New Mexico Philharmonic Program Book • 2024/25 Season • Volume 13 • No. 4
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WELCOME LETTER FROM THE MUSIC DIRECTOR
The
2024/25
Season of Your New Mexico Philharmonic Continues!
DEAR FRIENDS,
I hope you have had a wonderful start to a promising new year!
I am excited to continue to accompany you on a wonderful musical journey with your NMPhil. We are halfway through the 2024/2025 season and have some amazing concerts remaining. In the Coffee Concerts series, we welcome Benedictine Monk Seán Duggan in an all-Bach concert featuring the Harpsichord Concertos Nos. 1 and 2 as well as the Brandenburg Concerto No. 5. We continue with an evening of Pops celebrating love and Valentine’s Day featuring soprano Donata Cucinotta. Then, we welcome back virtuoso American pianist Michelle Cann performing Beethoven’s Piano Concerto No. 4, and great Americana orchestral music by Barber and Copland.
The New Mexico Philharmonic is the place to be to celebrate the beauty of life through music. I hope we continue to inspire, move, uplift, and create unforgettable experiences for you. Thank you for being a part of our musical family—let’s make the 2024/25 season one to remember.
Wishing you a happy and healthy new year!
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 10
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Photo credit: Kim Jew
The Heavenly Harpsichord
Friday, February 7, 2025, 10:45 a.m.
Oriol Sans conductor
Seán Duggan harpsichord
Harpsichord Concerto No. 1 in d minor, BWV 1052
Johann Sebastian Bach
I. Allegro (1685–1750)
II. Adagio
III. Allegro
Seán Duggan harpsichord
Harpsichord Concerto No. 2 in E Major, BWV 1053
I. [Allegro]
II. Siciliano
III. Allegro
Seán Duggan harpsichord
INTERMISSION
Brandenburg Concerto No. 5 in D Major, BWV 1050
I. Allegro
II. Affettuoso
III. Allegro
First United Methodist Church
MAKING A DIFFERENCE
This performance is made possible by: Music Guild of New Mexico’s Jackie McGehee Young Artists’ Competition
Bach
Bach
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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. 4, 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
Oriol Sans conductor Oriol Sans, a Catalan conductor renowned for his “refreshing and expressive” handling of the orchestra, has captivated audiences and inspired musicians across North America and Europe. His extensive repertoire includes performances with esteemed orchestras and ensembles such as the Detroit Symphony Orchestra, the Santa Fe Symphony, the Michigan Chamber Winds and Strings, the New Mexico Philharmonic, the San Juan Symphony (Colorado), the Orquesta Filarmónica de Jalisco in Guadalajara (Mexico), the Flint Symphony Orchestra, the Sheboygan Symphony, the New Bedford Symphony, the International Contemporary Ensemble, and the Four Corners Ensemble.
Recently, Sans served as the conductor of an exploratory recording project featured in the Oscar-winning film Zone of Interest by Jonathan Glazer. Initiated in 2017, this project unearthed, assembled, and recorded music the Auschwitz I Men’s Orchestra performed in the concentration camp. Collaborating with University of Michigan professor Patricia Hall, Sans embarked on a national tour of the Midwest and New York City, concluding in May 2024 with an international tour of Austria and Poland.
As an opera conductor, his repertoire encompasses a diverse range of works, including Verdi’s Falstaff, Mozart’s Marriage of Figaro and Così fan tutte, Tchaikovsky’s Eugene Onegin, Verdi’s La traviata, and Britten’s Albert Herring and A Midsummer Night’s Dream. In 2018, he
led a production of Menotti’s Amahl and the Night Visitors at the Michigan Opera Theatre, collaborated with the Opera Theatre of St. Louis on a production of Awakenings—a groundbreaking opera by composer Tobias Picker—and more recently lead a performance of Puccini’s Gianni Schicchi with the Tulsa Opera.
Mr. Sans, Associate Professor and Director of Orchestral Activities at the University of Wisconsin-Madison, oversees musical responsibilities that include directing the Symphony Orchestra, conducting opera productions, and mentoring graduate conducting students. Under his guidance, University of Wisconsin-Madison opera productions of Così fan tutte, Sweeney Todd, and Out of Darkness: Two Remain have received awards from the National Opera Association, with Sweeney Todd also being recognized with The American Prize. Prior to joining the University of Wisconsin-Madison, Mr. Sans served as Associate Director of Orchestras at the University of Michigan in Ann Arbor, where he directed both the University Philharmonia Orchestra and the Contemporary Directions Ensemble (CDE). With the CDE, Mr. Sans spearheaded projects with renowned composers such as John Luther Adams, Ted Hearne, Julia Wolfe, David T. Little, Tyshawn Sorey, and Augusta Read-Thomas.
As Music Director of the Detroit Symphony Youth Orchestra, a position he held from 2016 to 2022, Mr. Sans fostered collaborations with other musical institutions within the community, including the Young Artists Program through Michigan Opera Theater. Additionally, Mr. Sans was a finalist for the position of Music Director with the Ann Arbor Symphony Orchestra.
His extensive experience collaborating with musicians of diverse ages has garnered numerous invitations to serve as conducting faculty at prestigious educational institutions, such as the Interlochen Summer Academy and the Sewanee Summer Music Festival. As a highly sought-after conducting clinician and guest conductor, he has engaged with numerous youth ensembles across North America.
Sans has collaborated with a varied list of renowned soloists, including Anthony McGill, Pacho Flores, Yoonshin Song, Wey Yu, Tony Arnold, Amy Porter, Aaron Berofsky, Jourdan Urbach, Álvaro Bitrán, Íride González, Alan Pingarrón, Jason Vieaux, Alexander Gavrylyuk, the Anderson & Roe Piano Duo, Alon Goldstein, and Wu Han.
A native of Catalonia, Spain, Mr. Sans pursued his studies in orchestral and choral conducting at the Barcelona Conservatory, where he received the school’s Honors Award in both specialties upon graduation. Subsequently, he continued his musical education at the University of Michigan, where he earned his Master’s degree in Orchestral Conducting and his Doctorate of Musical Arts. In addition to his academic achievements in music, Mr. Sans holds a degree in humanities from the Pompeu Fabra University in Barcelona. He resides in Madison, Wisconsin, with his wife, Chelsea. ●
Seán Duggan harpsichord
Pianist Seán Duggan, OSB, is a monk of St. Joseph Abbey in Covington, Louisiana. He obtained his music degrees from Loyola University in New Orleans and Carnegie Mellon University, and received a Master’s degree in theology from Notre Dame Seminary in New Orleans. From 1988 to 2001, he taught music, Latin, and religion at St. Joseph Seminary College in Louisiana and was director of music and organist at St. Joseph Abbey.
In September 1983, he won first prize in the Johann Sebastian Bach International Competition for Pianists in Washington, D.C., and again in August 1991. Having a special affinity for the music of Bach, he performed the complete cycle of Bach’s keyboard works eight times in various American and European cities in 2000. For seven years, he hosted a weekly program on the New Orleans NPR station titled “Bach on Sunday.” He is presently in the midst of recording the complete cycle of Bach’s keyboard (piano) music, which will comprise 24 CDs.
Before he joined the Benedictine Order, he was pianist and assistant chorus master for the Pittsburgh Opera Company for three years. He has performed with many orchestras including the Louisiana Philharmonic, the Buffalo Philharmonic, the Leipzig Gewandhaus Orchestra, the Leipzig Baroque Soloists, the Prague Chamber Orchestra, the American Chamber Orchestra, and the Pennsylvania Sinfonia. From 2001 to 2004, he was a visiting professor of piano at the University of Michigan. Currently, he is professor of
piano at SUNY Fredonia. During the fall semester of 2008, he was also a guest professor of piano at the Eastman School of Music. He has been a guest artist and adjudicator at the Chautauqua Institution for several summers, and is also a faculty member of the Golandsky Institute in Princeton, New Jersey. He continues to study the Taubman approach with Edna Golandsky in New York City. ●
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. ●
Donata Cucinotta soprano
American soprano Donata Cucinotta has been recognized for her versatile and powerful performances on opera, musical, and concert stages. Recent career highlights include performances with Michael Tilson Thomas and the Louisville Orchestra, a Lincoln Center debut with the Queens Symphony Orchestra, and multiple performances with Jack Everly and the Indianapolis Pops, where Tom Alvarez of the Indy Star noted her “jaw-dropping solo during ‘O Holy Night.’ [Her] performance was one of the most breathtaking I have seen on any stage anywhere, anytime.”
Recent engagements include a return to the Indianapolis Symphony Orchestra as a featured soloist in their From Vienna to Broadway concerts, Yuletide Celebration, and Spotlight on ISO Musicians concerts featuring highlights from Tosca and La bohème; Opera Ithaca as Countess Almaviva in Le nozze di Figaro; and Knoxville Opera for their Merry Widow, as well as a return to Indianapolis Opera as Donna Elvira in Don Giovanni. Ms. Cucinotta’s additional appearances include Candice in the world premiere of Stay by John Glover and Kelley Rourke with On Site Opera, Musetta in La bohème with
Indianapolis Opera, Donna Elvira in Don Giovanni with Opera Ithaca, Countess in ¡Figaro! (90210) with Morningside Opera, Josephine in H.M.S. Pinafore at Knoxville Opera, Erste Dame in Die Zauberflöte at Opera Tampa, Die Fledermaus with Amarillo and Knoxville Opera, Nina in The Firefly with Ohio Light Opera, and Nedda in Pagliacci with Opera in the Heights, where D.L Groover of the Houston Press noted “Cucinotta’s fiery soprano [that] opened up with a blistering top, square on, raising goose bumps in the best possible way.”
A frequent performer and recitalist, last season she made her debut with the Jackson Symphony Orchestra in Mahler’s 3rd Symphony, and looks forward to her debut this season with the New Mexico Philharmonic on their “Love, Love, Love” concert with Jason Altieri, presenting highlights from La Wally and La bohème She has sung several concerts with the Terre Haute Symphony Orchestra, and the Columbus Indiana Philharmonic as a featured soloist, where Henry Upper of The Republic praised her “…inner feeling for the text, where time and again she showed her heart and her soul through the words She is a superb talent whom we know we will hear from more.” She has also been heard in the Mozart Mass in C, Bach’s Magnificat, and the Dvořák Requiem with the Denver Choral Fest. With the Indianapolis Symphonic Choir, she has sung the soprano solo in Vaughn Williams’s Dona nobis pacem. She has also sung the soprano solos in Bach’s in Die Elenden sollen essen, Mendelssohn’s Elijah, Dave Brubeck’s To Hope! (A Celebration), and Handel’s Messiah. As a recitalist, she will be touring her #MeToo program in conjunction with Sing for Hope and has performed as a guest artist with On Site Opera. donatacucinotta.com ●
Michelle Cann piano
Lauded as “exquisite” by The Philadelphia Inquirer and “a pianist of sterling artistry” by Gramophone, Michelle Cann is one of the most sought-after pianists of her generation. Recent engagements include appearances with the Chicago Symphony Orchestra, the Cleveland Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the National Symphony Orchestra, and the Orquestra Sinfônica Municipal de São Paulo. Her honors include the Sphinx Medal of Excellence and the Andrew Wolf Chamber Music Award. In 2024, she was named the inaugural Christel DeHaan Artistic Partner of the American Pianists Association, responsible for artistic oversight of the American Pianists Awards.
Highlights of Cann’s 2024/25 season include appearances with the San Francisco Symphony, the Cincinnati Symphony, and London’s Philharmonia Orchestra. She performs collaboratively with the Dover Quartet, the Imani Winds, and cellist Tommy Mesa. Her solo and collaborative recital appearances include the 92nd Street Y, New York; University of Chicago Presents; Northwestern University’s Bienen School of Music; Duke Arts at Duke University; the Royal Conservatory of Music; Shriver Hall Concert Series; and Spivey Hall. She also performs a recital as the headline artist at the National Conference of the Music Teachers National Association.
Recognized as a leading interpreter of the piano music of Florence Price, Cann performed the New York City premiere of continued on 14
continued from 13
Price’s Piano Concerto in One Movement with The Dream Unfinished Orchestra in July 2016 and the Philadelphia premiere with the Philadelphia Orchestra and Music Director Yannick Nézet-Séguin in February 2021. Her recording of the concerto with the New York Youth Symphony won a Grammy Award in 2023 for Best Orchestral Performance. Her acclaimed debut solo album, Revival, featuring music by Price and Margaret Bonds, was released in May 2023 on the Curtis Studio label. With soprano Karen Slack, she recorded Beyond the Years, released in July 2024, featuring 19 unpublished songs composed by Price.
She has also recorded two Price piano quintets with the Catalyst Quartet as part of the quartet’s UNCOVERED series. A champion of emerging talent, Cann and cellist Tommy Mesa recorded Our Stories, an album of new works by five living composers of color, which was released in November 2023.
A celebrated chamber musician, Cann has collaborated with leading artists including the Catalyst, Dover, and Juilliard string quartets; violinists Timothy and Nikki Chooi; soprano Karen Slack; and mezzo-soprano J’Nai Bridges. She regularly performs duo piano repertoire with her sister, pianist Kimberly Cann, as the Cann Duo. She has appeared as cohost and collaborative pianist with NPR’s From the Top, collaborating with actor/ conductor Damon Gupton, violinist Leila Josefowicz, and violinist and MacArthur Fellow Vijay Gupta. Cann’s numerous media appearances include PBS Great Performances’ Now Hear This hosted by Scott Yoo and Living the Classical Life with host Zsolt Bognár.
Embracing a dual role as performer and pedagogue, Cann is frequently invited to teach master classes, give lecture-demonstrations, and lead teaching residencies. Recent residencies include the Gilmore International Keyboard Festival and the National Conference of the Music Teachers National Association. She has recorded lessons for tonebase, the popular piano lesson platform. She has also served on the juries of the Cleveland International
Piano Competition, the Kauffman Music Center International Youth Piano Competition, and the piano competition of the Music Academy of the West. Cann holds Bachelor’s and Master’s degrees in piano performance from the Cleveland Institute of Music, where she studied with Paul Schenly and Dr. Daniel Shapiro, and an Artist’s Diploma from the Curtis Institute of Music, where she studied with Robert McDonald. She joined the Curtis piano faculty in 2020 as the inaugural Eleanor Sokoloff Chair in Piano Studies. She is also on the piano faculty of the Manhattan School of Music. ●
NOTES BY DAVID B. LEVY
Johann Sebastian Bach Harpsichord Concerto
No. 1 in d minor, BWV 1052/ Harpsichord Concerto No. 2 in E Major, BWV 1053
(c. 1729–1741)
Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750. He looms as one of history’s pivotal figures whose music is venerated and admired by many composers who followed him, from Haydn to Bartók and beyond. During his own lifetime, Bach was more revered as an organist and keyboard virtuoso than as a composer. His enormous output covers virtually every genre of the Baroque era, except for opera. But even here, the drama found in much of his sacred choral music (Church Cantatas, Passion Oratorios, Magnificat, and Mass in b minor) and other works showed considerable dramatic flair. The Harpsichord Concertos Nos. 1 (BWV 1052) and 2 (BWV 1053) are thought to have been composed during Bach’s employment in Leipzig, perhaps for use at the Collegium Musicum concerts. Precise dating of the seven complete concertos for harpsichord (BWV 1052-58) is difficult to ascertain. They are scored for solo harpsichord and string orchestra, with harpsichord also serving as a member of the continuo group. BWV 1052 is approximately 22 minutes, and BWV 1053 is approximately 20 minutes.
We know that Bach wrote many instrumental works during his period in Cöthen, where his duties did not call for the composition of sacred music for the church. We know that the popular six Brandenburg Concertos belong to this period, three of which (Nos. 2, 4, and 5) fall into the category of “concerto
The inspiration for nearly all of Bach’s concertos came from the Venetian master Antonio Vivaldi, himself the composer of nearly 600(!) concertos.
grosso,” i.e., concertos for two or more solo instruments. We also know that Bach remained active in his composition of secular music, including concertos, when he took up his final position as Kantor for two Lutheran (Evangelical) churches in Leipzig, as well as his directorship of Leipzig’s Collegium Musicum.
The inspiration for nearly all of Bach’s concertos came from the Venetian master Antonio Vivaldi, himself the composer of nearly 600(!) concertos. Bach’s admiration for Vivaldi presents itself in his transcriptions of the Italian’s violin concertos into works for solo organ, as well as for harpsichord (in one case, Vivaldi’s Concerto in b minor for Four Violins was transcribed for four harpsichords). Following Vivaldi’s model, Bach’s solo concertos comprise three movements. The first movements typically are cast in ritornello form, whereby the (string) orchestra makes an initial statement (ritornello), followed by a passage where the soloist steps into the foreground, lightly accompanied by the orchestral “ripieno” group. Shortened versions of the opening ritornello are interspersed with additional solo episodes, with the movement ending with a final ritornello. The second movements are slower in tempo than the first and last ones.
Regarding the concertos on this program that feature the harpsichord as the lone solo instrument, the first two, BWV 1052 and 1053, contain material also found in the opening instrumental “sinfonia” of Bach’s church cantatas, each of which makes use of the organ as the solo instrument. In the case of the
Harpsichord Concerto in d minor, BWV 1052, Bach borrows from the sinfonia of cantata Wir müssen durch viel Trübsal (We Must Pass Through Much Sadness, 1726), BWV 146. The second movement of the same concerto derives from the opening chorus of the same cantata. The last movement of the concerto takes its material from the sinfonia from another church cantata, Ich habe meine Zuversicht (I Have Placed My Confidence,1728), BWV 188. Regarding the Harpsichord Concerto in E Major, BWV 1053, Bach again reuses material from cantatas Gott soll allein meine mein Herze haben (God Alone Has My Entire Heart), BWV 169, and Ich geh und suche mit Verlangen (I Go and Seek With Longing), BWV 49. Some Bach scholars, particularly Christoph Wolff, speculate that Bach may have composed these concertos for his primary instrument, the organ. Others have speculated that the violin was the original solo instrument for the Concerto in d minor.
An additional note regarding the ordering of Bach’s works is in order here. The German musicologist, Wolfgang Schmieder, published a Bach Works Catalogue (BWV=Bach Werke Verzeichnis) in 1950 (it was updated and enlarged in 1990). Unlike Ludwig Köchel’s more famous catalogue of Mozart’s music, the Schmieder catalogue is not arranged in chronological order, but rather by type of work. One often sees works by Bach on printed programs identified by its “BWV” (in German, Bach Werke Verzeichnis) number. Some writers, however, choose to give Professor Schmieder his due recognition by substituting an “S.” ●
NOTES BY CHARLES GREENWELL
Bach Brandenburg Concerto No.
5 in D Major, BWV 1050 (c. 1721)
Scored for solo harpsichord, flute, violin, and strings. Approximately 21 minutes. Few works in music history are as beloved as these six instrumental concertos, which display a somewhat lighter side of Bach’s extraordinary genius. Sent to the Margrave of Brandenburg in 1721, there is no way that Bach could have known that these works would become a benchmark of Baroque music, and that almost 300 years later they would still have the power to move listeners with their extraordinary musical substance. Bach thought of them as a set (even though they did not acquire their title until years later), compiling them from instrumental sinfonias and concerto movements he had already written, reworking and elaborating the music as he saw fit. Each of the six concertos requires a different combination of instruments along with some very skilled soloists. The Margrave had a small court orchestra in Berlin, but they were not first-rate performers. What we know indicates that these concertos were tailored for the excellent musicians that Bach had in Anhalt-Cöthen, which brings up the question, how did this small provincial town get so many first-rate performers? Just before Bach arrived in Cöthen in 1717, a new king came to the throne
in Prussia: He was Friedrich Wilhelm I, known as the “Soldier King” because he was more interested in military matters than in artistic endeavors. He immediately disbanded the very prestigious Berlin court orchestra, which threw many fine musicians out of work, and as luck would have it, at least seven of the finest ones were instantly hired by the music-loving Prince Leopold in Cöthen. That is why Bach found such a splendid music scene there, and it gave him the ability to write for virtuosos who in turn inspired him to push the boundaries of his fertile creativity. Over the years, scholars have had to fill in a lot of gaps in dealing with Bach’s music: Nearly half of his output is considered lost, and many of the concertos exist only in later arrangements and dubious copies. However, these six concertos survive in his original manuscript, which is one of the most beautiful examples of Bach’s calligraphy that has come down to us.
In 1721, Bach was in his fourth year as Prince Leopold’s musical director, and all was going well until the Prince decided to marry his cousin that year. She is known to have disliked music, and we know that Bach certainly disliked her! Toward the end of March, he began to feel an urgent need to leave Cöthen, and so he sent these concertos, along with a very servile dedication letter, to Margrave Christian Ludwig of Brandenburg whom he had met a couple of years earlier, and who he thought might be interested in hiring him. The meeting referred to took place in March 1719 in Berlin, where Bach had gone to approve and bring home a marvelous new harpsichord for Prince Leopold. At the time, Bach is reputed to
Few works in music history are as beloved as these six [Brandenburg] concertos, which display a somewhat lighter side of Bach’s extraordinary genius.
have played for the Margrave, who was quite impressed and requested some music to add to his meager library. Bach obviously did so, but no one can figure out why it took him two years to send the music off. Clearly, in 1721 these concertos were a reminder to the Margrave, and were meant to serve as a résumé for a new job. It was once held that the Margrave never performed the concertos—almost certainly because his instrumental forces could not handle the technical demands of the music—and possibly never even looked at the score (remember what pristine condition it was in), and that Bach never even received an acknowledgment. In addition, it was felt that the works were considered so worthless that they were sold for a pittance when the Margrave died in 1734. However, modern scholarship suggests that a performance would have used individual parts rather than the score, that the absence of a response could simply mean that it might have been lost, and that the score was not sold, but was given a nominal value in order to assure that the Margrave’s estate was evenly divided among his heirs. Whatever the case, in the estate inventory there is no specific mention of the concertos or even of Bach’s name, but they appear to have been put in a bulk lot of 177 concertos as being worth very little, and eventually were passed on to the heirs. The set then gathered dust until 1849 when it was discovered in the Brandenburg archives, and was published the following year to mark the 100th anniversary of Bach’s death. As if this wasn’t enough, the manuscript was nearly lost during World War II, as it was being transported for safekeeping to Prussia by train in the care of a librarian. The train came under aerial bombardment, but happily the librarian escaped unharmed into a nearby forest, with the scores hidden under his coat! Bach’s own title for the set was Six Concertos for Several Instruments, and they are simply one of the great glories of Baroque instrumental music. These works have become so familiar that it is difficult for modern audiences to appreciate just how revolutionary they were. ●
NOTES BY LORI NEWMAN
Samuel Barber Adagio for Strings (1936)
Samuel Barber was born on March 9, 1910, in West Chester, Pennsylvania, and died on January 23, 1981, in New York City. The Adagio for Strings is scored for string orchestra and is approximately 9 minutes.
Dear Mother: I have written this to tell you my worrying secret. Now don’t cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet [sic]. I was meant to be a composer, and will be I’m sure. I’ll ask you one more thing. Don’t ask me to try to forget this unpleasant thing and go play football … please.
The preceding was written by nine-yearold Samuel Barber, who very clearly knew what he wanted his future to hold, and that future did not include football. Born into a musical family, Barber began singing and playing the piano at an early age, composing by age 7, and at the tender age of 14, he entered the prestigious Curtis Institute of Music, studying piano, voice, and composition.
The Adagio for Strings is Barber’s most celebrated and famous work. The piece originated as the second movement of his String Quartet, Op. 11, which was written in 1936 while Barber traveled throughout Europe accompanied by his longtime companion and fellow composer Gian Carlo Menotti. The same year, Barber arranged the movement for string orchestra. In 1938, he sent the version for string orchestra (along with his First Essay) to Arturo Toscanini, as Toscanini had recently made a call for new music to be performed at the Salzburg Festival. Both scores were returned to Barber without any comment from Toscanini. Barber was irritated, but soon all was forgiven when he got word that Toscanini planned to perform both works, not only in Salzburg, but he would also premiere them in South
“Now don’t cry when you read it because it is neither yours nor my fault. I was meant to be a composer, and will be I’m sure.”
—Samuel Barber
America and throughout a European tour.
The premiere of the Adagio for Strings took place on November 5, 1938, with Toscanini conducting the NBC Orchestra at Studio 8H in Rockefeller Center. The concert was a live radio broadcast in front of an invited audience.
The work is written in arch form (i.e., ABCBA), and is characterized by impossibly long phrases, harmonic suspensions, and frequent meter changes. Its aching beauty has made it a popular choice for funerals and memorial services, including for luminaries such as Franklin Delano Roosevelt, Albert Einstein, and Princess Grace of Monaco. The Monday after the assassination of John F. Kennedy Jr., Jackie Kennedy organized a concert with the National Symphony Orchestra that included the Barber, a favorite of the slain president; the concert was played to an empty concert hall and was broadcast over the radio. The Adagio for Strings was also famously used for memorials and tributes of the September 11th terrorist attacks.
The work has also made it into both film and television, making it a musical popculture mainstay, appearing in serious films such as Platoon and The Elephant Man and in comedic turns such as in Seinfeld, The Simpsons, and South Park. ●
NOTES BY DAVID B. LEVY
Ludwig van Beethoven Piano Concerto No. 4 in G Major, Op. 58 (1806)
One of history’s pivotal composers, Ludwig van Beethoven was born on December 16 or 17, 1770, in Bonn,
and died in Vienna on March 26, 1827. Beethoven’s Fourth Piano Concerto was composed in 1806, a particularly productive year that also yielded the three String Quartets, Op. 59 (“Razumovsky”); the Fourth Symphony, Op. 60; and the Violin Concerto, Op. 61. The work received its first performance at Prince Lobkowitz’s palace in Vienna sometime in March of 1807. Its first public performance (also in Vienna), with Beethoven as soloist, took place on December 22, 1808. It is scored for solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 35 minutes.
Like so many of its sister works from 1805 to 1806, Beethoven’s Fourth Piano Concerto revels in lyricism and expansiveness of form. It is interesting to note, however, that the harmonic confrontations found in this piece are, if anything, even more radical than those found in Beethoven’s previous works. The first and most striking example is the haunting B-Major response by the orchestra to the unaccompanied soloist’s G-Major opening. Indeed, the tonal restlessness of the music— modulating frequently from key center to key center—provides the necessary forward momentum to propel the first movement through its otherwise thematically serene journey.
It has long been suspected that the second movement of this concerto, Andante con moto, was inspired by the confrontation of Orpheus and the Furies at the gates of Hades from mythology. The legendary Orpheus was so accomplished a performer on the lyre and as a singer, that none could remain unmoved by his music. Bereaved at the death of his consort, Eurydice, on their wedding continued on 18
continued from 17 day, Orpheus resolves to enter Hades to win her back from death itself. In the scene at the gates of Hades, Orpheus’s musical powers charm the demons who would bar his way. The late distinguished musicologist Owen Jander, Professor Emeritus of Music at Wellesley College, projected a specific scenario and program for Beethoven’s Andante based on a German adaptation of the legend as transmitted by Virgil and Ovid. Jander has gone on to argue—not without provoking some controversy—that the first and last movements also are linked to the Orpheus myth (“The Song of Orpheus” and “Orpheus and the Bacchantes,” respectively). Jander cited, among other evidence, that the opening period of the unaccompanied piano that starts the concerto represents Orpheus testing the strings of his lyre, while the hushed, foreign-key answer in the orchestra depicts the “amazement of Nature in response to the magical sound of the Orphic lyre.” We have it on the authority of Beethoven’s pupil Carl Czerny that Beethoven arpeggiated the opening chord of the piece (as in Orpheus strumming his lyre) when he performed it. This fact may lend further support to Jander’s theory. Less convincing, perhaps, is the notion that the addition of trumpets and timpani to the Fourth Concerto’s finale (the only movement in which these instruments are used) represents the punishment of Orpheus by the Bacchantes. It may be true that Beethoven had “pumped up the
volume” in this raucous finale (note also how frequently the music is marked fortissimo [very loud]), but the spirit of the music remains too joyful to convince this listener that such violent actions are being depicted. It is intriguing to note, however, that a portrait of Beethoven by Joseph Willibrord Mähler dating from the period in which the composer worked on the Fourth Piano Concerto, depicts him in an Arcadian setting, holding a lyre in his left hand. ●
Aaron Copland Suite from Billy the Kid (1939)
Aaron Copland was born in Brooklyn, NY, on November 14, 1900, and died in North Tarrytown, NY, on December 2, 1990. In addition to his distinguished accomplishments as a composer, he was an important author on musical topics, as well as a gifted pianist and conductor. Furthermore, he was a mentor to at least two generations of important American composers. Copland, more than any composer in the 20th century, gave classical music a distinctly “American” voice that created a model that inspired future composers. Included in this voice is an evocation of the American West, as found in his 1938 ballet for impresario Lincoln Kirstein and choreographer Eugene Loring’s Billy the Kid, which received its premiere in a two-piano
Copland, more than any composer in the 20th century, gave classical music a distinctly “American” voice that created a model that inspired future composers.
version with the Ballet Caravan Company at Chicago’s Civic Opera House on October 16, 1938. The orchestral version received its first performance in New York City on May 24, 1939. Rodeo, another Western-themed ballet by Copland, was composed for Agnes de Mille in 1942. Billy the Kid is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, a large percussion section, harp, and strings. Approximately 20 minutes.
In the earliest stages of Copland’s compositional career, he was very much the modernist and like many other expatriots, he traveled to Paris to take in the exciting cultural milieu of Debussy, Ravel, Stravinsky, and others. He was the first of several Americans to study with the legendary Nadia Boulanger. Copland eventually saw a possible new path forward by tapping into American history and folklore. His three popular ballet scores— Billy the Kid, Rodeo, and Appalachian Spring—each reflect his success in weaving modernist techniques together with folk melodies. Of these scores, Rodeo leans most heavily on borrowed tunes, some of which were suggested by choreographer Agnes de Mille. Billy the Kid similarly makes use of cowboy and folk tunes, including “Great Grandad,” “Git Along, Little Dogies,” “The Old Chisholm Trail,” and “Goodbye Old Paint.”
The scenario for the ballet is set in the 1870s and 80s in New Mexico and Arizona. The first movement of the Suite is called “Introduction: The Open Prairie,” which sets the scene, at first gently, then more boldly. The following movement, “Street Scene in a Frontier Town,” places the listener more specifically in the American West, as does the “Mexican Dance and Finale” that ensues. After a gentle “Prairie Night,” an exciting “Gun Battle” follows—a movement that makes effective use of the orchestra’s percussion section. A satirical “Celebration” illustrates the joy of townspeople after Billy’s capture. The Suite ends with “Billy’s Death” at the hand of sheriff Pat Garrett, and a reprise of “The Open Prairie.” ●
“… the atomic sense one sometimes gets in far-off places, of suddenly knowing the essence of a people— their humanity, their separate shyness, their dignity, and unique charm.”
—Aaron Copland
Aaron Copland
El Salón México (1932–1936)
In addition to his distinguished accomplishments as a composer, Aaron Copland was an important author on musical topics as well as a gifted pianist and conductor. Furthermore, as the “Dean of American composers,” he was a mentor to at least two generations of important American composers. His one-movement orchestral piece El Salón México was composed between 1932 and 1936 and first performed in Mexico City’s Palacio de Bellas Artes under the direction of Carlos Chávez on August 27, 1937. The piece was given its first performance in the United States on May 14, 1938, with Adrian Boult leading the NBC Symphony Orchestra. The work is dedicated to the composer’s travel companion, the violinist Viktor Kraft. It is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, güiro, snare drum, suspended cymbal, temple blocks, tambourine, wood block, and xylophone), piano, and strings. Approximately 10 minutes. There is a long history of musical works in which a composer imitates the style of a nation to which s/he does not belong. Tchaikovsky’s Capriccio
Italien and Rimsky-Korsakov’s Capriccio espagnol are but two examples familiar to concert audiences. When a composer of a particular nationality writes a work that is self-consciously in the style of another country, however, s/he runs the risk, even if intended as a wellintentioned remembrance or tribute, of being criticized for either stealing, or even worse, parodying. Aaron Copland, who had visited Mexico in 1932, was aware of the risks he took in composing El Salón México, as revealed in his article, “The Story Behind My El Salón México” published in July 1939 in the journal Tempo. The relevant passage, which recalls Copland’s trepidations about the work’s premiere, reads as follows:
To the customary misgivings any composer has at the thought of a première, there was added my natural fear as to what the Mexicans might think of a “gringo” meddling with their native melodies. At the first of the final rehearsals that I attended, an unexpected incident took place that completely reassured me. As I entered the rehearsal hall, the orchestral players, who were in the thick of a Beethoven symphony, suddenly stopped what they were doing, and began to applaud vigorously. What they were expressing, I soon realized, was not so much their appreciation of one composer’s work, as their pleasure and pride in the fact that a foreign composer had found their
own familiar tunes worthy of treatment. I shall always remember that gesture.
The work’s title refers specifically to a dance hall in Mexico City, which he learned about in a guidebook and visited with his host, the Mexican composer and conductor Carlo Chávez. Again, let’s permit Copland to explain in his own words:
Perhaps my piece might never have been written if it hadn’t been for the existence of the Salón México. I remember reading about it for the first time in a tourist guidebook: “Harlem-type nightclub for the peepul [sic], grand Cuban orchestra. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.” When I got there, I also found a sign on the wall which said: “Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.” … In some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people—the atomic sense one sometimes gets in far-off places, of suddenly knowing the essence of a people—their humanity, their separate shyness, their dignity, and unique charm. Despite its immediate audience appeal, El Salón México is filled rhythmic and metrical complexity that Copland learned from the groundbreaking music he experienced during his studies in Paris in the 1920s, including the early ballets of Igor Stravinsky (especially Petrouchka and The Rite of Spring). These modernistic traits stand side by side with the quotation of authentic Mexican tunes (“El palo verde,” “La Jesusita,” “El mosco,” and “El malacate”). ●
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Dr. Fran A’Hern-Smith
Albuquerque Auto Outlet, Paul Cervantes
Albuquerque Little Theatre
Jeffrey Allen
Jo Anne Altrichter & Robin Tawney
Amazon Smile
Judith Anderson
Julie Atkinson
David Baca
Jackie Baca & Ken Genco
Thomas J. & Helen K.
Baca
Maurizio & Jennie
Baccante
Douglas & Kathleen Bailey
Charlene Baker
Bark Box
Graham Bartlett
Laura Bemis
Kirk & Debra Benton
Laura Bernay
Suzanne Bernhardt
Melbourne Bernstein
Marianne Berwick
Betty’s Bath & Day Spa
Henry Botts
David & Erin Bouquin
J.M. Bowers & B.J. Fisher
Douglas Brosveen
Alfred Burgermeister
Robert & Marylyn Burridge
California Pizza Kitchen
Dante & Judith Cantrill
David & Laura Carlson
Joseph Cella
Robert & Sharon
Chamberlin
Roscoe & Barbara
Champion
Cheesecake Factory
Chile Traditions
Barry Clark
Lloyd Colson III
Lawrence & Mary
Compton
Martha Corley
Cara & Chad Curtiss
The Daily Grind/ Caruso’s
Rosalie D’Angelo
Hubert Davis
Mary Ann & Michael
Delleney
Thomas & Elizabeth
Dodson
Darryl Domonkos
Sandy Donaldson
Michael & Jana
Druxman
Jeff & Karen Duray
D. Reed Eckhardt
Martha Egan
Bradley Ellingboe
James Erdelyi, in memory of Robert Fosnaugh
Vicky Estrada-Bustillo & Juan Bustillo
Sabrina Ezzell
Rita Fabrizio
Peter & Janet Fagan
Farm & Table
Jane Farris & Mike Pierson
Jane Farris & Mike Pierson, in honor of Brent & Maria Stevens
Howard Fegan
J. Fenstermacher
Jon & Laura Ferrier
Patrick & Elizabeth
Finley
Rabbi Arthur Flicker
Carol Follingstad
Karin Frings
Greg & Jeanne FryeMason
Eric & Cristi Furman
Debra Jane Garrett
Allison Gentile & Joan
Sapon
Lawrence Jay Gibel, MD
Great Harvest Bakery
Alfred & Patricia Green
Charles & Kathleen
Gregory
Ginger Grossetete
Marilyn Gruen &
Douglas Majewski
Kenneth Guthrie & Doni
Lazar
J. Michele Guttmann
Leila Hall
Rachel Hance, in memory of Dolores Hance
Frank & Sue Hardesty
Michael Harrison
Gloria B. Hawk
Ursula Hill
Fred Hindel
Stephen Hoffman & James McKinnell
Kristin Hogge
Steven Homer
Julia Huff
Ralph & Gay Nell
Huybrechts
Jerry & Diane Janicke
Michael & Sandra
Jerome
Ruth Johnson
Barbara Jones
Lawrence & Anne Jones
Ty Kattenhorn
Julia Kavet
Lynn Kearny
Margaret Knapp
Gerald Knorovsky
Katherine Kraus
Michael & Bethann
Krawczyk
John & Gretchen Kryda
Larry W. Langford
Molly Mary Lannon
Lorin Larson
Paul & Julie Laybourne
Janice Leach
Rita Leard
Rebecca Lee & Daniel Rader
Larry & Shirlee Londer, in memory of Bill
Bradley
Los Pinos Fly & Tackle Shop
Suzanne Lubar & Marcos Gonzales, in memory of Dr. Larry
Lubar
Sam Lucero & Ron Lahti
Frank Maher
Elliot S. Marcus, MD
Mark Pardo Salon & Spa
April & Benny Martinez
Carolyn Martinez
Robert & Anne Martinez
Janet Matwiyoff
Peter & Lois McCatharn
Marcia McCleary
Mark Menicucci
Moses Michelsohn
George Mikkelsen
Beth Miller, in memory of William Benz
Kathleen Miller
Martha Miller
Mister Car Wash
Ben Mitchell
Bryant & Carole Mitchell
Letitia Morris
Baker H. Morrow & Joann Strathman
John & Patsy Mosman
Sharon Moynahan
Brian Mulrey
Bette Myerson
Jim & Beth Nance
Albert & Shanna Narath
Ann & James Nelson, in memory of Louise Laval
Ronald & Diane Nelson
Ruth O’Keefe
Peter Pabisch
Eric Parker
Howard Paul
Oswaldo Pereira &
Victoria Hatch
Gwen Peterson, in memory of Robert Fosnaugh
Barbara Pierce
Ray Reeder
Reincarnation INC
Crystal Reiter
Carol Renfro
Kerry Renshaw
Kay Richards
Margaret Roberts
Gwenn Robinson, MD, & Dwight Burney III, MD
Susan Rogowski
Glenn & Amy
Rosenbaum
Michael & Joan
Rueckhaus
Evelyn E. & Gerhard L. Salinger
Anne Salopek
Sandia Peak Tramway
Peter & Susan Scala
Ronnie Schelby
Leslie Schumann
Timothy Schuster
Screen Images, INC.,
Maria Cordova-Barber
Seasons 52
Robert & Joy Semrad
Arthur & Colleen
Sheinberg
Joe Shepherd
Rebecca Shores
Norbert F. Siska
Glen & Barbara
Smerage
Carl & Marilyn Smith
Catherine SmithHartwig
Smith’s Community Rewards
Amy Snow
Allen & Jean Ann Spalt
David & Laurel Srite
Charlie & Alexandra
Steen
Theodore & Imogen
Stein
Brent & Maria Stevens
Elizabeth Stevens & Michael Gallagher
Stone Age Climbing
Gym
SumCaterpillar
Marty & Deborah
Surface
Gary Swanson
John Taylor
Texas Roadhouse
Valerie Tomberlin
Top Golf
Trader Joe’s
John & Karen Trever
Jorge Tristani
Bryon & Jill Vice
Mary Voelz, in memory of Robert Fosnaugh
John & Karin Waldrop
Caren Waters
Elaine Watson, in memory of William
Seymour
Dale A. Webster
Weck’s
V. Gregory Weirs
Doug Weitzel & Luke
Williams
Charles & Linda White
Leslie White
Lisa & Stuart White
Marybeth White
Bill & Janislee Wiese
Robert & Amy Wilkins
Daniel Worledge, in honor of David Worledge
James & Katie Worledge, in honor of David Worledge
Kenneth Wright
Michael & Anne Zwolinski
1/7/2025
●
Legacy Society
Giving for the future
Your continued support makes this possible. The Legacy Society represents people who have provided longlasting 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
1/7/2025 ●
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
Dr. Shelle Sanchez & the Albuquerque Cultural Services Department
Amanda Colburn & the Bernalillo County Special Projects
Barbara Baca, Commission Chair, Bernalillo County Board of Commissioners
Walt Benson, Commissioner, Bernalillo County Board of Commissioners
Steven Michael Quezada, Commissioner, Bernalillo County Board of Commissioners
City Councilor Dan Champine
City Councilor Tammy Fiebelkorn
City Councilor Renee Grout
City 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
1/7/2025
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
1/7/2025
●
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 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
Karl Ricker
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
Luis & Patricia Stelzner
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
1/7/2025
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
Sponsors & Grants
Sound Applause
The concerts of the New Mexico Philharmonic are supported in part by the City of Albuquerque Department of Cultural Services, the Bernalillo County, and the Albuquerque Community Foundation.
Albuquerque Community Foundation albuquerquefoundation.org
Bernalillo County bernco.gov
Bank mycenturybank.com
Computing Center Inc. cciofabq.com D’Addario Foundation foundation.daddario.com David S. Campbell, Attorney davidscampbell.com
HOLMANS USA CORPORATION holmans.com Jennings Haug Keleher McLeod jhkmlaw.com
Insurance Agency mianm.com
Foundation Music Guild of New Mexico musicguildofnewmexico.org
nmarts.org
nm.optum.com
Kern International Piano Competition olgakerncompetition.org
robertsonviolins.com
New Mexico Philharmonic
The Musicians
FIRST VIOLIN
Cármelo de los Santos
Karen McKinnon Concertmaster Chair
Elizabeth Young
Associate Concertmaster
Sarah Tasker •••
Assistant Concertmaster
Ana María Quintero Muñoz
Heidi Deifel
Olivia DeSouza Maia
Lorenzo Gallegos
Juliana Huestis
Barbara Rivers
Nicolle Maniaci
Barbara Scalf Morris
SECOND VIOLIN
Rachel Jacklin •
Carol Swift •••
Julanie Lee
Lidija Peno-Kelly
Megan Lee Karls
Liana Austin
Sheila McLay
Jessica Retana
Jocelyn Kirsch
Brad Richards
VIOLA
Laura Chang •
Kimberly Fredenburgh •••
Allegra Askew
Christine Rancier
Laura Steiner
Michael Anderson
Lisa Di Carlo
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
Ian Mayne-Brody Personnel Manager
Terry Pruitt Principal Librarian
CELLO
Amy Huzjak •
Carla Lehmeier-Tatum
Ian Mayne-Brody
Dana Winograd
David Schepps
Lisa Collins
Elizabeth Purvis
BASS
Joe Weldon Ferris •
Mark Tatum •••
Katherine Olszowka
Terry Pruitt
Marco Retana
Frank Murry
FLUTE
Valerie Potter •
Esther Fredrickson
Noah Livingston ••
PICCOLO
Esther Fredrickson
OBOE
Kevin Vigneau •
Amanda Talley
Melissa Peña ••
ENGLISH HORN
Melissa Peña
CLARINET
Marianne Shifrin •
Lori Lovato •••
Jeffrey Brooks
E-FLAT CLARINET
Lori Lovato
Genevieve Harris Assistant Librarian
Nancy Naimark Director of Community Relations & Development Officer