2019–2020 Program Book

The Symphony

3

Contact Us

Table of Contents Share the Experience Executive Director...................................... 3 General Information.......................................4 Share the Experience Principal Conductor..................................... 7 A Legacy . . . , Our Story.............................8–9 The Thirty-Third Season..........................12–20 The Symphony Chorus................................. 22 Special Concerts & Events........................... 23 The Joy of Giving.................................... 24–25 Benefits at a Glance............................... 26–27 Community & Learning...........................28–31 ::: Concert Insert ::: Patrons’ Honor Roll................................ 36–37 The Foundation...................................... 41–43 The Ovation Society..................................... 47 Restaurant Partners................................50–51 Our Leaders & Staff.................................58-59 Advertisers Index.........................................62

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551 W Cordova Road Suite D, Santa Fe, NM 87505 505.983.1414 | 800.480.1319 Toll Free santafesymphony.org

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The Symphony

About The Cover

James Jensen was raised in Fort Collins, Colorado.

Growing up with an artistic father in this creative environment encouraged his interest in both music and art. A brilliant painter, he is also a classically trained pianist. Color and structure create the vibrancy that defines his work.

In addition to James Jensen, Galerie Zuger represents a diverse group of local, national and international artists working in a wide variety of styles and mediums showing an exceptional level of skill and creativity. For over more than 20 years Galerie Zuger has featured classic and contemporary paintings and sculptures in both realistic and abstract styles.

“Moonlight Sonnata”

by James Jensenoil on canvas; 11�x 20� b\

GALERIE ZÜGER 120 W San Francisco Street, Santa Fe, NM 87501 art@galeriezuger.com | Phone 505.984.5099 | Fax 505.984.5087 | galeriezuger.com

R I M I YA NG New Paintings, October 25 – November 16, 2019 Artist Reception: Friday, October 25th from 5 – 7 pm

Sisters’ Song of Songs, oil on canvas, 60" h x 60" w

544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com

EXECUTIVE

director

Welcome to The Santa Fe Symphony. I am delighted to greet you as your new Executive Director and to join the fabric of this vibrant cultural community. My wife, Caroline, and I have felt so welcomed and embraced since our arrival this spring. We consider ourselves very fortunate to serve this diverse, historic, and artistic city—especially one with such a reputation for creativity and innovation in the arts.

The Symphony has accomplished so much throughout its 35-year history.

It has commissioned countless premieres, from Pulitzer Prize winners to Mark O’Connor’s world-famous Fiddle Concerto. It has produced dynamic, educational co-productions with the Santa Fe Institute, the last of which was nationally broadcast through New Mexico PBS, as well as benefit concerts to support community members in need. The Symphony continues to offer a diverse array of music education and community engagement programs that have impacted tens of thousands of people since their inception. And it boasts a unique, musician-led governance structure where Board, staff, and musicians work hand-in-hand unlike any other orchestra in the country.

LET’S FORGE

The Symphony’s

next 35 years

together!

In speaking with many of you over the last five months, I have come to understand that our goals are in alignment. We all envision a Symphony that actively promotes diversity and inclusion; that is fiscally sound and culturally vibrant; that embraces partnership and collaboration with likeminded institutions; that prioritizes the education of our children as the next generation of audiences. In sum, a Symphony that represents and welcomes all of Santa Fe.

Great news—we are already on our way. This October, alongside the League of American Orchestras, the Dallas Symphony Orchestra and more, we present the Southwestern US premiere of Forte, a featurelength documentary documentary celebrating three extraordinary women and their efforts to make their mark on the classical music world. We have joined the National Alliance for Audition Support, an initiative to increase diversity in American orchestras by offering mentorship, audition preparation, and financial support for Black and Latinx musicians across the country. This season marks our first collaboration with WildEarth Guardians, as we copresent a conservation-themed program focused on the planet we hope to hand to future generations. And finally, we take our re-branded chamber music series, SFS Strata, to new heights as we perform curated concerts at unique venues across town.

I invite you to join us in this endeavor. Tell us your bold ideas for the future. Introduce a friend to the wonder of symphonic music. Try a season subscription. Become a member of one of our giving circles, or underwrite a concert or artist. Make a gift to the Foundation for The Santa Fe Symphony, or include it in your estate plans.

With your help, this organization has already given so much to its community. And now, I look forward to offering even more—together.

Warm Regards,

Daniel M. Crupi Executive Director

10

santafesymphony.org

The Symphony

11

OPERATIONS BOARD

president

My thanks to all of you—attendees and donors—who made this season possible. Dynamic change has been the watchword of The Santa Fe Symphony Orchestra & Chorus over the past two and a half years. First, there was The Symphony’s selection of renowned maestro, Guillermo Figueroa, as our Principal Conductor. This was followed by the addition of highly capable new members to our Board of Directors, and most recently, the arrival of a talented new Executive Director, Daniel Crupi. The nationwide search, as many of you know, was triggered by the July, 2018, retirement of The Symphony’s Founder & Executive Director, Gregory W. Heltman. If not for Greg’s inspiring and effective leadership over the course of 35 years, we would not be here today to perform for you.

Daniel came to us from the Greensboro Symphony Orchestra in North Carolina, where he served as Director of Development & Public Relations from 2013 to 2016 and later, as Chief Operating Officer from 2016 to 2019. Daniel has expressed the belief that in order to thrive in the 21st century, symphony orchestras must reflect the culturally diverse and vibrant artistic communities they serve. His strong administrative experience and understanding of music and programming, together with his charming personality, convinced us that Daniel will provide the leadership we need not just today, but for years to come.

Here is what you may expect from us in the future: A strengthened relationship between our musicians and our Board of Directors. The Symphony was founded in 1985 as a collaboration between the orchestra and a Board composed of non-musicians (75%) and musicians (25%). Internal revisions will assure high-quality and enjoyable musical performances for our audiences.

Programs, along with those of other fine musical organizations in Santa Fe, to make our city THE preeminent center in the Southwest for excellent and innovative music. Most important, we will offer not only the music that you have enjoyed in the past, but will also sprinkle these offerings with innovative programs and performance concepts to expand your appreciation of new music.

Finally, in order to accomplish all of this, we ask you to actively participate by giving us your suggestions, comments and ideas.

As we embark upon an exciting new era for The Symphony, I encourage you to …

Love the past, experience the new!

E. Franklin Hirsch

Thank you and enjoy the season, E. Franklin Hirsch Board President

Pedro Paricio

Bather Acrylic on linen 53 x 51 in.

200 B Canyon Road Santa Fe NM 87501 | Phone 505-984-2111 | www.huntersquaredgallery.com

The Symphony

13

double CHOOI

timothy chooi nikki chooi 14

santafesymphony.org

SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS CEDNTER

Pictures at an Exhibition MODEST MUSSORGSKY Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev

The Seyfried Double Concerto was made possible through the generosity of Charles the summer of 1873, Modest andInsorgsky Judith Freyer.

It Muswas stunned by the sudden of his friend Victor Hartmann, wasdeath premiered at the an architect and artist who was then Lake Music onlyGeorge 39. The following year,Festheir mu-

tual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its compos-

er’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud.

The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of

The Symphony

them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Marketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev.

Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is

15

double CHOOI timothy chooi ketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to

Nikki and Timothy Chooi are recipients of The Gene Witz Memorial Violin Fellowship at Ravinia Steans Music Institute.

nikki chooi ketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to

fire & BLOOD

SEPTEMBER 15—4:00 pm

THE LENSIC PERFO\\RMING AaTER

Pictures at an Exhibition MODEST MUSSORGSKY Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did.

Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several de-

cades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context.

Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Mar-

ketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here.

This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar.

Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev.

Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is much darker and heavier, making the music sound unexpectedly somber.

Ashkenazy has a point, but it is difficult to separate this music from Ravel’s superb orchestration, which is a creative act fully worthy of Mussorgsky’s original score.

P r o g r a m

ida kavafian

handel MESSIAH

SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

Pictures at an Exhibition MODEST MUSSORGSKY Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its compos-

er’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud.

The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of

them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Marketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev.

Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is

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SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

Pictures at an Exhibition MODEST MUSSORGSKY Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did.

Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old

Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context.

Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the Pictures at an Exhibition

MODEST MUSSORGSKY Pictures at an Exhibition

Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev .

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SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

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SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

Pictures at an Exhibition MODEST MUSSORGSKY Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did.

Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delica-

cy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context.

Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the Pictures at an Exhibition

MODEST MUSSORGSKY Pictures at an Exhibition Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev .

new worlds

SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

Pictures at an Exhibition MODEST MUSSORGSKY Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did.

Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several de-

cades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section.

The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.”

In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power.

The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Market-

place at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here.

This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar.

Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev.

Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is much darker and heavier, making the music sound unexpectedly somber.

Ashkenazy has a point, but it is difficult to separate this music from Ravel’s superb orchestration, which is a creative act fully worthy of Mussorgsky’s original score.

Program notes

hope

FOR THE PLANET

SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

Pictures at an Exhibition MODEST MUSSORGSKY Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg Promenade Gnomus Promenade Il Vecchio Castello Promenade Tuileries Bydlo Promenade Ballet of the Chicks in Their Shells Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua The Hut on Fowl’s Legs (Baba-Yaga) The Great Gate of Kiev In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did.

Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several de-

cades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section.

The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.”

In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power.

The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Market-

place at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here.

This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar.

Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev.

Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is much darker and heavier, making the music sound unexpectedly somber.

Ashkenazy has a point, but it is difficult to separate this music from Ravel’s superb orchestration, which is a creative act fully worthy of Mussorgsky’s original score.

Program notes

hope

FOR THE PLANET

Carelle Flores Bio: Increasingly noted for her exciting performances in both opera and concert work, soprano Carelle Flores recently debuted with Opera Southwest as Maria in their newly commissioned opera BLESS ME ULTIMA, with the Cambridge Symphony Orchestra as Maria WEST SIDE STORY, and with The Dallas Opera as Madrigal Singer MANON LESCAUT. In summer 2019 she will be a featured soloist with the MUSIC IN THE MOUNTAINS festival in Durango, CO, and continues work at The Dallas Opera. Notable previous engagements include Musetta LA BOHÈME and Barbarina LE NOZZE DI FIGARO at Palm Beach Opera, Musetta LA BOHÈME at Sarasota Opera, Mimi LA BOHÈME at Ashlawn Opera, Adele DIE FLEDERMAUS with Sarasota Opera, Lucia cover in Donizetti’s LUCIA DI LAMMERMOOR with Virginia Opera, Countess Ceprano RIGOLETTO with Opera Carolina, and Mimi LA BOHÈME, Constanze ABDUCTION FROM THE SERAGLIO, and Maria WEST SIDE STORY at Indiana University Opera. She has performed as a soloist with the Chicago Symphony Orchestra, the Central New Jersey Symphony, the St. Charles Singers, Orpheus Chamber Singers, and the Texas Voices. Ms. Flores was a Metropolitan Opera National Council Auditions Semi Finalist, and is a graduate of Indiana University School of Music.

As Musetta in Puccini’s La Boheme, “The standout performer of the evening was Carelle Flores, whose Musetta was enchanting, fun, lively and empathetic. Her energy and apparent joy in being on stage were like spotlights on talent. Her well-produced voice carried her above the vocal lines into the true character

Carelle Flores Bio: Increasingly noted for her exciting performances in both opera and concert work, soprano Carelle Flores recently debuted with Opera Southwest as Maria in their newly commissioned opera BLESS ME ULTIMA, with the Cambridge Symphony Orchestra as Maria WEST SIDE STORY, and with The Dallas Opera as Madrigal Singer MANON LESCAUT. In summer 2019 she will be a featured soloist with the MUSIC IN THE MOUNTAINS festival in Durango, CO, and continues work at The Dallas Opera. Notable previous engagements include Musetta LA BOHÈME and Barbarina LE NOZZE DI FIGARO at Palm Beach Opera, Musetta LA BOHÈME at Sarasota Opera, Mimi LA BOHÈME at Ashlawn Opera, Adele DIE FLEDERMAUS with Sarasota Opera, Lucia cover in Donizetti’s LUCIA DI LAMMERMOOR with Virginia Opera, Countess Ceprano RIGOLETTO with Opera Carolina, and Mimi LA BOHÈME, Constanze ABDUCTION FROM THE SERAGLIO, and Maria WEST SIDE STORY at Indiana University Opera. She has performed as a soloist with the Chicago Symphony Orchestra, the Central New Jersey Symphony, the St. Charles Singers, Orpheus Chamber Singers, and the Texas Voices. Ms. Flores was a Metropolitan Opera National Council Auditions Semi Finalist, and is a graduate of Indiana University School of Music.

As Musetta in Puccini’s La Boheme, “The standout performer of the evening was Carelle Flores, whose Musetta was enchanting, fun, lively and empathetic. Her energy and apparent joy in being on stage were like spotlights on talent. Her well-produced voice carried her above the vocal lines into the true character

an appalachian CHRISTMAS

DECEMBER 24—5:00 pm

THE LENSIC PERFORMING ARTS CENTER

Pictures at an Exhibition MODEST MUSSORGSKY Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg

ty who have magnanimously planning are: Joyce M. Nicholson Michael & Marjorie O’Reilly Dr. Penelope Penland Mick & Genie Ramsey Britt Ravnan & Michael Ebinger Anthony & Vera Russo Karl & Harriet Schreiner Patricia Sheppard Hunter & Priscilla Temple

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for day!

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he Ovation Society was tablished by the Board of irectors of The oundation for The Santa e Symphony Orchestra & horus to recognize enerous and future-minded onors who have designated he Foundation or The ymphony in their planned ving. The many options ailable include trusts, haritable gift annuities, life surance, and 401(k) enefits.

worked fast indeed: beginning June cades after that: the earliest on recording 2,of 1874, haddid thenot score comthe Mussorgsky piano version take place plete onlisteners June 22, just untilthree 1942.weeks Evenlater, early were a struck few months the premiere of Bo- of by theafter “orchestral” sonorities ris Godunov. this piano score, and in 1922 conductor Promenade Serge Koussevitsky asked Maurice Ravel Gnomus The finished work, which he called Pic-the to orchestrate it. Koussevitsky gave Promenade tures an Exhibition, consistsversion of ten at first at performance of Ravel’s Il Vecchio musical portraits bound together by and a the Paris Opera on October 19, 1922, Castello promenade theme that recurs periodiit quickly became one of the most popPromenade cally–Mussorgsky that thisrepertory: theme, ular works in thesaid orchestral Tuileries meant depict thedifferent gallery-goer stroll-are todayto over sixty versions Bydlo ing between was a portrait available on paintings, compact disc.

Promenade of himself. Curiously, Pictures spent Ballet of the Chicks in Their Shells its first half-century in obscurity: it was5/4 The opening Promenade alternates Two Polish Jews, One Rich, the Other Poor not during Musandperformed 6/4 meters;publically Mussorgsky marks it “in Limoges, The Market Place sorgsky’s lifetime, it wasand notRavel published the Russian manner,” assigns atacombae, Sepulcrum Romanum until 1886 (five years to after composthe famous opening theits solo trumpet, Con Mortuis in Lingua Mortua er’s death), and did not full really enter the quickly joined by the brass section.

The Hut on Fowl’s Legs (Baba-Yaga) standard piano several The Gnome is arepertory portrait ofuntil a gnome stagThe Great Gate of Kiev decades that: the earliest gering after on twisted legs; the recordfollowing ing of the piano version“with did not take Promenade is marked delicacy.”

In the thesummer summerofof1873, 1873, Modest Modest MussorgMus- place until 1942.watercolor Even earlyThe listeners In Hartmann’s Old Cassky was stunned sorgsky was stunned by the by sudden the sudden death of were bysings the before “orchestral” tle, a struck minstrel a ruinedsocashis friend death of his Victor friend Hartmann, Victor an Hartmann, architect norities of this piano score, and 1922eftle. Ravel makes a daring (andinvery andarchitect an artist whoand wasartist then who only 39. wasThe then fol- conductor Sergeby Koussevitsky asked fective) choice assigning his song to a lowing only 39.year, Thetheir following mutualyear, friend their Vladimir mu- Maurice Ravel to whose orchestrate it. Koussolo saxophone, mournful sound Stassov tual friend arranged Vladimir a showing Stassovofarranged over 400 sevitsky gave the first performance feels exactly right in this context. of Tuilaofshowing Hartmann’s of over watercolors, 400 of Hartmann’s sketches, Ravel’s at theofParis Opera on eries isversion a watercolor children playing drawings, andsketches, watercolors, designs. drawings, Inspired byand the October 19, 1922, in andthe it quickly became and quarreling Paris park; Ravel exhibitionInspired designs. and theby memory the exhibition of his friend, and one of the them most popular works in woodthe portrays with chattering Mussorgsky the memory set of his to friend, work on Mussorgsky a suite of orchestral repertory: over Europe, sixty winds. Bydlo returns today to Eastern piano set to pieces work on based a suite on of thepiano pictures pieces and different are available comwhere aversions heavy ox-cart grindsonthrough wrote enthusiastically based on the picturestoand Stassov: wrote“Harten- pact the disc. mud. The wheels pound ominously mann is bubbling thusiastically to Stassov: over, just “Hartmann as Boris did. is along as the driver sings, and Ravel asIdeas, melodies, bubbling over, justcome as Boris to me did. ofIdeas, their The alternates signsopening his song Promenade to the tuba; the music risown accord, melodies, come liketothemeroast of their pigeons ownin 5/4 meters; Mussorgsky marks es and to a 6/4 strident climax as the cart draws the story–I accord, like gorge the roast and gorge pigeons and in overthe itnear “in and the passes, Russian then manner,” and Ravdiminishes as the eat myself. story–I gorge I can andhardly gorgemanage and overeat to put elcart assigns the opening to thethe moves on.famous Mussorgsky wanted it all down myself.

I can onhardly paper manage fast enough.” to put He it solo trumpet, quickly joined the full following Promenade to by sound tranworked all downfast on indeed: paper fast beginning enough.” on June He brass section.

The begins Gnome with is a portrait quillo, and Ravel the clear 2, 1874, Mussorgsky had the score com- sound of high flutes, but gradually this plete three weeks later, on June 22, just Promenade takes on unexpected power. a few months after the premiere of Bo- The Ballet of the Unhatched Chicks deris Godunov. picts Hartmann’s costume design for the ballet Trilby, in which these characters The finished work, which he called Pic- wore egg-shaped armor–Ravel captures tures at an Exhibition, consists of ten the sound of the chicks with chirping musical portraits bound together by a gracenotes in the woodwinds. promenade theme that recurs periodically–Mussorgsky said that this theme, “I meant to get Hartmann’s Jews,” said meant to depict the gallery-goer stroll- Mussorgsky of Samuel Goldenberg and ing between paintings, was a portrait Schmuyle, a portrait of two Jews–one of himself. Curiously, Pictures spent its rich and one poor–in animated conversafirst half-century in obscurity: it was not tion. Ravel gives each of them a particperformed publically during Mussorg- ular sound: the rich voice of Goldenberg sky’s lifetime, it was not published un- is heard in the strings, while Schmuyle’s til 1886 (five years after its composer’s rapid, high voice is depicted by a trumpet death), and did not really enter the stan- solo, one of the most famous ever comdard piano repertory until several de- posed for that instrument. The Market-

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place at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here.

This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar.

Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev.

Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is much darker and heavier, making the music sound unexpectedly somber.

Ashkenazy has a point, but it is difficult to separate this music from Ravel’s superb orchestration, which is a creative act fully worthy of Mussorgsky’s original score.

Program notes

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SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

CHORAL DIRECTOR

carmen florez-mansi

My thanks to all of you—attendees and donors—who made this season possible. Dynamic change has been the watchword of The Santa Fe Symphony Orchestra & Chorus over the past two and a half years. First, there was The Symphony’s selection of renowned maestro, Guillermo Figueroa, as our Principal Conductor. This was followed by the addition of highly capable new members to our Board of Directors, and most recently, the arrival of a talented new Executive Director, Daniel Crupi. The nationwide search, as many of you know, was triggered by the July, 2018, retirement of The Symphony’s Founder & Executive Director, Gregory W. Heltman. If not for Greg’s inspiring and effective leadership over the course of 35 years, we would not be here today to perform for you.

Daniel came to us from the Greensboro Symphony Orchestra in North Carolina, where he served as Director of Development & Public Relations from 2013 to 2016 and later, as Chief Operating Officer from 2016 to 2019. Daniel has expressed the belief that in order to thrive in the 21st century, symphony orchestras must reflect the culturally diverse and vibrant artistic communities they serve. His strong administrative experience and understanding of music and programming, together with his charming personality, convinced us that Daniel will provide the leadership we need not just today, but for years to come. inally, in order to accomplish all of this, we ask you to actively participate by giving us your suggestions, comments and ideas.

JA

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ASPEN SANTA FE BALLET

BEAUTIFUL DECAY

July 13 & August 31, 2019 ENCORE! February 22, 2020

AMES MCGREW

ASPEN SANTA FE BALLET’S

THE NUTCRACKER

December 14 & 15, 2019

OSE LUIZ PEDERNEIRAS

SHAREN BRADFORD

ASPEN SANTA FE BALLET PRESENTS

BRAZIL’S

GRUPO CORPO

February 4, 2020

CHORAL DIRECTOR

carmen florez-mansi

My thanks to all of you—attendees and donors—who made this season possible. Dynamic change has been the watchword of The Santa Fe Symphony Orchestra & Chorus over the past two and a half years. First, there was The Symphony’s selection of renowned maestro, Guillermo Figueroa, as our Principal Conductor. This was followed by the addition of highly capable new members to our Board of Directors, and most recently, the arrival of a talented new Executive Director, Daniel Crupi. The nationwide search, as many of you know, was triggered by the July, 2018, retirement of The Symphony’s Founder & Executive Director, Gregory W. Heltman. If not for Greg’s inspiring and effective leadership over the course of 35 years, we would not be here today to perform for you.

Daniel came to us from the Greensboro Symphony Orchestra in North Carolina, where he served as Director of Development & Public Relations from 2013 to 2016 and later, as Chief Operating Officer from 2016 to 2019. Daniel has expressed the belief that in order to thrive in the 21st century, symphony orchestras must reflect the culturally diverse and vibrant artistic communities they serve. His strong administrative experience and understanding of music and programming, together with his charming personality, convinced us that Daniel will provide the leadership we need not just today, but for years to come. inally, in order to accomplish all of this, we ask you to actively participate by giving us your suggestions, comments and ideas.

THE SYMPHONY CHORUS

The Santa Fe Symphony Chorus has a considerable history of musical excellence in choral performance. The Chorus of Santa Fe was founded in 1979, five years before The Santa Fe Symphony Orchestra. In 1986, that group joined The Santa Fe Symphony Orchestra to form the present organization known as The Santa Fe Symphony Orchestra & Chorus.

As a result, The Symphony gained a choral component, and the choir acquired an orchestra to provide symphonic settings for choral music. Membership in The Santa Fe Symphony Chorus is voluntary, though members may audition for stipend positions. The Symphony Chorus is committed to polished, well-rehearsed performances, meeting the very highest standards. We welcome you to join! Learn more at santafesymphony.org/discover/chorus/

| Monday, December 3, 2018 Club House at Las Campanas Enjoy the holiday season in the cozy company of your friends and neighbors with passed champagne and hors d’oeuvres, The Symphony Brass, a mouthwatering holiday buffet complemented by select wines, auctions, and much more … all proceeds support The Symphony’s award-winning Music Education Program and concerts in Santa Fe Public Schools.

CAROLS & CHORUSES | Tuesday, December 18, 2018 Cathedral Basilica of St. Francis of Assisi Enjoy the angelic voices of The Symphony Chorus and sing along to some of the most beloved Christmas carols of all time, featuring The Symphony Brass and Organ and Guest Choral Director Carmen Flórez-Mansi. Admission is FREE (no tickets required). All ages welcome.

CONCERT SPONSORS:

CHORAL MASTERWORKS SERIES | Sunday, March 3, 2018 The Symphony Chorus will lift your spirits and feed your soul with an afternoon of beautiful choral masterworks. Admission is pay-what-you-wish (no tickets required). All ages welcome.

IN HONOR OF MEMORIAL DAY | Wednesday, May 29, 2018 Cathedral Basilica of St. Francis of Assisi Join us as we salute those who served with an inspirational program featuring music by The Symphony Chorus and Chamber Ensemble. Admission is pay-what-you-wish (no tickets required).

All ages welcome.

SPRING GALA | TO BE ANNOUNCED! Hotel Santa Fe, The Hacienda & Spa

save the dates!

Special Events & Free Concerts

CONCERTMASTER

david felberg

My thanks to all of you—attendees and donors—who made this season possible. Dynamic change has been the watchword of The Santa Fe Symphony Orchestra & Chorus over the past two and a half years. First, there was The Symphony’s selection of renowned maestro, Guillermo Figueroa, as our Principal Conductor. This was followed by the addition of highly capable new members to our Board of Directors, and most recently, the arrival of a talented new Executive Director, Daniel Crupi. The nationwide search, as many of you know, was triggered by the July, 2018, retirement of The Symphony’s Founder & Executive Director, Gregory W. Heltman. If not for Greg’s inspiring and effective leadership over the course of 35 years, we would not be here today to perform for you.

Daniel came to us from the Greensboro Symphony Orchestra in North Carolina, where he served as Director of Development & Public Relations from 2013 to 2016 and later, as Chief Operating Officer from 2016 to 2019. Daniel has expressed the belief that in order to thrive in the 21st century, symphony orchestras must reflect the culturally diverse and vibrant artistic communities they serve. His strong administrative experience and understanding of music and programming, together with his charming personality, convinced us that Daniel will provide the leadership we need not just today, but for years to come.

Capture the Moment . . .

Emily

Oil on Canvas

48 x 60

Commissions for Children, Families & Pets • By Appointment Only • (505) 699 - 2120 marilyn@marilynjohnsondesigns.com

YOUR COMPLETE GUIDE TO SANTA FE’S ENTERTAINMENT, ARTS & CULTURE!

SantaFe.com’s calendar is THE place to find all of the great musical events in the City Different including all of the fantastic Santa Fe Symphony performances: Double Chooi • Fire & Blood • SFS Strata • The Symphony Presents Handel’s Messiah • Christmas Treasures Christmas Eve • Americana! • New World • Hope for the Planet • Beethoven 250th Anniversary

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Principal Conductor Guillermo Figueroa

Virtuoso violinist and recipient of a prestigious 2016 Avery Fisher Career Grant, shows his incredible technical range performing not only Haydn’s heroic Violin Concerto but also Dvořák’s delicate and passionate Romance.

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Alexi Kenney, Violin, with Renana Gutman, Piano 's recital selections range from the longbeloved E Major Partita by Bach—a technical showstopper for solo violin—to rarer works like Crumb’s Four Nocturnes, a delicate and birdlike meditation, featuring the subtle integration of many of Crumb’s inspired extended techniques, like having the soloist tap the violin as a percussive element.

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Photo Credit: Colibri Media, LLC

A MILLION YEARS OF SKY A THOUSAND YEARS OF SUN FIVE HUNDRED YEARS OF HISTORY A WINE THAT MAKES US ONE

733 Chavez Rd. NW, Los Ranchos de Albuquerque | casarondena.com | (505) 344-5911

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L EG E N DA RY S E RV I C E Sotheby’s International Realty and Land Rover Santa Fe Proudly Support The Santa Fe Symphony

sothebyshomes.com/santafe 231 Washington Avenue | Santa Fe, NM 87501 | 505.988.8088 Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc.

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landroversantafe.com 2582 Camino Entrada | Santa Fe, NM 87507 505.474.0888

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Thursday, April 12, 2018 — 7:00 pm Guillermo Figueroa, Violin, and Ivonne Figueroa, Piano

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Sunday, April 15, 2018 — 4:00 pm Principal Conductor Guillermo Figueroa

CONCERT SPONSOR-IN-PART: STORR FAMILY ENDOWMENT FUND AT THE SANTA FE COMMUNITY FOUNDATION

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Performing choral works at the highest level of mastery …

The Santa Fe Symphony Chorus has a considerable history of musical excellence in choral performance. The Chorus of Santa Fe was founded in 1979, five years before The Santa Fe Symphony Orchestra. In 1986, that group joined The Santa Fe Symphony Orchestra to form the present organization known as The Santa Fe Symphony Orchestra & Chorus. As a result, The Symphony gained a choral component, and the choir acquired an orchestra to provide symphonic settings for choral music.

Membership in The Symphony Chorus is voluntary, though members may audition for stipend positions. The Symphony Chorus is committed to polished, well-rehearsed performances, meeting the very highest standards.

We welcome you to join The Santa Fe Symphony Chorus!

Learn more at santafesymphony.org/discover/chorus/

santafesymphony.org

| Monday, December 3, 2018 Club House at Las Campanas Enjoy the holiday season in the cozy company of your friends and neighbors with passed champagne and hors d’oeuvres, The Symphony Brass, a mouthwatering holiday buffet complemented by select wines, auctions, and much more … all proceeds support The Symphony’s award-winning Music Education Program and concerts in Santa Fe Public Schools.

CAROLS & CHORUSES | Tuesday, December 18, 2018 Cathedral Basilica of St. Francis of Assisi Enjoy the angelic voices of The Symphony Chorus and sing along to some of the most beloved Christmas carols of all time, featuring The Symphony Brass and Organ and Guest Choral Director Carmen Flórez-Mansi. Admission is FREE (no tickets required). All ages welcome.

CONCERT SPONSORS:

CHORAL MASTERWORKS SERIES | Sunday, March 3, 2018 The Symphony Chorus will lift your spirits and feed your soul with an afternoon of beautiful choral masterworks. Admission is pay-what-you-wish (no tickets required). All ages welcome.

save the dates!

Special Events & Free Concerts

IN HONOR OF MEMORIAL DAY | Wednesday, May 29, 2018 Cathedral Basilica of St. Francis of Assisi Join us as we salute those who served with an inspirational program featuring music by The Symphony Chorus and Chamber Ensemble. Admission is pay-what-you-wish (no tickets required).

All ages welcome.

SPRING GALA | TO BE ANNOUNCED! Hotel Santa Fe, The Hacienda & Spa

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FOUNDATION BOARD

president

Welcome to the 36th Season of The Santa Fe Symphony! We would like to express our sincere thanks to all of our generous supporters for their many contributions to Foundation for The Santa Fe Symphony Orchestra over the years. With this help, The Foundation has raised almost $3 million—both from donations and from earnings on invested donations. These assets enable The Foundation to help support The Symphony’s performances, its many outreach programs, and its day to day operations.

The Symphony Foundation’s mission is to effectively manage its assets—to preserve, safeguard and conservatively grow its investments—so that it can make regular contributions to The Symphony.

Our thanks also go out to our talented musicians, dedicated staff, and supportive volunteers for all their efforts and hard work. These efforts would not be possible without the help of many others, people who choose to support The Symphony by attending concerts and fundraising events, giving gifts of time and money, and including The Santa Fe Symphony orchestra & Chorus in their estate plans.

Funds are required to put on great performances, such as those we are presenting this season. These concerts would not be possible without our loyal supporters—all of them. We continue to be grateful for your help. The Santa Fe Symphony Orchestra & Chorus is a sound, cherished organization that will continue to offer the very best music to our audience. Please continue to help support our activities.

Again—our thanks!

Brian McGrath Brian McGrath Foundation President

LUNCH | DINNER SUNDAY BRUNCH SPECIAL EVENTS & CATERING FULL COCKTAIL BAR PRIVATE DINING ROOM VALET

MODERN SOUTHWESTERN CUISINE

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505.982.0883 228 E PALACE AVE ELOISASANTAFE.COM

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FOUNDATION BOARD

contributions

Create a Legacy By investing in The Foundation for The Santa Fe Symphony Orchestra & Chorus, you leave a perpetual, personal legacy, ensuring that our community continues to experience the incredible power of orchestral music for generations to come.

Contributing to the Foundation enhances The Symphony’s mission of producing world-class music and music education programs in a permanent way. Over the past 20 years, the Foundation has reached nearly $3 million in total assets, and the annual distributions from these invested assets provide almost 10% of the Symphony’s annual operating budget.

Named Chairs The Eddie & Peaches Gilbert Gregory W. Heltman Founder’s Chair ($1,000,000)

The Boo Miller Assistant Concertmaster Chair ($200,000)

The Ann Neuberger Aceves Principal Conductor Podium ($500,000)

The Dr. Penelope Penland Principal Cello Chair ($150,000)

The Boo Miller Principal Percussion Chair ($150,000)

The Diane & Peter Doniger Principal Harp Chair ($150,000)

Designated Endowments Lloyd & Virginia Storr Music Library Fund ($50,000)

Forever Mentor Program John & Marte Murphy ($50,000)

The Regan/Doniger Fund and The DeHaan National Orchestra Program for The American Pianists Association Fellow Presentation ($55,000)

There is no more powerful gift than one to future generations. Create your own permanent legacy through The Foundation The Santa Fe Symphony—contact Executive Director, Daniel Crupi, at 505-983-3530 for more information today!

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We are the music.

This past season, fourteen of The Santa Fe Symphony musicians traveled to nine different Santa Fe schools for the Kids’ Classical Concerts, close-up performances where small ensembles play classical and popular tunes, demonstrate different instruments, and even let students try their hand at conducting.

The Symphony continued to gather, refurbish, and gift instruments to deserving students in Santa Fe, Pojoaque, and Peñasco.

To learn more, volunteer, or donate to our award-winning music education program or see more letters from our kids, visit: santafesymphony.org/discover/community-learning.

santafesymphony.org

Got music. Will travel.

This past season, fourteen of The Santa Fe Symphony’s musicians traveled to nine different Santa Fe schools for the Kids' Classical Concerts, close-up performances where small ensembles play classical and popular tunes, demonstrate different instruments, and even let students try their hand at conducting.

This past season, fourteen Symphony musicians traveled to nine different Santa Fe schools for the Kids’ Classical Concerts, close-up performances where small ensembles play classical and popular tunes, demonstrate different instruments, and even let students try their hand at conducting.

These and all The Symphony’s programs advance into the 2016–2017 season—and our acclaimed mentoring program is set to expand, continuing professional instruction in public schools for strings, brass, winds, percussion, voice, and guitar, while adding keyboard instruments as well.

We accept donations of musical instruments, refurbish them, and provide them to promising middle and high school students in need. Nine times each year, small group ensembles of Symphony musicians visit nine Santa Fe public elementary schools for an hour of music, education, and fun.

The Symphony’s music education programs channel the talents of our orchestra, chorus members, and contributing music scholars into experiential learning opportunities for young and old. From musical instrument scholarships for local students, to mentoring programs in the public schools taught by our own Symphony musicians, to annual free concerts for schoolchildren and families—generous volunteers, donors, and The Symphony’s Music Education Committee lead all these programs and more.

All of The Symphony’s music education programs advance into the 2016-2017 season-and our acclaimed mentoring program is set to expand, continuing professional instruction in public schools for strings, brass, winds, percussion, voice, and guitar, while adding keyboard instruments as well!

To learn more, volunteer, donate to our award-winning music education program, or see more letters from our kids, please visit: santafesymphony.org/discover/community-learning .

We accept donations of musical instruments, refurbish them, and provide them to promising middle and high school students in need. Nine times each year, small group ensembles of Symphony musicians visit nine Santa Fe public elementary schools for an hour of music, education, and fun. Besides all this, each fall finds fifteen hundred fourth graders and their teachers, from Santa Fe, Pojoaque, Española, and Pueblo schools, at The Lensic for our bilingual Discovery Concerts.

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—Leanne DeVane, Music Education Coordinator, Santa Fe Public Schools

BELOW: Fourth-grade students mocking the “Bird” (Flute) during Peter and the Wolf (Pedro y el Lobo), narrated by Joe Hayes at The Lensic 2016.

The Symphony

PHOTO: KATHRYN NUN

I applaud this program as the most valuable resource we have from our performing arts organizations—child for child. Can’t thank you enough.

music matters.

Our annual Discovery Concerts at The Lensic, featuring local storyteller Joe Hayes and the entire Symphony Orchestra, thrill more than fifteen hundred fourth-grade students and their teachers from Santa Fe, Pojoaque, Española, and Pueblo schools.

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Many thanks to our fabulous Volunteers!

We couldn't do it without you Anne Alexander Lorri Beauchamp Annie Brady Nan Brown Lois Callaghan Carlene Carey Harry Cole Charles DeMuth Jim Derryberry Donna Eagles Carol Franco Mathew Frauwirth Muriel Frei Gwen Fuller Stephanie Greene Sharon Gregory Wanda How Karen Huber Anna Kersey Joan Kessler Ellie Leighton Shanna MacLean Anna Maekersey Eileen Mandel Margaret Merdler Carly Mohler Donald Percious Mary Ann Roberts Roberta Corwin Robinson Richard Rudman Nancy Schmitz Johnnie de Schweinitz Carol Toobin Edelle Vartan Penelope Vasquez Cory Whitmore Patsy & Jim Williamson The Symphony has a great opportunity for anyone interested in volunteering. We’re always looking for new volunteers, as well as hoping to reconnect with those of you who may have volunteered in the past. All are welcome—as we have a variety of opportunities throughout the year.

If you’re interested in helping out, or would like to hear more about other opportunities with The Symphony in the future, please drop us a line and we’ll be in touch shortly!

We update our lists in each Concert Insert. If we missed your name, please let us know by calling The Symphony office at 505.983.3530, M–F, 10 am to 4 pm.

the joy of giving

Play your Part!

Listed below are just a few of the many ways you can support The Symphony—annual memberships, program-specific contributions, gifts to The Foundation’s endowment, and more.

You can find full descriptions and details of the special benefits you’ll receive with different ways of giving on the following pages and our website. All contributions are acknowledged in the Concert Insert for one year from the date of the donation.

MEMBERSHIPS

BUSINESS PARTNERSHIPS

Annual direct/unrestricted gifts to The Symphony General Fund are vital to our day-to-day operations and support season programming. Different membership levels receive a variety of benefits.

Businesses gain exposure to our sophisticated Symphony audience through a variety of marketing options, including the opportunity to sponsor concerts.

FRIENDS OF MUSIC EDUCATION By supporting or participating in our many music education and community outreach programs, you can help change the lives of nearly four thousand students and seniors each year.

FRIENDS OF THE CHORUS Our chorus will sing your praises! Your gift will fund workshops, coaching, and other educational tools to develop singing skills which will enable us to present more choral masterworks each season.

ENDOWMENT GIFTS A gift to The Foundation is one of the most lasting and powerful resources a donor can offer, ensuring a sustained source of revenue for The Symphony into the future.

PLANNED GIVING—OVATION SOCIETY Generous and farsighted supporters who make The Symphony or The Foundation a part of their estate planning become members of this extraordinary group.

CONCERT DEDICATIONS Dedicate a Symphony concert to honor or memorialize a loved one, or celebrate a friend or family member’s special occasion.

REACH FOR THE STARS This is your opportunity to underwrite the performance of one of our acclaimed guest artists or guest conductors. Exclusive benefits are associated with this program.

ADOPT-A-MUSICIAN When you Adopt-A-Musician you honor our individual musicians’s exceptional dedication and effort while helping to sustain high standards of professional support for our tenured musician members.

VOLUNTEER! We welcome your time, help, and expertise for administrative support in The Symphony office and assistance at special events. If you’d like to be involved more frequently, we are also currently seeking year-round Events Committee members! Contact us today at volunteer@ santafesymphony.org.

To make a contribution to The Santa Fe Symphony Orchestra & Chorus or The Foundation for The Santa Fe Symphony, or to learn more about specific programs, please call 505.983.3530, Monday through Friday, 10:00 am to 4:00 pm or visit santafesymphony.org/support.

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Through their generosity, our individual members bring great music to Santa Fe! Membership benefits acknowledge unrestricted annual gifts in support of The Symphony’s general operations and programming. In turn, our upper level donors enjoy many benefits and opportunities to engage with The Symphony family: behind-the-scenes access, Musicales, The Symphony Club Room events, and many more, all shared first—or exclusively—with Symphony donors.

MUSICALES

the joy of giving

Highlighted Benefits

Members of Symphony Club, Musicians’ Circle, Conductors’ Circle, Angels’ Circle, Beethoven and Tchaikovsky Groups enjoy our most popular member benefit, the elegant Musicales—one-of-akind gatherings held throughout the year in some of Santa Fe’s finest homes and galleries. Visit with Symphony family and friends while enjoying hors d’oeuvres, fine wine, and a light gourmet supper buffet, followed by a musical performance by our highly accomplished Symphony musicians and some of the world’s most talented guest artists. Donors at higher levels receive invitations to increasingly more intimate gatherings. Special thanks to the members and galleries who host our Musicales, to Sotheby’s International Realty for underwriting the Musicale musicians, and to Casa Rondeña Winery for underwritting the wine.

Following each of our Sunday afternoon performances at The Lensic, we offer something unique—a private reception just a short walk from the theater. Still uplifted by the concert, members of our Symphony Club, Musicians’ Circle, Conductors’ Circle, and above gather with their guests at The Symphony Club Room at Galerie Züger. While relaxing with wine and hors d’oeuvres, you can meet our guest artists and conductors, chat with members of the orchestra and chorus, and mingle with our board members and other patrons. Many thanks to the owners of Galerie Züger and Art Advisor Mary Felton for their gracious hospitality.

Principal Violist Kim Fredenburgh and Principal Cellist Dana Winograd performing at a Musicale.

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Gift amount

Underwrite a concert

Complimentary tickets Music Discovered electronic program notes Symphony Club Musicales The Symphony Club Room Placard in The Lensic lobby on concert day Musicians’ Circle Musicales Extraordinaires Conductors’ Circle Musicales Royales Private chamber music concert

Preferred subscription seating options

Acknowledgment in Concert Inserts Concert and event email announcements Dress rehearsal invitations

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Friends

$25–$124

Associates

$125–249

Supporters

$250–449

Benefactors

$450–$749 Individual

Couple

Symphony Club

$750

$1,500

Musicians’ Circle

$1,500

$3,000

Conductors’ Circle

$3,000

$6,000

Angels’ Circle

$6,000

$12,000

Beethoven Group

$25,000–$99,999

Tchaikovsky Group

$100,000 and above

Non-Membership Supportt

Benefiits

Gift Amount

Adopt-A-Musician

Introduction to and photo opportunity with adopted musician, invitation to attend an orchestra dress rehearsal (sponosrs of principal musicians and higher may sit on-stage during the dress rehearsal), Concert Insert and Adopt-AMusician poster acknowledgement

$600 Section Musician $1,000 Principal Musician $2,000 Concertmaster

Reach for the Stars

Four tickets to your underwritten concert, introduction to and photo opportunity with the guest artist, on-stage seat during dress rehearsal, recognition from stage during concert, acknowledgment in Concert Insert and advertisements, and invitation to post-concert reception

$5,000

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Non-Membership Support

Benefiits

Gift Amount

Reach for The Stars

Four tickets to your underwritten concert, Introduction to and photo opportunity with the guest artist, on-stage seat during dress rehearsal, recognition from stage during concert, acknowledgement in Concert Insert and advertisements, and invitation to post-concert reception

$5,000

benefits at a glance

Business Partnerships

Full FullSponsor: Sponsor: $10,000 $10000

Learn more about individual membership and business partnership benefits, underwriting opportunities, and the many other benefits of supporting The Symphony at santafesymphony.org/support/.

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Walter Burke

Lensic

RO S E WO O D I N N O F T H E A N A S A Z I 113 WASHINGTON AVENUE | SANTA FE, NM 87501 (505)988-3030

EXPERIENCE the ESSENCE of TRUE SANTA FE DINING Contemporary Southwestern Cuisine inspired by locally sourced seasonal ingredients.

Dining Room· Bar· Patio· Live Entertainment· Private Dining For reservations please call (505) 988-3236

A NA SAZ I RESTAURANT BAR & LOUNGE

Lensic

anta Fe’s Most Enchanting Inn ... walking distance to the Plaza

DINING & COCKTAILS 5 - 10 PM Gourmet light fare ✦ and ✦ cocktails ✦ in a relaxing, ✦ elegant ✦ atmosphere.

✦

✦

Every day at

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INN ON THE ALAMEDA ✦

303 East Alameda

Lunch 11-3

MUSEUM HILL CAFÉ Simple food done well Custom events also available

505-984-8900

w w w. M u s e u m H i l l C a f e . n e t

710 Camino Lejo Santa Fe,NM 87505

Gift amount

Underwrite a concert

Complimentary tickets Music Discovered electronic program notes Symphony Club Musicales The Symphony Club Room Placard in The Lensic lobby on concert day Musicians’ Circle Musicales Extraordinaires Conductors’ Circle Musicales Royales Private chamber music concert

Preferred subscription seating options

Acknowledgment in Concert Inserts Concert and event email announcements Dress rehearsal invitations

BENEFITS

Friends

$25–$124

Associates

$125–249

Supporters

$250–449

Benefactors

$450–$749 Individual

Couple

Symphony Club

$750

$1,500

Musicians’ Circle

$1,500

$3,000

Conductors’ Circle

$3,000

$6,000

Angels’ Circle

$6,000

$12,000

Beethoven Group

$25,000–$99,999

Tchaikovsky Group

$100,000 and above

Non-Membership Supportt

Benefiits

Gift Amount

Adopt-A-Musician

Introduction to and photo opportunity with adopted musician, invitation to attend an orchestra dress rehearsal (sponosrs of principal musicians and higher may sit on-stage during the dress rehearsal), Concert Insert and Adopt-AMusician poster acknowledgement

$600 Section Musician $1,000 Principal Musician $2,000 Concertmaster

Reach for the Stars

Four tickets to your underwritten concert, introduction to and photo opportunity with the guest artist, on-stage seat during dress rehearsal, recognition from stage during concert, acknowledgment in Concert Insert and advertisements, and invitation to post-concert reception

$5,000

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Non-Membership Support

Benefiits

Gift Amount

Reach for The Stars

Four tickets to your underwritten concert, Introduction to and photo opportunity with the guest artist, on-stage seat during dress rehearsal, recognition from stage during concert, acknowledgement in Concert Insert and advertisements, and invitation to post-concert reception

$5,000

Learn more about individual membership and business partnership benefits, underwriting opportunities, and the many other benefits of supporting The Symphony at santafesymphony.org/support/.

foundation contributors

!

We gratefully acknowledge the following individuals and organizations for their generous support of The Foundation. The following contributors are listed according to their cumulative non-designated giving since The Foundation’s inception in 1998: The Tchaikovsky Society ($200,000+) Ann Neuberger Aceves Founding Members Eddie & Peaches Gilbert Founding Members Gladys & Julius Heldman Founding Members Boo Miller Roy R. & Marie S. Neuberger Foundation Founding Member The Ellington Society ($50,000+) Edwin Thorne Jr. & Melanie Peters Thorne–Founding Members Estate of Francis Essig Richard & Claire Gantos The Mendelssohn Society ($25,000+) Helen & Bertram Gabriel Founding Members Estate of Mrs. Georges Dapples The Bernstein Society ($10,000+) Edwin Thorne Jr. & Melanie Peters Thorne–Founding Members Drs. Gilbert M. Maw & Jenny M. Auger Maw Estate of Duane “Pete” Myers Carl & Patricia Sheppard The Gladys & Julius Heldman Circle of Friends Helen Gabriel ($50,000) ($5,000+) Michael & Sheryl DeGenring Diane & Peter Doniger Ambassador David & Connie Girard-diCarlo Joe & Marion Skubi ($2,000+) John & Jean Cheek Lee Dirks Dr. James Fries Cameron Haight Dr. & Mrs. Beryl Lovitz Brian McGrath & Carmen Paradis Joyce Nicholson Mick & Genie Ramsey Frances E. Richards ($1,000+) Charmay Allred Keith Anderson & Barbara Lenssen Ann Griffith Ash David & Maggie Brown Mike & Julie Dawson

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Charles Gulick Robert & Marian Haight Gregory & Elaine Heltman Evelyn & David Kloepper Dr. & Mrs. James McCaffery Dee & Bill Moore Ted & Alice Oakley Tom & Sarah Penland Lee & Mimi Powell Marion & Joe Skubi James Sullivan William & Nancy Zeckendorf Everett & Janet Zlatoff-Mirsky Other Foundation Friends Rick & Kathy Abeles George Aceves Martha Albrecht Ann Alexander & Richard Khanlian Anonymous Gerald Arnold Susan Arnold & Ralph Poelling William & Julia Ashbey Julie & David Ashton Hank Bahnsen Sam & Ethel Ballen Vera Barad & Edward Marks F. K. Bateman Linda & Bill Bein Celia Berlin Elliot Blum & Ann Reifman Helen & Richard Brandt Leona Bronstein Harold & Norma Brown Norma H. Burch Raymond Burkard Elva & Bob Busch Julius & Helen Cahn David & Lisa Caldwell J. Susan Cedar & Gary Lowenthal Aaron Clark & Barbara Schmidt Clark Judith Margo Clark Diane Copland Diane Shaw Courtney Zella & Larry Cox Grover Criswell & Kathryn Van der Heiden Hugh & Haley Curtin Brian F. Dailey & Florian Art Garcia Edgar Foster Daniels Josette & Volker De La Harpe Joel & Janet DeLisa Dorothy Dorsey Al Dos Santos Mary E. Eisenberg Hal & Carole Eitzen Helen Eubank Bernard C. Ewell

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Thomas & Nancy Feine Stephen Flance Jeffrey & Megan Fries Stephen W. Gibbs & Lynn Matte-Gibbs Elizabeth Glascock Linda Goff Charles & Diane Goodman John Greenspan & Julianne Bodnar Kurt & Maria Haegele Marianne Hale Kitty Carlisle Hart Barbara Hays Arthur Hemmendinger Roth & Sarah Herrlinger Thomas George David Hesslein Ann & Jerry Hicks Constance Hillis C. W. & Gail Hornsby Ira & Virginia Jackson Medora & James Jennings Colleen Jones Patricia & Alfred Judd Sara & Jim Killough Sandra Kirmer Dr. & Mrs. Joseph C. Kiser Patricia Klock Kay Delle Koch Ronnie Koenig & Marc Feldman Camille & David Kornreich Susan Krueger David & Jody Larson Lynn F. Lee Stanford & Phyllis Lehmberg Ellie Leighton Bill & Ann LeMay Miranda & Ralph Levy Carole Light & Alex Redmountain Elizabeth Lubetkin Lipton Martin & Mildred Litke Harvey Litt George & Norma Litton Andrea London Matthew Roy London Patricia London Linda Mack & Wynn Berven Colleen Mahon-Powers Paul & Nancy Malmuth Dr. Marilyn Mason John McCuskerKaren McGrath Andre Michaudon Audrey Miller Ann Morgan Margaret Morgan & David Cohn Richard & Patricia Morris Steve & Luanne Moyer Pat Mueller-Vollmer Ruth Nelson & Thomas Murphy Jim Neuberger

Gilda Zalaznick Nolan & Patricia Zisman

foundation contributors

Roy S. Neuberger Betsy S. Nichols Richard A. Nulman Bob Nurock Frank & Dolores Ortiz Concha Ortiz y Pino de Kleven Melinne Owen & Paul Giguere Janet M. Peacock J. Michael Pearce & Margaret M. Page John Pedotto Valerye Plath William & Ronnie Potter Joshua Quesada Harriet Raff Ronald Rinker James M. C. Ritchie Charles & Mara Robinson Gerald & Kathleen Rodriguez Brett Roorbach Kimberly Roos Barbara Rosenblum Hilda Rush Tony & Molly Russo Donna Saiz Dorothy Salant Allen & Mary Anne Sanborn Nancy Scheer Beatrice & M. C. Schultz Noel Schuurman Edward Seymour Donald Shina & Kevin Waidmann Christine Simpson Karen Sonn Frank & Karen Sortino Harold Steinberg Emily & Peter Coates Sundt Jeff & Georgann Taylor Hunter & Priscilla Temple Enid & Roy Tidwell Connie Tirschwell Patrick Toal Sandy & Gene Tomlinson Don & Emma Lou Van Soelen Roberta Van Welt Marlene Vrba Suzanne Watkins Bernard & Moira Watts Joy S. Weber Truel & Joan West Dorian Wilkes T. C. & Dora Williams Barbara Windom & Victor di Suvero Marilyn & Marvin Winick Nancy Wirth Marcia Wolf Marilyn Worthington

Keith Anderson & Barbara Lenssen Helen Gabriel Joyce Nicholson Foundations, Funds & Trusts Harriet Heltman Anonymous Sally Joseph, by Dominion Foundation Harriet Raff Donald T. Regan Charitable Foundation Bennett Marcus, by Bar-Levav Family Foundation Enid & Roy Tidwell Garfield Street Foundation Don & Emma Lou Van Soelen The Harold Brown & Marielle McKinney, by Norma C. Brown Revocable Trust Edgar Foster Daniels Lackner Family Endowment Fund Lee Dirks McCune Charitable Foundation, Santa Fe Josette & Volker de la Harpe Sidney & Sadie Cohen Foundation Gladys & Julius Heldman Thorne Family Fund, Ira & Virginia Jackson Santa Fe Community Foundation Miranda & Ralph Levy Richard A. Nulman Donations to The Foundation Concha Ortiz y Pino de Kleven In Honor of: Frank & Delores Ortiz Ann Aceves, by Ellie Leighton James M. C. Ritchie My sister, Ann Neuberger Aceves, by Edward Seymour Roy S. Neuberger Emily & Peter Coates Sundt Ray Besing, by Joyce Nicholson Suzanne Watkins Greg & Elaine Heltman, by Barbara Windom & Victor di Suvero Joyce Nicholson Nancy & Bill Zeckendorf Marian & Ernest Karlson, by Roy R. Neuberger, by Gerald & Kathleen Rodriguez Ann Neuberger Aceves Lori Lovato, by Jan Arleen Nicholson, by Zella & Larry Cox Joyce Nicholson Joyce Nicholson Ambassador Frank Ortiz, by Beth & Joel Scott, by Ann Neuberger Aceves Joyce Nicholson Betty Rutledge, by Bill & Ann LeMay Donations to The Foundation Dona Haynes Schultz, by In Memory of: Charmay Allred Ann Mahon Bradstreet, by Pat Wismer, by Joyce Nicholson Christine F. Wismer Franz & Amalia Chrobok, by Emily Zants Kurt & Maria Haegele Ken Coleman, by Business Donations to Michael & Sheryl DeGenring The Foundation In Kind Ruthe Coleman, by Eun K. Hong, CPA Ann Neuberger Aceves ________________________ Michael Melody & Bonnie Binkert Bertram Gabriel Jr., by The Symphony updates Ann Neuberger Aceves The Foundation Contributors Helen Gabriel list in each Concert Insert.

David Grayson, by ________________________ John & Peggy Polk Samuel Grossman, by John & Jean Cheek Chris Gulick, by Charles Gulick Gladys & Julius Heldman, by Dee & Bill Moore Gladys Heldman, by Ann Neuberger Aceves

Thank you for sustaining our legacy!

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Thank you for sustaining our legacy!

We gratefully acknowledge the following individuals and organizations for their generous support of The Foundation. The following contributors are listed according to their cumulative non-designated giving since The Foundation’s inception in 1998: Friends $25 - $124 Allegra Askew Ana Ortiz-Harris and Dahl Harris Angie and Larry Delgado Ann and Bernard Rubenstein Ann L. Mauzy Ann Price Anna Richards Anne M. Culver Anthony Marshall Barbara and Aaron Clark Barbara B. Watkins Barbara Briggs Barbara Hadley and John Burke Bee and Elizabeth Zollo Bertram Heil Household Betsy S. Nichols Bette K. Myerson Beverly and Frederick Friedman Calvin E. Klatt Catherine Curland and John Serkin Charles Ray De Muth Colleen and Art Sheinberg Corinne Willison Cris Barnes Cynthia Fowler and John Meligeni David McNeel Donald Rej Dorothy Rogers Doug and Patricia Peterson Douglas Dworkin Dr. Eugene Fontaine Still , MD Edith Timken and Tony Wilkins Edyne and Allen Gordon Elizabeth and Vincent Faust Elva and Robert Busch Fran Salkin and Jonathan Beamer Frank Sharpless Fred Schott Galina and Rudolph Vigil Georgianna and Louis Hoffmann Gerald Becker and Kathleen Holm-

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ing Glenn Conroy Grant Lundberg Helen Vanni Ilia and Andrew Bradbury Jack Seigel James Lyons Janet C. Melendez Janette Bain Janice Arrott Jeannette Scott Jennifer Schroeder Jill M. Soens Jill Porterfield Joan Kessler Joan Rogers Judith Crocker Kristen and Stephen Flance LaVelle Martin Leslie and Roger Simon Linda Goodman Loretta Armer Maria Haegele Martha Romero Martin Schultz MaryAnn Crowe and Paul Ganzenmuller Melinne Owen and Paul Giguere Michael Golden Michael Pearce Mike and Barbara List Mr. John Boldt Mr. Nicholas Potter Nancy and Harro Ackermann Nancy L. Scheer Pam Parfitt and Brian Morgan Patricia Emerson Patsie E. Ross Patsy and James Williamson Paul Branstad Peg Andre Phil Fagan

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Polly and John Barton Polly Rose Randi Lowenthal Richard Rosenthal Richard and Suzanne Molnar Richard Henderson Richard Klein Robert Baumgartner Roberta and William Richards Robyn Toledo Ronald Jepsen Sarah Smith Orr Sharon and Emil Mottola Shirley B. Scott, M.D. Sidney Morris Stephen Schirmer Stuart Brown Susan Charly Drobeck and Samuel Berne Ted Karpf Toni and Scott Temple Travis Scholten Vera Russo Household Virginia and Maurice Lierz Vivien Ide Associates $125 - $249 Ann and Jerry Hicks Barbara Rugg Brenda and Michael Jerome Bruce Bradford Carole and Hal Eitzen Clarice Getz and Waldo Anton Clint Hurt Dee and Augustus Rush Dee and James Russell Doris Meyer and Richard Hertz Dr. Ann LeMay Frank Lawler Gregory T. Davis Gwendolyn and Thomas Paine Hank Bahnsen

Supporters $250 - $449 Barbara and Aaron Clark Barbara and Wayne King Brenda and Michael Jerome Carol and Thomas Stephens Carol Graebner Dan Winske Daniel Rusthoi David Warren Geyer

Dee and Augustus Rush Diane and Tom Arenberg Elaine and William Chapman Elizabeth VanArsdel Esther and Ralph Milnes Gary Thomas Lang Georgia Loloma Julio Blanco and David Manno Kaiser Permanente Jane Phillips-Conroy and Glenn Conroy Janet and Steven Schwarz Jerry Watts Joan and Robert Sobel Joel DeLisa John and Susan Shaffer John Horning Judith and L Henry Lackner Kathryn McKnight Linda Smith Luanne and Steve Moyer Marilyn J O’Brien Merry Schroeder and David Matthews Mikaela Barnes Mr. David Matthews Mr. David W. Ruttenberg Mr. Ralph Milnes Ms. Doris Bato Nancy Newton and Dave Grusin Rev. Douglas K Escue Rosina Short Roswitha and Werner Bohm Sandra and James Fitzpatrick Sylvia Wittels and Joe Alcorn Stephen Schmelling Steve Ovitsky Werner Bohm Benefactors $450 - $749 Alex Mitchell Ann and Jerry Hicks Anne and Bruce Legler Brigit and Jorg Jansen David W. Geyer Debra Ayers & Greg DePrince Dedria and Norbert Dickman Doris Meyer and Richard Hertz Dr. William Blumenthal Gay and Graham Sharman Greta and Robert Dean John & Lisa Wilhelmsen Julia Rhymes and Sally Whiteley Kathleen and Brad Holian

The Symphony

Kathy and John Matter Leah and Charles Wilkins Linda Dean and John Kitzmiller Linda Osborne Marilyn and Scott Hebert Marja and Everett Springer Matt Poage Merle and Franklin Strauss Nancy L. Scheer Patricia M. Klock Sharon and Richard Cooper Sheila and Edward Heighway Susan and Michael Uremovich Suzanne and James Brock Valerie Turner and Guillermo Figueroa Verena and Hans Frauenfelder Virginia and Morgan Boatwright Virginia Lawrence William Rogers Symphony Club Ann Griffith Ash Anne Eisfeller Bernard Ewell and Sali Randel Cindi and Jerald Parker Cynthia and Samuel Wolpert David Frank and Kazukuni Sugiyama Donald Percious Eugene and Gwendolyn Gritton Evelyn McClure James and Allegra Derryberry Jess Nicholas and Michael Grissom Joan and Tom Dalbey Joan Vernick Joel M. Goldfrank John Scully Kay and Neel Storr Laurel Westman Leshek Zavistovski Marion and Joe Skubi Ms. Carol Raymond Marcia Torobin Marilyn Forbes Mrs. Nancy Dickenson Nancy Gardner Patricia H. Kushlis

contributors

Gloria Holloway Jan and Jim Patterson Jerry Bork Joan and Ruben Lamarque Joyce Weiser Kay and Jose Ofman Kingston Residence of Santa Fe Linda Bein Lois Callaghan Lynn Lee Malcolm Cameron Morrison Marja and Everett Springer Martha Blomstrom and Hugh Balaam Mary Anne and Allen Sanborn Mary Mumford Mary Walta Mathew Frauwirth Michael A Roybal Mr. David W. Ruttenberg Mr. Edward R Brown Mr. Ralph Milnes Nancy and Burton Cooper Nancy and George Yankura Nancy and Thomas Larson Nancy Bellati Norman George Pamela Culwell and Charles Case Pat and John Hamilton Patricia and Nolan Zisman Phyllis Russo and Skip Zinn Renee and Arthur Goshin Rev. Talitha Arnold Robert Baumgartner Robert Josephs Robert Russell Sharon Franco and Joe Hayes Susan and Gary Katz Susan Cedar and Gary Lowenthal Vera Russo William J. Lock William Majorossy William Rogers

Musicians’ Circle Audrey Miller Bertram Heil Beth and Joel Scott

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Carmen Paradis and Brian McGrath Carol and Richard Rudman Dee Ann McIntyre Eileen Mandel Frances Richards Henry Rivera & Bernadette McGuire-Rivera James Webster & Karla Friedlich Janet and Everett Zlatoff-Mirsky Kathleen and Gerald Rodriguez Katie Updike Ken Stilwell Kevin Waidmann & Don Shina Ms. Carol Raymond Nancy Zeckendorf Nikki Schwartz and David Hofmann Phyllis Lehmberg Richard Leonardon Robin Smith Shane Cronenweth Conductors’ Circle Claire and Richard Gantos Connie and David Girard-diCarlo Dr. Penelope Penland Evelyn and David Kloepper Ginnie Maes Ms. Mary Azcuenaga Melanie Peters Thorne and Edwin Thorne Nancy Schwanfelder Teresa Pierce and Mort Morrison Zella and Lawrence Cox Angels’ Circle Diane and John Lenssen Katherine Okeeffe Laurie Rossi Robert Giebeig Beethoven Group Susan Goldstein and Steven J. Goldstein, M.D. Tchaikovsky Group Anonymous Donor Underwriters Barbara Erdman Foundation Dee Ann McIntyre

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Reach for the Stars Michael & Julie Dawson David Pedowitz/Neuberger Berman Suzanne M. Timble Donations in Honor of Ann Aceves, by Ellie Leighton Anne Eisfeller ♪ & Roger Thomas, by Christine & Jerry Rancier ♪ Dr. Penelope Penland, by Nancy Baker Dr. Richard & Carol Rudman, by Rona & Gary Kramer Sabra & Doug Strasser Elizabeth VanArsdel, by Rose VanArsdel Donations in Memory of Carolyn Arnst, by Eileen & Mike Mabry Lenny Felberg, by Aaron & Barbara Clark ♪ Christine & Jerry Rancier ♪ Bill LeMay, by Ann Lemay Paul Rubinfeld, by Daniel Rubinfeld Jim Sullivan, by Patrick Toal Dan White, by Hedi & Tom White Jim Williamson, by Laurie Rossi & John Scully Dr. Richard Rudman & Carol Rudman Ed Willumsen, by Carleen Miller Foundations, Donor Advised Funds, Estates & Trusts ALH Foundation Amazon Smiles Foundation Evelyn L. Petshek Arts Fund at the Santa Fe Community Foundation GE Foundation Graham Sharman Gift Fund at Fidelity Charitable

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Lannan Foundation The Mickey Inbody Charitable Foundation, Inc. Mumford Family Foundation Seahollow Family Fund Storr Family Fund at the Santa Fe Community Foundation Susan B. & Steven J. Goldstein Charitable Fund, Santa Fe Community Foundation Susan & Gary Katz Charitable Fund Zia Trust, Inc. Government Organizations City of Santa Fe Arts Commission New Mexico Arts, A Division of the Office of Cultural Affairs Concert Underwriters ($25,000) Ann Neuberger Aceves Kathryn O’Keeffe In-Kind Barak Wolff Barbara and David Larson Ben Lazerle Bob Jones Carol and Richard Rudman Cheryl Fossum Graham Dana Lamberth Donata Traverso Elaine Olson Erica Von Dielingen Gary Lutz & Margaret Johnson Hank Bahnsen James and Allegra Derryberry Janet and Everett Zlatoff-Mirsky Joanne Birdwhistell John and Diane Lennsen Judith Kaye Judith Williams and Elliot Stern Julio Blanco and David Manno Kathie and Gerald Cole Kathleen and Brad Holian Kathleen and Marvin Rowe Kay and Neel Storr Laurie Rossi & John Scully Mangie Lopez Martha Albrecht

Mathew and Meri Frauwirth Michael & Julie Dawson Milissa Spayde Mr. Daniel Milton Crane Nancy Scheer Pat and John Hamilton Patricia Emerson Patricia Gessner Perry Andrews, III Preston Peaden Richard Kinas Richard Lindahl Sheila Gershen Shirley and E. Franklin Hirsch Suzanne Breslauer Teresa Pierce and Mort Morrison Teri Kohl Vincent and Elizabeth Faust Foundations, Donor Advised Funds, Estates & Trusts GE Foundation Julie C. Berman Mickey Inbody Charitable Foundation, Inc. Mumford Family Foundation Petshek Arts Fund Seahollow Family Gift Fund The Lannan Foundation Donations in Support of the Adopt-A-Musician Program Ann Neuberger Aceves adopted James Holland, Cello Perry C. Andrews III adopted Alan Mar, Violin and Christine Rancier, Viola Ann Alexander & Richard Khanlian adopted Gloria Velasco, Violin II Hank Bahnsen adopted Lisa DiCarlo, Viola Lois Callaghan and the “Row S” Ladies adopted Rebecca Ray, Oboe Gerry & Kathie Cole adopted

Gabriela Da Silva Fogo, Violin II Jim & Allegra Derryberry adopted Joel Becktell, Assistant Principal Cello Friends of The Cathedral Basilica of St. Francis of Assissi adopted Carmen Florez-Mansi, Choral Director Frank & Christine Fredenburgh adopted Kimberly Fredenburgh, Principal Viola Tobias Vigneau, Bass Helen Gabriel adopted Laura Dwyer, Flute Barbara Hays adopted Carol Swift, Violin E. Franklin & Shirley Hirsch adopted Kathy Olszowka, Bass Brad & Kathy Holian adopted Dana Winograd, Principal Cello Jack Kitzmiller, MD & Linda Dean adopted Elaine Heltman, Principal Oboe Emily Erb, Clarinet “La Rueda” adopted Linda Boivin, Violin Justin Pollak, Violin Anne Karlstrom, Violin David & Jody Larson adopted David Tolen, Principal Percussion Eileen Mandel adopted Lori Lovato, Principal Clarinet Sara Mills adopted Sam Brown, Bass Dr. Scott Norville &

The Symphony

Lauren Sims-Norville adopted Erin Espinoza, Cello Penelope Penland adopted Katelyn Benedict, Principal Horn

Peter Erb, Horn Gregory Heltman, Trumpet Byron Herrington, Principal Trombone

Brynn Marchiando, Principal Trumpet Lynn Mostoller, Trombone

Terry Pruitt, Principal Bass David Tall, Principal Bass Trombone Allison Tutton, Horn

Richard White, Principal Tuba Teresa Pierce & Mort Morrison adopted Jesse Tatum, Flute Laurie Rossi adopted Barbara Clark, Viola Kathie Jarrett, Violin Valerie Turner, Violin II Dr. Richard & Carol Rudman adopted Donna Bacon, Violin John Scully adopted Lisa Collins, Cello, and Virginia Lawrence, Viola Stefanie Przybylska, Principal Bassoon Elliot Stern & Judy Williams adopted Guillermo Figueroa, Principal Conductor Barbara Morris, Violin Franklin & Merle Strauss adopted David Felberg, Concertmaster Suzanne Timble adopted

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Allegra Askew, Viola Anne Eisfeller, Principal

Harp Russel Toal & Elizabeth McGown adopted Leslie Shultis, Bassoon David Walther adopted Ken Dean, Principal Timpani James Webster & Karla Friedlich adopted Cherokee Randolph, Viola Sylvia Wittels & Joe Alcorn adopted Melinda Mack, Cello Frank Murry, Bass Everett & Janet Zlatoff-Mirksy adopted Nicolle Maniaci, Principal Violin II Friends of The Symphony Chorus Angie and Larry Delgado Bettina Milliken James E. Roghair Olinda Garcia Donations in Support of 2019 Spring Gala OLE! Brian McGrath & Carmen Paradis Dick Schacht & Judy Rowan Everett & Janet Zlatoff-Mirsky Jim Webster & Karla Friedlich Ken Stilwell Laurie Rossi Penelope Penland Richard & Carol Rudman Robin Smith Shirley & E. Franklin Hirsch Suzanne Timble Teresa Pierce & Mort Morrison In-Kind Donations in Support of the 2019 Spring Gala OLE! Algodones Gallery Andrea Holley Anne Eisfeller Array Home Christopher Murphy CK Cooper Clafoutis Cowboys & Indians Dana Winograd

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Daniel Crupi David Felberg David Geist David Rothermel Gallery Debbie Lujan Dolina Bakery & Cafe Drury Plaza Santa Fe El Farol Erik Speyer Fine Art Framers Fix My Roof / John Grisak Galerie Zuger Geronimo Guillermo Figueroa Hilton Santa Fe Buffalo Thunder Il Piatto James Rutherford Jane Barry JC Penney Jesse Friedin Jesse Tatum Jim Gautier Jim Webster & Karla Friedlich Joel Becktell Joe Chavez John Scully La Casa Sena Las Campanas Laurel Westman Laurie Rossi Lejuene Chavez Music in the Mountains Nestor Romero Peggy Gautier Perry C. Andrews & Scott Baker Raymond Carter Reflective Jewelry Richard Atwood Running Hub Santa Fe Chamber Music Festival Santa Fe School of Cooking Santa Fe Tennis & Swim Club Santa Fe THRIVE Santa Fe Weaving Gallery Singular Couture Siri Hollander Sorrel Sky Gallery Stephanie Greene Suzanne Timble The Compound The Santa Fe Opera

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Total Wine Vanessie Vermejo Park Ranch Donations in Support of Home for the Holidays 2018 Ann Aceves Perry C. Andrews III Zella & Larry Cox Mike & Julie Dawson Bernard Holzapfel Phyllis Lehmberg Barbara & Michael Levin Marilyn J. O’Brien Frances & Dale Richards Patsie Ross Laurie Rossi Ken Stilwell Suzanne Timble Fred Vigil James Webster & Karla Friedlich In-Kind Donations in Support of Home for the Holidays 2018 Patsy & Jim Williamson Laurie Rossi Tomasita’s Restaurant Reflective Jewelry Santa Fe Salt Cave Andiamo Cafe Fina Clafoutis Petsmart Kokoman Fine Wines & Liquors Meow Wolf Wild Birds Unlimited Opuntia Cafe Squeaky Clean Car Wash Whoos Donuts Harry’s Roadhouse Il Vicino Rio Chama Steak House Cafe Sonder Museum Hill Cafe Array Ulti Skin Salon Puravida Noisy Water Winery Dolina Cafe & Bakery The Rugman of Santa Fe Black Mesa Winery El Nido

Terra Cotta Wine Bistro Midtown Bistro Il Piatto Total Wine & More Vanessie Ten Thousand Waves Trader Joes Santa Fe Bar & Grill Josephs Mamunia Cafe Santa Fe Olive Oil Leslie Flynt Whole Foods Santacafe Sprouts Ryan’s Sewing and Vacuum Santa Fe Spirits deBella Fine Gems & Jewelry Arts Amy Stein Susan’s Christmas Shop

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The Ovation Society was established by the Board of Directors of The Foundation for The Santa Fe Symphony Orchestra & Chorus to recognize generous and future-minded donors who have designated The Foundation or The Symphony in their planned giving. The many options available include trusts, charitable gift annuities, life insurance, and 401(k) retirement saving plans. Please check with your financial advisor to determine what may be most appropriate for you.

Anonymous Anonymous in Memory of Gladys & Julius Heldman Ann Neuberger Aceves Charmay Allred Gregg Antonsen Stephen & Amanda Apodaca David & Maggie Brown Raymond & Mary Ann Burkard Marilyn Casabonne Jean Cheek Zella Kay Cox

Hugh & Haley Curtin Helen C. Gabriel Fred & Shelly Glantz Gregory & Elaine Heltman Eileen Mandel Drs. Gilbert M. Maw & Jenny M. Auger Maw Joyce M. Nicholson Dr. Penelope Penland Mick & Genie Ramsey Britt Ravnan & Michael Ebinger

Vera Russo Donald Shina & Kevin Waidmann Marian Skubi Hunter & Priscilla Temple Melanie Peters Thorne & Edwin Thorne Jr. Elizabeth Van Arsdel Bernice E. Weiss Gretchen Witti Nancy Zeckenorf Janet Zlatoff-Mirsky

Dr. Harold & Norma Brown Mrs. George Dapples Francis Essig Margaret “Mickey” F. Inbody

Pete Myers Evelyn Petshek Anthony Russo Patricia Sheppard

Emily Zants Paul Rubinfeld

The Symphony

ovation society

Do something for tomorrow ... today.

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Don’t forget to shop your local businesses that support The Symphony!

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Anne Alexander Lorri Beauchamp Annie Brady Nan Brown Lois Callaghan Carlene Carey Harry Cole Charles DeMuth Jim Derryberry Donna Eagles Carol Franco Mathew Frauwirth Muriel Frei Gwen Fuller Stephanie Greene Sharon Gregory Wanda How Karen Huber Anna Kersey Joan Kessler Ellie Leighton Shanna MacLean Anna Maekersey Eileen Mandel Margaret Merdler Carly Mohler Donald Percious Mary Ann Roberts Roberta Corwin Robinson Richard Rudman Nancy Schmitz Johnnie de Schweinitz Carol Toobin Edelle Vartan Penelope Vasquez Cory Whitmore Patsy & Jim Williamson

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