New Mexico Philharmonic 2013/14 Season Program Book 4

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2013/14 Season

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We can’t imagine what life would be

without music and song, dance and drama.

La Vida Llena residents are proud to be supporters and audience members. To schedule a personal presentation, call (505) 293-4001 La Vida Llena, a leader for 30 years in New Mexico senior living, is part of Haverland Carter Lifestyle Group

Welcome .

Letter From the President of the Board

Table of Contents

As we continue our exciting third season, I want to say hello from the recently elected Board officers. The NMPhil Board elected officers at the annual meeting in September. They are: Ruth Bitsui, Vice President of Operations; Larry Lubar, Vice President of Development; Tom Bird, Secretary/Treasurer; and myself, President. Our outgoing President, Evan Rice, and Secretary/Treasurer, Clarke Cagle, will remain as members of our advisory board, continuing to provide support and guidance. We thank them for their dedicated and important work during our formative years.

Near the conclusion of last season, we surveyed our key stakeholders (about 2,400 donors, audience members, volunteers, sponsors, and musicians) and almost one third replied, a very high and statistically significant number. The survey showed us areas to improve, notably getting more information out about our mission and values, the Board’s processes, and the need to continue to brand the NMPhil in the community. Even more importantly, 87.5 percent are satisfied or very satisfied with the NMPhil, and most importantly, 92 percent feel the NMPhil’s concerts demonstrate artistic excellence.

For the musicians as a sub-group, 77 percent agree that the Board and management value and respect them. Most understand the mission and values, feel the community has a positive perception of the NMPhil, and are satisfied or very satisfied with the NMPhil. We are gratified with these levels of initial satisfaction and will continue to improve our work and processes to reach even higher levels of satisfaction in the coming year.

In October the Board and several key stakeholders participated in our second annual strategic planning retreat where we reviewed in depth where the NMPhil should be headed and how to get there. We reaffirmed our core values, especially our value of responsibility in all our actions, and reviewed progress on our four strategic objectives and their supporting action plans: maturing the organization, retaining and developing the musicians, developing the future audience, and planning for a future home. Most of the action plans developed in 2012 are now completed. We are now finalizing new action plans to advance the strategic objectives that will continue to address our strategic advantages and challenge. Through this planning and its implementation your Board is taking the necessary action to assure the NMPhil is here for the long-term. We will be here for our children, grandchildren and beyond, to perform world-class music for this community.

Part of creating a permanent presence is our work beyond the concert hall. Our education program reached thousands of children in the community with music education. From our Young Musician Initiative to concerts in high schools, we are not only bringing classical orchestral music to children, we are also enriching their lives now and developing the NMPhil’s audience of the future. Investing in this work is great for the community now and affirms our long-term tenure. Thanks for your support in all the New Mexico Philharmonic does.

November 16, 2013 Program Program Notes Oriol Sans Haochen Zhang

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November 17, 2013 Program Logan Skelton

December 6, 2013

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Program Program Notes David Felberg Cree Carrico Jacqueline Zander-Wall Colin Burdge Ivan Conrad Central United Methodist Chancel Choir

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Meet the Musicians Thank You Sponsors Orchestra and Board Donor Circles

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Concert Program .

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Popejoy Hall

Making a Difference We would like to thank the title sponsor for this evening for their generosity in making this concert possible:

Dr. Ole & Sheila Peloso, Vein Center of New Mexico

Saturday, November 16, 2013, 6 p.m.

Popejoy Classics: Ravel Masterpieces Oriol Sans conductor Haochen Zhang piano

El Salón México Aaron Copland (1900–1990) Piano Concerto in G Major Maurice Ravel I. Allegramente (1875–1937)

II. Adagio assai

III. Presto Haochen Zhang piano

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Capriccio espagnol, Op. 34 Nikolai Rimsky-Korsakov I. Alborada (1841–1908)

II. Variazioni

III. Alborada

IV. Scena e canto Gitano

V. Fandango asturiano Boléro

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Maurice Ravel

Program Notes .

Program Notes Lori Newman

Aaron Copland

Born 1900, Brooklyn, New York Died 1990, Tarrytown, New York

El Salón México (1933–1936)

Aaron Copland spent a great deal of time in Mexico, in fact, traveling to the United States’ neighbor to the south was one of Copland’s most enjoyable travel destinations. He first traveled there in 1932, when his good friend, Mexican nationalist composer Carlos Chávez, suggested a Mexican sojourn. Copland spent two months in Mexico during his first visit, and decided at that time he would like to write a piece incorporating Mexican tunes into an orchestral work. This would be Copland’s first foray into what would later be referred to as his “populist” phase. The idea behind musical populism was to incorporate simple tunes into sophisticated musical forms—thereby attracting larger audiences for new music.

Copland’s inspiration for El Salón México was a Mexican dance hall of the same name.

Copland has said of the hall: I remember reading about it for the first time in a tourist guidebook: ‘Harlem type nightclub for the peepul [sic], grand Cuban orchestra. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.’ When I got there, I also found a sign on the wall which said: ‘Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.’ … In some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people the electric sense one sometimes gets in far-off places, of suddenly knowing the essence of a people their humanity, their separate shyness, their dignity and unique charm.

Copland freely uses several Mexican melodies which he chose based on their harmonic and rhythmic structures, as well as the “local flair” contained within each.

Copland says, “Bands played a kind of music that was harsh, flavorsome, screechy and potentially violent. El Salón México is, I suppose, a sort of musical souvenir.”

“I felt nervous about what the Mexicans might think of a ‘gringo’ meddling with their native melodies [but] the orchestral players … suddenly stopped what they were doing and began to applaud vigorously.”

—Aaron Copland

Copland first completed a two-piano version of El Salón México in 1934. Carlos Chávez conducted the premiere orchestral performance in 1937 with the Orquesta Sinfónica de México. Initially, Copland was concerned that his work would be considered offensive to the Mexican musicians, but his fears were quickly laid to rest. The composer recalls, “I felt nervous about what the Mexicans might think of a ‘gringo’ meddling with their native melodies … [but] at the first of the final rehearsals that I attended … as I entered the hall the orchestral players, who were in the thick of a Beethoven symphony, suddenly stopped what they were doing and began to applaud vigorously.”

El Salón México was also successful in the United States, and became Copland’s first work to be recorded. It was recorded in 1938 by the Boston Symphony Orchestra under the direction of Serge Koussevitsky. ●

be the piano soloist for the G Major Concerto and take the piece on an extended world tour, but failing health prevented him from doing so. Instead, the pianist Marguerite Long premiered the concerto in Paris on January 14, 1932, with the Orchestre Lamoureux and Ravel conducting.

Ravel’s Piano Concerto in G Major is a potpourri of musical influences and styles.

From Basque and Spanish tunes, to American jazz, to French musical sensibilities, the G Major Piano Concerto runs the musical gamut. Ravel spoke of his concerto, “My only wish was to write a genuine concerto—that is, a brilliant work, clearly highlighting the soloist’s virtuosity, without seeking to show profundity. As a model I took two musicians who, in my opinion, best illustrated this type of composition: Mozart and Saint-Saëns.” ●

Maurice Ravel

Born 1841, Tikhvin, Russia Died 1908, Lyubensk, Russia

Born 1875, Ciboure, France Died 1937, Paris, France

Piano Concerto in G Major (1929–1931) Ravel’s last two major works were both for the piano—the G Major Piano Concerto being performed today, and his Piano Concerto for the Left Hand, written for war veteran and concert pianist Paul Wittgenstein. Ravel had originally planned to

Nikolai Rimsky-Korsakov

Capriccio espagnol, Op. 34 (1887) Rimsky-Korsakov’s Capriccio espagnol was originally conceived by the composer as a showpiece for violin and orchestra. He abandoned that notion, and instead, made a showpiece for the entire symphony, filled with virtuosic writing for nearly every section of the orchestra. He provides cadenzas and extended solos for the violin, continued on 6

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Program Notes . continued from 5 flute, clarinet, horns, trumpets, and harp.

As with all of Rimsky-Korsakov’s music, it is brilliantly orchestrated and filled with wide-ranging orchestral colors. He wrote of his orchestrational achievement, “The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, the brief virtuoso cadenzas for solo instruments, the rhythm of the percussion instruments and so on, here constitute the very essence of the composition, and not its clothing, i.e., orchestration.”

Capriccio espagnol premiered October 13, 1887, with the St. Petersburg orchestra performing, and Rimsky-Korsakov conducting. The work is broken into five movements, but with two larger divisions— The Alborada, Variations, and second Alborada (in a different key) comprise the first section, followed by the Gypsy Song and Fandango. The work was an immediate success and has remained in the standard orchestral literature ever since its premiere.

Tchaikovsky, having received a copy of the score in advance of the premiere, hailed, “… your ‘Spanish Capriccio’ is a colossal masterpiece of instrumentation, and you may regard yourself as the greatest master of the present day.” ●

Maurice Ravel

Boléro (1928) Classical music aficionados usually fall into two categories—those who respect, appreciate, and enjoy Ravel’s Boléro, and those who categorically despise it. Very few are ambivalent to the work’s genius, or lack thereof, depending in which camp the critic lies. Ravel appears to have been keenly aware of the schism the work would have on the audience. He wrote: I am particularly desirous that there should be no misunderstanding about this work. It constitutes an experiment in a very special and limited direction, and should not be suspected of aiming at achieving anything different from or anything more than it actually does achieve.

Before its first performance, I issued a warning to the effect that what I had written was a piece lasting about seventeen minutes and consisting wholly of ‘orchestral tissue without music’ - of one long, very gradual crescendo.

There are no contrasts, there is practically no invention except the plan and the manner of execution. The themes are altogether 6

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impersonal … folk tunes of the usual SpanishArabian kind, and (whatever may have been said to the contrary) the orchestral writing is simple and straightforward throughout, without the slightest attempt at virtuosity … . I have carried out exactly what I intended, and it is for listeners to take it or leave it.

The “experiment” began with a commission from the ballerina Ida Rubinstein who was looking for a new work for her troupe. Ms. Rubinstein’s dance that corresponded to the music of Boléro was fairly racy for the time, and caused its own series of problems irrespective of the music. However, the ballet did not last in popularity, but when Boléro began being performed regularly in concert halls, that is when Ravel’s name and reputation took off.

How exactly does Ravel maintain a steady crescendo for approximately seventeen minutes? It’s all related to his orchestration, instrumentation, and eccentric combinations of instruments. The snare drum plays the Bolero rhythm throughout and is the rhythmic center to the piece, as well as the integral leader in gauging the crescendo.

The melody is initially played by individual instruments, and as the piece progresses, more and more instruments take up the melodic line until it reaches a nearly fevered pitch. Ravel is quoted as saying, “I have written only one masterpiece. That is the Boléro. Unfortunately, it contains no music.”

Half of his audience agrees. However, the other half just as fervently denies Ravel’s selfdeprecating claim. ●

Program Notes ® Lori Newman

Meet the Musicians

Ruxandra Simionescu-Marquardt violin Romanian-born violinist Ruxandra Simionescu-Marquardt attended the ‘George Enescu’ School of Music and Conservatory of Music in Bucharest, where she was profoundly influenced by professors Stefan Gheorghiu and Modest Iftinchi. As a young musician she won several prizes and medals in international competitions, such as “Concertino” Prague (1981), Henri Wieniawski (1983), Tibor Varga (1985), AllRomania Prize (1981, 1982) and participated in the Yehudi Menuhin Competition.

In 1986, she left communist Romania to participate in the Indianapolis Violin Competition, defecting to the U.S. immediately afterward. She continued her studies at Indiana University with Joseph Gingold and at Syracuse University, where she joined the faculty from 1990 to 1998.

In 1988, she became the youngest Associate Concertmaster in the U.S., a position she held for thirteen years. She was also Principal Second Violin and Concertmaster (20082009) of the Jacksonville Symphony in Florida from 2002 to 2012 and appeared as guest Concertmaster of the Rhode Island Philharmonic and the New Mexico Philharmonic (2013).

Ms. Simionescu-Marquardt is a dedicated and highly-prized violin teacher. She has maintained successful studios for the last 25 years and has prepared several young musicians for competitions and noted conservatories around the country. She is also highly sought after as a coach and clinician for musicians preparing for auditions in professional and youth orchestras. ●

Concert Program .

Sunday, November 17, 2013, 3 p.m.

Introduction to the Classics I: Brahms and the Piano—Veiled Symphonies

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Logan Skelton piano and host

KiMo Theatre

Pianist and scholar, Logan Skelton, takes us on a tour of Brahms’s important contributions to the piano repertoire in our opening program of the series.

Making a Difference

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

Musical selections to include Robert Schumann’s Romance in F-sharp Major, Op. 28, No. 2; movements from Brahms’s Sonata in f minor, Op. 5; movements from Schumann’s Carnaval, Op. 9; selections from Brahms’s Fantasien, Op. 116, and Brahms’s Variations and Fugue on a Theme by Handel, Op. 24. ●

Meredith Foundation

Logan Skelton Piano and Host

Logan Skelton is a much sought-after pianist, teacher, and composer whose work has received international critical acclaim.

He has concertized widely in the U.S., Europe and Asia and has been featured as both pianist and composer on many public radio and television stations. He has recorded numerous discs for Centaur, Albany, Crystal, Blue Griffin and Naxos Records, the latter which he performed on two pianos with fellow pianist-composer William Bolcom. Upcoming recording projects include compact discs devoted to solo piano music of Liszt and Bartók, and a series of compact discs devoted to his

own song compositions, all of which will be released by Blue Griffin Records.

Skelton holds degrees from Loyola University, Eastman, and the Manhattan School of Music; his principal teachers have included John Murphy, Rebecca Penneys, Lillian Freundlich, and Artur Balsam. He was honored by the University of Michigan with the prestigious Harold Haugh Award for excellence in studio teaching. He has served on the faculties of the Manhattan School of Music, Missouri State University, and is currently Professor of Piano and Director of Doctoral Studies in Piano Performance at the University of Michigan.

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Concert Program .

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Central United Methodist Church

Making a Difference

This performance is made possible in part by the generosity of the following businesses and individuals: Central United Methodist Church

Friday, December 6, 2013, 7 p.m.

Neighborhood Concert: Handel’s Messiah David Felberg conductor Cree Carrico soprano Jacqueline Zander-Wall mezzo-soprano Colin Burdge tenor Ivan Conrad bass Central United Methodist Chancel Choir Jerrilyn Foster choir director

Messiah

George Frideric Handel (1685–1759)

PART I

Overture, Instrumental Comfort ye my people, Tenor Every valley shall be exalted, Tenor And the glory of the Lord, Chorus Behold, a virgin shall conceive, Alto O thou that tellest good tidings, Alto & Chorus For behold, darkness shall cover the earth, Bass The people that walked in darkness, Bass For unto us a Child is born, Chorus Pastoral Symphony (Pifa), Instrumental There were shepherds abiding in the field, Soprano

And lo, the angel of the Lord came upon them, Soprano And the angel said unto them, Soprano And suddenly there was with the angel, Soprano Glory to God, Chorus Rejoice greatly, O daughter of Zion, Soprano Then shall the eyes of the blind be opened, Alto He shall feed His flock like a shepherd, Alto & Soprano His yoke is easy, Chorus

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PART II

PART III

Behold the Lamb of God, Chorus He was despised, Alto Surely He hath borne our griefs, Chorus And with His stripes we are healed, Chorus All we like sheep have gone astray, Chorus Thy rebuke has broken His heart, Tenor But Thou didst not leave His soul in Hell, Soprano Lift up your heads, O ye gates, Chorus The Lord gave the word, Chorus How beautiful are the feet, Soprano Their sound is gone out into all lands, Chorus Why do the nations so furiously rage? Bass Let us break their bonds asunder, Chorus He that dwelleth in Heaven, Tenor Thou shalt break them, Tenor Hallelujah, Chorus

I know that my Redeemer liveth, Soprano Since by man came death, Chorus Behold, I tell you a mystery, Bass The trumpet shall sound, Bass Worthy is the Lamb that was slain—Amen, Chorus

Program Notes .

Program Notes Lori Newman

George Frideric Handel Born 1685, Halle, Germany Died 1759, London, England

Messiah (1741) If not for the fickle nature of music critics and audiences alike, Handel may never have written his masterpiece Messiah. Its composition was far less a result of religious obligation or desire for pulchritude, and much more out of necessity to keep up with what was musically de rigueur at the time, not to mention the fundamental need to put food on the table.

Handel had lived in England for almost thirty years, writing his bread and butter— Italian opera. His hits were numerous and varied: Rinaldo, Giulio Cesare, Rodelinda, and Xerxes to name just a few. And then, as if overnight, the times and the musical tastes of England changed. Italian opera was no longer the venerated form it once was; aspersions were cast against its convoluted plot lines, ridiculous characters, the posturing of the singers, and so on. England was looking for a more “national” art form. With the composition and success of the Beggar’s Opera by Gay and Pepusch in 1728, that was not only sung in English instead of Italian, but that also brought English popular culture into the form of opera, Italian opera was all but kaput in England.

Enter the oratorio. Oratorio and opera have several things in common and seemed to be just what the English had been clamoring for. Oratorio, like opera, contains vocal soloists, a chorus, and an orchestra.

Oratorios contain recitatives, arias, vocal ensembles of various sizes, instrumental interludes, etc. What are missing from oratorio, which is of course a mainstay in opera, are costumes, sets, action, and props.

Also, the setting is quite different—operas are meant to be performed on a stage of an opera house usually depicting secular subject matter, while oratorios are meant to be performed in concert halls or churches and (usually) convey religious subject matter.

Perhaps most importantly in the rise of the popularity of the new genre of the English oratorio—it was sung in English, adding enhancement to the listener’s experience,

who at that time could have never conceived of the current trend of operatic supertitles that we now take for granted.

Handel fought against the new trend in music for most of the 1730s. He continued to try and write Italian opera and made a few lackluster attempts at oratorio, until finally his finances had dwindled to an alarming level. Handel was reported gravely ill (an exaggeration), depressed, washed-up, etc. He rarely left his flat and was all but written off by England. That is until he was visited in 1741 by the Duke of Devonshire, the Lord Lieutenant of Dublin, who asked if he would be willing to write a new work

Handel . finished his

Messiah

in a mere 24 days whose proceeds would benefit several Dublin charities. Handel jumped at the chance to get away from England for a while and the commission seemed to invigorate him to new heights. He used the scriptural text compiled

by Charles Jennens who drew from the King James Bible and from the Psalms included in the Book of Common Prayer. Jennens wrote of his libretto, “I hope [Handel] will lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other subject. The Subject is Messiah.”

Handel finished his Messiah in a mere twenty-four days. After completing the now famous and ubiquitous “Hallelujah Chorus” he ran into a servant and exclaimed, “I did think I did see Heaven before me and the great God Himself!”

Handel left for Dublin in November of 1741 and his arrival in Ireland received

an overwhelming response. What was old news in England, was fresh and appreciated in Dublin. This began one of the happiest periods in the composer’s life. There was such a buzz around the composition and premiere of Handel’s Messiah that the rehearsal caused such a stir it forced Faulkner’s Dublin Journal to place the following announcement regarding Messiah’s premiere: “The Stewards of the Charitable Musical Society request the Favour of the Ladies not to come with Hoops [hoop skirts] this Day to the MusickHall in Fishamble Street. The Gentlemen are desired to come without their Swords, as it will greatly encrease the Charity, by making Room for more company.”

The work premiered on April 13, 1742, (senza hoop skirts and swords) and was met with rave reviews: “It gave universal Satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that ever was heard”—Dublin Journal. This jubilance did not follow Handel or his Messiah back to England. It premiered there about a year after its glorious Dublin review. It did not receive nearly the same reaction in England; in fact, it took more than ten years to finally reach the level of success of which we are now accustom.

Many similarities can be drawn between the structure of Handel’s Messiah and that of conventional Italian opera—it is broken into three parts (or acts in an opera equivalent), each of these are broken into what could be construed as “scenes,” broken further down into “movements.” This is where the similarities end. The Messiah is not written in dramatic form and there is very little direct speech included. There is no one character whose mission is narration and instead of someone portraying Jesus, the Messiah is more a commentary on the three periods of Jesus’s life—the Nativity, Passion, and Resurrection.

Handel surprisingly wrote the Messiah for a small complement of singers and instrumentalists. As time and musical tastes have developed, so have the musical forces used in Handel’s Messiah; it is not uncommon to see modern performances with upwards of hundreds performing onstage. ●

Program Notes ® Lori Newman The New Mexico Philharmonic

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Artists .

Oriol Sans

Haochen Zhang

Conductor

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 at the University of Michigan.

Oriol has complemented his musical studies with masterclasses in Spain, Austria, Germany, England, France, Canada, and the United States with Professors George Hurst, Denise Ham, Rodolfo Saglimbeni, Robert Houlihan, Salvador Mas, Jörg Bierhance, Jesús López-Cobos, David Effron, Gennady Rozhdestvensky, and Gustav Meier. He also holds a degree in Humanities from the Pompeu Fabra University in Barcelona and he completed graduate courses in musicology at the Autònoma of Barcelona University.

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Oriol was music director of the Mollerussa String Youth Orchestra, guest conductor of the La Noguera Chamber Orchestra, guest conductor of the Diputació de Tarragona Youth Symphony Orchestra, assistant conductor of the Feminine Choir of Barcelona Conservatory, and music director of the Eurídice Choir and the Lleida University Choir. He taught at the Mollerussa School of Music and at the Lleida Conservatory where he conducted the Lleida Conservatory Symphony Orchestra among other ensembles. In addition, he was a faculty member at Lleida University where he collaborated with the Aula de Música and the Musicology Laboratory.

He has been assistant conductor to maestros Kenneth Kiesler, John Nelson, Jerry Blackstone, and Martin Katz with several orchestras and projects, including a production of the Damnation of Faust

by Berlioz in Lisbon with the Gulbenkian Orchestra, and the Ensemble Orchestral de Paris for their concerts in the Festival de Saint-Denis and in the Théatre des Champs-Elysées. While a doctoral student, he conducted performances of two opera productions, Eugene Onegin in 2008 and The Marriage of Figaro in 2009, and in November 2011, he was appointed the music director of a production of Verdi’s Falstaff.

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. In 2012 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. ●

Since his gold medal win at the Thirteenth Van Cliburn International Piano Competition in 2009, 22-year-old Chinese pianist Haochen Zhang has captivated audiences in the United States, Europe, and Asia with a unique combination of deep musical sensitivity, fearless imagination, and spectacular virtuosity. His return to Fort Worth as part of the 2010–2011 Cliburn Concerts series was lauded by the Dallas Morning News as “the kind of program you’d expect from a seasoned master, served up with dazzling virtuosity where wanted, and astonishing sophistication elsewhere,” and hailed among the top ten performances of 2010 by both the Dallas Morning News and Fort Worth Star-Telegram. His Boston debut under the auspices of the Celebrity Series met with high praise by audiences and critics, making the year-end lists as part of the Boston Phoenix’s top 10 classical music stories of the year. Boston Globe critic Matthew Guerrieri remarked that Mr. Zhang displayed “poetic temperament as much as technical power… [he is] a pianist with ample reserves of power whose imagination seems nonetheless most kindled by subtle delicacy.”

A passionate and insightful programmer, Mr. Zhang continues to cultivate his reputation through major performances and debuts every year. Highlights of the 2011–2012 season include return engagements with the San Francisco and Fort Worth Symphony Orchestras; the Israel Philharmonic Orchestra in celebration

Artists .

David Felberg

Cree Carrico

David Felberg, assistant director of the UNM Symphony Orchestra and Instructor of Violin, is currently the associate concertmaster of the New Mexico Philharmonic. A native of Albuquerque, he performs regularly throughout the Southwest as concerto soloist, recitalist, and chamber musician. He has appeared as a soloist with the New Mexico Symphony Orchestra, Albuquerque Philharmonic Orchestra, Noisy Neighbors Chamber Orchestra, Tucson Symphony and the Chautauqua Music School Festival Orchestra. David has performed solo recitals in Albuquerque, Santa Fe, Los Alamos, Clovis, Portales, and most recently on the Outstanding Artists Recital Series for the Emerald City Opera in Steamboat Springs, Colorado. In June of 2005, he made his New York City recital debut in Merkin Hall.

Also active as a conductor, David has conducted the New Mexico Symphony Orchestra in its annual performances of The Nutcracker, and has guest-conducted the Santa Fe Symphony and the Beaux Arts Festival Orchestra in Steamboat Springs. In the summer of 2003, he made his operatic conducting debut in The Emerald City Opera’s production of The Magic Flute. He is currently the musical director of the Albuquerque Philharmonic Orchestra, and is the founder and conductor of Chatter, a chamber ensemble dedicated to performing 20th- and 21st-century music. ●

Praised by Opera News for her “gleaming tone,” soprano Cree Carrico is an emerging singing actress whose repertoire spans roles of Mozart and Verdi, to the recent creations of Corigliano and Heggie. She performed Marie Antoinette in The Ghosts of Versailles, Jenny Smith in Aufstieg und Fall der Stadt Mahagonny, and Liza Elliot in scenes from Kurt Weill’s Lady in the Dark, all at the Manhattan School of Music. In the spring of 2013, Cree gave the New York premiere of Heggie’s monodrama At the Statue of Venus; performed in Carousel with the New York Philharmonic, starring Nathan Gunn and Kelli O’Hara; and curated and performed The Ophelia Project, a unique program of art songs, arias, and monologues at the National Opera Center. She returns to New York City’s Don’t Tell Mama this fall, where she produced and performed Poulenc’s La voix humaine last September. Equally at home in musical theater, Cree performed in Cabaret, Sunday in the Park with George, and worked closely with John Kander on a new version of Flora the Red Menace while at Oberlin. A finalist in the Ades Competition, Lotte Lenya Competition, and the Houston Grand Opera Studio, Cree currently studies with celebrated pedagogue Marlena Malas. ●

Conductor

of their 75th anniversary; performances at the Kravis Center, Santa Fe Chamber Music Festival, and Carmel Center for the Performing Arts; and a tour of Japan in October. He will make his Paris debut with a recital at the Louvre Museum and his Vienna debut with the Vienna Chamber Orchestra in the spring. An enthusiastic chamber musician, Mr. Zhang will perform with the Tokyo String Quartet in a special gala event for the Marine Biological Laboratory in Woods Hole, Massachusetts and with the Shanghai Quartet as part of the Mountain Music Festival in the Berkshires.

In past seasons, he has performed with The Philadelphia Orchestra, Rochester Philharmonic, Colorado Symphony, Pacific Symphony, Kansas City Symphony, Israel Philharmonic, London Philharmonic, Hong Kong Philharmonic, Singapore Chinese Orchestra, and National Symphony Orchestra of the Dominican Republic.

He has traversed the United States for performances with such prestigious series as Spivey Hall, La Jolla Music Society, Celebrity Series of Boston, CU Artist Series, Cliburn Concerts, Krannert Center, Wolf Trap Discovery Series, Lied Center of Kansas, and UVM Lane Series. International tours have taken him to Beijing, Singapore, Hong Kong, Tokyo, Tel Aviv, Jerusalem, Berlin, Munich, Dresden, Rome, Tivoli, and Belgrade, among other cities.

Mr. Zhang’s Cliburn Competition performances of Stravinsky’s Trois mouvements de Pétrouchka, Chopin’s TwentyFour Preludes, Op. 28, Mason Bates’s White Lies for Lomax, and Liszt’s Spanish Rhapsody were released to critical acclaim by Harmonia Mundi USA in 2009. He is also featured in Peter Rosen’s award-winning documentary chronicling the 2009 Cliburn Competition, A Surprise in Texas, which was sold out within two weeks of release and subsequently re-released. His complete competition performances are available on www.cliburn.tv. ●

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Artists .

Jacqueline Zander-Wall

Colin Burdge

Ivan Conrad

Jacqueline Zander-Wall has over fifty recital credits which include the Stuttgart Hugo Wolf Gesellschaft, the Hamburg Mahler Verein, the Villa Lobos Ensemble, the Goethe Institute in Moscow and Boston, and the Isabella Stewart Gardner Museum. She has performed Chamber Music with the New York Skaneateles Music Festival, the Aspen Music Festival, and the Warebrook Contemporty Music Festival in Vermont and throughout Germany. A proponent of new music Ms. Zander-Wall has sung with L’art pour l’art in Frankfurt, Chaosmas in Moscow and Boston and Hamburgs improvisatory Scala Theater.

As on oratorio soloist she has performed with Robert Shaw, Canticum Novum, the Flensburger Back Chor, and Cathedrals in Hamburg, Wismar, and Lubeck. She has sung the role of Proserpina with Monteverdi Festival at the Brooklyn Academy of Music, and the Chicago Opera Theater. Other opera credits include the Boston Lyric Opera, Arizona Opera, Utah Festival Opera, Opera Southwest and the Hamburg Opera.

After receiving a Master’s of Arts from the University of California at Santa Barbara, she received a diploma from Boston University’s Opera Institute. Her primary teacher is Elizabeth Mannion. She has also worked extensively with Phyllis Curtin, Dietrich Fischer-Dieskau, Suzanne Danco, and Jane Snow.

Ms. Zander-Wall is also the founder and director of the Vocal Artistry Art Song Competition, to aid students of singing in the state of New Mexico. ●

Albuquerque native Colin Burdge received his Bachelor of Arts degree in Vocal Music Performance from Gonzaga University in Spokane, Washington. During his undergraduate studies, Colin sang under the tutelage of Marjory Halvorson and appeared as soloist in works including Handel’s Messiah, Charpentier’s Te Deum, and Blow’s Venus and Adonis. He was also featured in various chorus roles with the Spokane Civic Opera and has appeared in numerous musical theatre productions. Most recently, he was featured as tenor soloist in Orff’s Carmina Catulli with the New Mexico Symphonic Chorus. Upcoming features include the Shepherd’s solo in Respighi’s Laud to the Nativity with the NMSC. Colin sings with the New Mexico Symphonic Chorus, coaches the show choirs at Eldorado High School, and teaches voice privately. ●

Bass-baritone Ivan Conrad holds a Master’s Degree from the Manhattan School of Music under the tutelage of Mark Oswald.

An Albuquerque, New Mexico native, Mr. Conrad has performed as a soloist in Mozart’s Requiem in Milan with the Filarmonica della Scala, the American debut of the Garcia Requiem in New York, Haydn’s “Lord Nelson” Mass in Santa Fe, and Faure’s Requiem in New Jersey to name a few.

Previous opera credits include Raimondo in Lucia di Lammermoor, the bass of the operabox quartet in the Ghosts of Versailles at the Manhattan School, Zuniga in Carmen (both at the New York Lyric Opera and Opera Southwest), Bartolo in Le nozze di Figaro at Emerald City Opera, two roles (Battista / Vincentio) in the new opera La Bisbetica Domata (The Taming of the Shrew) in Bergamo, Italy, and Sarastro in Die Zauberflöte, Prince Gremin in Eugene Onegin and Colline in La Bohème in productions at the University of New Mexico.

Mr. Conrad has sung with the New York Choral Artists for the Philharmonic and has been a soloist with the Santa Fe Desert Chorale II. He is a composer, teacher, and a conductor specializing in a cappella music; having directed/co-founded the awardwinning 505 Chorus in Albuquerque. ●

Mezzo-soprano

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2013/14 Season

Tenor

Bass-baritone

Thank You .

Central United Methodist Chancel Choir

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

The 35-voice Central United Methodist Chancel Choir sings every Sunday and for special celebrations—approximately 45 services a year. In recent years these singers have performed works such as Handel’s Messiah, Vivaldi’s Gloria, Lauridsen’s Lux Aeterna, Britten’s Ceremony of Carols, Schubert’s Mass In G, Ellingboe’s Requiem, and Schumann’s Requiem. The choir has over 500 anthems in its repertoire and has sung in a variety of foreign languages and musical styles. We celebrate the gospel music tradition by combining with Fellowship Baptist gospel choir for our Easter Saturday celebration—Great Gettin’ Up Morning and a Thanksgiving service in November. The choir sings with our 24-piece church orchestra for Christmas, Easter, and special services. They performed Robert Schumann’s Requiem with the Symphony Orchestra of Albuquerque last spring. The choir can be seen every week on KAZQ TV—Sundays at 11 a.m. and 7 p.m.

Jerrilyn Foster director Jerrilyn Foster has served as director of sanctuary music for Central United Methodist Chancel Choir for ten years. She has taught choral and instrumental music in both public and private schools in New Mexico. Jerrilyn conducts the Symphony Orchestra of Albuquerque as well as the Central Sinfonia. She has served as the director of the Albuquerque Girl Choir for the past seven years. Jerrilyn holds a Bachelor of Music from Oberlin Conservatory and Master’s degrees in music from Stanford University and Holy Names College. ●

The New Mexico Philharmonic

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 Larry Parker & the KiMo Theatre BUSINESS & ORGANIZATION APPRECIATION American Federation of Musicians, Local 618 Audio Excellence Central United Methodist Church Classical 95.5 & 102.9 KHFM Congregation Albert Festival Ballet Albuquerque International Alliance of Theatrical Stage Employees Local 423 Joe’s Pasta House, Joe Guzzardi KUNM 89.9 Albuquerque, Santa Fe The Music Guild of New Mexico National Hispanic Cultural Center Natural Touch Photography, Guillermo Quijano-Duque New Mexico Symphonic Chorus Parsons Brinkerhoff Penske Truck-Albuquerque Popejoy Hall Public Access Channel 27 Quote Unquote, Inc. Robertson and Sons Violin Shop Sacred Heart Church Smith Engineering Starline Printing, Bill Lang St. John United Methodist Church

Symphonic Audience Association of New Mexico Toomey Design Group University of New Mexico Music Department Whole Foods INDIVIDUAL APPRECIATION Sean Anker Jessica Bachicha Spencer Beckwith Lee Blaugrund & Tanager Properties Management Billy Brown Luis Delgado Robert Desiderio Patricia Dickinson Michael Dunn Anne Eisfeller Rosemary Fessinger Eric Finch Jon Gagan Ben Heyward Janet Kahn Chris Kershner Anthony Knotts Ottmar Liebert Louise Loomis Sara Love Rose Maniaci Jeff McDowell Jackie McGehee Greg Olson John Ortiz Veronica Reed Steve Ridlon Robby Rothchild David Steinberg Brent Stevens Mike Swick Bob Tillotson Gary van Zals Janislee Wiese Marti Wolf MW Consulting Inc. SUPPORT YOUR NMPHIL TODAY nmphil.org

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Thank You .

Sponsors

Sound Applause

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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.

Albuquerque Community Foundation albuquerquefoundation.org

Computing Center Inc. cciofabq.com

Loockheed Martin lockheedmartin.com

Scalo Northern Italian Grill scalonobhill.com

Atkinson & Co., Ltd. atkinsoncpa.com

D’Addario Foundation daddariofoundation.org

Macy’s macys.com

Sandia Laboratory Federal Credit Union slfcu.org

Bank of Albuquerque bankofalbuquerque.com

Eye Associates of New Mexico eyenm.com

Menicucci Insurance Agency mianm.com

Sandia National Laboratories sandia.gov

Bernalillo County bernco.gov

Frontier Restaurant & Golden Pride frontierrestaurant.com

Music Guild of New Mexico musicguildofnewmexico.org

SWGA, P.C. southwestgi.com

City of Albuquerque cabq.gov

Hotel Andaluz hotelandaluz.com

MVD Express mvdexpress.com

Wells Fargo wellsfargo.com

Cliff’s Amusement Park cliffs.net

John Moore & Associates johnmoore.com

Pay Day, Inc. paydayinc.com

UPrinting uprinting.com

Coleman Vision colemanvision.com

Lexus of Albuquerque lexusofalbuquerque.com

PNM pnm.com

BNSF Railway Foundation bnsffoundation.org

2013/14 Season

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 van Zals •+ Kimberly Fredenburgh •++ Allegra Askew •• ++ Nicholas Hill 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

BOARD OF DIRECTORS

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 •••

FLUTE Valerie Potter • Sara Tutland Jiyoun Hur •••

TROMBONE Debra Taylor • Byron Herrington David Tall

PICCOLO Sara Tutland

BASS TROMBONE David Tall

OBOE Kevin Vigneau • Amanda Talley

TUBA Richard White •

ENGLISH HORN Melissa Peña •••+ CLARINET James Shields • Lori Lovato •• Sunshine Simmons E-FLAT CLARINET Lori Lovato BASS CLARINET Sunshine Simmons

TIMPANI Douglas Cardwell • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Anne Eisfeller •

Maureen Baca President Thomas C. Bird Secretary Treasurer Finance Committee Chair Ruth Bitsui Vice President for Operations Dr. Larry Lubar Vice President for Development John Cousins Anne Eisfeller Kimberly Fredenburgh Mark Goodman Al Stotts Nathan Ukens William Wiley Richard White

STAFF Marian Tanau Executive Director Chris Rancier Executive Assistant & Media Relations Alexis Corbin Operations Coordinator & Personnel Manager Mancle Anderson Production Manager Kenneth Dean Assistant Production Manager Megan Siegfried Administrative Assistant Danielle Frabutt Artistic Coordinator Byron Herrington Payroll Services Virginia Lawrence Librarian Sheila McLay Librarian Marti Wolf Marketing Advisor, PR & Promotions

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

The New Mexico Philharmonic

Mary Montano Grants Manager Lori Newman Website Maintenance Sara Tutland Ensemble Visits Coordinator

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Donor Circles .

Donor Circles

Thank You for Your Support BENEFACTOR CIRCLE Donation of $50,000 + Anonymous Albuquerque Community Foundation Bernalillo County Commission Linda Buffett City of Albuquerque Marilyn & Ben Heyward BEETHOVEN CIRCLE Donation of $25,000–$49,999 Lee Blaugrund 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 Sandia National Laboratories Vein Center of New Mexico Wells Fargo BRAHMS CIRCLE Donation of $5000–$9999 Hotel Andaluz Anonymous Atkinson & Co. LTD. Maureen & Stephen Baca BNSF Railway Foundation Andrea Escher & Todd Tibbals Frontier & Golden Pride Restaurants, Dorothy & Larry Rainosek Eiichi Fukushima F. Michael Hart Macy’s Corporate Services, Inc. John Moore & Associates, Inc. Bob & Bonnie Paine Payday, Inc. Sandia Laboratory Federal Credit Union, Christopher Jillson Scalo Northern Italian Grill, Steve Paternoster Jean Sharp Southwest Gastroenterology Doctors Laura & Jerrold Trim Dr. Dean Yannias

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2013/14 Season

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 Balkcom, Pearsall & Parrish, CPAs Coleman Vision, Stephen C. Coleman, MD Eugenia & Charles Eberle Elaine & Frederick Fiber Firestone Family Foundation Frances & Robert Fosnaugh Ann & Gordon Getty Foundation Keith Gilbert Mary & Sam Goldman Lexus of Albuquerque Erika Blume Love Dr. & Mrs. Larry Lubar Marriott Albuquerque Menicucci Insurance Agency Microsoft Sara Mills & Scott Brown Marvin Moss Music Guild of New Mexico Ruth & Charles Needham Beverly Rogoff Ellen Ann Ryan Alicia & Russell Snyder Barbara & Richard VanDongen Kathleen & David Waymire Jeannie & Bert Westwood BACH CIRCLE Donation of $1000–$1932 Anonymous Christopher Apblett Ellen Bayard & Jim O’Neill C. David Bedford Nancy & Cliff Blaugrund Deborah Borders Dr. Marythelma Brainard & Dick Ransom Pat & Carter Broyles Bill Byers Clarke Cagle Jonathan Miles Campbell Barbara & David Cappel Margaret & Tze-Yao Chu Cliff’s Amusement Park, Linda & Gary Hays Phil Custer

D’Addario Foundation Bob & Greta Dean 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 Grigg-Damberger Stuart Harroun Mary Herring & Robert Stamm Innovative Business Controls, Tom Gautsch Stephanie & David Kauffman Connie Krelle Stephanie & Ken Kuzio Lieber’s Luggage Jackie & C. Everett McGehee Ina Miller Lynn Mostoller Carol & Gary Overturf Julia Phillips & John Connor William P. Poteet, in memory of Horace Monroe Poteet Matthew Puariea Carolyn Quinn & John Crawford Evan B. Rice Jacquelyn Robins, in honor of Melvin Robins’s 90th birthday Melvin Robins Barbara & Heinz Schmitt Thomas Seamon Katharine & Gregory Shields Janet & Michael Sjulin Vernon Smith Susan Spaven Melissa & Al Stotts Jane & Doug Swift Marian & Jennifer Tanau Lynett & David Tempest Brooke Tully & Thomas Bird Tony & Susan Waller Barbara & Eugene Wasylenki William Wiley Jane & Scott Wilkinson CONCERTMASTER CIRCLE Donation of $500–$999 Leah Albers & Thomas Roberts Carl & Linda Alongi Anderson Organizing Systems Sean & Elizabeth Anker Judith & Otto Appenzeller Mary & John Arango Stephanie & Leonard Armstrong Sally Bachofer Dorothy M. Barbo Richard K. Barlow

Holly Barnett-Sanchez & David Foster Paula & Dennis Basile Sheila & Bob Bickes Bill Bradley Paula & William Bradley David Brooks Billy Brown John Brown Gordon Cagle Dawn & Joseph Calek Jose Canive Edith Cherry & Jim See Betty Chowning Claudia Crawford Gail Cunningham Jo Margaret & John Farris Katherine Garland David & Tanner Gay GE Foundation Barb & Larry Germain Opal & Dennis Gill A. Elizabeth Gordon Jean & Bob Gough Dr. Kirk & Janet Gulledge Richard Henry Jonathan & Ellin Hewes Martha Hoyt Sue Johnson & Jim Zabilski Joyce D. & M. Russell Jolly John & Julie Kaltenbach Marlin Kipp Susan Kubie Kenneth Kuzio La Vida Llena Rita Leard Jae Lee Harry & Elizabeth Linneman Myra & Richard Lynch Joann MacKenzie, The Financial Maestro, LLC Kathy & John Matter Thomas & Edel Mayer Bob & Susan McGuire John & Kathleen Mezoff Martha Miller Sharon A. Moynahan Mark & Marsha Napolin Richard S. Nenoff & Deborah Ridley George & Mary Novotny Rebecca Okun Jerald & Cindi Parker Howard & Frederica Paul Cynthia Phillips & Thomas Martin John Provine Mary Raje, in memory of Frederick C. Raje

Donor Circles .

Rocking J.T. Foundation, in honor of the Rotary Club of Albuquerque Ruth Ronan Norman Segel Sharon Sharrett Walt & Beth Simpson Southern Wine & Spirits Southwest Women’s Health Patricia & Luis Stelzner Charles & Flossie Stillwell Jane Stuart Larry Titman Arthur & Sandra Vall-Spinosa Margaret Vining Richard Vivian Carl G. & Janet V. Weis Ann & Thomas Wood Lance Woodworth David Worledge Andrea Yannone Michael & Jeanine Zenge PRINCIPALS CIRCLE Donation of $125–$499 John B. Aidun & Joan M. Harris Ed Alelyunas ALH Foundation Inc. Gerald Alldredge Joan Allen John Ames Jo Marie & Jerry Anderson Anonymous Anonymous Paul & Mary Lee Anthony Marilyn & Robert Antinone 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 Janice & Bryan Beck Harry Beckhoff Debra & Kirk Benton June Best Gay & Stan Betzer Douglas Binder Leonie Boehmer Rod & Genelia Boenig Iris & Richard Brackett Sheldon & Marilyn Bromberg Ronald Bronitsky, MD Carolyn Brooks Astrid Brown

Mary & Jim Brown B. L. Brumer Mary Letty Buchholz Miriam Burhans Lynne Byron Glo Cantwell Douglas Cardwell Shirley & Ed Case John & Barbara Chickosky Kathy & Lance Chilton Joan Chism Kathleen & Hugh Church Wendy Cieslak Frankie Clemons Brenda & George Coffey Monica Collier Bethany & Christopher Confessore Marion Cottrell Bob Crain Dianne Cress & Jon McCorkell Richard & Margaret Cronin Alyce Cummins Stephen Czuchlewski Hubert O. Davis, Jr. Fran DiMarco Catie Dixon Raymond Doberneck Ernest Dorko Patricia & Leonard Duda Albert Dugan Duganne Family, in memory of Paul Duganne Sarah Dunn, Strategic Management Solutions, LLC, in memory of Paula Basile Susan & Daniel Dunne Patsy Duphorne Paul & Cathrine Eichel Carol & John Ellis Mildred & Richard Elrick Henry Erwin Donna Rae & Ray Esquibel Frankie & David Ewing Jo Margaret & John Farris Leonard & Arlette Felberg Janice Firkins Heidi Fleischmann & James Scott Mary Kay & Thomas Fleming Denise Fligner Melissa Freeman & Dr. Brad Raisher Louis Fuchs Jack Fuller Daniel & Elena Gallegos Chuck & Judy Gibbon Robert & Maria Goldstein Matthew & Amy Greer

Sharon Gross Ron Halbgewachs Katherine Green Hammond Janet & Donald Harris Harris Hartz Margaret Harvey & Mark Kilburn John & Diane Hawley Stephen & Aida Ramos Heath Mary Herring & Robert Stamm, in memory of Robert D. Taichert Guy & Nina Hobbs Holly & Ulton Hodgin Kiernan Holliday Mark Hoover Carol Horner Betty Humphrey Margaret Hutchinson Thomas & Greta Keleher Steven Kells Robert Jones Nancy Joste & John Pietz Mary Julyan Carol Kaemper Dorene E. Kahl Thomas Kilroy Ann King Toni & Robert Kingsley Rebecca Kiss Karen M. Kupper Henry & Judith Lackner Howard Lewin Linda Lewis Madeleine Lewis Robert & Judith Lindeman Byron Lindsey Michael Linver Verne Loose Sara Love, in memory of Thomas P. Love Jr. Major & Mrs. Kenneth Luedeke Edward Marinsek Marita Marshall John & Glenda Mathes Joseph McCanna Dr. & Mrs. Jack D. McCarthy Sallie & Denis McCarthy Sallie & Denis McCarthy, in memory of Ellie Sanchez & Jane McDonald Ronald McCarty Pete & Lois McCatharn Randall & Monica McComus Carol & David McFarland, in memory of Paula Basile Elizabeth McMaster Cynthia & Paul McNaull Virginia & Stephen Meyer Joyce Miller

Peggy & Jim Mills Martin Minasian Christine & Russell Mink Michael Mitnik Mark Moll Barbara Morris Deborah Muldawer Betsy Nichols Donald Norton Toots & Scott Obershain Wendy & Ray Orley Del & Barbara Packwood Jesus M. Parra 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 Quinten Plikerd Prudential Foundation Matthew & Lisa Pullen & Family Chris Rancier, in memory of Charlyn Anderson Robert Reinke Clifford & Sandra Richardson Steve Ridlon & Casey Scott Don & Barbara Rigali Erika Rimson & David Bernstein John & Peggy Robb Joan Robbins Margaret E. Roberts Shelly Roberts & Dewey Moore Jeffrey Romero Kletus Rood Jeffrey Romero Edward Rose Darryl & Jan Ruehle Harvey & Laurie Ruskin Rosemary Saur Nancy Scheer Rebecca & Gerald Schobert Howard & Marian Schreyer Kathleen Schulz Justine Scott Albert Seargeant Maryl & Ron Segel Barbara & Daniel Shapiro Marilyn Sheppard Deborah Silverman R. J. & Katherine Simonson Carol Smith Lee & Jori Smith Patty & Bill Snead Jane Snyder Vera Snyder

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Donor Circles . continued from 17 Steven & Keri Sobolik Susan Soliz SonicSEO.com, Inc, Becky & Arvind Raichur Conrad & Marcella Stahly Eric & Maggie Hart Stebbins David & Rebecca Steele Jeanne & Sid Steinberg Paula Steinberg Brent & Maria Stephens Dorothy Stermer Dodie Stevens Robert St. John David Stryker & Lee A. Reynis James Stuart Laurence Tackman Donald W. Thompson Robin Thompson Norbert Topf Linda Towle Yetta Tropp Joan & Len Truesdell E. M. Wachocki Marianne Walck Cynthia & Bill Warren Patricia Weiler Judy B. & Peter Weinreb Rob Weinstein Jamie L. Welles & Thomas Dellaira Liza White Bill & Janislee Wiese Bronwyn Wilson Karen & Johnny Wilson, in memory of Sylvester Baca Walter Wolf Daniel Wright Yummi House Nancy & Michael Zwolinski FRIENDS OF THE PHILHARMONIC Donation of $25–$124 Bill & Sall Aber Jerry & Nadine Allen Roger Ames APU Solutions, in memory of Paula Basile Carolyn Aragon Eugene & Rita Aronson Janice J. Arrott Pat Asay Lynn Asbury & John Wronosky David Baca

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2013/14 Season

Mary E. Baca Patrick J. & Marie M. Baca Thomas J. & Helen K. Baca Melanie Baise Laura & Kevin Banks Lois Barraclough Graham Bartlett Harold & Pat Baskin Edie Beck Benchmark Real Estate Investmants, Margaret Orona, in memory of Ernest J. Orona Helen Benoist Peggy Blackburn Katherine Blaker Barbara & Philip Bock, in memory of Robert Taichert Katie Bock Joanne Bodin Dennis & Elizabeth Boesen Dr. David & Sheila Bogost Peter Bond Paula & James Bonnell, in memory of Louise Coonce Henry & Nancy Botts Joan Bowden Brad Boyce Enid Bradley Susan Brake Roberta Branagan Charles Brandt, in memory of Jennifer K. Brandt Elinore Bratton Elinore Bratton, in memory of Merton Bratton James & Ann Bresson Monica & Lee Brown Susan Browne Dr. Lisa M. Brunacini & Rita M. Giannini Susan Burgener Jeanne Burgess Carolyn Callaway & William E. Schuler Charles Campbell Elizabeth Canfield Joseph Cella Central New Mexico Labor Council Barbara & Roscoe Champion

Suzy Charnas Judith Chazin-Bennahum & David Bennahum Jean & John Cheek Betty Chowning, in memory of Ken Chowning Judith & Thomas Christopher Ralph & Elizabeth Churchill Barbara & Aaron Clark Peggy Clark, in memory of Robert Clark Julia & Carlton Clay, in honor of Stephanie Przybylska Julia Cocks Fredric & Rosalyn Cohen Henry & Ettajane Conant Michelle Cook Merrie Courtright Ralph Cover Mark Curtis Daniel P. Davis Joan Davis Joanna de Keyser Margaret DeLong Candice & Daniel Demar Donald DeNoon George deSchweinitz Desert Double Reeds, Rebecca L. Ray Helene R. Dickel Sinisa Djordjevic Elizabeth & Thomas Dodson Joanne Donsbach Janice Dosch E. Josephine Drummond Irene Dubicka Betty & Stuart Dubois Stephen Dunaway Deborah Barba Eagan East Range Piedra Vista Neighborhood Association, in memory of Paula Basile Sondra Eastham John Eckert Ida Edward Anne C. Eisfeller Marvin Ekedal Helen Elliott Robert & Dolores Engstrom Roger C. Entringer Stephanie Eras Carlos Esparza

David & Regan Eyerman Marie E. Fellin, in memory of Blaine Eatinger Margaret Fischer Buford Fisher Rona Fisher Rona Fisher, in memory of Louise Coonce Hahn Fletcher Paul Fornell James & Jean Franchell Kim Fredenburgh J. Arthur Freed Susan Freed Gwen & Charles Gallagher Clarence Gallegos & Anna Y. Vigil Ann Garcia William Garrison Lind Gee Karolyn Goldenberg Donald & Diane Goldfarb Donald & Diane Goldfarb, In memory of Robert D. Taichert The Very Rev. J. Mark Goodman Linda Hill & Peter Gordinier, in memory of Paula Basile Cindy Graham Erna Sue Greening Peter Gregory Blanche & Justin Griffin Stan & Sara Griffith Virginia Grossetete Mina Jane Grothey Frank Grubbs Carl & Nancy Guist Herman Haase Stan & Jan Hafenfeld Lois Hall Vaux & Hilda Hall Bennett A. Hammer Nancy Hampton Janet Harrington Frederick Hart Marilyn & Edward Hartig John Harvey Nancy Harwood Arthur G. Hassall Victoria Hatch & Oswaldo Pereira Laurel Hause Nancy Hayden, in memory of Paula Basile Reinhold & Janice Heck Rosalie & Leon Heller Rogene Henderson

Sara Henning Mary Herring, in memory of Robert D. Taichert Eugene S. Hertel Frank Hesse Donna Hill Glenn Hinchclifte Fred Hindel Kristin Hogge Barbara Holt David & Bonnie Holten Kim Hooker Lisa Hooper Helen & Stanley Hordes Cecilia & Mark Horner Connie & Jim Houle William Howe Lorna & Henry Howerton Carolyn Hudson James Hughes Janet & Vincent Humann Anthony & Susan Hunt Lois Jackson, in honor of Brynn & John Marchiando Gwenellen Janov Bette A. Johnson Nancy Jo Johnson Nancy M. Johnson Orval & Pauline Jones Wilbur & Justin Kahn Summers & Norty Kalishman Anna Mae Kann 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 Katherine Kraus Ethel & Edward Lane, in memory of Sylvester Baca Eric Lange Ed Valley Lawrance R. Jeffery & Jane W. Lawrence Becky Lee Guy LeSage Suzanne Pineda Levison Ronald Loehman George Loehr

Donor Circles .

Nancy D. Loisel Tillie Lopez Joel Lorimer Los Amapolas Garden, in memory of Richard Kavet Carol Lovato Betty Lovering Linda J. Lunbeck William Lynn Carl Macaluso Martha MacDonald Margret Macy Dawn R. Mahowald Susan Malone Susan Margison, in memory of Paula Basile Audrey Martinez & Paul Getz Brenda & Robert Maruca Leslie Maxwell Andrew McDowell Carol & David McFarland, in memory of Paula Basile Virginia McGiboney Donna McGill Jane & David McGuire Elizabeth McMaster Cynthia & Paul McNaull Pamela & Don Michaelis Thomas Miles Carol Mills Marcia Miolano Mohinder & Deborah Mital Beatriz Mitchell Tom Moodie Dorothy Morse, in memory of Joe Zoeckler Ted & Mary Morse John & Patsy Mosman Carolyn Muggenburg Katarina Nagy Edward Naimark Marilee Nason Richard Neuman Pauline & James Ney Betsy Nichols & Steve Holmes Thomas Nims Jack Norris David & Audrey Northrop Hilary A. Noskin David & Marilyn Novat Si Scott Obenshain Marilyn Jean O’Hara Gabriele O’Keefe

Judith Oliva, in memory of Paula Basile Gloria & Greg Olson Gloria & Greg Olson, in memory of Louise Coonce Estherella Olszowka Peter & Susan Ostwald Margaret Palumbo Margaret & Doyle Pargin Judyth Parker Delores Parrett Diane & Mark Parshall Joan & L. Parsons, in memory of Robert Taichert Linda Pasternacki Marjorie Patrick Marjorie Patrick & Michael VanLaanen, in memory of Erra Patrick Rose & Richard Paul Ann Pedone Anna Perea Maria Pereyra Mrs. Rae & Stephen Perls, in memory of Karl P. Koenig Timothy Peterson Barbara Pierce, in memory of Richard Kavet Dorothy Pierson Harvey J. Pommer Marina Porter Richard Prall Carol & George Price Shirley Puariea Therese Quinn Tari Radin, in memory of Louise Coonce Mary Ann Radnich Jane Rael Elizabeth Raskob Mary Ellen Ratzer Marit Rawley Veronica Reed & LeRoy Lehr Ray Reeder Carol Renfro, in memory of Pat Fairchild Patricia Renken Ellen M. Richards Glenda Richardson Margaret Rickert Ira Rimson Barbara Rivers Matthew Robertson

The New Mexico Philharmonic

Gwenn Robinson, MD & Dwight Burney III, MD Norman Roderick Alice & Larry Rodgers Ann Berkley Rodgers Barbara & Joseph Roesch Lorraine Roff Lorraine Roff, in memory of Louise Coonce Estelle H. Rosenblum Thomas Rotowsky Sue Roujansky Warren Rowe Ellen Ann Ryan, in memory of Robert Taichert Jennifer A. Salisbury & Fred Ragsdale Victoria Sanchez Scott & Margaret Sanders Carol Sawyer Elaine Schepps Margit Schleimer David Schnitzer David Schnitzer, in memory of Mary Anella Laura Scholfield Frederick Schwab Judith Schwartz Joan Scott John Scott Betty Cobey Senescu Thomas Sepulveda Margaret & Frank Seusy Richard Shagam Donea Shane Donea Shane, dedicated to William D. Shane Jr. Cleveland Sharp Dan Shawver Arthur & Colleen M. Sheinberg Shirley Xiu-Li Shen Gary Shepherd Robert & Lelia Shepperson Mona Sherrell Leslie N. Shultis Janet Simon Marsha & Don Simonson Gary Singer Vivian Skadron MaryDee Skinner Terrence Sloan Mr. & Mrs. Matthew Sloves Mr. & Mrs. Donald W. Smith

Harry & Patricia Smith Kirk Smith Soyka Studios Jean & Allen Spalt Mary & John Sparks Gwyn & Tracy Sprouls Geny Stein Harvey Steinberg Luciana Stermer Daphne Stevens Maria Stevens Judy Stoft Roberta Stolpestad, in memory of Paula Basile John Stover Lawrence Straus Donald & JeanAnn Swan Mary Ann Sweeney & Edward Ricco George Ann & Tom Tabor, in memory of Paula Basile David & Jane Tallant P. D. & M. V. Tannen Mary Frances & Robert Tapscott Robin Tawney Phyllis Taylor & Bruce Thomson Nina & Gary Thayer Elisabeth Thibault Edward Thomas Patricia & George Thomas Richard Thompson Julie Tierney Jack Tischhauser, in memory of Sylvester Baca Marilyn Toler Wayne & Maryann Trott John Tucker Marit Tully & Andy Thomas Nate Ukens United Bank of Switzerland Nancy Vandevender & J. Pace David Vaughan Roderick Ventura John J. Vittal Mary Ann & Campbell Wade Arun Wahi Cheryl Walker Sherry & Michael Walls, in memory of Paula Basile David Walsh

Joanne & Kennth Walston Joan Wang, in memory of Charlyn Anderson Barbara Waserman Jan Armstrong Watts Carol & W.R. Wawersik Jean & Dale Webster Robert Weiler Iris Weinstein Debbie Wesbrook Kay West Maryann & Eugene Wewerka Trudy & Robert White Roland Wiele Loretta Williams Rosemary Winkler Kathryn Wissel Jim Wockenfuss Marti Wolf Valerie Woodward Dot & Don Wortman Sue Wright Diana Zavitz, in honor of Pat & Ray Harwick Albert & Donna Zeman Carol Zulauf 10/14/2013 ●

DONATE TODAY Visit nmphil.org for more details.

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HOME FOR THE

Holidays

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Mozart DON QUIXOTe MaSTERWORKS

Saturday, December 21, 2013, 6 p.m.

Popejoy Hall John Morris Russell conductor Kisma Jordan soprano The Manzano Day School Chorus The Bosque School Choir Albuquerque Academy Upper School Chorus The Choir of the Cathedral of St. John Leedy Corbin child actor

MINKUS

Saturday, January 11, 2014, 6 p.m.

Sunday, January 12, 2014, 2 p.m.

National Hispanic Cultural Center Grant Cooper conductor The New Mexico Ballet Company

Saturday, January 18, 2014, 6 p.m.

Popejoy Hall Andrew Grams conductor Stefan Jackiw violin

INTRODUCTION TO THE CLASSICS II

Brahms

CHaMBER MUSIC

Sunday, January 26, 2014, 3 p.m.

KiMo Theatre

Brent Stevens host Krzysztof Zimowski violin Ruxandra Simionescu-Marquardt violin Christine Rancier viola Sigrid Karlstrom viola Joan Zucker cello Carla Lehmeier-Tatum cello Lori Lovato clarinet

Reserve Seats / Popejoy (505) 925-5858 / NHCC (505) 724-4771 / KiMo (505) 323-4343 / nmphil.org