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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.
PLAN A WISE GIVING STRATEGY nmphil.org/ways-to-donate
The 2024/25 Season of Your New Mexico Philharmonic Continues!
DEAR FRIENDS,
I hope you are doing well and enjoying the coming of spring. As we are approaching the end of the season, I want to thank you for being by our side enjoying the music and your great orchestra. I maintain that you are the best, most warm, and receptive audience in the world.
Our musical journey with your NMPhil continues with the few remaining concerts, not to be missed. On March 2, we conclude this season’s Power Concerts series featuring Copland’s Suite from Billy the Kid and the composer’s take on Mexican folk music in El Salón México. On March 16, I am happy to bring to you music from my home country of Brazil alongside the music of Bach and featuring our amazing Brazilian concertmaster, Cármelo de los Santos. We continue with an all-Tchaikovsky concert on April 12 and more concerts after that.
The beautiful mountains of New Mexico inspire me and my music, and the New Mexico Philharmonic is a great place to celebrate the beauty of life through music. Thank you for taking this musical journey with all of us!
Enjoy the music!
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). ●
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Americana: Copland & Barber
Sunday, March 2, 2025, 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. We close out the Power Concerts series with an afternoon of American music! First off, the NMPhil’s showstopping string section is on full display in Samuel Barber’s poignant and profound Adagio for Strings. Next up, two masterpieces from Aaron Copland, who many would declare the face of the American music movement: The orchestra sparkles in Copland’s Suite from Billy the Kid and the composer’s take on Mexican folk music in El Salón México ● MAR 2
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AFTERNOON CLASSICS
Bach to Brazil
Sunday, March 16, 2025, 2 p.m.
Roberto Minczuk Music Director Cármelo de los Santos violin
Ciaccona from Partita No. 2 in d minor, BWV 1004 Johann Sebastian Bach (1685–1750)
Cármelo de los Santos violin
Brandenburg Concerto No. 1 in F Major, BWV 1046 Bach
I. [Allegro]
II. Adagio
III. Allegro
IV. Menuet—Trio I—Menuet da capo—Polacca— Menuet da capo—Trio II—Menuet da capo
INTERMISSION
Bachianas Brasileiras No. 9 Heitor Villa-Lobos
I. Prélude (1887–1959)
II. Fugue
Bachianas Brasileiras No. 2 Villa-Lobos
I. Preludio
II. Aria
III. Dansa
IV. Toccata
MAKING A DIFFERENCE
This performance is made possible by: The Albuquerque Community Foundation
Free introductory classes starting Dec.1st on Sundays (3pm) & Mondays (6pm) Casual and 2 left feet welcome. No partner needed, just you.
We are a fun & non-judgemental community here in Albuquerque at Las Puertas 1500 1st st. NW
POPEJOY CLASSICS
Essential Tchaikovsky
Saturday, April 12, 2025, 6 p.m.
5 p.m. Pre-Concert Talk
Roberto Minczuk Music Director
Guido Sant’Anna violin
Violin Concerto in D Major, Op. 35 Pyotr Ilyich Tchaikovsky
I. Allegro moderato (1840–1893)
II. Canzonetta: Andante
III. Finale: Allegro vivacissimo
Guido Sant’Anna violin
INTERMISSION
Symphony No. 6 in b minor, “Pathétique,” Op. 74 Tchaikovsky
I. Adagio—Allegro non troppo
II. Allegro con grazia
III. Allegro molto vivace
IV. Adagio lamentoso
MAKING A DIFFERENCE
This performance is made possible by: The New Mexico Philharmonic Foundation
PRE-CONCERT TALK Sponsored by: Menicucci Insurance Agency
Hosted by KHFM’s Alexis
Corbin
Popejoy Hall
COFFEE CONCERT
Beethoven’s Sixth
Friday, April 18, 2025, 10:45 a.m.
18 First United Methodist Church Ignis Elodie Bouny (b. 1982)
MAKING A DIFFERENCE
This performance is made possible by: The Meredith Foundation
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.
Piano Sonata No. 52 in E-flat Major, Hob. XVI: 52 Joseph Haydn
I. Allegro (Moderato) (1732–1809)
II. Adagio
III. Finale: Presto
Akilan Sankaran piano
Symphony No. 6 in F Major, “Pastoral,” Op. 68 Ludwig van Beethoven
I. Allegro ma non troppo (1770–1827)
II. Andante molto mosso
III. Allegro
IV. Allegro
V. Allegretto
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,
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
Akilan Sankaran piano
Roberto Minczuk Music Director
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. ●
Sant’Anna violin Born in 2005 in São Paulo, Brazil, Guido Sant’Anna received international acclaim in 2022 when he became the first South American violinist to win the prestigious Fritz Kreisler International Competition in Vienna. This triumph was realized a few months later at the opening concert of the Rheingau Musik Festival 2023, where Sant’Anna made his major European debut alongside hr-Sinfonieorchester Frankfurt and Alain Altinoglu, receiving high praise for his performance of Édouard Lalo’s Symphonie espagnole: “The young man has charisma, stage presence, and in his playing, an astonishing maturity and depth” (Frankfurter Allgemeine Zeitung). Sant’Anna has developed a close connection to the São Paulo State Symphony Orchestra and its Music Director, Thierry Fischer—subscription concerts, his debut recording project for the Naxos Records label, and an upcoming tour in China comprise their activities together. In Germany, he returns to the Rheingau Musik Festival in 2024 to perform Tchaikovsky’s Violin Concerto with the Deutsche Kammerphilharmonie Bremen under Jérémie Rhorer and reunites with hr-Sinfonieorchester Frankfurt at the Kronberg Academy Festival. Further orchestral debuts include the Danish Philharmonic Orchestra under Hans Graf, the Athens State Orchestra, the Lithuanian National Symphony Orchestra, and the New Mexico Philharmonic. In spring 2025, Guido makes his debut at the Elbphilharmonie as part of a European tour with the Neojibá Youth Orchestra, along
with soloists Lucas and Arthur Jussen. Equally active as a recitalist, Sant’Anna made his South Korean debut on a recital tour in September 2023, with appearances at the TongYeong Concert Hall and Seoul’s Mapo Art Center. Further afield, notable recital debuts include the Laeiszhalle Hamburg, Alte Oper Frankfurt, and Rising Stars München in Germany, La Jolla Music Society in the USA, and Festival Lago Maggiore Musica in Italy. In 2024, Sant’Anna was awarded the LOTTO-Förderpreis by the Rheingau Musik Festival and joined a prestigious list of recipients, including Sheku Kanneh-Mason, María Dueñas, and Tarmo Peltokoski. In 2025, he becomes a fellow of the esteemed stARTacademy, supported by Bayer Kultur. Guido is currently studying at the Kronberg Academy, Germany, under the tutelage of Mihaela Martin. He began his violin lessons at the age of 5, giving his orchestral debut two years later. In 2018, he became the first Brazilian violinist to be invited to the Yehudi Menuhin International Competition in Geneva, winning both the Audience Prize and the Chamber Music Award. His numerous accomplishments have earned him a coveted place on Forbes Brazil’s “30 Under 30” list. Guido plays a violin made in 1874 by JeanBaptiste Vuillaume, on generous loan from the luthier Marcel Richters. ●
Akilan Sankaran piano
Seventeen-year-old pianist Akilan Sankaran is a student of Lawrence Blind at the New Mexico School of Music. Akilan has performed at venues including Weill Recital Hall at Carnegie Hall and Mazzoleni Hall at the Royal Conservatory of Music. He was a festival artist in both the 2022 Verbier Festival and the 2023 Cliburn Junior Competition. Akilan has performed in master classes with renowned artists including Jean-Efflam Bavouzet, Stephen Kovacevich, Kirill Gerstein, Gábor Tákacs-Nagy, Mathieu Herzog, Stanislav Ioudenitch, and Olga Kern. He is a three-time winner of the Music Teachers’ National Association (MTNA) New Mexico Senior Competition, a two-time recipient of the Royal Conservatory of Music National Gold Medal, and the winner of the 2021 Jackie McGehee Concerto Competition. He made his concerto debut with the New Mexico Philharmonic in April 2023, performing the first movement of Rachmaninoff’s Second Piano Concerto, and he performed two Mozart Concerti with the Philharmonic in October 2023. Akilan is currently a senior at Albuquerque Academy. In addition to music, he has received international recognition for his scientific research endeavors. His investigations in number theory and chemistry were recognized at the Regeneron International Science and Engineering Fair, where he won the first prize grand award in both the Mathematics and Chemistry categories. Akilan also received the national Broadcom MASTERS Samueli Foundation Prize. He is a 2025
Regeneron Science Talent Search
Finalist, a Spirit of Ramanujan fellow, a two-time national gold medal winner in the USA Mathematics Talent Search, and the winner of the Steven H. Strogatz Prize for Mathematics Communication for his expository Twitter/X threads. At Albuquerque Academy, Akilan also competes on his school’s varsity crosscountry and track teams, serves as captain of the Science Olympiad team, and participates in Public Forum debate. ●
Guido
NOTES BY DAVID B. LEVY
Johann Sebastian Bach Ciaccona from Partita No. 2 in d minor, BWV 1004 (c. 1703–1720)
Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig on July 28, 1750. He looms as one of history’s pivotal figures whose music is venerated and admired by many composers who followed him, from Haydn to Bartók and beyond. His enormous output covers virtually every genre of the Baroque era, except for opera. But even here, the drama found in much of his sacred choral music (Church Cantatas, Passions Oratorios, Magnificat, and the Mass in b minor) and other works showed considerable dramatic flair. During his own lifetime, Bach was more revered as an organist and keyboard virtuoso than as a composer. Less well known by most is that Bach was also an excellent violinist who contributed many significant compositions for this instrument. Chief among them are his Six Sonatas and Partitas for Solo Violin, BWV 1001–1006, composed between 1703 and 1720. His Ciaccona (Chaconne) is the final movement from his Partita No. 2. Approximately 14 minutes.
Bach’s Sei Solo a Violino senza Basso accompagnato Six Solos for Violin Without Bass Accompaniment), better known as his Sonatas and Partitas for Solo Violin, stand as a monument in the repertory of music for unaccompanied violin—a medium that has produced many great works in its wake by Niccolò Paganini, Eugène Ysaÿe, Béla Bartók, George Rochberg, and others. Bach, however, was not the first composer to write for unaccompanied violin, having probably been inspired by a set of partitas, composed in Dresden in 1696, by his contemporary Johann Paul von Westhoff (1656–1705). Westhoff and Bach both worked in Weimar in 1703—the presumed year in which Bach began composing his own partitas, and no doubt knew each
other personally. Bach may also have been familiar with the Passacaglia for Solo Violin by Heinrich Ignaz Franz Biber (1644–1704) that was published with his so-called “Rosary” or “Mystery” Sonatas, composed around 1676.
Each of Bach’s three sonatas comprises four movements, the second of which is a fugue. The three partitas, on the other hand, are multi-movement suites, i.e., a collection of dance movements of various national styles.
The Partita No. 2 in d minor comprises four typical dance movements, identified with Italian names in the 1720 autograph manuscript as Allemanda, Corrente, Sarabanda, and Giga. These are followed, atypically, by an immense Ciaccona (Chaconne). This set of variations, related to the genre of the passacaglia, is arguably the most epic and expressive work ever composed—not only for solo violin—but in all Western music. The eight-measure theme upon which the continuous variations are based places emphasis on the second beat of its 3/4time meter. The overall structure of the work is tripartite, with the central section modulating from d minor to the parallel D Major before returning to the minor mode. One controversial theory about the meaning of Bach’s Ciaccona, and indeed the entire Second Partita, was offered by German musicologist Helga Thoene, who suggested that the work was a memorial (tombeau) to the memory of Bach’s wife, Maria Barbara, who died in 1720. Bach’s sonatas and partitas were not published until 1802 and eventually entered into the repertoire of violinists throughout the world. Among the nineteenth-century admirers of the Ciaccona were Robert Schumann and Johannes Brahms, the latter of whom transcribed the work for piano left hand. The finale of Brahms’s Fourth Symphony follows the three-part structure of Bach’s masterpiece, most notably including a middle section in the parallel major key. Many others have transcribed the Ciaccona for various other solo instruments, including guitar (Andrés Segovia) and mandolin (Chris Thile), as well as for orchestra (Leopold Stokowski). ● Bach
Brandenburg Concerto
No. 1 in F Major, BWV 1046 (c. 1721)
The Brandenburg Concerto No. 1 calls for a solo group comprising violin piccolo, 3 oboes, and 2 horns, accompanied by strings and continuo group. Approximately 19 minutes.
Of the many solo concertos and concerti grossi that Bach wrote during his period of employment as Kapellmeister for the orchestra of the Prince of Anhalt-Cöthen (1717 to 1723), six of them, each calling for a different scoring, were gathered together and sent to Christian Ludwig, Margrave of Brandenburg-Schwedt in 1721. These six works are known collectively as the Brandenburg Concertos, and the first of these calls for an interesting combination of instruments in the solo group—violin piccolo (small violin, tuned higher than the normal tuning), three oboes, and two horns. The distinct color of each of these instruments allows the ear to follow each solo line clearly, placing the music’s intricate counterpoint in sharp relief. This concerto for multiple soloists, along with the Second, Fourth, and Fifth Brandenburg Concertos, belongs to a category known as the concerto grosso (large concerto), a genre that harkens back to Arcangelo Corelli (1653–1713). In these works, a solo group (concertino) “contests” with the string orchestra (ripieno and basso continuo group (bass instruments and harpsichord).
The Brandenburg Concerto No. 1, which comprises four movements, seems to have been created with the special quality of the (originally) valveless hunting horns, as evidenced by the fanfare-like nature of the musical materials. The horn parts are written in a rather high range, enabling the originally valveless instruments to play melodies, as opposed to just filling in the harmony. The “Quoniam tu solus sanctus” movement of Bach’s Mass in b minor uses one such corno di caccia, a name indicating the primary use of this instrument as integral to the art of
hunting. Some of the music contained in this work derives from earlier cantatas by Bach, especially Was mir behagt, ist nur die muntre Jagd, BWV 208, known as the “Hunting Cantata” (1713). Of particular interest is the final movement of the Concerto, a Minuet that is heard four times, each statement punctuated by Trio 1, a Polacca, and Trio 2. The latter is a jolly affair in which the horns are given a chance to step into the foreground. ●
NOTES BY CHARLES GREENWELL
Heitor Villa-Lobos
Bachianas Brasileiras
No. 9 (1945)
Brazilian composer Heitor Villa-Lobos was born in Rio de Janeiro on March 5, 1887, and died there on November 17, 1959. He has been recognized as the most important composer of 20th-century Brazilian art music. His popularity derives largely from his special ability to combine aspects of his indigenous culture with elements from the storehouse of historical Western music, most notably that of Johann Sebastian Bach. Bachaianas Brasileiras are nine works under this title that were composed between 1930 and 1945. The ninth installment is scored for string orchestra and is approximately 8 minutes. Described once as “the single most significant creative figure in 20thcentury Brazilian art music,” VillaLobos is certainly the best-known of all Latin American composers. He was amazingly prolific, writing more than 2,000 orchestral, chamber, instrumental, and vocal compositions, known for their characteristic nationalism, driving rhythms, and unusual instrumentation. His music was influenced by both Brazilian folk music and elements of the European classical tradition, and he was the most original and influential of Brazilian composers in the 20th century who worked toward the development of a national idiom in serious music. In the words of the British composer and guitarist John Duarte, “Villa-Lobos remains
“Villa-Lobos remains one of the most individual and colorful figures in 20th-century music, one who took what he wanted from the music he heard floating in the air and bent it to his own …”
— John Duarte
one of the most individual and colorful figures in 20th-century music, one who took what he wanted from the music he heard floating in the air and bent it to his own strongly personal purposes—one of which was to present a panorama of all aspects of his homeland.”
Villa-Lobos was also known and highly regarded for the work he did in Brazil to reform music education in local schools.
He was fortunate to have been born into a musical family and acquired most of his musical teaching from his father who was one of Rio’s finest amateur musicians. When his father died suddenly from malaria in 1899, his family urged him to become a doctor, but he was determined to become a musician, having learned from his father to play cello, guitar, and clarinet. Within a few years, he could play the cello as a full-fledged professional and began playing at parties, street fairs, and cafés, in hotels, and in cinema and theatre orchestras to earn a living. As he approached 30, he went through a crisis of identity as to whether European or Brazilian music would dominate his style, but as it turned out, it was to be a unique combination of the two that helped to create his fascinating musical language.
In 1918, Villa-Lobos met the great pianist Artur Rubinstein, who became a life-long friend and champion. It was Rubinstein who suggested that the young composer go to Europe, specifically Paris, and so in 1923 he set out for the French capital,
aided by a government stipend and the support of wealthy friends. He remained in Paris for most of the next seven years, where he promoted his works to very receptive audiences. Concerts of his music during this period achieved great success with audiences and critics alike, and he became the most acclaimed Latin American composer in Europe, indeed becoming an almost mythic figure, a living symbol of Brazilian nationalism. Villa-Lobos returned to Brazil in 1930 and embarked on a campaign to improve music education in schools throughout the country, receiving strong backing in this from the new government. The following year, he was appointed Superintendent of Musical and Artistic Education in Rio de Janeiro, in which capacity he created a program to include music education in all public schools. Even though he was inexperienced in administrative and governmental matters, he nevertheless achieved amazing results, and in 1932 was put in charge of music education throughout the country. In 1945, in partnership with fellow composer Oscar Lorenzo Fernandez, he founded the Brazilian Academy of Music. In 1952, he moved to Paris, where his works were once again very successful. In 1959, he moved back to Brazil, his health rapidly deteriorating, but he was able to direct the Academy of Music again for a few months. He kept active until just a few days before his death in Rio in November. His massive
state funeral, attended by the President of Brazil and hundreds of music lovers, became the last major civic event in the city before the capital was transferred to Brasilia. More than any other composer of the 20th century, Villa-Lobos summed up an entire country in his music, and was able to create music of a kind that was unique and special. In 1927, a critic in Paris wrote that his music is “… an art which we do not recognize, but to which we must now give a new name.” Among his most significant compositions are a series of 14 works called Choros (1920–1929), named for a popular country dance, which were a transformation of Brazilian music and sounds by the personality of the composer; and his nine suites for a variety of ensembles and voices that he labeled Bachianas Brasileiras, which can be roughly translated as Brazilian Bachian pieces. Holding a special place in his enormous output, these are his best-known works, and represent not so much a fusion of Brazilian popular music with the music of J.S. Bach, as they do an attempt to freely adapt a number of Baroque harmonic and contrapuntal devices to Brazilian music. They are characterized by a remarkable range, great power, melodic inventiveness, and tightly-controlled structures. Most of the movements in the suites have two titles, one related to Bach (Prelude, Fugue, etc.), the other to Brazilian contexts such
as Embolada, Modinha, Ponteio, and so forth, but there are no folk melodies in any of the nine works. The suites evolved piecemeal between 1930 and 1945, and above all bespeak the composer’s great love of Bach, whom he regarded as “a mediator among all races.” During the reign of the dictator Getulio Vargas (1930–1945), Villa-Lobos’s music became strongly nationalistic, and being initially a supporter of the dictator, he composed mainly patriotic and propaganda works— the Bachianas Brasileiras being notable exceptions. When Vargas was deposed in 1945, Villa-Lobos resumed his European connections and began to receive many commissions from Europe and the United States. It was also in that year of 1945 that this final work in the series was composed. It is the shortest of the nine, and the only one in the set that does not have double titles. Instead, it is a very Bach-like prelude and fugue. What is surprising here is that—unique in the series—he wrote an alternate version of the music for wordless choir, but it is rarely performed, even in Brazil. The Prelude begins with the marking (in Italian) Vague and mystical, and features striking sonorities with the strings playing in their highest registers, followed by a Bach-like aria with a harmonization which is often bi-tonal (two tonalities at the same time). The Fugue is fast and strong, builds to a stunning climax and then ends calmly; a fitting end to one of the most famous series of
“[Bachianas Brasileiras is an] homage [to] the great genius of Johann Sebastian Bach … [who I] consider a kind of universal folkloric source, rich and profound … linking all peoples.”
—Heitor Villa-Lobos
classical compositions ever written in South America. ●
NOTES
BY DAVID B. LEVY Villa-Lobos
Bachianas Brasileiras
No. 2 (1930)
The Bachianas Brasileiras No. 2 was composed—or rather compiled—in stages in 1930 and is scored for flute, oboe, clarinet, tenor and baritone saxophones, bassoon, contrabassoon, 2 horns, trombone, timpani, ganzá, chocalho, pandeira, reco, matraca, Caixa, triangle, cymbals, tam-tam, bass drum, celesta, piano, and strings. Approximately 21 minutes.
Heitor Villa Lobos described his set of nine pieces titled Bachianas Brasileiras as an “homage [to] the great genius of Johann Sebastian Bach … [who I] consider a kind of universal folkloric source, rich and profound … linking all peoples.” In point of fact, the suite-like works inspired by the Baroque master are a marvelous blend of idiomatic Brazilian musical idioms with Bachian harmonies and counterpoint. The most popular of these is the opening “Ária” from Bachianas Brasileiras No. 5 (1938/1945) for soprano and eight cellos. The second work of the set of the nine Bachianas Brasileiras comprises four movements, each of which is a portrait of an aspect of Brazilian life. The work takes its name from the title of the last movement “O trenzinho do Caipira” (“The Peasant’s Little Train”).
The first movement, “Preludio: o canto do capadocio” (“Prelude: The Scamp’s Song”), depicts a country boy. The second movement, “Aria: o canto da nossa terra” (“Aria: The Song of Our Land”), opens with a theme featuring solo cello, followed by a brief and faster-moving middle section that highlights the saxophone and the trombone before returning to the mood of the opening. The third movement, “Danza: lembrança do sertão” (“Dance: Remembrance of the Bush”), presents a trombone solo, complete with glissando effects. This followed by a lively dance before the final movement, “Toccata:
o trenzinho do Caipira” (“Toccata: The Peasant’s Little Train”), is the Brazilian poor-man’s cousin to Swiss composer Arthur Honneger’s more muscular Pacific 231 (1923), in that both works represent the start, journey, and arrival of a steam engine. As Villa-Lobos’s train makes its way through the Brazilian countryside, the listener is rewarded with a folk-like tune. ●
NOTES BY CHARLES GREENWELL
Pyotr Ilyich Tchaikovsky
Violin Concerto in D Major, Op. 35 (1878)
Pyotr Ilyich Tchaikovsky was born on May 7, 1840, in Votkinsk, Russia, and died on November 6, 1893, in Saint Petersburg. He remains one of the most popular composers of all time, beloved especially for his symphonies, ballets, and concertos. The Violin Concerto is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, and strings. Approximately 33 minutes. The four great pillars of 19th-century violin concertos are those by Beethoven, Brahms, Mendelssohn (the e minor concerto), and Tchaikovsky. It is a curious fact of history that of the four, only the Mendelssohn was a great success at its first performance, and of the four it was the Tchaikovsky that took the worst beating initially: His wealthy patroness Madame von Meck was displeased with the concerto; it was rejected by the great violinist Leopold Auer (to whom the work was originally dedicated), saying the work was unviolinistic and unplayable; the Vienna premiere in December 1881 was a disaster; and the most feared critic of the day, Eduard Hanslick, demolished the work by writing, in part: “The violin is no longer played. It is yanked about. It is torn asunder. It is beaten black and blue … Tchaikovsky’s Violin Concerto brings to us for the first time the horrid idea that there may be music which stinks to the ear.” Tchaikovsky was not a violinist, and so while he was writing the work he consulted one of his former composition students, an outstanding violinist named Josef Kotek,
“[“Pathétique”] is saturated with subjective feeling [and that] in my mind I shed many tears [in composing it].”
—Pyotr Ilyich Tchaikovsky
who was actually the one who had brought him to the attention of Madame von Meck for the first time. Work on the concerto began in March of 1878 in Switzerland and lasted a mere 26 days. In the course of this work, an original version of the slow movement was rejected and replaced by the familiar Canzonetta; the original version became a separate work for violin and orchestra titled Meditation. Then began a disheartening round of rejections, first by Kotek, then by Auer, then by the fine French violinist Emile Sauret. It was then offered to another Russian violinist, Adolph Brodsky, who waffled for more than two years about his estimation of the new work. Finally, Brodsky agreed to the premiere, but even after playing it let Tchaikovsky know that it was too full of technical difficulties. Nevertheless, Tchaikovsky changed the dedication of the concerto to Brodsky, who, in the years to come, made a great reputation by playing the work. Eventually Auer recanted his opinion, playing the work many times as well as teaching it to other violinists, and it was not long before the concerto became established as one of the glories of the Romantic concerto repertoire. Whether Hanslick ever changed his estimation of the work is not known. ●
NOTES BY DAVID B. LEVY
its first performance in Saint Petersburg, Russia, on October 28 of that year. It is scored for piccolo, 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Approximately 45 minutes. The composer’s brother, Modest, suggested that Tchaikovsky’s final symphony be labeled “Tragic,” but this name was rejected and the composer agreed to its popular title of “Pathétique.” Consideration of title aside, the Symphony No. 6 is the crowning achievement of one of the most effective symphonists who ever lived. The circumstances surrounding the composer’s death only add to the mystique surrounding it, the most unorthodox of all his symphonies—was it suicide prompted by the revelation of his homosexual liaison, or did he die of poisoning from drinking a glass of unboiled water? Scholars still disagree as to the truth of the matter, but when asked if the “Pathétique” had a program, Tchaikovsky responded only by confessing that it “is saturated with subjective feeling” and that “in my mind I shed many tears [in composing it].” In other words, we have nothing conclusive here.
Tchaikovsky’s Symphony No. 6 was composed between February and August 1893, the final year of his life, and received
For those who turn to biographical events to explain how a certain piece of music came into existence and to gain understanding of the nature of that piece should bear in mind that Tchaikovsky penned one of his most cheerful scores, The Nutcracker ballet, at the same time he was working on the Symphony No. 6, his most fatalistic composition. Donald Francis Tovey has said of the “Pathétique” Symphony: “All Tchaikovsky’s music is dramatic; and the Pathetic Symphony is the most
dramatic of all his works. Little or nothing is to be gained by investigating it from a biographical point of view … ” With this in mind, one must turn to the work itself to learn what makes it such a special part of the orchestral repertory. There can be no disagreement as to this symphony’s inherent dramatic qualities, which are most abundantly apparent in its outer movements. Only a composer confident in his abilities as a dramatist would dare to end a symphony with the desperate Adagio lamentoso, with pulsating cellos and basses fading to pppp, an extraordinary fading away to the softest dynamic level possible. A primary factor that endears Tchaikovsky’s music to so many listeners is a wealth of tuneful melodies. What can rival the beauty and lyricism of the famous second theme of the first movement or the felicitous tune of the 5/4-meter Allegro con grazia second movement? Another salient feature of Tchaikovsky’s style is its mastery of orchestration. Here too, the “Pathétique” Symphony will not be found wanting. Among the most ingenious moments may be found in the sonorities that he invokes at the end of the first movement (pizzicato strings in descending scales as a background to the singing winds and brass), the brilliant opulence of the Allegro molto vivace scherzo, and the dark and brooding tension of the finale. The descending scale, indeed, is a gesture that may be found toward the end of each
of the symphony’s four movements, thus uniting its disparate parts. The sum of the parts, however, add up to something less than the whole of this masterpiece of orchestral music. Its drama speaks eloquently for itself, and the impression that it makes defies analytical explanation. One must, in the final analysis, sense the spirit of the “Pathétique” Symphony as the work of profound expression that it is. ●
NOTES BY MARIAN TANAU
Elodie Bouny Ignis (2019)
Born in 1982 in Caracas, Venezuela, Franco-Brazilian Elodie Bouny is a guitarist, composer, producer, orchestrator, and teacher. Born to a Bolivian mother and a French father, she grew up in Paris, where she completed a full course of classical studies, focusing on the study of classical guitar at the Boulogne-Billancourt Conservatory (Paris). She obtained her final diploma in 2000, receiving unanimous highest honors. Subsequently, she refined her skills with Pablo Márquez at the Strasbourg Conservatory, where she had the opportunity to broaden her knowledge and expand her field of work, particularly in ancient music and improvised music. She lived in Rio de Janeiro where she developed her professional career, and
“All Tchaikovsky’s music is dramatic; and the Pathetic Symphony is the most dramatic of all his works. Little or nothing is to be gained by investigating it from a biographical point of view … ”
—Donald Francis Tovey
where she remains actively involved today. Ignis is a work written for string orchestra that was composed in 2019 as an homage to the Amazon rainforest that has been destroyed for many years to create profit instead of trying to preserve the land and save our planet. “Ignis” in Latin means “fire.” ●
NOTES BY DAVID B. LEVY
Joseph Haydn
Piano Sonata No. 52 in E-flat Major, Hob. XVI: 52 (1794)
[Franz] Joseph Haydn was born in Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. His long and productive career spanned the end of the Baroque Era to the onset of the Romantic. Famed for his incomparable contribution to the development of the symphony and string quartet, Haydn composed an enormous amount of music in other genres, including approximately sixty sonatas for harpsichord or piano. Scholars agree that the sonatas composed after 1780 were for piano. The Sonata in E-flat Major, No. 52 (No. 62 in the Landon catalogue), dates from 1794, marking the end of Haydn’s second tour of London. The designation “Hob. XVI” refers to the grouping in Anthony van Hoboken’s Joseph Haydn, Thematischbibliographisches Werkverzeichnis. The work is in three movements and was the last of three sonatas composed for, and dedicated to, the London-based pianist Therese Jansen.
Joseph Haydn’s sonatas for solo piano have been overshadowed by those of Mozart and Beethoven. His final works in this genre, however, stand proudly among the finest examples from the Classical Era. Chief among them is the present work, his last one he composed. Taken as a whole, we find in it some of Haydn’s most noble voice alongside the wit and humor for which he is treasured by those who love his music.
The opening movement, Allegro, begins grandly, with full-voiced chords in a
march style, and whose dotted rhythms are reminiscent of overtures in the French style. This principal theme’s nature is contrasted nicely by a piquantly witty second theme, all of which plays out with unexpected harmonic and tonal twists as the sonata-form work unfolds. The second movement, Adagio, retains Haydn’s focus on dotted rhythms. This ternary-structured movement is unusual insofar as it is written in the key of E Major (four sharps), which deviates widely from the E-flat Major (three flats) that surround it. The finale, Presto, is one of Haydn’s wittiest rondos and is full of delightful surprises, including sforzando accents on the off-beats—a feature more commonly found in the music of the young and ambitious pupil he had taken on back in Vienna in 1792, whose name was Ludwig van Beethoven. ●
Ludwig
van Beethoven Symphony No. 6 in F Major, “Pastoral,” Op. 68 (1803–1808)
Ludwig van Beethoven, one of history’s most pivotal composers, was born on December 16 or 17, 1770, in Bonn, Germany, and died in Vienna on March 26, 1827. His Sixth Symphony, Op. 68, was composed over a period spanning 1803 to 1808, culminating in its premiere in Vienna’s Theater an der Wien on December 22, 1808. It is scored for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, and strings. Approximately 40 minutes. This Beethovenian hymn to nature originated simultaneously with the Fifth Symphony. Sketches for the “Pastoral” Symphony date from as early as 1803, but the bulk of work took place in 1808. It received its first performance in Vienna on December 22 of that year as part of an incredible program that also included the Fifth Symphony, the Fourth Piano Concerto, the aria “Ah, Perfido,” movements from the Mass in C Major, and the Choral Fantasy. A contemporary of Beethoven, Johann Friedrich Reichardt,
“… one might have too much even of a good thing.”
—Johann Friedrich Reichardt
who attended the event wrote the following: “There we sat from 6:30 till 10:30 in the most bitter cold and found by experience that one might have too much even of a good thing.” Curiously, the numbering of the two symphonies was reversed on the playbill of the premiere, a reflection of the fact that these two strongly contrasting symphonies were conceived simultaneously. Beethoven published the Fifth Symphony as his Op. 67, and the “Pastoral” as Op. 68, hence the numbering as we know it.
The title page of the “Pastoral” Symphony (the name was given by the composer himself) also refers to the work as a “Recollection of Country Life.” Beethoven’s contemporaries would have recognized the work as an example of a “characteristic symphony,” i.e., a piece that relates in some way to literature, politics, or some other non-musical subject matter. Each of its five movements (although the fourth movement might better be thought of as a connective interlude between the scherzo and finale) bears a descriptive heading: 1) “Pleasant, cheerful feelings aroused on approaching the countryside”; 2) “Scene by the brook”; 3) “Merry gathering of villagers”; 4) “Thunderstorm”; and 5) “Shepherd’s song. Grateful thanks to the Almighty after the storm.” Beethoven may have been influenced in this matter of titles by a symphony by Justin Heinrich Knecht titled Le Portrait musical de la nature This similarity in no way takes away from the originality of Beethoven’s design, despite the fact that the thunderstorm finds a precedent in his own ballet, The Creatures of Prometheus. Despite his ever-worsening deafness, the “Pastoral” Symphony contains many examples of some of the most delicate and skillful orchestration ever penned. It also was
destined to become a cause celebre in the nineteenth century because of its quasi-programmatic content. While no “story” is told in a narrative sense, imitations of sounds from nature are to be found everywhere in the score. Besides the meteorologically graphic thunderstorms (graphic, but not accurate! Beethoven’s thunder comes before the lightning.), we can hear the undulating rippling of the brook in the second movement. The coda to the same movement contains the famous three birdsongs—nightingale (flute), quail (oboe), and cuckoo (clarinets)— specifically identified by name in the score. The ingeniousness of these birdcalls lies more in the fact that they are presented within quite regular and predictable phrase structures, and not as an unmeasured cadenza. The pace of the “Pastoral” Symphony is leisurely, forming an excellent foil to the driving energy of the Fifth Symphony. Perhaps Leonard Ratner best characterized the work as a musical “dolce far niente.” Despite the jollity of its scherzo and the violence of the transitional thunderstorm, the overall sense of the work is one of serenity—Beethoven’s hymn to the beneficent qualities of nature’s realm. ●
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Arthur & Colleen Sheinberg
Linda Smoker
Lawrence & Mari Straus
Alexandra Steen
Kathleen Stratmoen
Dean Tooley
Kenneth Wright
Kenneth & Barbara Zaslow
Peter & Ann Ziegler
Mary J. Zimmerman
Alvin Zuckert
Roscoe Champion
Dante & Judie Cantrill
Martha Corley
Barbara Killian
Gary Mazaroff
Ingeborg Taylor (in honor of Julie Kaved)
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 Brook Bassan
City Councilor Dan Champine
City Councilor Tammy Fiebelkorn
City Councilor Renee Grout
City Councilor Dan Lewis
Ronald & Patricia Trellue
Harold & Darlene Van Winkle
Lana Wagner
Dale Webster
Liza White
Kathryn Wissel
Marc & Valerie Woodward
Diana Zavitz
Michael & Jeanine Zenge
Douglas Cheney
Stanley & Helen Hordes
Jeffrey G. Allen
David & Erin Bouquin
Kyle Champion, In honor of Roscoe & Barbara Champion
Stephen & Merilyn Fish
Lorraine B. Gordon
Hareendra & Sanjani
Kulasinghe
David C. McGuire Jr.
Elizabeth Stevens
Lori Johnson
Beverly Simmons
Margaret Lieberman
Judith Anderson
David & Betty Begeal
Henry Botts
Kyle Champion, In recognition of Roscoe & Barbara Champion
Stephen & Judy Chreist, in memory of Judith Chant
Marcia Congdon
Mark Curtis
Genevieve Davidge
Sally Davis
Winnie Devore
Garrett & Alma Donovan
Jackie Ericksen
Theodore & Sue BradiganTrujillo
Christopher Behl
Melbourn & Dorothy Bernstein
Mary Compton
Henry Daise
Arthur Flicker
Catherine Montgomery
Claude Morelli
Noel Pugach
Bonnie Renfro
MaryEllen Smith
Arthur Alpert
Joseph McCanna
Edward & Carol Ann Dzienis
Eric & Carolyn Metzler
2/8/2025
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
2/1/2025
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
Computing Center Inc. cciofabq.com
Bernalillo County bernco.gov Century Bank mycenturybank.com City of Albuquerque cabq.gov
D’Addario Foundation foundation.daddario.com
David S. Campbell, Attorney davidscampbell.com
HOLMANS USA CORPORATION holmans.com Jennings Haug Keleher McLeod jhkmlaw.com Menicucci Insurance Agency mianm.com
Music Guild of New Mexico musicguildofnewmexico.org New Mexico Arts nmarts.org
GARDENSWARTZ REALTY
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 •
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 ••
BASS CLARINET
Jeffrey Brooks
BASSOON
Stefanie Przybylska •+
Denise Turner + Zoe SirLouis •++
Avery Dabe ++
HORN
Peter Erb •
Allison Tutton
Maria Long
Andrew Meyers
Katya Jarmulowicz ••••
TRUMPET
John Marchiando • Brynn Marchiando
Sam Oatts ••
TROMBONE
Aaron Zalkind • Byron Herrington
BASS TROMBONE
David Tall
TUBA
Richard White •
Kimberly Fredenburgh •••
Allegra Askew
Christine Rancier
Laura Steiner
Michael Anderson
Lisa Di Carlo
Joan Hinterbichler
Laura Campbell
rbcwealthmanagement.com
robertsonviolins.com
Mexico Philharmonic Foundation Inc. nmphilfoundation.org Olga Kern International Piano Competition olgakerncompetition.org Optum New Mexico nm.optum.com Parnall Law Firm hurtcallbert.com
ENGLISH HORN
Melissa Peña
CLARINET
Marianne Shifrin •
Lori Lovato •••
Jeffrey Brooks
E-FLAT CLARINET
Lori Lovato
PERCUSSION
Jeff Cornelius •
Kenneth Dean
Emily Cornelius
HARP
Carla Fabris •
-Thomas Bohlman, Managing Partner
