New Mexico Philharmonic 2013/14 Season Program Book 10

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2013/14 Season

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Welcome .

2014 Season

Table of Contents April 6, 2014

Program Program Notes Oriol Sans Kevin Vigneau April 12, 2014

Program Program Notes Uriel Segal Awadagin Pratt

MUSIC AT THE FOOT OF THE MOUNTAINS 3 4 8 8

Monday, April 14 at 7 PM

PIATIGORSKY FOUNDATION CONCERT Quin Li (violin) — Richard Dowling (piano) Sunday, May 11 (Mother’s Day) at 3 PM

BORDER BAROQUE Friday, June 6 at 7 PM

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LORI LOVATO & FRIENDS — JAZZ Friday, July 25 at 7 PM

THE ALTURA WINDS Thursday, August 21 at 7 PM

SHEPHERD MOON

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Meet the Musicians Thank You Orchestra Board of Directors, Advisory Board, Staff Sponsors Donor Circles The Legacy Society

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Design 4.75 x 3.5 wide

Concert Program .

Sunday, April 6, 2014, 2 p.m.

NMPhil Stars: Baroque Oboe Favorites

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Oriol Sans conductor Kevin Vigneau oboe

National Hispanic Cultural Center

Chacony in g minor

Henry Purcell (1659–1695) arr. Benjamin Britten

Oboe Concerto in d minor I. Allegro moderato

II. Adagio III. Allegro Oboe Concerto in C Major, F. VII, No. 6, RV 447

I. Allegro non molto

II. Larghetto

III. Minuetto

Alessandro Marcello (1669–1747)

Making a Difference This performance is made possible in part by the generosity of the following businesses and individuals:

McCune Foundation

Antonio Vivaldi (1678–1741)

Kevin Vigneau oboe

I n t e rmi s s ion

Symphony No. 5 in BH Major, D. 485 I. Allegro

II. Andante con moto

III. Menuetto (Allegro molto) and Trio

IV. Allegro vivace

The New Mexico Philharmonic

Franz Schubert (1797–1828)

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Program Notes .

Program Notes Lori Newman

Henry Purcell

Born 1659, possibly Westminster, England Died 1695, Westminster, England

Chacony in g minor (c. 1678–1680)

Little is known about Purcell’s Chacony in g minor, including when it was written, for what occasion it was written, and details regarding its first performance.

Musicologists have guessed that it was written between 1678 and 1680, and more than likely written while Purcell was the court composer for the group Twenty-Four Violins. It is written in four parts (originally for a viol consort) and can be performed by a quartet or a string orchestra, with or without harpsichord accompaniment.

The chacony is the English version of the French “chaconne,” although this term seems to be unique to Purcell and this work. The chaconne is a form that was popular in the Baroque era and is characterized by a short ground bass in which variations are written atop. The bass line for Purcell’s Chacony is eight measures long and these measures are repeated while the higher voices form their eighteen variations above the bass.

The English composer Benjamin Britten had long been a fan of Purcell’s works and decided to arrange the Chacony in g minor for string orchestra in 1948. Britten’s contributions are relegated to dynamics and consistencies of rhythm rather than any rewriting or reordering of notes. Audiences will recognize Britten’s use of another Purcell theme as the basis for his most famous work The Young Person’s Guide to the Orchestra. ●

Alessandro Marcello Born 1669, Venice, Italy Died 1747, Venice, Italy

Oboe Concerto in c minor (1717) Alessandro Marcello and his younger brother Benedetto were wealthy noblemen who composed out of enjoyment, not necessity. Their collective works are scant, with Alessandro’s most prolific composition,

a set of concertos entitled, La Cetra, published between 1730 and 1740. His most famous work, however, is the Oboe Concerto in d minor (often transposed to c minor as in today’s performance), published in 1717. The concerto is often attributed (falsely, according to The New Grove Dictionary of Music and Musicians) to the younger Marcello, Benedetto.

Stylistically, Marcello’s oboe concerto is often compared to similar works by Tomaso Albinoni. The Oboe Concerto is written in typical Baroque concerto form, with the expected movement configuration of fast-slow-fast. While the piece as a whole is utterly enjoyable, it is the exquisitely poignant second movement that is the true gem of the concerto. ●

Antonio Vivaldi

Born 1678, Venice, Italy Died 1741, Vienna, Austria

Oboe Concerto in C Major, F. VII, No. 6, RV 447 (published posthumously, 1742) In 1703, Vivaldi was appointed as maestro di violino to the Ospedale della Pietà, one of four homes in Venice that served orphaned, abandoned, and poor children. The girls of the Pietá who showed musical aptitude were musically trained as a way to provide them with a skill and break the cycle of poverty.

Most of Vivaldi’s more than 500 concertos were written for the Pietà concerts which drew large audiences attended by nobility and important foreign dignitaries.

Most of Vivaldi’s instrumental concertos follow the same fast-slow-fast tempo structure; a structure that was later adopted

by Handel, J.S. Bach, and Telemann. The fast movements of the C Major Concerto are written in ritornello form with the orchestra and soloist cast as opposing forces, while the slow movement is set in the key of e minor with the oboe taking center stage. The third movement is written as a minuet, a less used form for a concerto movement during this time. It begins in the central key of C Major, but takes a brief foray into the key of c minor. Both the first and third movements are technical tour de forces for the soloist, requiring the highest level of virtuosity. ●

Franz Schubert

Born 1797, Vienna, Austria Died 1828, Vienna, Austria

Symphony No. 5 in BH Major, D. 485 (1816) Franz Schubert’s orchestral works are meager in number compared to his compositional output of chamber music and vocal works.

Schubert was surrounded by friends and supporters who cared little for symphonic works, but rather, preferred smaller, more intimate genres. Schubert, however, was acutely aware of the symphonic legacy he had been afforded; he had the full works of the symphonic masters of Haydn, Mozart, and at least the first six symphonies of Beethoven, to use for inspiration. He began his symphonic writing early in his career, with his first symphony written at age sixteen. By comparison, at the age that Beethoven wrote his first symphony, Schubert would only have another year to live. His early symphonic works (Symphonies 1–6) are clearly influenced by the works of Haydn, and most especially in the case of the Fifth Symphony, Mozart.

The Fifth Symphony is symphonic chamber music at its best. It is written for a scaledback orchestra with no clarinets, trumpets, or timpani, and only a single flute rather than the usual pair. The first movement begins with a charming four-measure introduction that is also featured in the development section. Many comparisons have been made to the harmonic similarities between the first movement’s first theme and a similar passage from the fourth movement of Mozart’s Symphony No. 40 in g minor, K. 550. In the recapitulation, Schubert brings back the first theme in the subdominant instead of the tonic, a twist on the traditional harmonies implied by a recapitulation that Schubert used frequently.

The second movement develops from two central themes which Schubert alternates, resulting in a rondo-esque quality. Many of Schubert’s minuets are reminiscent of Beethoven scherzi, but the third movement of the Fifth Symphony is clearly inspired by Mozart, especially in the choice of g minor as its key center. The fourth movement’s first theme has a very light and scurrying quality to the string writing, while the second theme constitutes the style of a string quartet within an orchestral setting. ● Program Notes ® Lori Newman

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Program Notes .

Saturday, April 12, 2014, 6 p.m.

Popejoy Classics: Awadagin Pratt: The Emperor

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Uriel Segal conductor Awadagin Pratt piano

Popejoy Hall

Piano Concerto No. 5, “Emperor,” Op. 73 I. Allegro

II. Adagio un poco mosso

III. Rondo. Allegro

Ludwig van Beethoven (1770–1827)

Awadagin Pratt piano

Making a Difference This performance is made possible in part by the generosity of the following businesses and individuals:

Bernalillo County The Honorable & Mrs. James A. Parker

I n t e rmi s s ion

Mephisto Waltz No. 1

Franz Liszt (1811–1886)

Pini di Roma (Pines of Rome)

I. I pini di Villa Borghese (The Pines of Villa Borghese)

II. Pini presso una catacomba (Pines near a Catacomb)

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

IV. I pini della Via Appia (The Pines of the Appian Way)

Ottorino Respighi (1879–1936)

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Yamaha CFX concert grand piano for today’s performance is provided courtesy of Yamaha Artist Services, New York & PianoWerkes, Albuquerque, New Mexico.

The New Mexico Philharmonic

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Program Notes Lori Newman

Ludwig van Beethoven Born 1770, Bonn, Germany Died 1827, Vienna, Austria

Piano Concerto No. 5, “Emperor,” Op. 73 (1809–1811) Beethoven’s final foray into the concerto genre is the glorious Piano Concerto No. 5, the “Emperor.” The “Emperor” sobriquet is not Beethoven’s, and there is no definitive account of how it got its famous subtitle. Some accounts report that a French soldier in Napoleon’s army stationed in Vienna enthusiastically shouted “C’est l’empereur!” upon its conclusion, but there is little scholarly evidence to lend support to this theory.

Beethoven often doubled as soloist for the first four of his piano concerti, but he never publicly performed the fifth due to the rapid decline in his hearing. The “Emperor” premiered on November 28, 1811, in Leipzig, with Friedrich Schneider as soloist with the Gewandhaus Orchestra.

The concerto’s first movement opens with an extended cadenza for the soloist, underscored by orchestral chords. Its main theme is a soaring melody filled with militaristic dotted rhythms, while the second theme is gentle and flowing.

The second movement contains some of Beethoven’s most breathtaking melodies and offers a lovely and reflective respite from the fire and excitement of the outer movements.

Beethoven foreshadows the triumphant opening theme of the third movement at the end of the second, making way for the middle movement to flow effortlessly into the finale. The finale is a seven-part Rondo which the esteemed musicologist Sir Donald Tovey referred to as the “most spacious and triumphant of concerto rondos.”

Beethoven saved his most brilliant piano writing for his final concerto, exploring a full color spectrum in both the orchestra and piano, as well as expanding the technical and musical capabilities of the instrument. ●

(“Dance in the Village Inn—Mephisto Waltz”).

Liszt included Lenau’s words of the hedonistic display of music, dance, and lust in the preface of the score; they read in part:

Franz Liszt

Born 1811, Raiding [Doborján], Austria Died 1886, Bayreuth, Germany

Mephisto Waltz No. 1 (1857–1861) Franz Liszt was one of the central figures in what historians refer to as the “War of the Romantics.” Liszt came down on the side of the “New German School” which hailed program music as the next great thing in music. The other side of the story was Johannes Brahms’s devotion to absolute, or pure, music in which no extra-musical program was required. The two composers and their followers would publicly and privately battle over this concept for years.

Liszt famously stated, “New wine required new bottles,” and thus was born the symphonic poem—a new bottle for Liszt’s new music.

The story of Faust was a popular theme in Liszt’s writing; he would write the Faust Symphony, four Mephisto Waltzes, and a Mephisto Polka. Liszt was drawn to the story of the scholar who trades his soul to the devil for knowledge, power, and pleasure, as were many German Romantic composers. Liszt would not use Goethe’s famous version of the story, however; instead, he would draw from Nikolaus Lenau’s setting of the legend.

Lenau was an Austrian poet with German sensibilities who wrote the Faust legend as a series of tableaux. Liszt would choose two of these and write Two Episodes from Lenau’s Faust, the second Episode entitled “Der Tanz in der Dorfschenke —Mephisto-Walzer”

Liszt was drawn to the story of the scholar who trades his soul to the devil for knowledge, power, and pleasure.

A Village Inn: A Wedding, Music and Dancing.

Mephistopheles (peering through the window): There‘s some fun going on in there; this will suit us splendidly. (To Faust) Choose one of the girls as your partner and join the melee.

Faust: That girl over there enchants me. Her black eyes are like caverns of pleasure; they radiate seductive power. How her red cheeks glow and sparkle with full, fresh life! It must be immeasurably sweet to press oneself to those soft sensual lips that swell with yearning and make one lose all thought of self.

Mephistopheles (to the village musicians): Dear, good folk, you draw your bows much too drowsily. Hand your fiddle over to me and we‘ll have a very different sort of music, and a very different sort of dancing.

The leader of the band gives Mephistopheles his fiddle. As the seductive music rings out all are caught up in a whirl of bacchantic revelry.

Every living thing in the inn has been set going by the whirling magic of the playing, and the echoing walls lament that they cannot join in.

In the foreground Faust and his brunette drive their way through the dance in ecstasy. They waltz in mad abandon out of the room, into the open, away into the woods. The sounds of the fiddle grow softer and softer, and the nightingale warbles his love-laden song.

Liszt would set his Mephisto Waltz No. 1 three different times–for orchestra, solo piano, and two pianos. He would write two endings for the orchestral version: a raucous version which satisfies audiences (and is most commonly used) and a quiet, reflective ending which better mirrors Lenau’s vignette of Faust and his brunette beauty.

The Mephisto Waltz No. 1 opens with a drone effect that leads into the sound of instruments tuning (Mephistopheles taking continued on 7

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possession of the violin). Liszt uses grace notes and trills to evoke the malevolence of Mephistopheles, much like Berlioz did in the “Dreams of a Witches’ Sabbath” movement from his Symphonie Fantastique.

The excitement of the opening gives way to a waltz section which is undeniably in three, but whose main melody, first stated in the cellos, displaces the beat by way of ties and syncopation. This makes the waltz sound off kilter, again conveying the malice that is Mephistopheles. The flute solo at the end represents the nightingale as Faust and his lover wander through the woods after their sybaritic tryst. ●

Ottorino Respighi Born 1879, Bologna, Italy Died 1936, Rome, Italy

Pini di Roma (Pines of Rome) (1923–1924) Italian music during Ottorino Respighi’s time consisted mainly of one thing: opera–scores and scores of Italian operas

by Verdi and Puccini, and before them, Donizetti and Rossini. Respighi made his mark as primarily an orchestral composer; although he did compose several operas, they were never met with much critical success. It would be safe to say that Respighi was the only Italian composer since the Baroque whose success relied on the body of his orchestral compositions. Respighi’s breakthrough work was with the tone poem Fountains of Rome (1915–1916), which together with Pines of Rome and Roman Festivals (1928) comprise Respighi’s “Roman Triptych.” The premiere performance of Pines of Rome took place on December 14, 1924, in Rome with the Augusteo Orchestra and Bernardino Molinari conducting.

The composer explained his Pines of Rome in a letter to the New York Philharmonic’s program note annotator in 1926 (speaking in the third person): “While in his preceding work, Fountains of Rome, the composer sought to reproduce by means of tone an impression of Nature, in Pines of Rome he uses Nature as a point of departure, in order to recall memories and vision. The centuriesold trees which so characteristically dominate the Roman landscape become witnesses to the principal events in Roman life.”

The New Mexico Philharmonic

“…[Respighi] uses Nature as a point of departure, in order to recall memories and vision.”

— Ottorino Respighi

Respighi left long narratives for the works in his “Roman Triptych.” Here is how the composer viewed each of the movements in Pines of Rome:

The Pines of the Villa Borghese (Allegretto vivace)—“Children are at play in the pine groves of the Villa Borghese, dancing the Italian equivalent of ‘Ring around a Rosy’ [aka ‘Ring around the Rosy’].

They mimic marching soldiers and battles.

They twitter and shriek like swallows at evening, coming and going in swarms.

Suddenly the scene changes to–” Pines near a Catacomb (Lento)—“We see the shadows of the pines, which overhang the entrance of a catacomb. From the depths rises a chant, which echoes solemnly, like a hymn, and is then mysteriously silenced.”

The Pines of the Janiculum (Lento)— “There is a thrill in the air. The full moon reveals the profile of the pines of Gianicolo’s Hill. A nightingale sings.”

The Pines of the Appian Way (Tempo di Marcia)—“Misty dawn on the Appian Way. The tragic country is guarded by solitary pines. Indistinctly, incessantly, the rhythm of unending steps. The poet has a fantastic vision of past glories. Trumpets blare, and the army of the Consul bursts forth in the grandeur of a newly risen sun toward the Sacred Way, mounting in triumph the Capitoline Hill.”

The second movement’s opening evokes “the shadows of pines” by employing muted strings and horns, creating a dark and mysterious affect. The chant is realized through a slight uptick in tempo and the use of legato sixteenth notes revolving around a singular pitch, reminiscent of Gregorian chant. The use of the imagery of a catacomb is particularly effective in Pines of Rome, as catacombs are most closely associated with the Roman Empire.

The third movement opens with an ethereal piano introduction that leads into an extended clarinet solo; these elements bookend the movement. This movement’s recorded nightingale call is possibly the first instance of electronics to be used in classical music.

The fourth movement achieves its “misty dawn” by way of muted horns and a bass clarinet solo. Trumpet, piano, and lower strings achieve the “rhythm of unending steps” with a constant stream of eighth notes that cease only in the final two measures. This movement’s power and majesty are achieved by Respighi’s gradual addition of layers and textures to create a long and steady crescendo that leads to the clangorous climax. ● Program Notes ® Lori Newman

The first movement opens brightly with several ideas being introduced at once, mirroring the cacophony of children playing.

The simplicity and folk-like nature of the main theme is representative of the nursery rhyme, the high wind writing serves as the “twitter,” and the wild brass writing sounds of battles and soldiers. nmphil.org

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Artists .

Oriol Sans

Kevin Vigneau

Uriel Segal

Oriol Sans was born in Catalonia, Spain, where he began his musical studies when he was five years old. At the age of nine, he began to study violin and piano when he became a member of the Escolania de Montserrat. He graduated in Orchestral and Choral Conducting from the Barcelona Conservatory, and received the school’s Honors Award in both specialties.

In 2006, Oriol became a student in Orchestral Conducting at the University of Michigan School of Music, Theatre and Dance, where he studied with Professor Kenneth Kiesler as the recipient of the Dorothy Greenwald Scholarship for promising instrumentalists, conductors, and composers.

In December 2007, the Agustí Pedro i Pons Foundation in Barcelona granted him a scholarship for upper level musical studies.

He received his Master’s degree in Orchestral Conducting in April 2008 and his Doctorate in Musical Arts in August 2011 from the University of Michigan.

Oriol was the music director of the University of Michigan Campus Philharmonia and Campus Symphony orchestras from 2008 to 2010, and he currently holds the music director position of the Life Sciences Orchestra. He has been a guest conductor of the San Juan Symphony in Durango (Colorado) and the Orquesta Filarmónica de Jalisco in Guadalajara (Mexico). He also works as the score reader for the Detroit Symphony Orchestra for their webcast series. ●

Principal Oboe of the New Mexico Philharmonic, Dr. Kevin Vigneau is also Professor of Oboe at UNM and has enjoyed an international career as an orchestral player, soloist, teacher, and chamber musician.

Principal Oboe of the Cape Town Symphony Orchestra (South Africa) from 1986–1990 and Principal Oboe of the Orquestra Metropolitana de Lisboa (Lisbon, Portugal) from 1993–1996, he has also been a member of the Santa Fe Opera Orchestra, the Opera Company of Boston Orchestra, the New Haven Symphony, and a fellow at the Berkshire Music Festival.

His solo CD, Oboe on the Edge: Modern Masterworks for Oboe, was released in 2008 on Centaur Records. He has also recorded the Richard Strauss Oboe Concerto with the Orquestra Metropolitana de Lisboa for EMI Classics, the Hidas Oboe Concerto with the UNM Wind Symphony on the Summit label, and 20th century wind quintets with the New Mexico Winds for Centaur.

Dr. Vigneau holds a Doctor of Musical Arts from Yale University (1998) where he studied with Ronald Roseman and was awarded the Dean’s Prize for the outstanding member of the graduating class. He also studied with Ralph Gomberg and Laurence Thorstenberg at Boston University, where he earned his B.M. The Cape Times has referred to Dr. Vigneau as “a consummate instrumentalist, who brings to the task technical facility, abundant musicality, and a keen intellect.” ●

Uriel Segal was born in Jerusalem in 1944.

He is currently in his fifth year serving as Principal Guest Conductor at the Jacobs School of Music at Indiana University in Bloomington, Indiana. The summer of 2007 marked his eighteenth and final season as Music Director of the renowned Chautauqua Festival Symphony Orchestra in New York State. Segal is Laureate Conductor of Century Orchestra in Osaka, Japan, an orchestra he founded and led for eight years.

He served as Music Director of the Louisville Orchestra (Kentucky, USA), Principal Conductor of the Philharmonia Hungarica and the Bournemouth Symphonies, Music Director of the Israel Chamber Orchestra, and Principal Guest Conductor of the Stuttgart Radio Symphony.

Segal won First Prize at the International Mitropoulos Conducting Competition in New York in 1969, which was followed by invitations for guest appearances with major European and American orchestras. He conducts regularly in Europe, Japan, the U.S.A., Canada, and Brazil. In Europe, Segal led the Berlin Philharmonic, Royal Concertgebouw, London Symphony, London Philharmonic, The Philharmonia, Orchestre de Paris, Orchestre de la Suisse Romande, Warsaw Philharmonic, Stockholm Philharmonic, and the Spanish National Orchestra. In the U.S.A. and Canada, he conducted the symphony orchestras of Chicago, Pittsburgh, Detroit, Dallas, Houston, Montreal,

Conductor

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Artists . continued from 8 and Rochester. In Israel, he frequently conducts the Israel Philharmonic and the Jerusalem Symphony.

In 1973, Segal made his operatic debut conducting The Flying Dutchman at Santa Fe and has since conducted opera in Italy, France, Germany, Japan, Israel, and the U.S.A. In February of 2009, Segal conducted the Japanese premiere of Ligeti’s opera Le Grand Macabre in Tokyo with the Tokyo Chamber Opera Theater, and made his debut appearance in the Republic of Korea with the Bussan Philharmonic. Other recent guest appearances include the Hamburg Symphony, Warsaw Philharmonic, Jerusalem Symphony, Orchestra della Svizzera Italiana, Rochester Philharmonic, Detroit Symphony, Philharmonia of London, the Paris Conservatoire Laureates Orchestra, The Seville Orchestra, and the Brussels Philharmonic.

Segal has recorded for London-Decca and for EMI with the English Chamber Orchestra, London Philharmonic, Philharmonia Orchestra, Orchestre de la Suisse Romande, Bournemouth Symphony, New Zealand Symphony, and Century Orchestra Osaka.

He has worked with such renowned soloists as Vladimir Ashkenazi, Radu Lupu, Alicia de Larocha, and Rudolf Firkusny. ●

Awadagin Pratt Piano

Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras.

Born in Pittsburgh, Awadagin Pratt began studying piano at the age of six. Three years later, having moved to Normal, Illinois,

with his family, he also began studying violin. At the age of sixteen he entered the University of Illinois where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music where he became the first student in the school’s history to receive diplomas in three performance areas–piano, violin, and conducting. In recognition of this achievement and for his work in the field of classical music, Mr. Pratt recently received the Distinguished Alumni Award from Johns Hopkins.

In 1992, Mr. Pratt won the Naumburg International Piano Competition and two years later was awarded an Avery Fisher Career Grant. Since then, he has played numerous recitals throughout the U.S.A. including performances at Lincoln Center, Kennedy Center, Dorothy Chandler Pavilion in Los Angeles, and Chicago’s Orchestra Hall. His many orchestral performances include appearances with the New York Philharmonic, the Minnesota Orchestra, and the Pittsburgh, Atlanta, Baltimore, St. Louis, National, Detroit, and New Jersey Symphonies. Summer festival engagements include Ravinia, Blossom, Wolftrap, continued on 10

Meet the Musicians Allegra Askew third chair viola

Allegra Askew, violist, grew up in Houston, Texas where she studied viola with Wayne Crouse, Principal Violist of the Houston Symphony. She won the Houston Symphony Young Artist Competition and made her solo debut with the Houston Symphony at the age of sixteen. Ms. Askew continued her formal musical training at the Curtis Institute of Music in Philadelphia, where she studied with Max Aronoff and Joseph de Pasquale. She was named Teaching Assistant to Mr. Aronoff during her postgraduate studies at Curtis. Ms. Askew has played chamber music with the Muir Quartet and with Yo-Yo Ma. She has worked under many conductors of renown , including Guilini, Abbado, Muti, Levine, Maazel, and Ormandy. In Philadelphia, she was a The New Mexico Philharmonic

frequent substitute with the Philadelphia Orchestra and served as Principal Viola for the Concerto Soloists of Philadelphia, the Chamber Orchestra of Philadelphia, Opera Company of Philadelphia, Opera Company of Philadelphia, The Pennsylvania Ballet, and the Philly Pops. Allegra played with the Orchestra of St Luke’s in New York City and served as Principal for the American Symphony Orchestra. She also was Principal Viola for the Sarasota Opera in Florida. She is the viola instructor at the New Mexico School for the Arts. In 2011, Ms. Askew performed her 30th season as Assistant Principal/ Principal Viola of the Santa Fe Opera. She is also a member of the Santa Fe Symphony and Pro Musica. Ms. Askew joined the New Mexico Philharmonic in March 2014. ● nmphil.org

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Artists . continued from 9 Caramoor, and Aspen, the Hollywood Bowl, and the Mostly Mozart Festival in Tokyo. Mr. Pratt was also the Artistic Director of the Next Generation Festival, a chamber music festival in Lancaster, PA, and appears with cellist Zuill Bailey in duo recitals throughout the U.S.A. Recent and upcoming appearances include recital engagements at the New Jersey Performing Arts Center in Newark and in Baltimore, La Jolla, Los Angeles, and at Duke University, as well as appearances with the orchestras of Cincinnati, Indianapolis, Seattle, Colorado, Portland (ME), Utah, Richmond, Grand Rapids, Winston-Salem, Springfield (IL), and Mobile. He played a recital in Carnegie Hall for the Naumburg Foundation in November 2010 and appeared at the 2012 Ravinia Festival in a duo recital with Zuill Bailey.

As a conductor, Mr. Pratt has participated in the American Symphony Orchestra League and Conductor’s Guild workshops and the National Conducting Institute, where he worked closely with Leonard Slatkin and conducted the National Symphony at the Kennedy Center. He has also conducted the Toledo, New Mexico, Winston-Salem, Santa

Fe, and Prince George County symphonies, the Concertante di Chicago, and several orchestras in Japan.

A great favorite on college and university performing arts series and a strong advocate of music education, Awadagin Pratt participates in numerous residency and outreach activities wherever he appears; these activities may include master classes, children’s recitals, play/talk demonstrations, and question/answer sessions for students of all ages.

Internationally, Mr. Pratt has toured Japan four times and performed in Germany, Italy, Switzerland, Poland, Israel, and South Africa.

Awadagin Pratt has been the subject of numerous articles in the national press, including Newsweek, People Magazine, and New York Newsday. He was named one of the 50 Leaders of Tomorrow in Ebony Magazine‘s special 50th anniversary issue and has been featured on National Public Radio’s “Performance Today,” and St. Paul’s “Sunday Morning and Weekend Edition.”

On television, Mr. Pratt has performed on the Today Show, Good Morning America, and Sesame Street, has been profiled on

CBS Sunday Morning, and was one of the featured soloists on PBS’s “Live from the Kennedy Center–A Salute to Slava.” In November 2009, Mr. Pratt was one of four artists selected to perform at a White House classical music event that included student workshops hosted by the First Lady, Michelle Obama, and performing in concert for guests including President Obama. He has performed two other times at the White House, both at the invitation of President and Mrs. Clinton.

Mr. Pratt’s recordings for Angel/EMI include A Long Way from Normal, an allBeethoven Sonata CD, Live from South Africa, Transformations, and an all-Bach disc with the St. Lawrence String Quartet. His most recent recordings are the Brahms Sonatas for Cello and Piano with Zuill Bailey for Telarc and a recording of the music of Judith Lang Zaimont with the Harlem Quartet for Navona Records.

Mr. Pratt is currently an Associate Professor of Piano and Artist in Residence at the College Conservatory of Music at the University of Cincinnati. For further information please visit awadagin.com. ●

Thank You for Your Generous Support Volunteers. Expertise. Services. Equipment.

The New Mexico Philharmonic would like to thank William Keleher and Spencer Edelman at Modrall Sperling for their legal services in the acquisition of the NMSO music library, instruments, and equipment.

The New Mexico Philharmonic musicians would like to thank the Hanson Foundation for the generous contributions made to musicians in New Mexico. The New Mexico Philharmonic would like to thank the following people for their support and inkind donations of volunteer time, expertise, services, product, and equipment. support your nmphil today Donate. Volunteer. Advertise. Planned Giving.

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2013/14 Season

City & County Appreciation

Mayor Richard J. Berry & the City of Albuquerque Trudy Jones & the Albuquerque City Council Maggie Hart Stebbins & the Bernalillo County Board of Commissioners Betty Rivera & the Albuquerque Cultural Services Department Mayling Armijo & the Bernalillo Economic Development & Cultural Services Amanda Colburn & the Bernalillo County Cultural Services Maryann Torrez & the Albuquerque Biopark Zoo

Business & Organization Appreciation

American Federation of Musicians, Local 618 Central United Methodist Church Classical 95.5 & 102.9 KHFM Natural Touch Photography, Guillermo Quijano-Duque Parsons Brinkerhoff Popejoy Hall St. John United Methodist Church

Individual Appreciation

Sean Anker Jessica Bachicha Spencer Beckwith Lee Blaugrund & Tanager Properties Management Billy Brown Luis Delgado Robert Desiderio Rosemary Fessinger Ben Heyward Chris Kershner Louise Loomis Rose Maniaci Jackie McGehee Greg Olson Steve Ridlon Robby Rothchild David Steinberg Brent Stevens Mike Swick Bob Tillotson Tom Tkach Gary van Zals

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Board of Directors Maureen Baca President Thomas C. Bird Secretary Treasurer

New Mexico Philharmonic The Musicians

First Violin Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Ruxandra Simionescu-Marquardt Assistant Concertmaster Phillip Coonce + Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris Second Violin Anthony Templeton • Carol Swift-Matton •• Julanie Lee Justin Pollak Michael Shu Ting Ting Yen Iris McDowell Roberta Branagan Sheila McLay Daniel Brandt + Susan French Brad Richards Viola Gary Logsdon •+ Kimberly Fredenburgh •++ Allegra Askew •• ++ Christine Rancier Sigrid Karlstrom Virginia Lawrence Willy Sucre Joan Hinterbichler Lisa DiCarlo

Cello Joan Zucker • Carol Pinkerton •• Carla Lehmeier-Tatum Joel Becktell Dana Winograd David Schepps Lisa Collins Peggy Wells Bass Jean-Luc Matton • Mark Tatum •• Katherine Olszowka Terry Pruitt Derek DeVelder

Ruth Bitsui Vice President for Operations Bassoon Stefanie Przybylska •+ Alexander Onieal •++ Denise Turner Horn Peter Erb • Sheryl Hadeka Nathan Ukens Dana Sherman Niels Galloway •••• Trumpet John Marchiando • Mark Hyams Brynn Marchiando •••

Dr. Larry Lubar Vice President for Development Anne Eisfeller Kimberly Fredenburgh Mark Goodman Steve Schroeder Al Stotts Anthony Trujillo Nathan Ukens William Wiley Advisory Board Joan Allen Lee Blaugrund Clarke Cagle Robert Desiderio Steve Paternoster Evan Rice Heinz Schmitt Richard White

Flute Valerie Potter • Sara Tutland Jiyoun Hur •••

Trombone Debra Taylor • Byron Herrington David Tall

Piccolo Sara Tutland

Bass Trombone David Tall

Staff

Oboe Kevin Vigneau • Amanda Talley

Tuba Richard White •

Chris Rancier Executive Assistant & Media Relations

English Horn Melissa Peña •••+ Clarinet James Shields • Lori Lovato •• Sunshine Simmons E-flat Clarinet Lori Lovato Bass Clarinet Sunshine Simmons

Timpani Douglas Cardwell •

Marian Tanau Executive Director

Alexis Corbin Operations Coordinator & Personnel Manager

Percussion Jeff Cornelius • Kenneth Dean Emily Cornelius

Mancle Anderson Production Manager

Harp Anne Eisfeller •

Rachel Brown Administrative Assistant & Librarian

Kenneth Dean Assistant Production Manager

Danielle Frabutt Artistic Coordinator Byron Herrington Payroll Services Virginia Lawrence Librarian

Principal • Assistant Principal •• Associate Principal ••• Assistant •••• Leave + One year position ++

Marti Wolf Marketing Advisor, PR & Promotions Mary Montano Grants Manager Joan Olkowski Design & Marketing Lori Newman Website Maintenance Sara Tutland Ensemble Visits Coordinator

The New Mexico Philharmonic

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Thank You .

Sponsors

Sound Applause

The concerts of the New Mexico Philharmonic are supported in part by the City of Albuquerque Department of Cultural Services, the Bernalillo County, the Albuquerque Community Foundation, and the McCune Foundation. Interested in becoming a sponsor of the NMPhil? Call Today (505) 323-4343.

Albuquerque Community Foundation albuquerquefoundation.org

Atkinson & Co., Ltd. atkinsoncpa.com

Bank of Albuquerque bankofalbuquerque.com

BNSF Railway Foundation bnsffoundation.org

Bernalillo County bernco.gov

Cliff’s Amusement Park cliffs.net

City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

Eye Associates of New Mexico eyenm.com

Music Guild of New Mexico musicguildofnewmexico.org

Holman’s USA holmans.com

John Moore & Associates johnmoore.com

Lexus of Albuquerque lexusofalbuquerque.com

Loockheed Martin lockheedmartin.com

Macy’s macys.com

MVD Express mvdexpress.com

PNM pnm.com

Real Time Solutions rtsolutions.com

Sandia Laboratory Federal Credit Union slfcu.org

Sandia National Laboratories sandia.gov

Scalo Northern Italian Grill scalonobhill.com

SWGA, P.C. southwestgi.com

Serafian’s Oriental Rugs serafians.com

UPrinting uprinting.com

Vein Center of New Mexico veincenternm.com

Wells Fargo wellsfargo.com

Menicucci Insurance Agency mianm.com

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2013/14 Season

you’re going to love your site. www.rtsolutions.com

Donor Circles .

Donor Circles Thank You for Your Support

Benefactor Circle Donation of $50,000+ Albuquerque Community Foundation Anonymous Lee Blaugrund Linda Buffett City of Albuquerque Marilyn & Ben Heyward

Beethoven Circle Donation of $25,000– $49,999 Bernalillo County Commission The Meredith Foundation McCune Charitable Foundation

Mozart Circle Donation of $10,000– $24,999

APS Foundation Lockheed Martin/Sandia National Laboratories The Honorable & Mrs. James A. Parker PNM Resources Foundation Popejoy Hall Vein Center of New Mexico, Dr. Ole & Sheila Peloso Paula Steinberg Wells Fargo

Brahms Circle Donation of $5000–$9999

Anonymous Maureen & Stephen Baca BNSF Railway Foundation Andrea Escher & Todd Tibbals Elaine & Frederick Fiber F. Michael Hart Virginia Lawrence Macy’s Corporate Services, Inc. John Moore & Associates, Inc. Music Guild of New Mexico Bob & Bonnie Paine Payday, Inc. Sandia Laboratory Federal Credit Union, Christopher Jillson Scalo Northern Italian Grill, Steve Paternoster Southwest Gastroenterology Doctors Laura & Jerrold Trim Dr. Dean Yannias

Chopin Circle Donation of $3500–$4999

Anonymous Bank of Albuquerque Betty Chao & Richard Renn Eye Associates of New Mexico

Cynthia & Thomas Gaiser Diane M. Mueller MVD Express, Janice & Arthur Lucero

Grace Thompson Circle Donation of $1933–$3499

Paula & William Bradley Coleman Vision, Stephen C. Coleman, MD Richard & Margaret Cronin Eugenia & Charles Eberle Firestone Family Foundation Frances & Robert Fosnaugh Eiichi Fukushima Ann & Gordon Getty Foundation Keith Gilbert Mary & Sam Goldman Mary Herring & Robert Stamm Lexus of Albuquerque Erika Blume Love Dr. & Mrs. Larry Lubar Marriott Albuquerque Menicucci Insurance Agency Microsoft Sara Mills & Scott Brown Marvin Moss Ruth & Charles Needham Cynthia Phillips & Thomas Martin Real Time Solutions, Steve Schroeder Beverly Rogoff Ellen Ann Ryan Alicia & Russell Snyder Melissa & Al Stotts Marian & Jennifer Tanau Barbara & Richard VanDongen Kathleen & David Waymire Jeannie & Bert Westwood William Wiley

Bach Circle Donation of $1000–$1932 Anonymous Ellen Bayard & Jim O’Neill C. David Bedford Nancy & Cliff Blaugrund Deborah Borders Dr. Marythelma Brainard & Dick Ransom Pat & Carter Broyles Bueno Foods, Jacqueline Baca & Ana Baca Bill Byers Jonathan Miles Campbell Barbara & David Cappel Margaret & Tze-Yao Chu Fred & Lori Clark Cliff’s Amusement Park, Linda & Gary Hays Phil Custer D’Addario Foundation Bob & Greta Dean Clare W. Dreyer David & Ellen Evans ExxonMobil Foundation French’s Funerals Gertrude J. Frishmuth, MD Kate Fry & Robert Bower Barbara & Berto Gorham Helen A. Grevey & Jay D. Hertz

Madeleine GriggDamberger & Stan Damberger Stuart Harroun Holman’s USA, LLC, Anthony D. Trujillo The Hubbard Broadcasting Foundation Innovative Business Controls, Tom Gautsch Chris & Karen Jones Stephanie & David Kauffman Connie Krelle Stephanie & Ken Kuzio Lieber’s Luggage Joan McDougall Jackie & C. Everett McGehee Ina S. Miller Claudia Moraga Lynn Mostoller Carol & Gary Overturf Julia Phillips & John Connor PNM Resources Foundation, Matching Grants William P. Poteet, in memory of Horace Monroe Poteet Matthew Puariea Carolyn Quinn & John Crawford Mary Raje, in memory of Frederick C. Raje Jacquelyn Robins, in honor of Melvin Robins’s 92nd birthday Melvin Robins James & Sandee Robinson Barbara & Heinz Schmitt Thomas Seamon Serafian’s Oriental Rugs Katharine & Gregory Shields Janet & Michael Sjulin Vernon Smith Susan Spaven Jane & Doug Swift Lynette & David Tempest Brooke Tully & Thomas Bird Betty Vortman Tony & Susan Waller Jane & Scott Wilkinson

Concertmaster Circle Donation of $500–$999

Leah Albers & Thomas Roberts Joan Allen Carl & Linda Alongi Anderson Organizing Systems Judith & Otto Appenzeller Mary & John Arango Stephanie & Leonard Armstrong Sally Bachofer Daniel Balik Dorothy M. Barbo Richard K. Barlow Sheila Barnes Holly Barnett-Sanchez & David Foster Dennis Basile Sheila & Bob Bickes Jane Ann Blumenfeld David Brooks Gordon Cagle

Dawn & Joseph Calek Jose & Polly Canive Edith Cherry & Jim See Betty Chowning Claudia Crawford Gail Cunningham Marjorie Cypress Stephen R. Donaldson Joan Feldman The Financial Maestro, LLC, Joann MacKenzie Katherine Garland Pauline Garner & J. William Vega David & Tanner Gay Barb & Larry Germain Robert & Maria Goldstein A. Elizabeth Gordon Jean & Bob Gough Dr. Kirk & Janet Gulledge Janet & Donald Harris Richard Henry Jonathan & Ellin Hewes Martha Hoyt Sue Johnson & Jim Zabilski Joyce D. & M. Russell Jolly John & Julie Kaltenbach La Vida Llena Rita Leard Jae Lee Harry & Elizabeth Linneman Myra & Richard Lynch Tyler M. Mason Kathy & John Matter Thomas & Edel Mayer Bob & Susan McGuire Kathryn McKnight John & Kathleen Mezoff Martha Miller George & Mary Novotny Rebecca Okun Jerald & Cindi Parker Judyth Parker Howard & Frederica Paul John Provine Dan Rice Deborah Ridley & Richard S. Nenoff Ruth Ronan Stephen Schoderbek Norman Segel Sharon Sharrett Mary & John Sparks Conrad & Marcella Stahly Jeanne & Sid Steinberg Patricia & Luis Stelzner Charles & Flossie Stillwell Larry Titman Arthur & Sandra VallSpinosa Margaret Vining Richard Vivian Barbara & Eugene Wasylenki Patricia & Robert Weiler Judy B. & Peter Weinreb Carl G. & Janet V. Weis Lance Woodworth David Worledge Andrea Yannone Michael & Jeanine Zenge

Principals Circle Donation of $125–$499 Fran A’Hern Smith John B. Aidun & Joan M. Harris Ed Alelyunas ALH Foundation Inc.

Gerald Alldredge American Endowment Foundation John Ames Jo Marie & Jerry Anderson Anonymous Marilyn & Robert Antinone Janice J. Arrott Jackie Baca & Ken Genco Joel A. & Sandra S. Baca Toni Baca, in memory of Sylvester Baca Genevieve & Stanley Baker Robert P. & Charlene Baker Margaret Barker & Clark Varnell Elinore M. Barrett William Bechtold Edie Beck Janice & Bryan Beck Debra & Kirk Benton Richard J. & Maria E. Berry June Best Gay & Stan Betzer Douglas Binder Leonie Boehmer Rod & Genelia Boenig Dr. David & Sheila Bogost Henry M. & Jennifer L. S. Bohnhoff Peter Bond Joan Bowden Susan Brake Sheldon & Marilyn Bromberg Ronald Bronitsky, MD Carolyn Brooks Astrid Brown Mary & Jim Brown Susanne B. Brown B. L. Brumer Mary Letty Buchholz Miriam Burhans Lynne Byron Glo Cantwell Douglas Cardwell James Carroll Shirley & Ed Case Edward B. Cazzola John & Barbara Chickosky Kathy & Lance Chilton Joan Chism Kathleen & Hugh Church Frankie Clemons Kenneth Cole Monica Collier Bethany & Christopher Confessore Martin & Susan Conway Marion Cottrell Douglas D. Cox Bob Crain Dianne Cress & Jon McCorkell Alyce Cummins Stephen Czuchlewski Hubert O. Davis Jr. George deSchweinitz Jr. Cdr. Jamie & Carol Deuel Fran DiMarco Raymond Doberneck Ernest Dorko James C. Drennan Patricia & Leonard Duda Duganne Family, in memory of Paul Duganne Susan & Daniel Dunne Patsy Duphorne Paul & Catherine Eichel Eleanor D. Eisfeller

continued on 14 The New Mexico Philharmonic

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Donor Circles . continued from 13 Carol & John Ellis Mildred & Richard Elrick Frankie & David Ewing Jo Margaret & John Farris Leonard & Arlette Felberg Winifred & Pelayo Fernandez Janice Firkins Heidi Fleischmann & James Scott Mary Kay & Thomas Fleming Denise Fligner Kim Fredenburgh Melissa Freeman & Dr. Brad Raisher Louis Fuchs Jack Fuller Gwen & Charles Gallagher Daniel & Elena Gallegos Lind Gee GE Foundation Chuck & Judy Gibbon Carmoline & Bing Grady Matthew & Amy Greer Peter Gregory Sharon Gross Dick & Suzanne Guilford Ron Halbgewachs Roger Hammond & Katherine Green Hammond Harris L. Hartz Margaret Harvey & Mark Kilburn Dorothy D. Hawkins John & Diane Hawley Stephen & Aida Ramos Heath Mary Herring & Robert Stamm, in memory of Robert D. Taichert Frank Hesse Fred Hindel Guy & Nina Hobbs Holly & Ulton Hodgin Kiernan Holliday Mark Hoover Carol Horner Lorna & Henry Howerton Margaret Hutchinson Robert Jones Mary Julyan Carol Kaemper Thomas & Greta Keleher Marlin Kipp Allene & Walter Kleweno Ann King Toni & Robert Kingsley Asja Kornfeld, MD & Mario Kornfeld, MD Jennifer C. Kruger Susan KubiĂŠ Karen M. Kupper Henry & Judith Lackner Nick Landers R. Jeffery & Jane W. Lawrence Linda Lewis Madeleine Lewis Sherry Rabbino Lewis Robert & Judith Lindeman Michael Linver Thomas & Donna Lockner Verne Loose Major & Mrs. Kenneth Luedeke Bruce F. Malott Marita Marshall

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2013/14 Season

John & Glenda Mathes Dr. & Mrs. Jack D. McCarthy Sallie & Denis McCarthy Sallie & Denis McCarthy, in memory of Ellie Sanchez & Jane McDonald Ronald & Barbara McCarty Pete & Lois McCatharn Randall & Monica McComus Karen McKinnon & Richard A. Stibolt Cynthia & Paul McNaull Bernard & Mary Metzgar Virginia & Stephen Meyer Bruce A. Miller Joyce Miller Peggy Sanchez Mills & Jim Mills Christine & Russell Mink Jan Mitchell Michael Mitnik Mark Moll Barbara Scalf Morris Deborah Muldawer Edward Naimark Michael & Patricia Nelson Sharon & Richard Neuman Donald & Carol Norton Wendy & Ray Orley Del & Barbara Packwood Stuart & Janice Paster The Ralph & Ella Pavone Family Trust Dr. Ole & Sheila Peloso, in memory of Robert Taichert Calla Ann Pepmueller Richard Perry Lang Ha Pham Herbert & Judi Pitch Quinten Plikerd Prudential Foundation Matthew & Lisa Pullen & Family Christine & Jerry Rancier Russell & Elizabeth Raskob Veronica Reed & LeRoy Lehr Robert Reinke Clifford & Sandra Richardson Steve Ridlon & Casey Scott Don & Barbara Rigali Erika Rimson & David Bernstein Margaret E. Roberts Shelly Roberts & Dewey Moore Joan Robins & Denise Wheeler, in Honor of Melvin Robins Jeffrey Romero Kletus Rood Edward Rose Elizabeth Rose Darryl & Jan Ruehle Rosemary Saur Stephen Saxe Nancy Scheer Howard & Marian Schreyer Kathleen Schulz Justine Scott Carolyn Sedberry Meryl & Ron Segel Barbara & Daniel Shapiro Frederick & Susan Sherman R. J. & Katherine Simonson Walt & Beth Simpson

Carol Smith Patty & Bill Snead Jane Snyder Vera Snyder Steven & Keri Sobolik Susan Soliz SonicSEO.com, Inc., Becky & Arvind Raichur Eric & Maggie Hart Stebbins David & Rebecca Steele Dorothy Stermer Dodie Stevens Robert St. John Strategic Management Solutions, LLC, Sarah Dunn, in memory of Paula Basile David Stryker & Lee A. Reynis James Stuart Mary Ann Sweeney & Edward Ricco Laurence Tackman Robin Thompson Yetta & Zach Tropp Wayne & Maryann Trott Joan & Len Truesdell Marit Tully & Andy Thomas Jay Ven Eman E. M. Wachocki Marianne Walck Cynthia & Bill Warren Rob Weinstein Jamie L. Welles & Thomas Dellaira Jeffrey West Liza White Bill & Janislee Wiese Bronwyn Wilson Karen & Johnny Wilson, in memory of Sylvester Baca Sylvia Wittels & Joe Alcorn Walter Wolf Ann & Thomas Wood Daniel & Jane Wright Sue Wright Mae S. Yee Yummi House Nancy & Michael Zwolinski

Friends of the Philharmonic

Donation of $25–$124 Bill & Sall Aber Kelly Aldridge Jerry & Nadine Allen Arthur Alpert Roger Ames Judith & Chilton Anderson APU Solutions, in memory of Paula Basile Carolyn Aragon Ian & Denise Arthur Lynn Asbury & John Wronosky Leslie Atler David Baca Mary E. Baca Patrick J. & Marie M. Baca Thomas J. & Helen K. Baca Wendy E. & Mark C. Baca Melanie Baise Jan Bandrofchak & Cleveland Sharp Laura & Kevin Banks E. Patricia Barbier Lois Barraclough Graham Bartlett

James F. & Yvonne G. Beckley Benchmark Real Estate Investments, Margaret Orona Richard Bernal Dorothy & Melbourne Bernstein Peggy Blackburn Katherine Blaker Rol & Samantha Blauwkamp Barbara & Philip Bock, in memory of Robert Taichert Katie Bock Paula & James Bonnell, in memory of Louise Coonce Joyce Bortner Henry & Nancy Botts Julia B. Bowdich Tim & Jackie Bowen Brad Boyce Enid Bradley Roberta Branagan Charles J. Brandt Charles Brandt, in memory of Jennifer K. Brandt Elinore Bratton James & Ann Bresson Monica & Lee Brown Dr. Lisa M. Brunacini & Rita M. Giannini Susan Burgener Jeanne Burgess Charles Campbell Mary Ann Campbell-Horan & Tom Horan Elizabeth Canfield Elizabeth & Maria Canfield Camille Carstens Mary Casarez & T. Paul Apodaca Joseph Cella Barbara & Roscoe Champion Suzy Charnas Judith Chazin-Bennahum & David Bennahum Betty Chowning, in memory of Ken Chowning Judith & Thomas Christopher Ralph & Elizabeth Churchill Paul Citrin Barbara & Aaron Clark Peggy Clark, in memory of Robert Clark Robert Clark Fredric & Rosalyn Cohen Randall & Valerie Cole Henry & Ettajane Conant Janelle Conaway Philip & Kathryn Cooper Ralph Cover Mark Curtis Daniel P. Davis Joan Davis Margaret DeLong Candice & Daniel Demar Donald DeNoon Desert Double Reeds, Rebecca L. Ray Elizabeth & Thomas Dodson Darryl Domonkos Joanne Donsbach Janice Dosch E. Josephine Drummond Betty & Stuart Dubois Stephen Dunaway

Jeff Duray Deborah Barba Eagan East Range Piedra Vista Neighborhood Association, in memory of Paula Basile Sondra Eastham John Eckert Ida Edward Anne C. Eisfeller Helen Elliott Robert & Dolores Engstrom Roger C. Entringer Stephanie Eras Carlos Esparza David & Regan Eyerman Bill Fanning Marie E. Fellin, in memory of Blaine Eatinger Margaret Fischer Rona Fisher Rona Fisher, in memory of Louise Coonce Stephen J. Fisher Robert & Diane Fleming Hahn Fletcher Walter Forman, MD James & Jean Franchell J. Arthur Freed Susan Freed Dan Friedman Aanya Adler Friess Clarence Gallegos & Anna Y. Vigil Ann Garcia William Garrison Jim & Margaret Gates Duane & Janet Gilkey Galen Gisler Todd A. Goldblum, MD Donald & Diane Goldfarb Donald & Diane Goldfarb, In memory of Robert D. Taichert The Very Rev. J. Mark Goodman Thomas & Linda Grace Stewart & Alice Graybill Erna Sue Greening Blanche & Justin Griffin Sharon Gross, in memory of Robert D. Taichert Virginia Grossetete Mina Jane Grothey Charles & Betsy Gunter Herman Haase Lois Hall Samuel & Leila Hall Vaux & Hilda Hall Bennett A. Hammer Marjorie Hardison Janet Harrington Marilyn & Edward Hartig John Harvey Arthur G. Hassall Nancy Hayden, in memory of Paula Basile Deborah L. Helitzer Rosalie & Leon Heller Rogene Henderson Holland Hendrix Sara Henning Mary Herring, in memory of Margaret Glasebrook Jonathan & Ellin Hewes, in memory of Robert D. Taichert Donna Hill Linda Hill & Peter Gordinier,

Donor Circles . in memory of Paula Basile Kristin Hogge Barbara Holt David & Bonnie Holten Lisa Hooper Tom Hopkins Helen & Stanley Hordes Cecilia & Mark Horner William Howe Rick Hudson Janet & Vincent Humann Rosemary Hunter & Eugene McGuire Constance Hyde & James Houle Lois Jackson, in honor of Brynn & John Marchiando Joan Jander Jerry Janicke Bette A. Johnson Eldon Johnson Nancy M. Johnson Judy Jones Pamela Jones Wilbur & Justin Kahn Summers & Norty Kalishman Julius & Robin Kaplan Ira & Sheri Karmiol Joyce Kaser Greta & Thomas Keleher Channing & Ida Kelly James Kelly Evy Kimmell Barbara Kleinfeld, in memory of Robert D. Taichert Karen & Bill Knauf Michael & Malva Knoll Rosemary Koffman Katherine Kraus Ethel & Edward Lane, in memory of Sylvester Baca David Lawrence Becky Lee Susan Lentz Ronald Loehman George Loehr Nancy D. Loisel Joel Lorimer Los Amapolas Garden, in memory of Richard Kavet Carol Lovato Betty Lovering William Lynn Martha MacDonald Margaret Macy Ronald P. & Monica M. Manginell Susan Margison, in memory of Paula Basile Walt & Ruth Marshall Audrey Martinez & Paul Getz Brenda & Robert Maruca Joseph McCanna Andrew McDowell Thomas McEnnerney Carol & David McFarland, in memory of Paula Basile Virginia McGiboney Donna McGill Jane & David McGuire Leroy C. McLaren Elizabeth McMaster Cynthia & Paul McNaull Sterrett & Lynette Metheny Phyllis Metzler Sandra Lee Meyer

Celia Michael Thomas Miles Carol Mills Nancy Mills Marcia Miolano Mohinder & Deborah Mital Beatriz Mitchell William Moffatt Elaine Monaghan Mary Kay Moore James B. & Mary Ann Moreno Shirley Morrison & Cornelis Klein Dorothy Morse, in memory of Joe Zoeckler Ted & Mary Morse Paula A. Mortensen Karen Mosier John & Patsy Mosman Carolyn Muggenburg Brian Mulrey Pauline & James Ney Betsy Nichols & Steve Holmes Anne E. Nokes Jack Norris David & Audrey Northrop Richard & Marian Nygren Si Scott Obenshain Marilyn Jean O’Hara Judith Oliva, in memory of Paula Basile Gloria & Greg Olson Gloria & Greg Olson, in memory of Louise Coonce Estherella Olszowka Margaret Palumbo Margaret & Doyle Pargin Diane & Mark Parshall Joan & L. Parsons, in memory of Robert Taichert Marjorie Patrick & Michael Van Laanen Ann Pedone Ole A. Peloso, MD, in memory of Alan S. King, MD Sheila & Ole Peloso, in memory of Dr. Omar Legant Claire M. Peoples Anna Perea Maria Pereyra Timothy Peterson Barbara Pierce, in memory of Richard Kavet Dorothy Pierson Harvey J. Pommer Gladys & Glenn Powell Bettye Pressley Carol & George Price Shirley Puariea Therese Quinn Tari Radin, in memory of Louise Coonce Jane Rael Richard Rail Chris Rancier, in memory of Charlyn Anderson Mary Ellen Ratzer David & Tracey Raymo Marjorie & Robert Reed Ray Reeder Carol Renfro, in memory of Pat Fairchild Patricia Renken Diane Reuler Glenda Richardson

The New Mexico Philharmonic

Herbert Richter Margaret Rickert Sandy Rierson, in memory of Zachary Tropp Jacob H. Rittenhouse Barbara Rivers Matthew Robertson Gwenn Robinson, MD & Dwight Burney III, MD Norman Roderick Alice & Larry Rodgers Barbara & Joseph Roesch Lorraine Roff Lorraine Roff, in memory of Louise Coonce Ralph Rogers Estelle H. Rosenblum Bryan L. & Lisa Wood Ruggles Harvey & Laurie Ruskin Ellen Ann Ryan, in memory of Robert Taichert Jennifer A. Salisbury & Fred Ragsdale Scott & Margaret Sanders Daniel Savrin, in memory of Zachary Tropp Elaine Schepps Roger Schluntz Donald L. Schmierbach & Nancy Huning Schmierbach David A. Schnitzer Frederick Schwab Judith Schwartz Joan Scott Betty Cobey Senescu Margaret & Frank Seusy Richard Shagam Donea Shane Donea Shane, dedicated to William D. Shane Jr. Dan Shawver Arthur & Colleen M. Sheinberg Robert & Lelia Shepperson Leslie N. Shultis Catherine Siefert Janet Simon Marsha & Don Simonson Norbert F. Siska Vivian Skadron MaryDee Skinner Terrence Sloan Mr. & Mrs. Matthew Sloves Harry & Patricia Smith Kirk Smith Frederick Snoy Linda Snyder Enid Solin Jean & Allen Spalt Gwyn & Tracy Sprouls Jack Stamm Charlie & Alexandra Steen Donald Stehr Geny Stein Daphne Stevens Roberta Stolpestad, in memory of Paula Basile Andrew & Katie Stone John Stover Carmen & Lawrence Straus Donald & Jean Ann Swan George Ann & Tom Tabor, in memory of Paula Basile David & Jane Tallant Richard & Carolyn Tecube Nina & Gary Thayer Elisabeth Thibault

The Legacy Society Giving for the Future.

Your continued support makes this possible.

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

Maureen & Stephen Baca Nancy Berg Edison & Ruth Bitsui Dr. & Mrs. Larry Lubar Thomas C. Bird & Brooke E. Tully William A. Wiley

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Patricia & George Thomas Richard Thompson Phyllis Taylor & Bruce Thomson Michael Thuot Julie Tierney Jack Tischhauser Jack Tischhauser, in memory of Sylvester Baca Marilyn Toler John Tondl Dean & Bonita Tooley Marian Trainor & David Dixon United Bank of Switzerland Nancy Vandevender & J. Pace David Vaughan John J. Vittal Arun Wahi Cheryl Walker Harry Wallingford Sherry & Michael Walls, in memory of Paula Basile David Walsh Joan Wang, in memory of Charlyn Anderson Marilyn Warrant Barbara Waserman Jan Armstrong Watts Paul & Suzanne Weber Jean & Dale Webster Iris Weinstein Thomas Wellems Debbie Wesbrook Kay West Maryann & Eugene Wewerka Sandra J. White Trudy & Robert White Roland Wiele John L. Wilson Phyllis S. Wilson James Wilterding & Craig Timm Rosemary Winkler Kathryn Wissel

Sylvia Wittels & Joe Alcorn, in Honor of Adrianna Belen Gatt Margaret Wolak Helmut Wolf Beulah Woodfin Dot & Don Wortman Helen Wright Donna Yannias Diana Zavitz, in honor of Pat & Ray Harwick Albert & Donna Zeman Andrew A. Zucker 3/22/2014

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nmphil.org

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We’re in the audience!

La Vida Llena residents are proud to be supporters of arts & entertainment.

We can’t imagine what life would be without music and song, dance and drama.

Live No w.

Live Here.

Live Well.

Live Smart.

A l b u q u e r q u e’s O n l y L i f e C a r e R e t i r e m e n t C o m m u n i t y

To schedule a personal presentation, call (505) 293-4001.

La Vida Llena, a leader for over 30 years in New Mexico senior living, is part of Haverland Carter Lifestyle Group.