New Mexico Philharmonic 2015/16 Season Program Book 6

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2015/16 Season

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Welcome .

Table of Contents FEBRUARY 12, 2016

Program Program Notes Matthew Greer Ingela Onstad Jacqueline Zander-Wall Seth Hartwell Michael Hix Quintessence: Choral Artists of the Southwest FEBRUARY 21, 2016

Program Program Notes Annunziata Tomaro Phoenix Avalon FEBRUARY 27, 2016

Program Program Notes Case Scaglione Jon Nakamatsu

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Concert Program .

Friday, February 12, 2016, 7 p.m.

Neighborhood Concert: Bach & Mendelssohn Matthew Greer conductor Ingela Onstad soprano Jacqueline Zander-Wall mezzo-soprano Seth Hartwell tenor Michael Hix bass Quintessence: Choral Artists of the Southwest

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St. John’s United Methodist Church

Ein feste Burg ist unser Gott, BWV 80 Johann Sebastian Bach (A Mighty Fortress Is Our God) (1685–1750) I. Chorus: Ein feste Burg ist unser Gott II. Aria and duet: Alles, was von Gott geboren III. Recitative and arioso: Erwäge doch, Kind Gottes IV. Aria: Komm in mein Herzenshaus V. Chorale: Und wenn die Welt voll Teufel wär VI. Recitative and arioso: So stehe denn bei Christi blutgefärbten Fahne VII. Duetto: Wie selig sind doch die, die Gott im Munde tragen VIII. Chorale: Das Wort sie sollen lassen stahn

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation St. John’s United Methodist Church

I N T E R M I S S I O N

Symphony No. 5 in D Major/d minor, “Reformation,” Op. 107 I. Andante—Allegro con fuoco II. Allegro vivace III. Andante IV. Andante con moto—Allegro maestoso

The New Mexico Philharmonic

Felix Mendelssohn (1809–1847)

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Program Notes .

Program Notes Lori Newman

Johann Sebastian Bach

Born 1685, Eisenach, Germany Died 1750, Leipzig, Germany

Ein feste Burg ist unser Gott, BWV 80 (1715) Bach’s chorale cantata Ein feste Burg ist unser Gott, which masterfully weaves Martin Luther’s hymn of the same name throughout, has a convoluted and storied past that includes date approximations, lost sketches, and much scholarly conjecture. The final version that will be performed this evening is an amassment of several versions, but the original was that of a Lenten cantata which was written while Bach was in Weimar in 1715. The Weimar version was lost, almost in its entirety, with the largest surviving portion being the text by Salomo Franck (1659– 1725). Early in Bach’s Leipzig career, around 1723 or 1724 (just a guess), a new version of the Franck text is written, as are new portions of music. There is record of this version being performed in 1730 or so. The opening “Ein feste Burg” chorus was added probably around 1734 or 1735, and it is believed it is this version that was performed in a documented concert in 1740. To make matters murkier, Bach’s son Wilhelm Friedemann (1710–1784) made changes to the orchestration, and it is that version that is printed in the BachGesellschaft publication.

With so many lost sources and various versions with which to contend, the differences between these four versions are

too numerous and detailed to list, not to mention, scholars vehemently disagree with each other regarding the work’s genesis and trajectory. Suffice it to say, the music is that of Bach, and it is glorious. ●

Felix Mendelssohn

Born 1809, Hamburg, Germany Died 1847, Leipzig, Germany

Symphony No. 5 in D Major/d minor, “Reformation,” Op. 107 (1830) “There can no more be a Christian Mendelssohn than there can be a Jewish Confucius.” Mendelssohn’s father wrote this in an 1829 letter that urged Felix to drop the surname “Mendelssohn” in favor of “Bartholdy,” a name that the family appropriated for itself after acquiring some land from a property owner with that name.

Felix’s father, Abraham Mendelssohn, felt that a Jewish last name would limit his son’s opportunities and success, and with regards to the Symphony No. 5, there is evidence that perhaps this was the case.

Abraham and his wife, Lea, disavowed Judaism and had themselves and their children baptized in the Reformed Church. They had begun using the name Mendelssohn-Bartholdy in 1812 for the family, and Abraham had hoped that Felix would drop the “Mendelssohn” altogether when his composing career took off. Felix declined to do so, but he did continue to use

Often highly dissatisfied with his work, Mendelssohn cast aside the Fifth Symphony, calling it “youthful juvenilia,” and left orders for the score to be burned. Thankfully, those wishes were not carried out.

The New Mexico Philharmonic

the Mendelssohn-Bartholdy combination to appease his father’s concerns.

Mendelssohn began composing his Fifth Symphony for the 300th anniversary of the Augsburg Confession, an important document from the Lutheran Reformation.

He began the work a full year before the celebrations were announced, and his wish was for the symphony to be performed at the Berlin festivities in June of 1830. The Symphony’s composition didn’t follow Mendelssohn’s proposed timeline of completion due to some illnesses he incurred, but it was in fact completed in time to be included in the celebrations. The Fifth Symphony, however, was not used. Some have chalked this up to antisemitism, while others merely believe that the Symphony was completed too late or that it just wasn’t right for the occasion. Being unsuitable seems unlikely as the Fifth is an ode to Martin Luther and the Lutheran Church, going so far as to include Luther’s hymn “Ein feste Burg” in the fourth movement, so antisemitism is often suspected.

Disappointed with the work’s exclusion from the tercentenary, Mendelssohn put it away and began one of his tours. A Paris performance of the Fifth was canceled after one rehearsal, and the Symphony was deemed “too formal,” whatever that is to imply. The Fifth Symphony finally premiered in Berlin on November 15, 1832, with Mendelssohn conducting it under the title “Symphony to Celebrate the Church Revolution.” Often highly dissatisfied with his work, Mendelssohn cast aside the Fifth Symphony, calling it “youthful juvenilia,” and left orders for the score to be burned. Thankfully, those wishes were not carried out. While the Fifth Symphony was Mendelssohn’s second symphony to be composed, it was the last to be published (twenty-one years after Mendelssohn’s death, to be precise), thus the numbering of the Fifth. The original, lengthy title was replaced with “Reformation” upon publication. ● Program Notes ® Lori Newman

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Concert Program .

Sunday, February 21, 2016, 2 p.m.

NHCC: Protégé Series

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Annunziata Tomaro conductor Phoenix Avalon violin

National Hispanic Cultural Center

The Hebrides Overture, “Fingal’s Cave,” Op. 26 Felix Mendelssohn (1809–1847)

Violin Concerto in e minor, Op. 64 I. Allegro molto appassionato II. Andante III. Allegretto non troppo. Allegro molto vivace

Felix Mendelssohn

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation

Phoenix Avalon violin

I N T E R M I S S I O N

Symphony No. 4 in d minor, Op. 120 I. Ziemlich langsam—Lebhaft II. Romanze: Ziemlich langsam III. Scherzo: Lebhaft IV. Langsam; Lebhaft

The New Mexico Philharmonic

Robert Schumann (1810–1856)

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Program Notes .

Program Notes Lori Newman

Felix Mendelssohn

Born 1809, Hamburg, Germany Died 1847, Leipzig, Germany

The Hebrides Overture, “Fingal’s Cave,” Op. 26 (1830–1832) Felix Mendelssohn once stated, “It is in pictures, ruins, and natural surroundings that I find the most music.” Perhaps no work and no surrounding were as equally matched for compositional success as Mendelssohn’s trip to Scotland and the writing of his Hebrides Overture. Mendelssohn was a child prodigy who came from a well-to-do family, thereby enabling him to travel often.

He greatly enjoyed his various sojourns throughout Europe, and the 1829 walking tour of Scotland with his friend Karl Klingemann was no exception. Mendelssohn was only twenty years old when he and Klingemann traveled to the Hebrides Islands, off the west coast of Scotland, and later to Fingal’s Cave, on the Island of Staffa. After seeing the stunning scenery in the Hebrides, he composed the opening bars of his Overture, sending it to his sister Fanny with the following note, “In order to make you understand how extraordinarily the Hebrides affected me, I send you the following, which came into my head there.” The following day, he and Klingemann ventured to Fingal’s Cave (named after the character Fingal, from a third-century Gaelic tale), having to row there in a skiff. The composer sat at the mouth of the awe-inspiring, sea-level basaltrock formation and marveled. Mendelssohn was dreadfully seasick on his trip to the cave but was able to appreciate the magnitude of the formation, nonetheless. Klingemann wrote that Mendelssohn “[got] along better with the sea as an artist than as a human being with a stomach.”

Mendelssohn completed the first draft of his Hebrides Overture in Rome, toward the end of 1830. He was unhappy with his first attempt and continued to revise the work for the next three years. Of particular distress to Mendelssohn was the middle section about which he said, “The forte, D Major middle section is very silly and the entire so-called development tastes more of counterpoint than of whale oil, seagulls and salted cod.” Whale oil notwithstanding,

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“… the greatest melody Mendelssohn ever wrote.”

—Sir Donald Francis Tovey

the work premiered on May 14, 1832, by the London Philharmonic Orchestra.

Mendelssohn was still not happy with the work, and revised it further until it was finally published in 1833. The two titles (Hebrides and Fingal’s Cave) provide an interesting dilemma—it is believed that a publisher added the “Fingal’s Cave” title, thinking it would be a more recognizable name than “The Hebrides.” Further complicating matters, it seems the score and orchestral parts contain differing names, some indicating Fingal and some Hebrides.

Mendelssohn’s work was a new type of overture which emerged during the nineteenth century, referred to as the concert overture. Concert overtures are not drawn from a stage work or opera, but rather, are stand-alone works to be programmed as an overture in a concert hall. Other composers of famous concert overtures include Berlioz, Tchaikovsky, and Brahms.

Mendelssohn’s Hebrides Overture is not programmatic, in the sense that it does not follow a narrative or tell a story, but it is thoroughly evocative of the sea and the scenery Mendelssohn experienced during his time in the Hebrides and Fingal’s Cave.

The opening motive that Mendelssohn sketched and sent to his sister after viewing the Hebrides, is a mysterious, arpeggiated fragment outlining the key of b minor. The motive is repeated several times, rising higher and higher. It begins in the lower depths of the orchestra for maximum drama, with the bassoon, viola, and cello receiving the melodic material. As the theme rises, the violins take over, while the lower voices begin an undulating pattern of sixteenth notes that is present throughout most of the work, representing the ebb and flow of the sea, while dramatic crescendos and sforzandi allude to waves crashing upon rocks.

The second theme is a more sprawling and soaring melody in the major mode, and as the always quotable Sir Donald Francis Tovey stated, it is “the greatest melody Mendelssohn ever wrote.” This second theme is again introduced by the lower instruments (bassoons and celli), maintaining the mysterious nautical tone

of the overture. The opening motive is later transformed to a martial rhythm in the orchestra before beginning a somewhat jauntier section filled with dotted rhythms and staccato statements. This section begins with very soft iterations of the opening fragment answered by militaristic figures from the winds. It then modifies and truncates the opening motive into short, staccato statements passed throughout the orchestra, before the clarinet returns the peaceful ambiance with its statement of the expansive second theme, leading directly into the extended coda. The work ends with a repeated, haunting statement of the opening motive in the clarinet, passed onto the flute that has the last word with its ascending b minor arpeggio, accompanied by pizzicato strings. ●

Felix Mendelssohn

Born 1809, Hamburg, Germany Died 1847, Leipzig, Germany

Violin Concerto in e minor, Op. 64 (1838– 1844; rev. 1845) There is perhaps no more popular or beloved violin concerto than Felix Mendelssohn’s masterpiece in e minor. The prodigy’s Concerto breaks the Romantic violin concerto tradition of vapid showpieces with little need for artistry or passion, and whose orchestral parts are sparse, insipid, and uninteresting.

Mendelssohn referred to these Paganiniinspired works as merely “juggler’s tricks and rope dancer’s feats.” Mendelssohn’s Violin Concerto was the first significant concerto for violin since Beethoven’s of 1806 and was the last until the concertos of Bruch in 1868 and Tchaikovsky and Brahms, both written in 1878.

In 1838, Mendelssohn wrote to the violinist Ferdinand David and stated, “I would like to compose a violin concerto for you next winter; one in e minor sticks in my head, the beginning of which will not leave me in peace.” Mendelssohn had been appointed the music director of the Leipzig Gewandhaus Orchestra in 1835, and immediately named

Program Notes .

his childhood friend Ferdinand David the orchestra’s concertmaster. The concerto would be Mendelssohn’s last orchestral endeavor, and took him six years to complete from the time he initially wrote to David.

David was involved in every aspect of the concerto’s composition and served as its technical advisor—a testament to how much Mendelssohn respected David, seeing that Mendelssohn was a capable violinist himself.

The work premiered on March 13, 1845, with the Leipzig Gewandhaus Orchestra, David as soloist, and Neils Gade conducting.

The Mendelssohn Violin Concerto is groundbreaking and goes against established concerto conventions in several ways, beginning overtly in the opening of the first movement. Instead of a lengthy orchestral introduction which would lay out the principal themes of the concerto, Mendelssohn writes a measure and a half introduction, that really only serves to outline the key of e minor, and immediately brings in the soloist with the principal thematic material. This changes the formal structure of the first movement by alleviating the need for a double exposition (one for the orchestra and one for the soloist).

Mendelssohn again breaks with tradition in the placement of the concerto’s cadenza— putting it before the recapitulation instead of after it. It is believed that Ferdinand David was possibly responsible for the cadenza’s material, which notably, Mendelssohn wrote into the score. It would have been standard procedure of the time to leave it up to the performer to improvise a cadenza. Mendelssohn again goes against standard concerto format by not breaking between the movements of his concerto, instead, creating a single-movement work with three distinct movements.

As with all popular and ubiquitous works, there can be critical backlash that questions

the artistic or musical value of an oft-played piece. Mendelssohn’s Violin Concerto has escaped this fate because it is undeniably a masterpiece in the violin repertoire.

In 1921, the esteemed musicologist, Sir Donald Francis Tovey, wrote, “I rather envy the enjoyment of anyone who should hear the Mendelssohn (violin) concerto for the first time and find that, like Hamlet, it was full of quotations.”

Robert Schumann

Born 1810, Zwickau/Saxony, Germany.

Died 1856, Endenich (near Bonn), Germany.

Symphony No. 4 in d minor, Op. 120 (1841; rev. 1851)

After hearing Franz Schubert’s Symphony No. 9, “The Great” in 1839, Robert Schumann wrote to Clara Wieck: “I was totally happy and wished only that you were my wife and that I too could write such symphonies.”

Robert would go on to marry Clara in September of 1840, and in 1841, he had what some have dubbed his “Symphony Year”; Robert’s wishes had come true in short order.

Neither wish was come by easily: Robert struggled for more than a year against Clara’s father’s objections to their union, and he, like many other 19th century composers, found themselves hesitant symphonists in the wake of Beethoven and his Ninth.

Schumann’s Symphony No. 4 was completed soon after his First Symphony in 1841, but as the case with many composers’ catalogs, was not published until last, thus the assignation of No. 4. Clara Schumann would write: “Robert began yesterday another symphony, which will be in one movement, and yet contain an Adagio and

“I rather envy the enjoyment of anyone who should hear the Mendelssohn (violin) concerto […] and find that, like Hamlet, it was full of quotations.”

—Sir Donald Francis Tovey

a finale. I have heard nothing about it, yet I see Robert’s bustle, and I hear d minor sounding wildly from a distance, so that I know in advance that another work will be fashioned in the depths of his soul.” As anyone familiar with the tragic life and times of Robert Schumann knows, this “bustle” and happiness did not last for long.

Schumann’s First Symphony was met with accolades and admiration, while the Fourth (Second) Symphony was not. This is partially due to the circumstances under which it premiered. The Fourth’s premiere took place on a concert that was really a vehicle for Schumann’s wife: Clara Schumann was a highly sought-after concert pianist, a rarity in those days for a woman. In addition to this, Franz Liszt and Clara performed Liszt’s Hexameron duo in a performance that was so technically astounding, it brought down the house. Schumann’s Fourth was eclipsed by this performance, and the reviews were mixed. One particularly harsh critic stated that it was lacking in both “content and form.” Schumann did not have the Symphony published and put it away for ten years.

In 1851, Schumann returned to the Fourth, made many changes in orchestration and a few in the Symphony’s architecture, converted the Italian musical directives to German, and decided to give it another opening. It premiered with Schumann conducting in Düsseldorf on December 30, 1852. It was slightly more appreciated the second time around by the public, but Schumann much preferred the revision to the original. One person who was unimpressed with the revision was Johannes Brahms.

He published the original version in 1891 against Clara’s wishes—an act of defiance that nearly cost him her friendship.

Many of the Symphony’s issues that the public took exception to were matters of symphonic form and structure. The Fourth is a symphony written in an unconventional format, and audiences of the time were not necessarily comfortable with this venerated and established construct being treated in a new and different way. The work is in four movements but is played without pause, and it is linked together by several melodic, thematic, and motivic elements. This was a radical treatment of form in the mid19th century, and some were bothered to encounter a symphony that didn’t look and sound like the symphonies of yore. ● Program Notes ® Lori Newman

The New Mexico Philharmonic

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Concert Program .

Saturday, February 27, 2016, 6 p.m.

Popejoy Classics: A Night with Nakamatsu

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Case Scaglione conductor Jon Nakamatsu piano

Popejoy Hall

Second Essay for Orchestra, Op. 17 Samuel Barber (1910–1981)

Piano Concerto No. 2 in g minor, Op. 22 I. Andante sostenuto II. Allegro scherzando III. Presto

Camille Saint-Saëns (1835–1921)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Vein Center of New Mexico Dr. Ole & Sheila Peloso

Jon Nakamatsu piano ARTS MANAGEMENT GROUP

I N T E R M I S S I O N

Symphony No. 2 in e minor, Op. 27 I. Largo—Allegro moderato II. Allegro molto III. Adagio IV. Allegro vivace

The New Mexico Philharmonic

Sergei Rachmaninoff (1873–1943)

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Program Notes .

Program Notes Lori Newman

Samuel Barber

Born 1910, West Chester, Pennsylvania Died 1981, New York, New York

Second Essay for Orchestra, Op. 17 (1939–1942)

In 1942, Bruno Walter commissioned Samuel Barber to provide a new work to celebrate the 100th anniversary of the New York Philharmonic. Barber showed Walter the sketches for a work he had begun a few years earlier, and the two decided that it should be that work which would fulfill Walter’s commission. The Second Essay for Orchestra premiered on April 16, 1942, at Carnegie Hall, with Bruno Walter conducting the New York Phil. Barber had completed his First Essay for Orchestra in 1937 and with it, began experimenting with a new form: a single-movement symphonic work that encompassed a condensed multi-movement symphony within it. Barber would write three of these Essays in his lifetime, with the Second being his most popular.

Barber began composing the Second Essay at the same time as his Violin Concerto, in 1939, and both works bear the markings of wartime compositions. The entire Second Essay is spun from a few thematic ideas that are developed and transformed to create a work of extreme cohesion and compactness.

● Camille Saint-Saëns

Born 1835, Paris, France Died 1921, Algiers, Algeria

Piano Concerto No. 2 in g minor, Op. 22 (1868) Camille Saint-Saëns was a masterful pianist and organist who garnered the respect of such musical luminaries as Hector Berlioz, Franz Liszt, and Anton Rubinstein; the latter being the impetus for the, albeit hasty, composition of Saint-Saëns’s Piano Concerto No. 2. Rubinstein and Saint-Saëns were in collaboration for a series of Parisian concerts featuring Rubinstein as soloist and Saint-Saëns as conductor. Before he left Paris, Rubinstein decided he wanted to turn the tables and put on a concert with him conducting and Saint-Saëns serving as

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“Not having had the time to practice it sufficiently, I played very badly, and except for the scherzo ... it did not go well.”

—Camille Saint-Saëns

soloist. Their intended venue, the Salle Pleyel, however, was not available for a few weeks.

Never one to let the grass grow under his feet, Saint-Saëns decided to use this time to compose a new work for the occasion. Three weeks is of course not very much time to compose a new work, practice and perfect the solo part, and rehearse it with the orchestra.

As one might expect, the premiere which took place on March 13, 1868, did not go well. Saint-Saëns took full responsibility for the debacle, stating: “Not having had the time to practice it sufficiently, I played very badly, and except for the scherzo ... it did not go well.”

In addition to the lack of preparation, audiences and critics were perhaps not ready for the unique form of the Second Concerto. There is no obligatory, lengthy orchestral introduction; instead, the first movement opens with an improvisatory piano cadenza that pays homage to both Bach and Liszt. The movement follows with limited orchestral involvement, more in the style of a slow movement than that of a moderate to fast-tempoed concerto first movement.

The second movement is a scherzo, a most unusual choice for a concerto movement.

Essentially, Saint-Saëns not only reversed the traditional tempo order of fast-slow and made it slow-fast, but his inclusion of a scherzo, a movement more associated with the symphony rather than the concerto, is a move that flies in the face of all standard concerto practices. Having said that, each movement is in some type of sonata form, so the overall structure is quite traditional, but the execution is anything but. The third movement is a blistering and impressive tarantella. The abrupt changes in style and mood prompted one critic to wittily observe, “[the concerto] begins with Bach and ends with Offenbach.”

Saint-Saëns would write five piano concertos, and over the course of forty years, he would premiere them all. Despite

its swift composition and rocky premiere, the Symphony No. 2 has gone on to be his most popular concerto and one of his most popular works. ●

Sergei Rachmaninoff

Born 1873, Semyonovo, Russia Died 1943, Beverly Hills, California

Symphony No. 2 in e minor, Op. 27 (1906–1907) Self-doubt is occasionally a composer’s best friend and can lead to wondrous things.

Brahms’s four orchestral gems were written in spite of his crippling fear that he would be unable to fill Beethoven’s shoes. For Rachmaninoff, it was the catastrophic premiere of his First Symphony that rendered him symphonically impotent and in need of a miracle to rescue him from the depths of despair. This disastrous premiere not only made him unwilling to compose large-scale works, but it drove him into deep, intensive psychotherapy. While in therapy, one of his assignments was to compose a piano concerto, and the result of this homework was perhaps his most popular and famous work, the Piano Concerto No. 2 in c minor of 1901. With its composition and success (the piece won the Glinka Award in 1904), Rachmaninoff felt comfortable again writing large-scale works that included orchestra.

But to be sure, he waited another five years before drifting into the composition of his Second Symphony.

The composer and critic César Cui likened Rachmaninoff’s First Symphony to the music one would hear in a “Conservatory in Hell,” so the composer had some work to do to be taken seriously again as a symphonist.

Rachmaninoff had moved his family to Dresden, partly due to the beginnings of unrest in Russia and partly due to his desire to concentrate on composition rather

Artists . than conducting engagements. He began the Second Symphony in October of 1906 and finished the first draft in January of 1907. He was unhappy with the first draft, and not willing to take any chances, he put the work away until the summer of 1907. Rachmaninoff finally came up with a version that he was pleased with, and the work premiered on January 26, 1908, in St. Petersburg. The Symphony was met with critical and popular acclaim, winning him his second Glinka Award.

The Second Symphony clocks in at about 55 to 60 minutes; to modern audiences, this likely does not seem like an inordinate amount of time, especially when we take into consideration the works of Bruckner and Mahler, both contemporaries of Rachmaninoff. However, for whatever reason, orchestras and conductors took it upon themselves to add various cuts to Rachmaninoff’s Second Symphony, astonishingly with the composer’s blessing.

Some of the revised versions were hacked down to a mere 35 minutes. Thankfully, widespread use of this practice is no longer in vogue. ● Program Notes ® Lori Newman

The New Mexico Philharmonic

Matthew Greer conductor

Matthew Greer is Director of Music and Worship Ministries at St. John’s United Methodist Church in Albuquerque, where he directs several choirs and oversees a comprehensive music program. He also serves as Artistic Director for Quintessence: Choral Artists of the Southwest. At St. John’s, he founded the highly successful “Music at St. John’s” concert series, and “Thursday Evening Musicales,” an annual series of benefit concerts for Albuquerque Healthcare for the Homeless. In recent years, he has conducted performances of Mozart’s Requiem, Duruflé’s Requiem, Handel’s Messiah, and Karl Jenkins’s The Armed Man: A Mass for Peace. In addition, Greer has lectured on and conducted the music of Brahms, Bach, Copland, and Barber. In spring of 2012, he was among the recipients of Creative Albuquerque’s Bravos! Awards, honoring artistic innovation, entrepreneurship, and community impact. A native of Kansas City, Greer holds degrees in Music and Theology from Trinity University and Boston University. His teachers have included Ann Howard Jones, Daniel Moe, Jane Marshall, and Alice Parker. ●

Ingela Onstad soprano

Soprano Ingela Onstad, a native of Santa Fe, has enjoyed a varied international career in opera, concert work, and contemporary music.

Operatic highlights include performances at Dresden’s Staatsoperette, Oldenburgisches Staatstheater, Landestheater SchleswigHolstein, UNM Opera Theatre, and Santa Fe Opera, in roles including Musetta in La bohéme, Pamina and Papagena in Die Zauberflöte, Nannetta in Falstaff, Mabel in Pirates of Penzance, and the title role in Suor Angelica. She also sang the roles of Merab and Michal in the staged production of Handel’s oratorio Saul in Oldenburg, Germany.

Highlights of her career as an oratorio soloist include Orff’s Carmina Burana, Charpentier’s Te Deum, Haydn’s The Creation, and Bach’s Cantatas 84 and 140.

A sought-after interpreter of contemporary works, she has sung Kristine in Antonio Bibalo’s Fräulein Julie, Bubikopf in Viktor Ullman’s Der Kaiser von Atlantis, and created the role of Andia in Gordon Kampe’s ANOIA. She performed Schoenberg’s Pierrot Lunaire and Joseph Schwantner’s Sparrows with New Music New Mexico, and Feldman’s Rothko Chapel with Chatter. She was also recently featured with songs of Hilda Paredes with New Music New Mexico at the Robb Composers’ Symposium. Her 2014/15 season included Haydn’s “Lord Nelson” Mass, Handel’s Messiah, and Bach’s Cantatas 32, 209, and 140.

Onstad completed her undergraduate degree at McGill University, where she studied with Professor William Neill. She earned a Master of Music degree at the University of New Mexico, where she studied with Professor Leslie Umphrey.

She maintains private voice studios in Albuquerque and Santa Fe.●

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Artists .

Jacqueline Zander-Wall mezzo-soprano

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 Contemporary 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 Hamburg’s improvisatory Scala Theater.

As an oratorio soloist, she has performed with Robert Shaw, Canticum Novum, the Flensburger Bach-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.●

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Seth Hartwell tenor

Seth Hartwell has performed Baroque oratorio with such groups as VocalEssence, Santa Fe Pro Musica, and the Valparaiso University Chorale, under the baton of worldrenowned Bach scholar Helmuth Rilling. He has performed with Desert Chorale II, The Santa Fe Opera, Opera Southwest, and the Royal Norwegian Opera. Seth has a Master’s degree in Vocal Performance from the University of New Mexico and a Bachelor’s degree in Music Education from Valparaiso University (Indiana). He maintains a private voice studio and is the Music Director of St. Paul Lutheran Church in Albuquerque.●

Michael Hix bass

Baritone Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” Dr. Hix’s career highlights include performances at Tanglewood Music Center, a solo appearance with the Boston Pops in “Bernstein on Broadway,” and his Carnegie Hall debut as the baritone soloist in Rutter’s Mass of the Children. Recent European appearances include solo performances at the International Haydn Festival in Vienna, Austria, and song recitals in Dresden and Leipzig, Germany.

A frequently sought-after concert soloist, his repertoire includes over 45 oratorios, cantatas, and major concert works.

Highlights of his 2015/2016 season include bass aria soloist in Bach’s St. John Passion at the Arizona Bach Festival, a concert of Christoph Graupner cantatas with the Sebastians at New York City’s Trinity Lutheran, bass soloist in Mozart’s “Coronation” Mass, Handel’s Messiah, Bach’s Cantata 80 Ein feste Burg ist unser Gott, and Haydn’s Missa in tempore belli, “Paukenmesse” with the New Mexico Philharmonic, and a concert of 18th century Latin American Colonial music with the Chicago Arts Orchestra. He will also appear with the Santa Fe Desert Chorale for their Winter Season and at the Dallas Choral Festival.

Dr. Hix holds a Bachelor of Music degree in music theory from Furman University, Master’s degrees in both voice and historical musicology from Florida State University, and a Doctorate of Music in Voice Performance from Florida State University.

Dr. Hix is an Assistant Professor of Vocal Studies at the University of New Mexico. ●

Artists .

Annunziata Tomaro conductor

Praised as a “rising light in the musical firmament” and a “brilliant young Maestra,” Annunziata Tomaro is equally at home in symphonic, operatic, and contemporary repertoire. Born in New Jersey, USA, she is currently an assistant conductor in the Teatro Colón in Buenos Aires, Argentina.

As founder and music director of The Phoenix Ensemble in Ann Arbor, Michigan, Ms. Tomaro collaborated with international distinguished artists. For almost a decade, Tomaro was music director and principal conductor of the CCM (CollegeConservatory of Music) Concert Orchestra and contemporary ensemble Café MoMus in Cincinnati. During that time, Tomaro held various other posts, including music director of the Central Kentucky Youth Symphony, associate conductor of the Cincinnati Chamber Orchestra, conductor and music director of the Opera Theater and Music Festival of Lucca, and the Spoleto Festival in Italy.

After several years of guest conducting in South America, in 2014 Tomaro was appointed assistant conductor and head of stage music of the Orquesta Estable of the Teatro Colón in Buenos Aires, Argentina. Top prize winner of the 2010 International “Antonio Pedrotti” Conducting Competition, Ms. Tomaro’s honors also include a Robinson Award, presented by the Conductor’s Guild, Presser Award, and a Fulbright grant to Berlin. She was awarded an “Outstanding Woman Conductor” grant by the League of American Orchestras. Since beginning her musical studies at The Juilliard School Pre-College Division, Ms. Tomaro has worked with some of the world’s most recognized conducting pedagogues, including Gustav Meier, Kenneth Kiesler, Mark Gibson, Larry Rachleff, Jorge Perez-Gomez, and Jorma Panula. Annunziata Tomaro is represented by William Rienert & Associates.● The New Mexico Philharmonic

Phoenix Avalon violin

Phoenix Avalon, 13, is beginning his second decade of violin obsession. He has soloed twice with the Boulder Symphony and Performance Santa Fe, and has performed numerous times with Pro Music CHAMPS, Canticum Novum, Seranata of Santa Fe, Santa Fe Youth Symphony’s Jazz Ensembles, in addition to performing in several solo concerts. He is the three-time recipient of the Performance Santa Fe’s Davis Award, as well as a two-year recipient of Starling Foundation Grants for study at Meadowmount School of Music. In 2014, he received the Lynn Harrell competition honorable mention and the Music Teachers National Association Southwest Division Alternate.

Phoenix studies with Carmelo de los Santos and Jan Mark Sloman. Phoenix plays on an Amati Bros. violin (circa 1617), generously loaned by Kenneth Warren and Son Ltd. He has also composed his first string quartet under the tutelage of Dr. Andrew Thomas, Professor Emeritus, Juilliard Pre-College.

Besides music, he enjoys philosophical debate and snowboarding. Phoenix is honored to mentor the St. Michael’s High School Orchestra, led by Chase Morrison.

He will solo again this year with the Boulder Symphony. Phoenix resides in Santa Fe with his parents, Katherine and Robyn Avalon. ●

Case Scaglione conductor

The 2014/15 season saw Case Scaglione return to the New York Philharmonic for concerts with Joshua Bell. This follows his promotion to Associate Conductor—a position that was revived especially for him

by Music Director Alan Gilbert. Scaglione began his tenure as Assistant Conductor with the orchestra in 2011 and made his subscription debut in November 2012, stepping in for Kurt Masur.

In the 2013/14 season, Scaglione made his debuts with the Luzerner Sinfonieorchester, Rochester Philharmonic, and Dallas Symphony Orchestras as well as a return to the Hong Kong Philharmonic.

He made his professional conducting debut with The Cleveland Orchestra in 2010 after being awarded the Aspen Conducting Prize the same year, and in 2011, he was recipient of the Conductor’s Prize from the Solti Foundation US. Since then, he has appeared as a guest conductor with the Saint Louis Symphony, Baltimore Symphony Orchestra, Orchestra of St. Luke’s, and the Houston, Colorado and Jacksonville Symphony Orchestras, as well as many others. In September 2013, he assisted Sir Andrew Davis on Strauss’s Elektra at the Lyric Opera of Chicago.

Scaglione is a regular visitor to China, where he has given concerts with the Shanghai Symphony, Guangzhou Symphony, and China Philharmonic Orchestras. Last season, he conducted a performance of Bach’s Mass in b minor with the Orquesta Clásica Santa Cecilia in Madrid.

As Music Director of the Young Musicians Foundation Debut Orchestra of Los Angeles from 2008 to 2011, Scaglione was the driving force behind the continued artistic growth and diversification of the continued on 16 nmphil.org

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Artists . organization. Initiatives included his founding of 360° Music, an educational outreach program which brought the orchestra to inner city schools. Scaglione’s eclectic programming included music by Ligeti, Wagner’s Tristan und Isolde—the orchestra’s first staged opera in nearly 60 years—and the Los Angeles premiere of John Adams’s Doctor Atomic Symphony.

Case Scaglione was a student of David Zinman at the American Academy of Conducting at Aspen, where he won the James Conlon Prize, and was Assistant Conductor of the Aspen Music Festival and School. He was one of three Conducting Fellows at Tanglewood in 2011, chosen by James Levine and Stefan Asbury. He received his Bachelor’s degree from the Cleveland Institute of Music and his postgraduate studies were spent at the Peabody Institute, where he studied with Gustav Meier. ●

Quintessence: Choral Artists of the Southwest

Founded in 1986, Quintessence: Choral Artists of the Southwest has developed a reputation for entertaining and inspiring music lovers with a wide array of traditional and eclectic choral music.

Through unique programming and exceptional musicianship, Quintessence strives to provide the Albuquerque area with multiple opportunities to hear choral music delivered with professionalism and a dose of quirkiness. Quintessence is a 501(c)(3) tax-exempt organization.● 16

2015/16 Season

Jon Nakamatsu piano

American pianist Jon Nakamatsu continues to draw unanimous praise as a true aristocrat of the keyboard, whose playing combines elegance, clarity, and electrifying power.

A native of California, Mr. Nakamatsu came to international attention in 1997 when he was named Gold Medalist of the Tenth Van Cliburn International Piano Competition, the only American to have achieved this distinction since 1981. Mr. Nakamatsu has performed widely in North and South America, Europe, and the Far East, collaborating with such conductors as James Conlon, Marek Janowski, Raymond Leppard, Stanislaw Skrowaczewski, Osmo Vänskä, and Hans Vonk. He also performed at a White House concert hosted by President and Mrs. Clinton.

Mr. Nakamatsu’s extensive recital tours throughout the US and Europe have featured appearances in New York’s Carnegie Hall and Lincoln Center, Washington DC’s Kennedy Center, and in Boston, Chicago, Cincinnati, Paris, London, and Milan. He has worked with various chamber ensembles—among them the Brentano, Tokyo, Kuss, Jupiter, Cypress, Prazak, and Ying String Quartets—and has toured repeatedly with the Berlin Philharmonic Wind Quintet.

Together with clarinetist Jon Manasse, Mr. Nakamatsu tours continually as a member of the Manasse/Nakamatsu Duo. The Duo also serves as Artistic Directors of the esteemed Cape Cod Chamber Music Festival in Massachusetts.

Mr. Nakamatsu records exclusively for harmonia mundi usa and has released thirteen CDs to date. His all-Gershwin recording with Jeff Tyzik and the Rochester Philharmonic

featuring Rhapsody in Blue and the Concerto in F rose to number three on Billboard’s classical music charts, earning extraordinary critical praise. Other acclaimed releases include an all-Liszt disc featuring the “Dante” Sonata; a recording of Brahms’s Piano Sonata in f minor; and Rachmaninoff’s Piano Concerto No. 3 and the Rhapsody on a Theme of PaganinI. Mr. Nakamatsu’s 2008 recording of Brahms’s Clarinet Sonatas with Jon Manasse was chosen by The New York Times as one of its top releases for the year; his latest disc with Mr. Manasse, released in August 2012, includes both the Brahms Clarinet Quintet and the Piano Quintet with the Tokyo String Quartet. Of his most recent release on the label, a 2014 solo disc of the piano works of Robert Schumann, BBC Music Magazine states that “Nakamatsu clarifies Schumann’s mid-range saturated textures to a remarkable degree, reveling in its fantastic imaginings with rapier-like precision and effortless command.”

Since 1997, Mr. Nakamatsu has served on multiple international piano competition juries and has also been invited as a guest speaker at numerous institutions including the Van Cliburn Foundation, Stanford University, and the Juilliard School.

Mr. Nakamatsu studied privately with Marina Derryberry and has worked with Karl Ulrich Schnabel, son of the great pianist Artur Schnabel. He is a graduate of Stanford University with a Bachelor’s degree in German Studies and a Master’s degree in Education. ●

NMPhil .

New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca President

The Musicians

Al Stotts Secretary Treasurer FIRST VIOLIN Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Ruxandra Simionescu-Marquardt Assistant Concertmaster Sarah Tasker Joan Wang + Jonathan Armerding Steve Ognacevic Kerri Lay Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Anthony Templeton • Carol Swift •• Julanie Lee Justin Pollak + Michael Shu Ting Ting Yen+ Xinye Niu Roberta Branagan Sheila McLay Elizabeth Young Brad Richards Wei Jia ++ VIOLA Shanti Randall • Kimberly Fredenburgh •• Allegra Askew Christine Rancier Sigrid Karlstrom Virginia Lawrence Willy Sucre Joan Hinterbichler Lisa DiCarlo

CELLO Joan Zucker • Carol Pinkerton •• Carla Lehmeier-Tatum Dana Winograd David Schepps Lisa Collins Peggy Wells BASS Jean-Luc Matton •+ Mark Tatum •• Katherine Olszowka Terry Pruitt Derek DeVelder Frank Murry FLUTE Valerie Potter • Sara Tutland Jiyoun Hur ••• PICCOLO Sara Tutland OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Peña ••• CLARINET James Shields • Lori Lovato •• Timothy Skinner E-FLAT CLARINET Lori Lovato

BASS CLARINET Timothy Skinner

Ruth Bitsui Vice President for Operations

BASSOON Stefanie Przybylska • Denise Turner

Dr. Larry Lubar Vice President for Development

HORN Peter Erb • Nathan Ukens Julia Erdmann Hyams ++ Susie Fritts ++ Niels Galloway •••• TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Debra Taylor • Byron Herrington David Tall BASS TROMBONE David Tall

Roland Gerencer, MD Kory Hoggan Marc Powell Nancy Pressley-Naimark Jeffry Romero Steve Schroeder David Tall Anthony Trujillo Nathan Ukens Michael Wallace Richard White ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Robert Desiderio Steve Paternoster Heinz Schmitt William Wiley

TUBA Richard White •

STAFF Marian Tanau Executive Director

TIMPANI Douglas Cardwell •

Chris Rancier Executive Assistant & Media Relations

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Anne Eisfeller •

Alexis Corbin Operations Coordinator & Personnel Manager Mancle Anderson Production Manager Alexander Onieal Head Librarian & Office Manager Danielle Frabutt Artistic Coordinator Byron Herrington Payroll Services Mary Montaño Grants Manager

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

The New Mexico Philharmonic

Joan Olkowski Design & Marketing Lori Newman Website Maintenance & Editor Sara Tutland Ensemble Visits Coordinator

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Thank You .

Sponsors & Grants Sound Applause

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

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2015/16 Season

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Donor Circles .

Donor Circles

Thank You for Your Support BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund City of Albuquerque

BEETHOVEN CIRCLE Donation of $25,000– $49,999 Bernalillo County Commission The Computing Center Inc., Maureen & Stephen Baca The Meredith Foundation McCune Charitable Foundation Marc Powell & Holland Sutton

MOZART CIRCLE Donation of $10,000– $24,999 Anonymous E. Blaugrund Family Fund George & Sibilla Boerigter Suzanne S. DuBroff, in memory of Warren DuBroff Holman’s USA, LLC, Anthony D. Trujillo Lockheed Martin/Sandia National Laboratories The Lumpkin Family Foundation John Moore & Associates, Inc. Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings The Honorable & Mrs. James A. Parker Cynthia Phillips & Thomas Martin Popejoy Hall Vein Center of New Mexico, Dr. Ole & Sheila Peloso Wells Fargo

BRAHMS CIRCLE Donation of $5000–$9999 Anonymous Paula & William Bradley Eugenia & Charles Eberle Andrea Escher & Todd Tibbals Ann & Gordon Getty Foundation Hunt Family Foundation The Law Firm of Keleher & McLeod Dr. & Mrs. Larry Lubar Bob & Bonnie Paine Jerald & Cindi Parker Payday, Inc. PNM Resources Foundation Sandia Foundation, Woodward Grant Sandia Laboratory Federal Credit Union, Robert Chavez Scalo Northern Italian Grill, Steve Paternoster William Wiley Dr. Dean Yannias Zia Trust

CHOPIN CIRCLE Donation of $3500–$4999 Anonymous Bank of Albuquerque Bob & Greta Dean Bob & Fran Fosnaugh Cynthia & Thomas Gaiser Mary & Sam Goldman Hancock Family Foundation Southwest Gastroenterology Associates Melissa & Al Stotts Marian & Jennifer Tanau U.S. Bank Foundation Barbara & Richard VanDongen

GRACE THOMPSON CIRCLE Donation of $1933–$3499 Albuquerque Community Foundation, Chester French Stewart Endowment Fund Douglas Allen APS Foundation Avista Video Histories Nancy M. Berg Thomas Bird & Brooke Tully Fred & Lori Clark Richard & Margaret Cronin D’Addario Foundation Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Eiichi Fukushima Yolanda Garcia Roland Gerencer, MD Keith Gilbert Helen A. Grevey & Jay D. Hertz Madeleine Grigg-Damberger & Stan Damberger Henry & Judith Lackner Virginia Lawrence Lexus of Albuquerque Erika Blume Love Menicucci Insurance Agency Sara Mills & Scott Brown Ruth & Charles Needham Beverly Rogoff Ellen Ann Ryan Alicia & Russell Snyder Jane & Doug Swift Kathleen & David Waymire Dr. & Mrs. Albert Westwood Lance Woodworth

BACH CIRCLE Donation of $1000–$1932 Leah Albers & Thomas Roberts Kirsten J. Anderson Anonymous Anonymous Anonymous, in honor of Adrianna Belen Gatt Christopher Apblett Stephen & Maureen Baca, in memory of Deborah Cazzola Nancy & Cliff Blaugrund Deborah Borders Robert Bower Dr. Marythelma Brainard & Dick Ransom Pat Broyles Bill Byers Dawn & Joseph Calek Jonathan Miles Campbell The Collister Family, in memory of Joan Allen

The New Mexico Philharmonic

David & Mary Colton Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Cathy Conrad Martin & Susan Conway John Crawford Krys & Phil Custer Clare W. Dreyer Clare W. Dreyer, in memory of Joan Allen Mary Lou Edward David & Ellen Evans Elaine & Frederick Fiber Susan Foley, in honor of Sara Tutland Danielle Frabutt Gertrude Frishmuth David & Tanner Gay GE Foundation Barbara & Berto Gorham Jean & Bob Gough Helen A. Grevey & Jay D. Hertz, in memory of Joan Allen Stuart Harroun Mary Herring Jonathan & Ellin Hewes The Estate of Van Dorn Hooker The Hubbard Broadcasting Foundation Chris & Karen Jones Stephanie & David Kauffman Stephen Kaufman Stephanie & Ken Kuzio Dr. Benjamin D. Lane Myra & Richard Lynch Linda S. Marshall Kathy & John Matter Joan McDougall Bob & Susan McGuire Microsoft Ina S. Miller Mark & Susan Moll Diane M. Mueller George & Mary Novotny Scott Obenshain Carol & Gary Overturf Julia Phillips & John Connor, in honor of Ilya Kaler Matthew Puariea Carolyn Quinn & John Crawford Mary Raje, in memory of Frederick C. Raje Steve Ridlon, in memory of Casey Scott Jacquelyn Robins, in honor of Melvin Robins James & Sandee Robinson Barbara & Heinz Schmitt Steven Schroeder Gregory Shields Vernon Smith Susan Spaven Conrad & Marcella Stahly Jeanne & Sid Steinberg Patricia & Luis Stelzner Lynett & David Tempest Betty Vortman Barbara & Eugene Wasylenki Judy Basen Weinreb & Peter Weinreb Julia Carson White Dolly Yoder

CONCERTMASTER CIRCLE Donation of $500–$999 Joan Allen John Ames

Judith & Otto Appenzeller Mary & John Arango Stephanie & Leonard Armstrong Sally Bachofer Luis Baez & Andrea Yannone Daniel Balik Dorothy M. Barbo Richard K. Barlow Dennis Basile Hugh & Margaret Bell, in memory of Joan Allen Gay & Stan Betzer Sheila & Bob Bickes Ruth & Edison Bitsui Nancy & Cliff Blaugrund, in memory of Joan Allen Jane Ann Blumenfeld David Brooks Susanne B. Brown M. Susan Burgener & Steve Rehnberg Clarke Cagle Edward B. Cazzola Edith Cherry & Jim See Betty Chowning Margaret & Tze-Yao Chu Judith & Paul Clem Bob Crain Claudia Crawford, in memory of Clifford S. Crawford Gail Cunningham Marjorie Cypress & Philip Jameson Ann DeHart & Robert Milne, in memory of Joan Allen ExxonMobil Foundation The Financial Maestro, LLC, Joann MacKenzie Pauline Garner & J. William Vega Lawrence Golden Dr. Kirk & Janet Gulledge Lois Hall Bill & Carolyn Hallett Roger Hammond & Katherine Green Hammond Janet Harris Harris L. Hartz Margaret Harvey & Mark Kilburn Richard Henry Kory I. Hoggan, CPA Noelle Holzworth Lorna Howerton Martha Hoyt Rosalyn Hurley Sue Johnson & Jim Zabilski John & Julie Kaltenbach Karen Kehe Marlin Kipp Meredith & Noel Kopald Susie Kubié Rita Leard Jae Lee Bing Leroy Maureen & Richard Lincoln Harry & Elizabeth Linneman Tyler M. Mason Thomas & Edel Mayer Jackie & C. Everett McGehee Donna McGill Kathryn McKnight John & Kathleen Mezoff Martha Miller Robert & Claudia Moraga Mardelle Morrow Toots & Scott Obershain Steve Ovitsky Stuart Paster Deborah Peacock

John Provine Christine & Jerry Rancier Dan Rice Deborah Ridley & Richard S. Nenoff Don & Barbara Rigali The Rodey Law Firm Jeffrey Romero Ruth Ronan Edward Rose Nancy Scheer Sharon Sharrett Janet & Michael Sjulin Terrence Sloan Patty & Bill Snead Mary & John Sparks Charles & Flossie Stillwell Betsey Swan & Christopher Calder Eberhard H. Uhlenhuth Tina Valentine Patrick Villella Margaret Vining Michael Wallace Patricia & Robert Weiler Carl G. & Janet V. Weis Patrick Wilkins Jane & Scott Wilkinson Drs. Bronwyn Wilson & Kurt Nolte David Worledge Andrea Yannone Michael & Jeanine Zenge

PRINCIPALS CIRCLE Donation of $125–$499 John B. Aidun & Joan M. Harris Albertsons Community Partners Program Ed Alelyunas ALH Foundation Inc. Gerald Alldredge Jo Marie & Jerry Anderson Anderson Organizing Systems Anonymous Anonymous Anonymous Michael & Katherine Anthony Paul & Mary Lee Anthony Robert & Marilyn Antinone Myrna T. Arguello & Genaro M. Roybal Lynn Asbury & John Wronosky Atkinson & Co. B2B Bistronomy David Baca Joel A. & Sandra S. Baca Mary E. Baca Thomas J. & Helen K. Baca Toni Baca Charlene Baker Stanley Baker E. Patricia Barbier Sheila Barnes Holly Barnett-Sanchez & David Foster Elinore M. Barrett Ellen Bayard & Jim O’Neill Carla Beauchamp Edie Beck Helen Benoist Leonie Boehmer Rog & Genelia Boenig Tim & Jackie Bowen Richard & Iris Brackett Susan Brake James & Ann Bresson Sheldon & Marilyn Bromberg

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Donor Circles . continued from 19 Carolyn Brooks Mary & Jim Brown Fred Bryant Drs. Kathleen L. Butler & M. Steven Shackley Thomas Cagle Laurel Callan Carolyn Callway & William Schuler Jose & Polly Canive Glo Cantwell Ann Carson Camille Carstens Robert Case Shirley & Ed Case Edsal Chappelle Elaine & Wayne Chew Kathleen & Hugh Church Virginia Clark Dianne Cress & Jon McCorkell Nancy Cutter, in memory of Joan Allen Stephen & Stefani Czuchlewski George deSchweinitz Jr. Janice Dosch Gale Doyel & Gary Moore, in memory of Joan Allen Patricia & Leonard Duda Susan & Daniel Dunne Jeff & Karen Duray Paul & Catherine Eichel Anne C. Eisfeller Eleanor D. Eisfeller Carol & John Ellis Mildred & Richard Elrick Stefanie English Roger C. Entringer Stephanie Eras & Robert Hammerstein Peter & Emily Erb David & Frankie Ewing Jo Margaret & John Farris Leonard & Arlette Felberg Winifred & Pelayo Fernandez Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming Edmund & Agnes Franzak Louis Fuchs Barb & Larry Germain Paul Getz Chuck & Judy Gibbon Drs. Robert & Maria Goldstein A. Elizabeth Gordon Carmoline & Bing Grady The Divas of ‘56, in memory of Stewart Graybill Paul & Marcia Greenbaum Julie Gregory Peter Gregory Justin M. & Blanche G. Griffin Sharon Gross Dick & Suzanne Guilford Ron Halbgewachs John Harvey Gloria B. Hawk Betty Hawley & Donald Robbins John & Diane Hawley Stephen & Aida Ramos Heath Anne Hill Pamelia S. Hilty Susan Hinchcliffe Fred Hindel Bud & Holly Hodgin David & Bonnie Holten Carolyn & Hal Hudson William B. Hughes

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2015/16 Season

Janet & Vincent Humann Ken & Cindy Johns, Johns Family Foundation, in memory of Joan Allen Nancy M. Johnson Robert & Mary Julyan Carol Kaemper Julius & Robin Kaplan Ira & Sheri Karmiol Thomas & Greta Keleher Bonnie & Hank Kelly Ann King Karen & Bill Knauf Asja Kornfeld, MD & Mario Kornfeld, MD Karen M. Kupper Linda Lewis Robert & Judith Lindeman Michael Linver Thomas & Donna Lockner Dr. Julianne Lockwood Kenneth Luedeke Bruce Malott & Martha Wood Aabbee Mann Carolyn Martinez Paul & Judith Matteucci Sallie McCarthy Ronald & Barbara McCarty Roger & Kathleen McClellan Monica McComas Virginia McGiboney Rohini & Jason McKee Karen McKinnon & Richard A. Stibolt Bernard & Mary Metzgar Phyllis Metzler Peggy Sanchez Mills & Jim Mills John Mims Christine & Russell Mink Mohinder & Deborah Mital Jan Mitchell William Moffatt James Moffitt Hossein Mojtahed James B. & Mary Ann Moreno James & Margaret Morris Rick Morrison Shirley Morrison & Cornelis Klein John & Patsy Mosman Lynn Mostoller & Kathryn McKnight Sharon Moynahan Lynn Mullins, in memory of Joan Allen Edward & Nancy Naimark Marilee Nason Donald & Carol Norton Ben & Mary Lee Nurry Rebecca Okun Alexander Onieal & Caleb James Wendy & Ray Orley Joyce & Pierce Ostrander The Honorable James A. & Janice Parker, in memory of Joan Allen James & Ann Pedone Sandra Penn Calla Ann Pepmueller Ross B. Perkal Richard Perry Lang Ha Pham Herbert & Judi Pitch Dan & Billie Pyzel Jane Rael Dick & Andy Rail

Russell & Elizabeth Raskob T.D. Raymond Robert Reinke Lee A. Reynis & David W. Stryker Clifford & Sandra Richardson Erika Rimson & David Bernstein Donald Robbins & Betty Hawley Shelly Roberts & Dewey Moore A. Rolfe & Dorothy Black, in memory of Joan Allen Paul Romo Kletus Rood Stuart & Mimi Rose, in honor of the wedding of Paul Silverman & Susan Mesuda Christine Sauer Warren & Rosemary Saur Brigitte Schimek & Marc Scudamore John Schlue Stephen Schoderbek Laura Scholfield Howard & Marian Schreyer Kathleen Schulz Carolyn Sedberry Norman Segel Barbara & Daniel Shapiro Archbishop Michael Sheehan Xiu-Li Shen Frederick & Susan Sherman, in memory of Joan Allen David P. Sherry, in memory of Rhoda Sherry Howard Sherry Robert Simonson Walt & Beth Simpson Norbert F. Siska Carol Smith Dr. Fran A’Hern Smith Jane Snyder Steven & Keri Sobolik Robert St. John Marilyn & Stanley Star Alexander & Mary Ann Stone John Stover Carmen & Lawrence Straus Suzanne Taichert Larry Titman Stephen Tolber & Louise Campbell-Tolber Joan & Len Truesdell Marit Tully Jay Ven Eman Anna Y. Vigil & Clarence Gallegos Richard Vivian E. M. Wachocki Marianne Walck Harry Wallingford Jan Armstrong Watts Jeffrey West Kay West Trudy & Robert White Bill & Janislee Wiese Bill & Janislee Wiese, in honor of Joan Allen Walter Wolf David & Evy Worledge Don & Dot Wortman Sue Wright Janice B. Yates Mae S. Yee & Eric Brock Albert & Donna Zeman Carol Zulauf

FRIENDS OF THE PHILHARMONIC Donation of $25–$124 Ron Abramshe Kelly Aldridge Edward & Nancy Alley, in memory of Joan Allen Carl & Linda Alongi, in memory of Joan Allen Jo Anne Altrichter & Robin Tawney Judith Anderson Anonymous Eugene Aronson Janice J. Arrott Emil Ashe Edward & Leslie Atler Rosa & Joseph Auletta George Baca Jackie Baca & Ken Genco Renee Baca Diane & Douglas Brehmer Bailey Jan Bandrofchak & Cleveland Sharp John Banister Joyce Barefoot Rom Barnes Sheila Barnes, in memory of Joan Allen Lois Barraclough Graham Bartlett Julian Bartlett Edward Barts Mary Beall Susan Beard David & Judith Bennahum Debra & Kirk Benton Sarah & Joshua Benton, in memory of Joan Allen Mark & Beth Berger Dorothy & Melbourne Bernstein Bob & Charlene Bishop Alan & Bronnie Blaugrund, in memory of Joan Allen Ann Blaugrund & Bill Redak, in memory of Joan Allen Dusty & Gay Blech Henry Botts Karen Bovinette, in memory of Joan Allen Joan Bowden Julia B. Bowdich, in memory of Joan Allen J. M. Bowers Jeffrey & Teresa Brandon Charles Brandt, in memory of Jennifer K. Brandt Richard & Karla Bressan, in memory of Joan Allen Elizabeth Brower Billy Brown Carolyn Brown Dr. Lisa M. Brunacini & Rita M. Giannini Jeanette Buffett Sandy Buffett Elaine Burgess Caroline Campbell & Ruth Cousins Mary Ann Campbell-Horan & Tom Horan James Carroll Ann L. Carson Joseph Cella Barbara & Roscoe Champion Ralph Chapman

Kathy & Lance Chilton Jay & Carole Christensen, in memory of Joan Allen Judith & Thomas Christopher Paul Citrin Douglas & Carla Clark James & Joan Cole Randall & Valerie Cole Henry & Ettajane Conant Marcia Congdon Patrick Conroy Martha Cook, in memory of Lewis & Ruth Cook Miriam Corcoran PhD John & Mary Covan Ralph Cover Judith Crocker Nance Crow Betsy Cuneo Catherine Cunningham Sarah & John Curro Philip & Joan Dale Barbara David Margaret Davidson & James Barbour, in memory of Joan Allen Joan Davis Margaret DeLong Jerry & Susan Dickinson Fran DiMarco Thomas & Elizabeth Dodson Thomas Domme Darryl Domonkos Stephen R. Donaldson Joanne Donsbach Ernest & Betty Dorko J.R. & Peggy Dotson, in memory of Joan Allen Dr. James & Julie Drennan Woodie Dreyfuss, in memory of Joan Allen Michael & Jana Druxman Ken Duckert Patsy Duphorne Sondra Eastham, in memory of Joan Allen David Ted Eastlund Joy Eaton, in memory of C.J. Meg Patten Eaton, in memory of Joan Allen John Eckert Ida Edward Sylvia & Ron Eisenhart Wolfgang Elston Robert & Dolores Engstrom Helen Erb Cheryl A. Everett Jane Farris & Michael Pierson Helene K. Fellen Rosario Fiallos Rona Fisher Stephen Fisher Robert & Diane Fleming Elizabeth & Blake Forbes Beverly Forman & Walter Forman, MD James & Jean Franchell Douglas & Nancy Francis J. Arthur Freed Ron Friederich Jack Fuller Robert & Diana Gaetz Patrick & Patricia Gallacher Daniel & Elena Gallegos Michael Garcia Ann Gateley Karen Gatlin

Donor Circles .

Paula Getz Duane & Janet Gilkey Donald & Diane Goldfarb Jim L. Gonzales Janice K. Goodman Dr. Thomas & Linda Grace, in memory of Joan Allen Erna Sue Greening Charles Gregory Craig Griffith Insurance Agency Virginia Grossetete Virginia Grossetete, in memory of Joan Allen Mina Jane Grothey Ellen Guest Charles & Betsy Gunter Herman Haase Janet & Stan Hafenfeld Bennett A. Hammer Janet Harrington Joan & Fred Hart Marilyn Hartig Allan Hauer William & Rossanna Hays Jo Ellen Head James Headley, in memory of Joan Allen Deborah Helitzer Rosalie & Leon Heller Robert & Sara Henning Douglas & Joyce Hilchie Eileen Grevey Hillson & Dr. David Hillson, in memory of Joan Allen Barbara Holt John Homko Suzanne Hood Tom Hopkins Helen & Stanley Hordes Stephanie Horoschak & Paul Helman Linda Hummingbird Anthony & Susan Hunt Nancy Jacobson Joan Jander Jerry & Diane Janicke Olivia Jaramillo Sandra & Michael Jerome Eldon Johnson Eric R. Johnson Joyce D. Jolly Ann & Lawrence Jones Judy Jones Pamela Jones Robert Jones Tracy Jones Phyllis Kaplan Clayton Karkosh Judy Kauffman Margaret Keller James Kelly C.R. Kemble David & Leslie Kim, in memory of Joan Allen Judith Allen Kim, in memory of Joan Allen Blossom Kite Gerald Kiuttu Barbara Kleinfeld Sushilla Knottenbelt Herb & Shelley Koffler, in memory of Joan Allen Philip Kolehmainen Katherine Kraus Jennifer C. Kruger Flora Kubiak, in memory of Joan Allen

Hareendra & Sanjani Kulasinghe Stephen & Isadora Kunitz Mike Langner Rebecca Lee & Daniel Rader Susan Lentz Medeleine Lewis Susan & George Lind William J. Lock George Loehr Richard & Christine Loew, in memory of Joan Allen Dwayne Longenbaugh Rhonda Loos & Neal Piltch, in memory of Joan Allen Quinn Lopez Joel Lorimer Betty Lovering Ed & Jeanne Lynch Stephen Maechtlen Robert & Linda Malseed Jim Marquez Jeffrey Marr Anna Marshall Marita Marshall Walton & Ruth Marshall Carolyn Ross Martin, in memory of Joan Allen Tony Martin Carolyn Martinez, in memory of Joan Allen Michael Mauldin Pete & Lois McCatharn Stephen McCue James McElhane Jackie & C. Everett McGehee, in memory of Joan Allen David McGuire Eugene McGuire & Rosemary Hunten David McKinney, in memory of Joan Allen Millie & John McMahon, in memory of Joan Allen Cynthia & Paul McNaull Louise & Joseph Messina Bruce A. Miller Kathleen Miller Barbara Mills-Bria, in honor of Dr. Sara A. Mills & Dr. Scott Brown Carolyn Mohoric Claude Morelli Letitia Morris Baker H. Morrow Cary & Evelyn Morrow Paula Mortensen Guy Frederick Morton Karen Mosier Carolyn Muggenburg Brian Mulrey Cynthia & David Nartonis Jennie Negin & Harold Folley Bruce & Ruth Nelson Dr. Michael & Patsy Nelson Richard & Sharon Neuman Betsy Nichols & Steve Holmes Anne E. Nokes David & Marilyn Novat Richard & Marian Nygren Marilyn Jean O’Hara Gloria & Greg Olson Bethe Orrell Margaret & Doyle Pargin Judyth Parker Howard Paul Larry Pearsall

The New Mexico Philharmonic

Margery Pearse Oswaldo & Victoria Pereira Timothy Peterson Barbara Pierce Barbara Pierce, in memory of Elise Schoenfeld Dr. Ed & Nancy Pierce, in memory of Joan Allen Beverly Pinney Martin & Cathyrn Pokorny Judy & Orville Pratt Charles & Theresa Pribyl, in memory of Joan Allen Shirley Puariea Noel Pugach, in memory of Chris Gelina Therese Quinn Mary Ellen Ratzer Marit Rawley David & Tracey Raymo Marjorie & Robert Reed Ray Reeder Tom & Marla Reichert Patricia Renken Diane Reuler Ira J. Rimson Jacob & Nancy Rittenhouse Margaret E. Roberts Matthew Robertson Gwenn Robinson, MD & Dwight Burney III, MD Ralph, Stella & Stephen Rogers Bruce Roginson Beverly Rogoff, in memory of Joan Allen Rebecca Rose & Susan Matthew, in memory of Joan Allen Stuart & Mimi Rose, in honor of Cliff Blaugrund’s 70th birthday Dr. Estelle Rosenblum Bryan L. & Lisa Wood Ruggles Robert Sabatini John Salathe Evelyn E. & Gerhard L. Salinger Scott & Margaret Sanders Steve A. Schaefer David A. Schnitzer Judith Schwartz Roland & Justine Scott Baiba Garoza Seefer Arthur & Colleen M. Sheinberg Robert & Lelia Shepperson Barbara Shiller George & Vivian Skadron Suzanne & L.J. Slankard Conrad & Shirley Sloop Carl & Marilyn Smith Donald Smith & Patricia Fleming Katherine Smith, in memory of Craig Smith Smith’s Community Rewards Enid Solin Frederick Snoy Vera Snyder Jean & Allen Spalt William Stanley Bill Stanton Ronald & Patricia Stauber Donald & B. Joan Stehr Geny Stein Elizabeth C. Stevens

David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thomson Emily Terrell Nina & Gary Thayer Maxine Thevenot & Edmund Connolly Patricia & George Thomas Alice Thompson Richard & Thereseann Thompson Betty Tichich & Fred Bunch Julie Tierney Jack Tischhauser Marilyn Toler John Tondl Marian Trainor & David Dixon Hy Tran Jorge Tristani Deborah & Richard Uhrich Arthur & Sandra Vall-Spinosa Jean & Ross Van Dusen Jean Villamarin John Vittal & Deborah Ham Hilda Volkin, in memory of Howard C. Volkin Rose Walker Marmion Walsh Marilyn Warrant Cynthia & Bill Warren Cynthia Weber Jean & Dale Webster Nicolette Westphal Joseph & Merida Wexler Mary White Wendy & Roland Wiele Keith & Jane Wilkinson Phyllis Wilson James Wilterding & Craig Timm Rosemary & William Winkler David Winter & Abigail Stewart Kathryn Wissel Stanley Yager Mary Young Janet Youngberg, in memory of Joan Allen Diana Zavitz, in honor of Lois Harwick Diana Zavitz, in honor of Pat & Ray Harwick Willie & Lisa Zimberoff, in memory of Joan Allen Andrew A. Zucker Anne & Michael Zwonlinski 1/16/2016

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Upcoming Concerts Reserved Seats

CELEBRATE THE ELECTRIFYING

FIFTH ANNIVERSARY SEASON OF THE NEW MEXICO PHILHARMONIC Popejoy Classics Popejoy Hall 203 Cornell Dr NE Albuquerque, NM 87106 (505) 925-5858 unmtickets.com Popejoy Pops Popejoy Hall 203 Cornell Dr NE Albuquerque, NM 87106 (505) 925-5858 unmtickets.com NHCC Sunday Classics National Hispanic Cultural Center 1701 4th Street SW Albuquerque, NM 87102 (505) 724-4771 nationalhispaniccenter.org Neighborhood Concerts Venues in Albuquerque (505) 323-4343 nmphil.org

2015/16 Season

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2015/16 Season

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.

Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Nancy Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Bob & Jean Gough Peter Gregory Dr. & Mrs. Larry Lubar Jeanne & Sid Steinberg Betty Vortman William A. Wiley Dot & Don Workman

MUSICAL FIESTAS

1/14/2016

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Thank You for Your Generous Support Volunteers, Expertise, Services, & Equipment

The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment.

CITY & COUNTY APPRECIATION

Mayor 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 Central United Methodist Church First United Methodist Church St. John’s United Methodist Church St. Luke Lutheran Church

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Billy Brown Luis Delgado Robert Desiderio Anne Eisfeller Rosemary Fessinger Jerrilyn Foster Chris Kershner Rose Maniaci Jackie McGehee Brent Stevens

SUPPORT YOUR NMPHIL TODAY Donate. Volunteer.

Advertise. Planned Giving.

(505) 323-4343 nmphil.org/support

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Join us for Sunday afternoon fund-raising events at private homes that feature our guest artists in an intimate performance setting, which includes dinner and wine. This is your chance to meet the guest artists in person.

March 20, 2016, 4 p.m.

Olga Kern piano Dr. Charles & Eugenia Eberle 6501 Meoqui Ct. NW Los Ranchos, NM 87107 $200/person May 1, 2016, 4 p.m.

Rachel Barton Pine violin Private home of Teresa & Jim Edens $150/person Part of the ticket cost is tax deductible to the extent allowed by the law. Call for more information and to reserve your tickets.

Reserve Tickets

(505) 323-4343

nmphil.org