marj Longenbaugh

Jan Elizabeth Mitchell

Jacquelyn Robins

Jay Rodman & Wendy Wilkins

Albert Seargeant III, in memory of Ann Seargeant

Terrence Sloan, MD

PEDAL LEVEL

Donation of $500–$1999

Ron Bronitsky, MD

Michael & Cheryl Bustamante, in memory of Cheryl B. Hall

Daniel & Brigid Conklin, in memory of Marina Oborotova

Richard & Peg Cronin

Mr. & Mrs. Robert Duff Custer

Leonard & Patricia Duda

David Foster

Peter Gould

Elene & Robert Gusch

Jonathan & Ellin Hewes

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

Charles & Marcia Wood

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 3/15/2024

●

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

Behind every music performance is a strategy for success

Every great music program has a well-designed plan to succeed. At RBC Wealth Management, we take the same approach to helping you meet your financial needs and goals. Proud to support the New Mexico Philharmonic!

The Cates-Romero Team

6301 Uptown Blvd. NE, Suite 100 | Albuquerque, NM 87110

Office: (505) 872-5909 | Toll free: (866) 998-0279

www.catesteamrbc.com

Investment and insurance products:

• Not insured by the FDIC or any other federal government agency

• Not a deposit of, or guaranteed by, the bank or an affiliate of the bank

• May lose value

© 2024 RBC Wealth Management, a division of RBC Capital Markets, LLC, registered investment adviser and Member NYSE/FINRA/SIPC.

New Mexico Philharmonic

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

SECOND VIOLIN

Rachel Jacklin •

Carol Swift •••

Julanie Lee

Jessica Retana ++

Liana Austin

Lidija Peno-Kelly

Sheila McLay

Brad Richards

VIOLA

Laura Chang •

Kimberly Fredenburgh •••

Allegra Askew

Christine Rancier

Laura Steiner

Michael Anderson

Lisa DiCarlo

Joan Hinterbichler

Laura Campbell

Principal •

Associate Principal ••

Assistant Principal •••

Assistant ••••

Leave +

One-year position ++

Half-year position +++

STAFF

Marian Tanau President & CEO

Roberto Minczuk

Music Director

Christine Rancier Vice President of Business

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

FLUTE

Valerie Potter •

Esther Fredrickson

Jiyoun Hur ••+

Noah Livingston ••++

PICCOLO

Esther Fredrickson

OBOE

Kevin Vigneau •

Amanda Talley

ENGLISH HORN

Melissa Peña ••+

Rebecca Ray ••++

CLARINET

Marianne Shifrin •

Lori Lovato •••

Jeffrey Brooks

Matt Hart Vice President of Operations

Ian Mayne-Brody Personnel Manager

Terry Pruitt Principal Librarian

Genevieve Harris Assistant Librarian

E-FLAT CLARINET

Lori Lovato

BASS CLARINET

Jeffrey Brooks

BASSOON

Stefanie Przybylska •

Denise Turner

HORN

Peter Erb •+

Allison Tutton

Andrew Meyers

Maria Long ••••

TRUMPET

John Marchiando •

Brynn Marchiando

Sam Oatts ••

TROMBONE

Aaron Zalkind •

Byron Herrington

BASS TROMBONE

David Tall +

Robinson Schulze ++

TUBA

Richard White •

TIMPANI

Micah Harrow •+

PERCUSSION

Jeff Cornelius •

Kenneth Dean

Emily Cornelius

Nancy Naimark Director of Community Relations & Development Officer

Crystal Reiter Office Manager

Laurieanne Lopez

Young Musician Initiative Program Manager

BOARD OF DIRECTORS

Maureen Baca Chair

Al Stotts Vice Chair

David Peterson Secretary

Fritz Eberle Treasurer

Joel Baca

Ron Bronitsky, MD

David Campbell

Thomas Domme

Robert Gough

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

Mary Montaño Grants Manager

Joan Olkowski

Design & Marketing

Lori Newman Editor