New Mexico Philharmonic Program Book • 2024/25 Season • Volume 13 • No. 1

THE NEW MEXICO PHILHARMONIC FOUNDATION HAS ACHIEVED APPROXIMATELY $2.5 MILLION IN ASSETS.

Please be a part of our success and join our family of donors.

New Mexico Philharmonic Foundation Inc. PO Box 16422

Albuquerque, NM 87191

nmphilfoundation.org

STRATEGIES FOR WISE GIVING

There are many ways to support the New Mexico Philharmonic and the New Mexico Philharmonic Foundation. We thank our members, donors, volunteers, sponsors, and advertisers for their loyalty and enthusiasm and their help in ensuring the future of symphonic music in New Mexico for years to come.

LOOKING TO MAKE SMART DONATIONS? Based on presentations by professional financial advisors, here are some strategies for giving wisely, following recent changes in the tax law. The advisors identified five strategies that make great sense. Here they are in brief:

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

GIVE APPRECIATED ASSETS: This helps you avoid capital gains taxes, will give you a potentially more significant deduction if you itemize, and can reduce concentrated positions in a single company.

BUNCH GIVING: Give double your normal amount every other year to maximize deductions.

QUALIFIED CHARITABLE DISTRIBUTION/REQUIRED MINIMUM DISTRIBUTION: If you are required to take an IRA distribution, don’t need the cash, and don’t want the increased taxes, have the distribution sent directly to a qualified charity.

HIGH-INCOME YEARS: If you are going to have highincome 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.

WELCOME TO THE NEW MEXICO PHILHARMONIC’S 14TH SEASON!

We are thrilled to embark on another year of extraordinary music with you. Our musicians, staff, board, and volunteers are all excited to continue creating the exceptional performances that make the NMPhil the cornerstone of New Mexico’s performing arts scene. It is our true joy to fulfill our mission of enriching lives through music, guided by our core values of responsibility, excellence, and service.

This season, the NMPhil will once again grace the stage at Popejoy Hall with seven captivating concerts in our classical series, alongside three exhilarating pops concerts. Highlights include a return by Albuquerque favorite pianist Olga Kern, a live orchestral performance of the beloved film The Princess Bride, and a brand-new spring ballet. Additionally, we will host intimate concerts at First United Methodist Church and make a much-anticipated return to the National Hispanic Cultural Center for the first time since 2020.

We are delighted to share two key updates with you. First, the results of our summer audience surveys are in, and they reflect your continued support and appreciation for our work. The NMPhil received a remarkable 97.4 percent rating for artistic excellence and a 96.8 percent rating for overall satisfaction, marking 10 consecutive seasons of worldclass recognition. We are deeply honored and humbled by your endorsement.

Second, the New Mexico Philharmonic Foundation, now in its seventh year, has grown its corpus to more than $2.5 million, with aspirations to reach $3 million by the end of this season. The Foundation, a separate organization and legal entity, is dedicated to ensuring the long-term stability, growth, and permanence of the NMPhil. We extend our heartfelt thanks to the Foundation, its board, and its donors for their unwavering support.

We are honored to continue serving the NMPhil and our board, and delighted to launch this season with the NMPhil in robust fiscal and physical health.

Marian Tanau President & Chief Executive Officer

Maureen Baca Board Chair

WELCOME LETTER

THE MUSIC DIRECTOR

Welcome to the 2024/25 Season of Your New Mexico Philharmonic!

DEAR FRIENDS,

I am thrilled to welcome you to a season filled with diverse and captivating music. This year, our Popejoy Hall Classics series brings you powerful performances by world-class musicians. Olga Kern joins your New Mexico Philharmonic in a performance of Rachmaninoff’s Piano Concerto No. 3 alongside Bruckner’s majestic Symphony No. 4. We will celebrate 150 years since the death of Puccini by performing his famous opera Tosca in concert, joined by amazing singers who perform in the most prominent opera houses in the world. One of our favorites, Midori, will perform Mendelssohn’s Violin Concerto, and the season closes with Mahler’s Symphony No. 3 as part of our multiyear Mahler cycle.

Our Afternoon Classics and Coffee Concerts offer intimate and refreshing experiences, featuring beloved works such as Vivaldi’s The Four Seasons, Dvořák’s Serenade, and the vibrant Bach to Brazil program, where we journey from Bach’s Brandenburg Concerto No. 1 to the lively rhythms of Villa-Lobos’s Bachianas Brasileiras.

For those seeking cinematic magic, our Rock & Pops series delights with favorites such as The Princess Bride in concert. We also bring you festive cheer with our annual Holiday Pops concert, and celebrate the season of love with romantic music for the Valentine’s Day weekend, conducted by Jason Altieri.

Each concert is designed to inspire, move, and uplift, creating unforgettable experiences. Thank you for being a part of our musical family—let’s make the 2024/25 season one to remember.

I cannot wait to see you in the concert hall for each one of these concerts.

Roberto Minczuk Music Director

In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). ● read full bio on page 12

AFTERNOON CLASSICS

Rhapsody in Blue

Sunday, October 6, 2024, 2 p.m.

Na’Zir McFadden conductor

Sydney Tasker cello

Kate Shao piano

Ballade for Orchestra in a minor, Op. 33

Samuel Coleridge-Taylor (1875–1912)

OCT 6

National Hispanic Cultural Center

MAKING A DIFFERENCE

This performance is made possible by: The Meredith Foundation

Cello Concerto No. 1 in a minor, Op. 33

Camille Saint-Saëns I. Allegro non troppo (1835–1921)

Sydney Tasker cello

INTERMISSION

Rhapsody in Blue

George Gershwin (1898–1937)

Kate Shao piano

Romeo and Juliet Overture-Fantasy

Pyotr Ilyich Tchaikovsky (1840–1893)

POPEJOY HALL CLASSICS

Olga & Sergei

Saturday, October 12, 2024, 8 p.m.

7 p.m. Pre-Concert Talk

Roberto Minczuk Music Director

Olga Kern piano

Piano Concerto No. 3 in d minor, Op. 30

Sergei Rachmaninoff

I. Allegro ma non tanto (1873–1943)

II. Intermezzo

III. Finale

OCT 12

MAKING A DIFFERENCE

This performance is made possible by: Anonymous

INTERMISSION

Symphony No. 4 in E-flat Major, “Romantic,” WAB 104

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

Hosted by KHFM’s Alexis Corbin

Anton Bruckner

I. Bewegt, nicht zu schnell (With motion, not too fast) (1824–1896)

II. Andante, quasi allegretto

III. Scherzo: Bewegt (With motion)—Trio: Nicht zu schnell (Not too fast)

IV. Finale: Bewegt, doch nicht zu schnell (With motion, but not too fast)

Popejoy Hall

Olga Kern piano

Bruckner Meets Sci-Fi

Sunday, October 13, 2024, 3 p.m.

Roberto Minczuk Music Director

The New Mexico Philharmonic’s Power Concerts series is back for another season of illuminating, affordable, family-friendly concerts! This series is geared toward introducing young audience members and their families to classical music, the orchestra, and the instruments that make it all possible. Our first Power Concert of the season starts off with a bang! Our brass and percussion sections steal the show in the Power Concerts’ signature tune, the opening to Richard Strauss’s Also sprach Zarathustra. Then, the magic of Bruckner meets the magic of the movies when we pair movements of Bruckner’s Symphony No. 4 with two of John Williams’s classics, the “Flying Theme” from E.T. the Extra-Terrestrial and “Darth Vader’s Theme” from Star Wars OCT 13

Immanuel Presbyterian Church

MAKING A DIFFERENCE

These performances are made possible by: Bernalillo County

• Commission Chair Barbara Baca, District 1

• Commissioner Steven Michael Quezada, District 2

• Commissioner Walt Benson, District 4

Albuquerque City Council

• Councilor Dan Champine

• Councilor Tammy Fiebelkorn

• Councilor Dan Lewis

• Councilor Renee Grout

COFFEE CONCERT

Dvořák’s Serenade

Friday, October 25, 2024, 10:45 a.m.

Roberto Minczuk Music Director OCT 25

First United Methodist Church

“On the Nature of Daylight”

Max Richter (b. 1966)

Last Round Osvaldo Golijov

I. Movido, urgente (b. 1960)

II. Muertes del Angel

MAKING A DIFFERENCE

This performance is made possible by: The Albuquerque Community Foundation

INTERMISSION

Serenade for Strings in E Major, Op. 22 (B. 52)

Antonín Dvořák

I. Moderato (1841–1904)

II. Tempo di valse

III. Scherzo: Vivace

IV. Larghetto

V. Finale: Allegro vivace

POPEJOY ROCK & POPS

The Princess Bride in Concert

Saturday, October 26, 2024, 8 p.m.

Jason Altieri conductor

ACT Ill COMMUNICATIONS Presents A REINER/SCHEINMAN Production

MANDY PATINKIN

CHRIS SARANDON

CHRISTOPHER GUEST

WALLACE SHAWN

ANDRE THE GIANT

Introducing ROBIN WRIGHT

Special Appearances by PETER FALK and BILLY CRYSTAL

Edited by ROBERT LEIGHTON

Production Designed by NORMAN GARWOOD

Director of Photographer ADRIAN BIDDLE

Music by MARK KNOPFLER

Executive Producer NORMAN LEAR

Screenplay by WILLIAM GOLDMAN

Produced by ANDREW SCHEINMAN and ROB REINER

Directed by ROB REINER

Tonight’s program is a presentation of the complete film The Princess Bride with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the performance.

The Princess Bride © Princess Bride, Ltd. All Rights Reserved.

Original musical score composed by Mark Knopfler © 1987 Straitjacket Songs Ltd. Used by Permission. All Rights Reserved.

“Storybook Love” written by Willy De Ville © 1987 Jockamo Music. Used by Permission. All Rights Reserved.

OCT 26

PRODUCTION CREDITS

• The Princess Bride in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

• Producers: Steven A. Linder and Jamie Richardson

• Director of Operations: Rob Stogsdill

• Production Manager: Sophie Greaves

• Production Assistant: Katherine Miron

• Worldwide Representation: IMG Artists, LLC

• Technical Director: Mike Runice

• Music Composed by Mark Knopfler

• “Storybook Love” written by Willy Deville

• Musical Score Adapted and Orchestrated for Live Performance by Mark Graham

• Music Preparation: Jo Ann Kane Music Service

• Film Preparation for Concert Performance: Epilogue Media

• Technical Consultant: Laura Gibson

• Sound Remixing for Concert Performance: Chace Audio by Deluxe

• The score for The Princess Bride has been specially adapted for live concert performance.

• With special thanks to: Norman Lear, Mark Knopfler, Julie Dyer, David Nochimson, Paul Crockford, Sherry Elbe, James Harman, Peter Raleigh, Trevor Motycka, Bethany Brinton, Matt Voogt, Adam Michalak, Alex Levy, Adam Witt, and the musicians and staff of the New Mexico Philharmonic.

Popejoy Hall

AFTERNOON CLASSICS

Vivaldi’s The Four Seasons

Sunday, November 10, 2024, 2 p.m.

Cármelo de los Santos conductor & violin soloist

Symphony No. 29 in A Major, K. 201/186a

Wolfgang Amadeus Mozart

I. Allegro moderato (1756–1791)

II. Andante

III. Menuetto: Allegretto—Trio

IV. Allegro con spirito

NOV 10

National Hispanic Cultural Center

MAKING A DIFFERENCE

This performance is made possible by: The Albuquerque Community Foundation

INTERMISSION

The Four Seasons Antonio Vivaldi (1678–1741)

Concerto No. 1 in E major, Op. 8, RV 269, «Spring» (La primavera)

I. Allegro

II. Largo e pianissimo sempre

III. Allegro pastorale

Concerto No. 2 in G minor, Op. 8, RV 315, “Summer” (L’estate)

I. Allegro non molto

II. Adagio e piano—Presto e forte

III. Presto

Concerto No. 3 in F major, Op. 8, RV 293, “Autumn” (L’autunno)

I. Allegro

II. Adagio molto

III. Allegro

Concerto No. 4 in F minor, Op. 8, RV 297, “Winter” (L’inverno)

I. Allegro non molto

II. Largo

III. Allegro

Cármelo de los Santos violin

Roberto Minczuk Music Director

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

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

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

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

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

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

a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 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. ●

Na’Zir McFadden conductor

American conductor Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra, working closely with Music Director Jader Bignamini.

McFadden also serves as Music Director of the Detroit Symphony Youth Orchestra. Together, they’ll present three programs—exploring the masterworks of Sibelius, Schubert, Beethoven, Takashi Yoshimatsu, and Einojuhani Rautavaara.

Establishing his presence on the classical music scene, the 2024/25 season includes debuts with the Boston Symphony Orchestra, Baltimore Symphony Orchestra, Nashville Symphony, and The No Name Pops (formerly The Philly Pops) at Marian Anderson Hall in Philadelphia’s Kimmel Center. He’ll also return to the New Mexico Philharmonic and Philadelphia Ballet, in addition to several engagements with the Detroit Symphony Orchestra.

This past summer, McFadden was invited by the Boston Symphony Orchestra as one of two 2024 Tanglewood Music Center Conducting Fellows. As a fellow, he conducted the Tanglewood Music Center Orchestra in numerous performances, including a last-minute step-in to conduct Prokofiev’s Symphony No. 5, and participated in master classes led by Andris Nelsons, Alan Gilbert, Thomas Wilkins, 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 conducted 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 North Carolina Symphony, 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. ●

Sydney Tasker cello First-Place winner of the Jackie McGehee Young Artists’ Competition in strings, cellist Sydney Tasker, age 12, lives in Albuquerque with her parents, violinist younger sister, and cellist-in-the-bud younger brother. She is an eighth grader at Desert Ridge Middle School. Her cello path began at age 3 with teacher

Lisa Collins. She currently studies with Brittany Gardner. Asked about her favorite performer, Mstislav Rostropovich or Yo-Yo Ma, she chose the one she could pronounce. She is a voracious reader, a science enthusiast, and a confidentenough cook to take treats to the neighbors. A true multitasker, she may be the only Albuquerque cellist who is also a Nutcracker ballerina (fifth Christmas in 2024) and a sidewalk snow-cone proprietor. Sydney performed with the New Mexico Philharmonic at age 10 and enjoys her position as principal cellist in the Desert Ridge orchestra. ●

Kate Shao piano

Kate Shao, 15, from Albuquerque, is a junior at La Cueva High School and the First-Place winner in piano of the Jackie McGehee Young Artists’ Competition. She studies piano with Tatyana Bayliyeva at the Albuquerque Institute of Music. Kate has won First Prize at the Brooklyn Music Teachers’ Guild International Piano Competition, Golden Key Piano Competition, Rocky Mountain Music Competition, and the 21st Century Talent Music Competition. She also won Second Prize at the American Protégé Piano Competition. Starting at age 11, Kate performed in New York City and Toronto, and three times at Carnegie Hall. She won First Prize at the New Mexico Honors Audition and the Eastern New Mexico University Piano Competition. Most recently, she was interviewed on KHFM and played on National Public Radio’s “From the Top,” America’s largest national continued on 14

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platform celebrating young classically trained musicians. Kate also participates in Speech and Debate, where she qualified and competed on the national level in 2023. Her other hobbies include running and swimming for fun. ●

Olga Kern piano

With a vivid onstage presence, dazzling technique, and keen musicianship, pianist Olga Kern is widely recognized as one of the great artists of her generation, captivating audiences and critics alike. She was born into a family of musicians and began studying piano at the age of 5. At 17, she was awarded first prize at the Rachmaninoff International Piano Competition, and in 2001, she launched her U.S. career, winning a historic Gold Medal at the Van Cliburn International Piano Competition—the only woman in the last 50 years to do so.

A Steinway Artist, Olga is a laureate of several international competitions. In 2016, she was Jury Chairman of both the Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director. In December 2021, Olga was Jury Chairman of the 1st Chopin Animato International Piano competition in Paris, France. In coming seasons, she will continue to serve on the juries of several high-level competitions. Olga frequently gives master classes, and since 2017 has served on the piano faculty of the Manhattan School of Music. Also in 2017, Olga received the Ellis Island Medal of Honor (New York City). In 2019, she was

appointed the Connie & Marc Jacobson Director of Chamber Music at the Virginia Arts Festival.

Olga has performed with many prominent orchestras, including the St. Louis Symphony, Pacific Symphony, Baltimore Symphony, Detroit Symphony Orchestra, and the National Symphony Orchestra (Washington, D.C.), as well as the Czech Philharmonic, Orchestra Filarmonica della Scala, Pittsburgh Symphony, São Paulo Symphony Orchestra, Iceland Symphony, Nordwestdeutsche Philharmonie, Tokyo’s NHK Symphony Orchestra, and Cape Town Philharmonic Orchestra. She was also a featured soloist on U.S. tours with the Royal Philharmonic Orchestra and the Royal Scottish National Orchestra in 2018 and 2022, and during the 2017/2018 season, she served as Artist-in-Residence with the San Antonio Symphony. Highlights of the 2021/2022 season included performances with the Austin Symphony, Palm Beach Symphony, Milwaukee Symphony, Santa Rosa Symphony, Greensboro Symphony, Madison Symphony, New Mexico Philharmonic, Concerto Budapest Symphony Orchestra, and Academia Teatro alla Scala. She appeared as a soloist on a U.S. tour with the National Symphony Orchestra of Ukraine and performed recitals in Savannah, Sunriver, Huntsville, Fort Worth, Carmel, and Minneapolis as well as in Portugal, Poland, and Sweden. In the 2022/2023 season, she appeared with the Dallas Symphony, Minnesota Orchestra, Baltimore Symphony, Orquesta Filarmónica de Gran Canaria, Ireland’s National Symphony Orchestra, and Colorado Symphony. She performed recitals at the Minnesota Beethoven Festival and the International Piano Festival of Oeiras as well as in Brno and Mariánské Lázně, Czech Republic; Virginia Beach; Chicago; and San Francisco. In the 2023/2024 season, she performed Rachmaninoff’s four piano concertos and Rhapsody on a Theme of Paganini with the Austin Symphony and the Virginia Symphony Orchestra, appeared with the Czech Philharmonic on a nationwide telecast, and toured South Africa and Asia.

In 2012, Olga established the Kern Foundation “Aspiration,” which supports talented musicians around the world.

Olga’s discography includes a Harmonia Mundi recording of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman; her Grammy-nominated disc of Rachmaninoff’s Corelli Variations and other transcriptions; and Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit. Other notable releases include Chopin’s Piano Sonatas Nos. 2 and 3 and SONY’s release of the Rachmaninoff Sonata for Cello and Piano with Sol Gabetta. Olga released a new CD in 2022 on the Delos label of Brahms and Shostakovich quintets with the Dalí Quartet.

She is featured in award-winning documentaries about the 2001 Cliburn Competition: The Cliburn: Playing on the Edge, They Came to Play, and Olga’s Journey. ●

Jason Altieri conductor

Jason Altieri is the current associate conductor for the Reno Philharmonic and Music Director of the Atlanta Pops Orchestra in Atlanta, Georgia. Prior to his work in Reno and Atlanta, he spent time on the road as Music Director of the New Sigmund Romberg Orchestra and the Hollywood Film Orchestra. Having led the New Sigmund Romberg Orchestra on seven national tours, Altieri has the distinction of having conducted in every state but three and in most of the major performing venues in the United States.

With the Hollywood Film Orchestra, he led several tours in mainland China and Japan where performance venues included The People’s Hall in Beijing, China, and Suntory Hall in Tokyo, Japan. Numerous guest conducting engagements include regular collaborations with the Duluth Superior Symphony in Minnesota, the Santa Fe Symphony, and the New Mexico Philharmonic. In July 2012, he was the orchestra conductor for the annual International Double Reed Society Conference. During this conference, he collaborated on 16 separate works with internationally renowned soloists from all over the world.

In addition to his orchestral work, Altieri is also an accomplished conductor of opera. Currently, he is working on his seventh collaboration as Music Director of the Nevada Chamber Opera Theatre. Previous opera engagements include three North American tours with London’s Royal Carl Rosa Opera Company and an associate music directorship with the Ohio Light Opera Company in the summer of 2006. His work in Ohio saw him conducting six productions and more than 40 performances during their 29th season.

In addition, Altieri has released two recordings with the OLO on Albany Records. In 2002, he worked as an assistant to the late Valery Vatchev of the National Bulgarian Opera. This rare experience led to guest conducting engagements of Verdi’s La traviata, Il trovatore, and Rigoletto in the Czech Republic.

While Altieri enjoys a busy career working with professional performing organizations, he is also a fierce advocate for young musicians and music education. This is evidenced by his position as director of orchestras at the University of Nevada, Reno, and the directorship of the Reno Philharmonic Youth Symphony. Under his leadership, the Reno Philharmonic Youth Symphony has become an increasingly visible component in Reno’s cultural life, and has embarked on performance tours

that have included guest appearances at Carnegie and Disney halls. As a result of his tireless work with young musicians, Altieri was invited to conduct at Nevada’s Small School All-State Festival in April 2017. His educational outreach has extended nationally as well as through numerous clinics with young ensembles all over the country in addition to faculty appointments at the Interlochen Center for the Arts and the Sewanee Summer Music Center.

A native of Atlanta, Georgia, Altieri grew up in a musical family with both parents being former members of the Atlanta Symphony Orchestra. He received a Bachelor’s degree in music education from the University of Georgia. He then went on to pursue advanced degrees in conducting from Michigan State University, where he received additional mentorship from Neeme Jarvi of the Detroit Symphony Orchestra and Gustav Meier of the Peabody Conservatory. Altieri currently resides in Reno, Nevada. ●

Cármelo de los Santos violin Brazilian-born violinist Cármelo de los Santos enjoys an exciting career as a soloist, chamber musician, and pedagogue. From his extensive concerto experience to his most recent performances of the 24 Caprices for Solo Violin by Paganini and the sonatas and partitas of Bach, his virtuosity and commitment to communicate the essence of music captivate audiences worldwide. Cármelo has performed as a guest soloist

with more than 40 orchestras, including the New World Symphony, Santa Fe Pro Musica, the Santa Fe and New Mexico Symphonies, the Montevideo Philharmonic, Orquestra Musica d’Oltreoceano (Rome), and the major orchestras in Brazil.

Cármelo is a winner of several international competitions including the 4th Júlio Cardona International String Competition (Portugal). In 2002, Cármelo made his New York debut as soloist and conductor in Weill Recital Hall at Carnegie Hall with the ARCO Chamber Orchestra.

Cármelo is an Associate Professor of Violin at the University of New Mexico, Albuquerque, and plays on an Angelo Soliani violin, 1791. ●

Mark Knopfler composer

Mark Knopfler is an acclaimed British singer-songwriter, guitarist, record producer, who has composed several film scores, including The Princess Bride.

“To have been a part of The Princess Bride gives me enormous pride and joy. To me, the picture has never lost an ounce of its freshness and charm. I couldn’t be more delighted to see it finding more devotees around the world with every passing year.”

He is best known as the lead singer, lead guitarist and songwriter of internationally celebrated rock band, Dire Straits. ●

NOTES BY DAVID B. LEVY

Samuel Coleridge-Taylor Ballade for Orchestra in a minor, Op. 33 (1898)

Afro-British composer Samuel ColeridgeTaylor was born in London on August 15, 1875, and died there on September 1, 1912. His mother was Alice Hare Martin (1856–1953), an English woman, and his father, Daniel Peter Hughes Taylor, was from Sierra Leone and studied medicine in London. The two never married. Taylor later became a prominent administrator in West Africa, leaving Coleridge-Taylor’s mother pregnant. She decided to name the child (without the hyphen) after the poet Samuel Taylor Coleridge. Musical talent ran on both sides of his parents, and young Samuel’s gifts were allowed to develop. He studied violin, and later, composition at the Royal College of Music, becoming a student of Charles Villiers Stanford. He married Jessie Walmisley, a fellow student at the college in 1899. Over the course of his career, he visited the United States on three occasions. He and his music were well-received in America, and Coleridge-Taylor was invited to the White House by President Theodore Roosevelt. His visits to America also stirred his interest in his African heritage, as he came into contact with several important Black artists, including Paul Laurence Dunbar (whom he met prior to coming to the U.S.), W.E.B. Du Bois, and Harry T. Burleigh, the singer who inspired Antonín Dvořák to look closely into the African-American repertory of spirituals. His Ballade for Orchestra, Op. 33, was a relatively early work, composed in 1898 shortly after finishing his degree at the Royal College. Its first performance took place on September 12 of that year at the Three Choirs Festival in Gloucester, England. It is scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Approximately 12 minutes.

“… [Coleridge-Taylor] is far and away the cleverest fellow going amongst the young men. Please don’t let your committee throw away the chance …”

—Edward Elgar

Samuel Coleridge-Taylor’s music was very well-received and respected during his all-too-brief lifetime, but somehow fell out of the repertoire of concerts on this side of the Atlantic, except in African American circles. A Coleridge-Taylor Choral Society was formed in Washington, D.C., and his music forms an important part of the repertory of the Fisk Jubilee Singers. Happily, the neglect in concert halls is beginning to change, and modern audiences are hearing more and more of his fine music. After his three visits to the United States (the first being in 1904), it became Coleridge-Taylor’s mission to bring dignity to African-American music.

The Ballade for Orchestra came into being thanks to Edward Elgar, who had become Coleridge-Taylor’s mentor. When the Three Choir Festival in Gloucester asked Elgar to write a short orchestral work, he declined due to his many other obligations. As he wrote to the organizers of the festival, “I wish, wish, wish you would ask Coleridge-Taylor to do it. He still wants recognition, and he is far and away the cleverest fellow going amongst the young men. Please don’t let your committee throw away the chance of doing a good act.” The organizers, of course, agreed, resulting in the work we will hear today. The title of the work hints at some kind extramusical inspiration, as in poetic ballads are narrative by nature, and it may well be that ColeridgeTaylor had something specific in mind. This theory is enhanced by the young composer’s connection to the Germanborn publisher August Johannes Jaeger. Those familiar with Elgar’s Enigma Variations will recognize Jaeger to be the

dedicatee of the famous and profoundly moving “Nimrod” variation. ColeridgeTaylor’s Ballade lives in the expressive world of Brahms, Tchaikovsky, and Dvořák, but nonetheless bears a stamp of true originality. ●

Camille Saint-Saëns Cello Concerto No. 1 in a minor, Op. 33 (1872)

Camille Saint-Saëns was born in Paris on October 9, 1835, and died in Algiers on December 16, 1921. His long and illustrious career, then, bridged the height of French Romanticism through the birth of modernism. A prolific master in several genres, Saint-Saëns has yet to receive the full credit to which he is due. His Cello Concerto No. 1 was composed in 1872 for the cellist Auguste Tolbecque, who gave the work its first performance at a Paris Conservatoire concert on January 19, 1873. The work is scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. First movement: Approximately 6 minutes. Saint-Saëns’s Cello Concerto No. 1 is one of the gems of the repertory. His Concerto No. 2 in d minor, Op. 119 (1902), is rarely performed. Favored by cellists throughout the world, the solo part, unlike some other works for cello and orchestra, is never overshadowed by the accompanying instruments. While most concertos comprise three discrete movements, the composer conceived of the work as one continuous movement with three sections. The opening of the piece (Allegro non troppo) begins with an

abrupt chord in the orchestra as the soloist immediately presents the principal theme. The work offers plenty of opportunities for virtuosic display for the soloist, yet contrasts this character with lyrical ideas. ●

George Gershwin Rhapsody in Blue (1924)

George Gershwin was born in Brooklyn, New York, on September 26, 1898, and died in Hollywood, California, on July 11, 1937. While his career began as a song plugger in New York City’s Tin Pan Alley, he went on to great success on Broadway in the concert hall. His most important stage work was the opera Porgy and Bess, which remains in the repertory of opera companies and which enjoys occasional revivals on Broadway.

Rhapsody in Blue was composed in 1924, the same year in which he wrote his Concerto in F to fulfill a commission by the band leader Paul Whiteman. The original orchestra (“theater orchestra”) was made by Ferde Grofé. The full orchestra version appeared in print in 1942. The “original” version had its premiere on February 12, 1924, in New York City’s Aeolian Hall, with Whiteman leading his band and the composer serving as soloist. The full orchestral version is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 2 alto saxophones, tenor saxophone, 3 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, banjo, and strings. Approximately 15 minutes.

Rhapsody in Blue opens with a trill on a low F in the clarinet followed by a 17-note rising scale in the key of B-flat major. Ross Gorman, the clarinetist in Paul Whiteman’s band, however, either by accident or on purpose, turned the upper part of the scale into a slow and sexy glissando, thus creating one of the most famous openings in the entire history of music. Accident or no, the composer loved it, and it has remained indelibly stamped on the imagination as the signal of Americana in the “Roaring ’20s.” Popular culture took

“I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.”

—George Gershwin via biographer Isaac Goldberg

over almost immediately, and who among us can now separate Rhapsody in Blue from one of America’s largest airlines?

George Gershwin was already a rising star in the musical world when Paul Whiteman, encouraged by an earlier attempt to bring together classical music and jazz on the same program, approached the young composer to produce a concerto-like piece. Whiteman had been impressed by Gershwin when the two collaborated on Scandals of 1922. After first refusing the commission, Gershwin relented and agreed to contribute to Whiteman’s “experimental concert.” The composer gives us a glimpse of what was on his mind in an explanation given in 1931 to his biographer, Isaac Goldberg:

It was on the train [to Boston], with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer—I frequently hear music in the very heart of noise … And there I suddenly heard, and even saw on paper—the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance.

Gershwin’s original title for the work was American Rhapsody but was changed at the suggestion of his brother, Ira.

While chastised by “serious” newspaper critics as lacking in form, the work became popular with audiences almost immediately. The premiere of Gershwin’s Rhapsody in Blue on February 12, 1924, in New York’s Aeolian Hall was an event that attracted attention from Tin Pan Alley to Carnegie Hall. Representatives of the latter venue who attended the concert were violinists Fritz Kreisler, Mischa Elman, and Jascha Heifetz. Sergei Rachmaninoff was there, as were conductors Wilem Mengelberg, Leopold Stokowski, and Walter Damrosch. The latter figure was so taken with the work that he offered Gershwin a commission for a concerto for piano and orchestra. ●

NOTES BY CHARLES GREENWELL

Pyotr Ilyich Tchaikovsky

Romeo and Juliet

Overture-Fantasy (1869)

Pyotr Ilyich Tchaikovsky was born on May 7, 1840, in Votkinsk, Russia, and died on November 6, 1893, in Saint Petersburg. His Romeo and Juliet is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Approximately 19 minutes.

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

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

but Balakirev was not entirely satisfied with this version and asked Tchaikovsky to make further revisions to the score. He did so, and this second version was performed in Saint Petersburg in February 1872, but again was not a success.

Tchaikovsky left the work alone for several years, and in August of 1880 he finally came up with a satisfactory version that was premiered that September, was published the following year, and which is now rightly regarded as one of his most inspired creations. The changes here were confined to the final 80 bars of the work, of which 34 were completely new. In 1884, the piece was awarded a prize as one of the best works in Russian classical music, and Tchaikovsky received 500 rubles as part of the award.

The long and somber introduction is related to the character of Friar Laurence; next comes a fiery fast section representative of the conflict between the Montagues and the Capulets; then comes the beautiful love music of Romeo and Juliet. Later on, all of the principal themes are combined in masterful fashion, followed by music suggestive of a funeral procession, and this great tragedy comes to a conclusion with several strong chords and a final sustained note all thundered out by the full orchestra. In this intense and powerful work, Shakespeare’s tragedy and Tchaikovsky’s tortured personal life combine to produce the first true expression of his genius as a composer: a tautly constructed masterpiece that distills the Bard’s narrative down to its essentials in 20 minutes of music, which is by turns thunderingly dramatic and intensely beautiful, careening between the tension of the rival Montague and Capulet houses

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

and the heartbreaking tenderness of the protagonists’ love. ●

Sergei Rachmaninoff Piano Concerto No. 3 in d minor, Op. 30 (1909)

Sergei Rachmaninoff was born on April 1, 1873, in Semyonovo, Russia, and died on March 28, 1943, in Beverly Hills, California. His Piano Concerto No. 3 is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Approximately 38 minutes. He is primarily remembered today as a composer of dark, rich, brooding music, but Rachmaninoff was also one of the greatest piano virtuosos who ever lived, and was in his day regarded as a firstrate conductor, particularly in the field of opera. He was one of the last great representatives of musical Romanticism, and early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers were blended into what became a unique and personal idiom, featuring a striking gift for melody and harmony, an ingenious use of form, and a mastery of brilliant orchestration second to none. People who were lucky enough to have heard him perform remember him as a patrician pianist possessed of an indescribable technical perfection and an amazing poetic lyricism. Although he lived during an era that began when nationalist Russian music was becoming world-famous, and which encompassed the prominence of composers such as Strauss, Schoenberg, and Stravinsky, along with French impressionism and American jazz, Rachmaninoff remained untouched by contemporaneous musical trends and experimentation. His music was certainly conservative, particularly by standards of the first part of the 20th century, but in his later years his style grew more subtle and inventive, leaner in its texture, with more dissonance than before, and with more angular rhythms. The composer himself had this to say

“What I try to do when writing down my music is to make it say simply and directly that which is in my heart when I am composing.”

—Sergei Rachmaninoff

about his creative process: “In my own compositions, no conscious effort has been made to be original, or Romantic, or Nationalistic, or anything else. I write down on paper the music I hear within me, as naturally as possible … I have never, to the best of my knowledge, imitated anyone. What I try to do when writing down my music is to make it say simply and directly that which is in my heart when I am composing.”

Along with a whole host of preludes, études-tableaux, and other short piano pieces, he wrote four magnificent piano concertos, the first three of which are a permanent part of the great Romantic piano repertoire. Following the historic October Revolution of 1917, Rachmaninoff left Russia—never to return—and settled in the U.S. where he eventually became an American citizen. There followed a period of almost total creative silence that was broken by the writing of the original version of the Fourth Piano Concerto in 1926. From then until his death, he wrote only a handful of works, but all of them are on a large scale. The Third Piano Concerto is arguably the finest of the four; it is also the longest, but the most tightly constructed. It was written in the summer of 1909 in the peaceful setting of his family’s country estate as a showcase for Rachmaninoff’s talents during his first tour of America which began in October of that year. Contemporary with this work are his First Piano Sonata and the tone poem The Isle of the Dead. Initially, he was hesitant to accept the American tour offer, but finally agreed only because he hoped that the fees he was promised would allow him to realize his dream of

buying an automobile! The premiere of the work was given in New York in November with Walter Damrosch conducting the Symphony Society of New York. In December, Rachmaninoff played the work again in New York, this time with the New York Philharmonic conducted by Gustav Mahler, for whom Rachmaninoff had nothing but the highest praise. Recalling the first rehearsals, Rachmaninoff later wrote, “At that time, Mahler was the only conductor whom I considered worthy to be classed with [Artur] Nikisch. He devoted himself to the concerto until the accompaniment, which is rather complicated, had been practiced to perfection. According to Mahler, every detail of the score was important—an attitude all too rare among conductors.” Following this, he performed the work with the Boston Symphony Orchestra, making such a magnificent impression that he was asked to become the orchestra’s music director, an offer he declined. This imposing work, which is one of the most brilliant, difficult, and demanding works in the entire concerto repertoire, was a great success with audiences all across the country, and still stands as a touchstone for pianists everywhere with regard to technical and musical ability. Initially, the work was feared by many pianists, and the great Josef Hofmann, to whom the work is dedicated, never played the work in public. The wonderful American pianist Gary Graffman once said he was sorry he never learned the concerto as a student when he was “still too young to know fear.” Rachmaninoff always said this was his favorite among his piano concertos,

because, in his words, “… my Second is so uncomfortable to play.” It was not until the 1930s that the Third became popular, and that was primarily due to the strong advocacy of Vladimir Horowitz. There has always been a small controversy regarding the opening theme of the first movement. More than one writer has pointed out a similarity between it and a traditional Russian monastic chant, but the composer steadfastly denied any connection with either church or folk music sources. Nevertheless, considering Rachmaninoff’s lifelong connection with music of the Russian Orthodox liturgy, it is certainly possible that there may have been an unconscious influence. When asked about the theme, he answered: “It simply wrote itself.” ●

NOTES

BY DAVID B. LEVY

Anton Bruckner Symphony No. 4 in E-flat Major, “Romantic,” WAB 104 (1878/1880)

Austrian composer Anton Bruckner was born in Ansfelden, near Linz, Austria, on September 4, 1824, and died in Vienna on October 11, 1896. A near contemporary of Johannes Brahms, Bruckner emerged as one of the most important AustroGerman composers and teachers during the second half of the 19th century. A skilled organist whose repertory he enriched, his most important compositions were in the realms of symphonies and sacred music. He is considered a lateRomantic extension of the legacy of Beethoven and Schubert. The influence of Richard Wagner may be discerned in his orchestrations and harmonic vocabulary. As a teacher at the Conservatory of Music in Vienna, Bruckner was an inspiration to many young composers, including the young Gustav Mahler. His Symphony No. 4 was first conceived in 1874 and was revised by the composer between January 1878 and June 1880. This version was first performed by the Vienna Philharmonic on February 20, 1881.

continued from 19

Despite further revisions by Bruckner and others, the 1878/80 version is the one most frequently used. The composer dedicated the symphony to Constantin Prince Hohenlohe-Schillingsfürst, a figure who played an important role in the development of Vienna’s famous Ringstrasse. Johann Strauss Jr. dedicated his popular waltz Tales from the Vienna Woods to this nobleman. The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. Approximately 70 minutes.

Nearly all of Anton Bruckner’s music is suffused with, and reflective of, his deep immersion in the Catholic faith. The seriousness of purpose stems in part from his upbringing, of course, but also his work as organist, teacher, and choirmaster for the boys’ choir at St. Florian in Upper Austria from 1845 to 1855 and his permanent to the most important musical post in the ecclesiastical world of Linz, a position he held until 1868. His move to Vienna in that same year was sparked by his appointment as Professor of Counterpoint and Harmony at the Music Conservatory of the Austrian capital city. It was during this last phase of his career that the composer of sacred choral and organ music turned his attention more fully to the composition of symphonies. His country manners never fit in comfortably with the sophisticated world of the Vienna of his day, but, as the famous conductor Wilhelm Fürtwängler said to a meeting of the German Bruckner Society in 1939, “Bruckner did not work for the present; in his art, he thought only of eternity, and he created for eternity. In this way, he became the most misunderstood of the great musicians.”

Bruckner was supremely unconfident as a composer of symphonies, as witnessed by his numerous revisions. The shadows under which he worked were those of Beethoven’s Ninth Symphony (first performed in the same year as Bruckner’s birth) and the overpowering music of Richard Wagner. The fact that some of his pupils, most prominent among them being Gustav Mahler and Hugo Wolf, became avid champions of Bruckner the

“Bruckner did not work for the present; in his art, he thought only of eternity, and he created for eternity. In this way, he became the most misunderstood of the great musicians.”

—Wilhelm Fürtwängler

symphonist, helped buoy his reputation as symphonist, but, excepting a few works, his symphonies have never enjoyed the popularity of those by Brahms and Mahler.

The Fourth Symphony has proven to be Bruckner’s most frequently performed work. Its sound world is unique. Throughout his career, Bruckner excelled as an organist, and it should come as no surprise that his approach to orchestration reflects this. Each section of his orchestra is treated as if he were unleashing a rank of pipes— one for winds, a different set of pipes for brass, and yet another for strings. As such, his music often takes on the character of a carefully chiseled sculpture, now of granite, now of softer stuff. Bruckner’s sense of religious piety and mysticism was ever mindful that he was born in the same year that witnessed the completion and first performance of Ludwig van Beethoven’s Ninth Symphony. Like the barely perceptible quiet rustling that begins the first movement of Beethoven’s last symphony, Bruckner’s first movement follows suit. Beethoven’s opening also begins with broken fragments of an idea that soon explodes into a mighty first theme. Bruckner also draws the ear’s attention to a noble thematic idea in the solo horn, which is soon picked up by the winds. This is followed by yet another arresting idea—one of the composer’s signature traits—a rhythmic figure comprising two notes followed by a triplet. All of these ideas combine to build toward a magnificent climax,

before the first movement moves on to new thematic ideas.

There have been some hints of a vague “program” for the entire symphony and each of its movements based upon communications from Bruckner himself. None of them, however, shed much light on the music and its “meaning.”

The second movement begins as a funereal march in c minor. Its opening section gives ample room for the cello and viola sections of the orchestra to spin out Schubertian-inspired melodies, as well as a “chorale” theme reflecting Bruckner’s deep religiosity. Cast loosely in sonata form, the recapitulation leads to a majestic climax before receding to its hushed ending. The third movement is a fine example of a Brucknerian scherzo, the kind of movement in which he excelled as a symphonist. This one, with its wonderful horn calls, clearly evokes the world of the hunt—a signature idiom in Romantic German culture and economy. Notice once again Bruckner’s favorite duple-followedby-triplet rhythmic figure. The middle section (Trio) is a lovely and graceful Ländler, a folk dance popular among Austrians (think of Maria and Captain von Trapp dancing in one of the scenes in The Sound of Music). The symphony’s finale, a movement with which the composer struggled mightily, presents the listener with a bit of a conundrum when trying to understand its sonic architecture. Rather than following logical patterns, the music presents a succession of events, now mysterious, now powerful, now gently lyrical. What does become clear is that

Bruckner is drawing upon motivic ideas presented in all three of the movements that precede it. As to be expected, the symphony ends in a blaze of glory. ●

Max Richter

“On the Nature of Daylight”

Scored for strings. Approximately 7 minutes. ●

NOTES BY CHARLES GREENWELL

Osvaldo Golijov Last Round (1996)

Osvaldo Golijov was born on December 5, 1960, in La Plata, Argentina. His Last Round is scored for strings and is approximately 14 minutes.

Golijov has become a major figure in contemporary music by developing a style variously based on Western music of many centuries, traditional JudeoChristian liturgies, folk traditions of many countries, and Latin American influences, particularly the tango as developed by the legendary Astor Piazzolla. He grew up in a Jewish family that emigrated to Argentina from Romania, his mother being a piano teacher and his father being a physician. In his early years, he listened constantly to chamber music, Jewish liturgical and klezmer music, and the Piazzolla tangos, later studying piano and composition at the conservatory in his native city. He moved to Israel in 1983, where he studied at the Jerusalem Rubin Academy, immersing himself in the musical traditions of the city. Moving to the U.S. in 1986, Golijov earned a Ph.D. at the University of Pennsylvania where he studied with George Crumb, and was a fellow at Tanglewood, studying with Oliver Knussen. He has received numerous commissions from major ensembles and institutions in this country and Europe, and is the recipient of a MacArthur Fellowship and several other awards. He has served as composer-in-residence for many major festivals and workshops, and has worked extensively with the Silk Road Project.

“[Last Round] is conceived as an idealized bandoneon. The first movement represents the act of a violent compression of the instrument, and the second a final, seemingly endless opening sigh …”

—Osvaldo Golijov

He has also been a member of the music faculties at Holy Cross College, the Tanglewood Music Center, and the Boston Conservatory. In 2000, the premiere of his St. Mark Passion took the music world by storm, written to commemorate the 250th anniversary of the death of J.S. Bach; two years later, the recording of the work received Grammy and Latin Grammy nominations. In 2006, Lincoln Center presented a sold-out festival entitled “The Passion of Osvaldo Golijov,” featuring performances of his major works, chamber music, and late-night programs of music dear to him.

About this work, the composer has written:

Astor Piazzolla, the last great Tango composer, was at the peak of his creativity when a stroke killed him in 1992. He left us, in the words of the old tango, ‘without saying goodbye,’ and that day the musical face of Buenos Aires was abruptly frozen. As the years passed, everything singled out the bandoneon: a small accordionlike instrument without keyboard that was invented in Germany in 1840 to serve as a portable church organ and which, after finding its true home in the bordellos of Buenos Aires’ slums in the 1920s, went back to Europe to conquer Paris high society in the 1930s. Since then, it had reigned as the essential instrument for any Tango ensemble … I composed Last Round in 1996, prompted by Geoff Nuttall and Barry Shiffman. They heard a sketch

of the second movement, which I had written in 1991 upon hearing the news of Piazzolla’s stroke, and encouraged me to finish it and write another movement to complement it. The title is borrowed from a short story on boxing by Julio Cortazar, the metaphor for an imaginary chance for Piazzolla’s spirit to fight one more time … The piece is conceived as an idealized bandoneon. The first movement represents the act of a violent compression of the instrument, and the second a final, seemingly endless opening sigh (it is actually a fantasy over the refrain of the song My Beloved Buenos Aires, composed by the legendary Carlos Gardel in the 1930s.) But Last Round is also a sublimated tango dance. ●

NOTES

BY DAVID B. LEVY Antonín Dvořák

Serenade for Strings in E Major, Op. 22 (B. 52) (1875)

The Czech master Antonín Dvořák was born in Nelahozeves, near Kralupy, on September 8, 1841, and died in Prague on May 1, 1904. His Serenade for Strings was composed in 1875 and received its first performance in Prague on December 10, 1876, with Adolf Čech directing the orchestras of the Czech and German theatres. Emanuel Starý made

an arrangement of the piece that was published in Prague in 1877. The score of the original version appeared in print in Berlin two years later. The Serenade’s scoring calls for violins, violas, cellos, and bass. Approximately 30 minutes.

Dvořák’s five-movement Serenade for Strings stands among the composer’s most popular works. While not as frequently performed by orchestras as his last four symphonies or the magnificent Cello Concerto, its hearing on concert programs is always welcome. The work also has been overshadowed—unfairly, one might add—by Tchaikovsky’s work of the same name, composed five years later. Often a composer’s greatest compositional skill is hidden by the seeming simplicity of a given musical work. Surely this is the case in Dvořák’s lovely work, a companion of sorts to his Serenade for Winds in d minor, Op. 44, composed three years later (1878).

The composer dashed off this delightful work in short order in May of 1875. He was by then married, expecting his first child. But his financial situation was not good, as evidenced by a letter of recommendation written by none other than Johannes Brahms to his publisher Simrock in Berlin penned two years later:

As for the state stipendium, for several years I have enjoyed works sent in by Antonín Dvořák (pronounced Dvorschak) of Prague. This year, he has sent works including a volume of 10 duets for two sopranos and piano, which seem to me

very pretty, and a practical proposition for publishing. … Play them through and you will like them as much as I do. As a publisher, you will be particularly pleased with their piquancy. … Dvořák has written all manner of things: operas (Czech), symphonies, quartets, piano pieces. In any case, he is a very talented man. Moreover, he is poor! I ask you to think about it! The duets will show you what I mean, and could be a ‘good article.’

Brahms was to become one of Dvořák’s most enthusiastic advocates.

Dvořák was a violist who knew the capabilities of string instruments and their sonority very well. One would be hard-pressed to find a more amiable first movement than the lovely Moderato that opens the work. It begins with a gentle dialogue between the first violins and cellos. The return of the opening material is gracefully embellished, with the texture thickened by dividing the violin, viola, and cello lines into parts (divisi). Dvořák continues to divide the strings in this fashion throughout the entire work.

The second movement, Tempo di valse, is perhaps the best-known of the work’s five movements. Structured like a minuet or scherzo, it features a contrasting “trio” section sandwiched between the wistfully melancholic waltz theme in c-sharp minor.

The third movement is a duple-meter scherzo of great energy. This Vivace escapade changes mood frequently. Toward the end, the composer slows the tempo before a sudden final outburst

“Dvořák has written all manner of things: operas (Czech), symphonies, quartets, piano pieces. In any case, he is a very talented man. Moreover, he is poor!”

—Johannes Brahms

of energy. It is entirely possible that this gesture was inspired by the final movement of Beethoven’s String Quartet in F Major, Op. 59, No. 1 (“Razumovsky”), which coincidentally (?) is in the same key. The emotional heart of Dvořák’s Serenade is to be found in the Larghetto fourth movement, with its achingly beautiful melodies, treated in canonic fashion, as well as its lush harmonies and texture. Astute listeners will detect that the composer brings back one of the themes from the second movement. The Finale: Allegro vivace is a folksy and rigorous affair marked by many unexpected and tricky rhythmic displacements. On hearing the opening, one might conclude that the movement is in the minor mode, but this is but a feint that yields to unbridled fun and joviality. A particularly poignant moment comes when Dvořák brings back the main theme of the work’s first movement, only to set the stage for a brilliant rush to the end. ●

Wolfgang Amadeus Mozart Symphony No. 29 in A Major, K. 201/186a (1774)

Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria, and died on December 5, 1791, in Vienna. His Symphony No. 29 in A Major dates from 1774, i.e., while he still resided in Salzburg. The “K” number used for Mozart’s works refers to the name Ludwig Ritter von Köchel, who first issued the ChronologicalThematic Catalogue of the Complete Works of Wolfgang Amadé Mozart in 1862. The Köchel catalogue has been updated and revised many times to keep pace with musicological revelations. Symphony No. 29 is scored for pairs of oboes and horns and the normal string instruments, although it is likely that in Mozart’s day a harpsichord and at least one bassoon were also used. Approximately 24 minutes Mozart’s Symphony in A Major is one of the composer’s first masterpieces of the Germanic concert symphony. The earliest symphonies from the eighteenth

century were of a lighter variety, often in three movements. This type of symphony was derived from the three-part overtures to Italian operas, and were normally performed as opening works on longer concerts. But in Germany and Austria, a newer, and more substantial concert symphony in four movements was evolving, a category to which the work on today’s program belongs. The autograph of this symphony is dated April 6, 1774. Another famous symphony, K. 173d in g minor, sometimes referred to as the “Little g minor,” and best known today from its appearance in the film Amadeus, also derives from this same period in Mozart’s career, when the composer was still residing in Salzburg.

How one apprehends the first movement of this work depends much on the speed at which it is performed. One biographer has written of its “tragic nobility,” while another speaks of its “cheerful humor.” Mozart’s tempo marking is Allegro moderato, a vagueenough indication to allow room for a wide variety of speeds. The most distinctive feature of the movement lies in the nature of its opening theme, which begins softly in the violins with an octave drop, followed by a series of faster notes, the entire phrase repeated in a rising sequence. A counterstatement of this theme quickly ensues, now forte, enriched by imitative counterpoint in the lower strings. As is normal for Mozart, the second key area is punctuated by a lyrical second theme.

The Andante, with its muted violins, presents one of Mozart’s most felicitous

melodies, replete with dotted and double-dotted rhythms suggestive of a French influence. This movement unfolds, like the first, to reveal a sonata-form structure with a brief coda. The Menuetto also relies on dotted figures, the second part of which takes on the character of a march. The central trio section is the epitome of grace and elegance. The last movement is an example of the “hunting” finale, a merry 6/8 affair with fanfare motives. A delightful feature here is the way in which Mozart articulates his form by a rhythmically isolated rapid-moving upward scale in the violins. ●

NOTES BY CHARLES GREENWELL

Antonio Vivaldi

The Four Seasons (1718–1720)

Antonio Vivaldi was born on March 4, 1678, in Venice, Italy, and died on July 28, 1741, in Vienna, Austria. The Four Seasons is perhaps his best-known work and has firmly cemented a place in the concert repertoire. It is scored for solo violin and strings and is approximately 40 minutes.

When the Baroque style arrived at the beginning of the 17th century, newer violins replaced older viols as the preeminent string instruments of the time, and violin music transitioned from the vocal style of the early 17th century to the instrumental style of the later Baroque, in which the music was written for the instruments at hand. Vivaldi’s The Four Seasons are

Vivaldi’s The Four Seasons […] were deemed very modern when they appeared, they stretched the limits of violin technique, and that they were essentially unknown for about 200 years.

so familiar and popular today that it is difficult to realize they were deemed very modern when they appeared, that they stretched the limits of violin technique, and that they were essentially unknown for about 200 years before reappearing around 1950—just in time for the invention of the long-playing record! Make no mistake about it: The LP was the medium by which these marvelous violin concertos became known worldwide, and may still hold the record as the most recorded work in all of classical music. Of the many composers who helped bring the Italian Baroque style to its high point at the beginning of the 18th century, Antonio Vivaldi was probably the most creative. Just as with Bach, Vivaldi directed his energies to perfecting existing forms instead of creating new ones, and in his music one finds a perfection of the 17th-century concerto and operatic forms. Through his extensive work in the genre, Vivaldi standardized some of the characteristics we associate with the concerto. For example, he regularly composed concertos with fast outer movements and a slower central movement, a structure that became the norm for the entire Baroque period. He and Alessandro Scarlatti were to be the last important Italian composers until Rossini and Verdi came along. After a long and illustrious career during which this extraordinary man composed more than 800 works—including more than 500 concertos for almost every instrument known in his time, as well as 40 operas and a lot of choral music— he died penniless and unknown in Vienna. In his prime, however, he was a celebrated violin virtuoso—one of the finest of his day—and his dynamic concertos influenced many composers, among them J.S. Bach. (As an aside, most Baroque scholars will tell you that, no matter how famous and popular his concerto output is, if you don’t know his operas, you don’t know the real Vivaldi.)

Published in Amsterdam in 1725 was a set of 12 violin concertos by Vivaldi with the collective title The Contest Between Harmony and Invention, Op. 8, the first

continued from 23

four of which are The Four Seasons. The works were printed with a dedication to the Bohemian Count Wenzel von Morzin, a distant cousin of Haydn’s patron before he entered the service of the Esterhazy family in 1761. Modern scholars, however, now believe that The Four Seasons was actually composed a few years earlier, making them contemporaries of Bach’s Brandenburg Concertos. Although Vivaldi had written other concertos with colorful titles, The Four Seasons took descriptive writing several steps further by graphically illustrating four sonnets—possibly written by Vivaldi himself after the music was composed—which are included in the original printed edition. In addition, Vivaldi added verbal cues in the scores so performers would know exactly what they were representing, and he also took great pains to relate his music to the texts of the sonnets, translating the poetic lines themselves directly into the music on the page. Three of these concertos are entirely original, but the first, the “Spring” Concerto, borrows themes from his contemporaneous opera Il Giustino The overall inspiration for the concertos could have come from the countryside around Mantua, where he was living at the time, and/or landscape paintings by the prolific Italian artist Marco Ricci (1676–1730). They were a revolution in musical conception, as they variously represent flowing creeks, singing birds, a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties, frozen landscapes, and warm winter fires. These four astounding concertos stand as one of the earliest and most detailed examples of what we now call program music, that is, music with a narrative element, and are certainly among the boldest program music ever written in the Baroque period. When you consider that the term “program music” was not coined until the Romantic era, that makes these four concertos unique indeed. ●

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John & Karin Waldrop

Caren Waters

Elaine Watson & David Conklin

Dale A. Webster

Weck’s

V. Gregory Weirs

Doug Weitzel & Luke Williams

Leslie White

Lisa & Stuart White

Marybeth White

Bill & Janislee Wiese

Bronwyn Willis

Robert & Amy Wilkins

Daniel Worledge, in honor of David Worledge

James & Katie Worledge, in honor of David Worledge

Kenneth Wright

Kari Young

Michael & Anne Zwolinski 9/12/2024

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 in-kind donations of volunteer time, expertise, services, product, and equipment.

CITY & COUNTY APPRECIATION

Mayor Tim Keller & the City of Albuquerque

The Albuquerque City Council

Aziza Chavez, City Council Special Projects Analyst

The Bernalillo County Board of Commissioners

Dr. Shelle Sanchez & the Albuquerque Cultural Services Department

Amanda Colburn & the Bernalillo County Special Projects

Councilor Dan Champine

Councilor Tammy Fiebelkorn

Councilor Renee Grout

Councilor Dan Lewis

BUSINESS & ORGANIZATION APPRECIATION

Aztec Mechanical

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

9/12/2024

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

9/12/2024

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

9/12/2024

●

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

Mary E. Mills

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

Edward J. Kowalczyk

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

Jane Nicholson Scott & Robert Scott

Laurel Sharp & David Smukler

Catherine Smith-Hartwig

Cynthia Sontag

Frances Steinbach

Linda Trowbridge

Kevin & Laurel Welch

Jeffrey West

Charles & Linda White

Roland & Wendy Wiele

Diane Zavitz, in memory of Pat & Ray Harwick

Linda R. Zipp, MD 9/12/2024

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