New Mexico Philharmonic 2016/17 Season Program Book 1 • nmphil.org

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OLGA KERN RETURNS! TWO SPECTACULAR PERFORMANCES AT THE LENSIC

Domenico Scarlatti Beethoven Rachmaninov Scriabin Balakirev

3 Sonatas Sonata No. 21 (“Waldstein”) 8 Preludes 2 Etudes Islamey

Rimsky-Korsakov Rachmaninov

Russian Easter Festival Overture Piano Concerto No. 3 featuring Olga Kern Symphony No. 5

Sibelius

| piano Recognized as one of her generation’s great pianists, Russian-born Olga Kern received the Gold Medal and first prize at the eleventh Van Cliburn International Piano Competition—the first woman to do so in over thirty years.

| guest conductor Principal Guest Conductor of the Moscow Symphony Orchestra and Conductor Laureate of the Chamber Orchestra of Philadelphia, Maestro Solzhenitsyn has won worldwide critical acclaim.

Call it star quality—music likes Kern the way the camera liked Garbo.

—The Washington Post

The 2016–2017 season is funded in part by the Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Office of Cultural Affairs; and the National Endowment for the Arts.

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NMPhil .

NOTE FROM THE BOARD PRESIDENT

Welcome to your NMPhil’s sixith season, part of what makes New Mexico a great place to live and work.

We ended our 5th season with your strong endorsement: 97% artistic excellence and 97% overall satisfaction. This spring many of you became part of Match the Magnificence to responsibly increase NMPhil’s budget over 5 years to $2.5Million. Unfortunately we also experienced unexpected financial losses including over $100,000 in foundation cuts. Match support has offset these but has not yet enabled budget growth.

To keep this orchestra thriving we are budgeting even more conservatively and are continuing to seek new funding sources. We appreciate your investing in NMPhil through subscriptions, ticket purchases, donations and sponsorships. As we continue to raise half of NMPhil’s budget from donations and philanthropy we know we can count on you, just as you can count on outstanding concerts and superior artistic excellence from your New Mexico Philharmonic.

Table of Contents PROGRAMS

September 16, 2016 Program Program Notes November 6, 2016 Program Program Notes November 12, 2016 Program Program Notes ARTISTS

Roger Melone Amy Owens Sam Shepperson Hugh Russell New Mexico Symphonic Chorus Christopher Confessore Colin Davin Rune Bergmann Jennifer Frautschi

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YOUR NMPHIL

Maureen Baca President NOTE FROM THE EXECUTIVE DIRECTOR

Welcome to the sixth season of your New Mexico Philharmonic!

You are the reason we perform and why we are delighted to bring the celestial harmonies of the world’s greatest music to your ears. The orchestra is also a hub for education initiatives that serve Albuquerque’s youth.

We are taking things a step further by collaborating with the Olga Kern International Piano Competition which seeks to provide the venue for young pianists to develop international careers through a competition that is recognized globally for its value and excellence.

I hope you can participate in the Competition’s November 19 Stars of the Future Concerto Concert, when we will choose the competition winner as well as the coveted Audience Award winner.

You are in for another season of great music, conductors, and soloists! Thank you for being a part of our success and for believing that any great city needs a great orchestra.

Marian Tanau Executive Director The New Mexico Philharmonic

Sponsor a Musician 4 Legacy Society 4 Musical Fiestas 16 Orchestra 21 Board of Directors, Advisory Board, Staff 21 Sponsors 22 Thank You 23 Cover Art 23 Thoughts from Our Sponsors 23 Donor Circles 24 Upcoming Concerts 27 THE NEW MEXICO PHILHARMONIC OFFICES

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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 Wortman 8/23/2016

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Concert Program .

Friday, September 16, 2016, 7:30 p.m.

Choral Spectacular: Carmina Burana!

Fundraising Special

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Roger Melone conductor Amy Owens soprano Sam Shepperson tenor Hugh Russell baritone New Mexico Symphonic Chorus

Carmina Burana Fortuna Imperatrix Mundi 1. O Fortuna 2. Fortune plango vulnera I. Primo vere 3. Veris leta facies 4. Omnia sol temperat 5. Ecce gratum Uf dem anger 6. Tanz 7. Floret silva 8. Chramer, gip die varwe mir 9. Reie 10. Were diu werlt alle min II. In Taberna 11. Estuans interius 12. Olim lacus colueram 13. Ego sum abbas Cucaniensis 14. In taberna quando sumus III. Cour d’amours 15. Amor volat undique 16. Dies, nox et omnia 17. Stetit puella 18. Circa mea pectora 19. Si puer cum puellula 20. Veni, veni, venias 21. In truitina 22. Tempus est iocundum 23. Dulcissime Blanziflor et Helena 24. Ave formosissima Fortuna Imperatrix Mundi 25. O Fortuna

Carl Orff (1895–1982)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: George & Sibilla Boerigter

PRE-CONCERT TALKS WITH KHFM’S BRENT STEVENS Made possible by: Keleher & McLeod, P.A.

T H I S P R O G R A M W I L L F E A T U R E N O I N T E R M I S S I O N

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Program Notes .

Program Notes Charles Greenwell

Carl Orff

Born July 10, 1895, Munich, Germany Died March 29, 1982, Munich, Germany

Carmina Burana

Scored for soloists, two adult choirs, one boys’ choir, 3 flutes, 2 piccolos, 3 oboes, English horn, three clarinets, Eb clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, 2 pianos, celesta, percussion, and strings.

Approx. 58 minutes.

The German composer and educator Carl Orff came to international prominence in 1937 with the first performances of his scenic cantata Carmina Burana; so much so, in fact, that the work has tended to overshadow virtually everything else that he wrote. With this work, he established a new kind of “total theatre” in which words, music, dance, scenery, and costumes were integrated to produce an overwhelming effect. In doing so, he called upon aspects of two earlier forms of theatrical expression, namely classical Greek tragedy and Italian Baroque opera.

At the time, Orff had more in common with conservative trends in German culture than with the progressive thinking of the Weimar years. Instead of following the trend to avant-garde musical revolution, he studied earlier musical forms and styles, mainly late Renaissance and Baroque composers, and used them to create his own unique musical language. He was also influenced by his contemporary Bertolt Brecht, with whom he shared a passion for percussion.

(Brecht, a controversial and influential poet, in collaboration with composer Kurt Weill, created another famous and popular German stage work of the 1930s, namely The Threepenny Opera). Returning to the past was quite common in conservative circles at the time, and Germans often made pilgrimages to sites of past cultural and political greatness. It was in this context that Orff came across the inspiration for his most famous and most frequently performed work.

In 1934, Orff first saw a book of medieval poetry which had originally been published in 1847 and was based on a manuscript collection discovered in 1803 in the Bavarian Abbey of Benediktbeuern.

It is from that 1847 edition that the title Carmina Burana comes, which simply means Songs of Beuern. The manuscript contained over 200 songs and poems written in medieval Latin and Middle High German

“My collected works now begin with Carmina Burana.”

—Carl Orff

and a combination of the two, dating mostly from the 11th and 12th centuries, with some from the 13th century, covering a wide range of subject matter from religion to criticism of the decline in moral standards of the clergy and people in authority to very ribald and sensuous expressions of eating, drinking, and love-making. In short, these remarkable poems, which are still very fresh and appealing, cover just about every aspect of human existence: church, state, society, and the individual, and cover humanity in all of its moods. Scholars believe the poems came from England, France, Spain, Italy,

Carmina Burana established a new kind of “total theatre” in which words, music, dance, scenery, and costumes were integrated. and Central Europe, and the fact that so many of them were in Latin gave them wide currency at the time. (It must be explained that the Carmina Burana were written by people for whom Latin was an acquired language: as a result there is frequently a kind of vague wordiness and sometimes even misuse of the words which must have been difficult for even contemporary people to understand). Some of the poems have authors listed, among them

Philippe Abelard who was Chancellor of the University of Paris, but the majority of them are anonymous, having most likely been written by a peripatetic group called the Goliards, consisting of students, teachers, unfrocked priests, runaway monks, clerics, wandering scholars, and intellectuals. An interesting feature of European life in the late Middle Ages was the ease with which these scholars and students and assorted hangers-on went from one university town to another, and there seems to have been a large group of such people in temporary residence in such towns in both their native countries and elsewhere. These vagrants traveled through France, Germany, and England, earning their way with satirical, critical, and often ribald songs in lilting but frequently unidiomatic Latin. Orff was so taken by what he read that he instantly began to set some of the words to music, and in a matter of a few weeks’ time the entire work was basically composed. In setting the texts, Orff created what he called a scenic cantata consisting of a succession of tableaux showing how fortune governs the affairs of man. Following the first performances of the work in June of 1937 in Frankfurt, Orff told his publisher in effect to discard everything he had written up to that time, and as he put it, “My collected works now begin with Carmina Burana.”

Although the first performances were stage works involving dance, choreography, visual designs, and other stage action, the cantata is now presented more often than not in concert form. The composer’s subtitle for the work is “Secular songs for soloists and chorus, accompanied by instruments and magic images.” For the record, this ultimately became the first of a trilogy of such pieces collectively entitled Trionfi, or Triumphs. The other two are Catulli Carmina (Songs of Catullus) and Trionfo di Afrodite (The Triumph of Aphrodite). In these works, particularly the first two, Orff was influenced by late Renaissance and early Baroque composers including Claudio Monteverdi and William Byrd, and the primary musical element is rhythm. Overall, the music gives the impression of being

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Concert Program .

Sunday, November 6, 2016, 2:00 p.m.

Viva Italia!

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Christopher Confessore conductor Colin Davin guitar

National Hispanic Cultural Center

Overture to The Barber of Seville Gioachino Rossini (1792–1868) Guitar Concerto in D Major, RV 93 Antonio Vivaldi I. Allegro (1678–1741) II. Adagio III. Allegro molto

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

Mandolin Concerto in C Major, RV 425 Antonio Vivaldi I. Allegro II. Largo III. [No tempo] [Allegro] Colin Davin guitar

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

Minuet in A Major

Luigi Boccherini (1743–1805)

Intermezzo from Cavalleria rusticana

Pietro Mascagni (1863–1945)

Crisantemi Giacomo Puccini (1858–1924) Ancient Airs and Dances, Suite No. 1 I. Balletto, “Il Conte Orlando” II. Gagliarda III. Villanella IV. Passo mezzo e mascherada

The New Mexico Philharmonic

Ottorino Respighi (1879–1936)

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Program Notes . continued from 6 rhythmically straightforward and simple, but often the meter changes freely from one measure to the next.

The first performance was given in Frankfurt in June of 1937, followed by several other productions elsewhere in Germany. The Nazi regime was initially nervous about the blatantly erotic tone of some of the poems, but because of the cantata’s immense popularity, the authorities eventually embraced the work, and it became the most famous piece of music composed in Germany at the time. The popularity of the cantata continued to grow after the war, and by the 1960s Carmina Burana was firmly established as part of the international classical repertoire. That initial production had as a centerpiece a large wheel, symbolic of the wheel of fortune constantly turning, bringing good and bad luck to mankind indiscriminately, and the cantata as a whole may be looked upon as a parable of human life exposed to the whims of fate and at the mercy of the eternal laws of change.

The work begins and ends with the famous chorus Fortuna imperatrix mundi (Fortune, Empress of the World), the two statements of which frame the three main sections of the piece which deal with Man’s encounter with Nature (particularly Nature re-awakening in spring); Man’s encounter with the gifts of Nature (among them the joys of wine); and Man’s encounter with Love in all forms. Man is pictured here in a hard, unsentimental light, a point of view which is very much in keeping with the anti-Romantic stance of the work. There are 24 numbers in the cantata, and the musical forms underlying the words are quite simple and basic and almost always repetitive. The harmonies utilized are also very traditional and tonal, and much of the time the music is propelled by powerful,

driving rhythms. The orchestra, which includes a large percussion section and two pianos, replaces the normal Romantic tonecoloration with big blocks of brilliant sound, very often resembling a gigantic pipe organ.

The second section of the work, entitled In taberna (In the Tavern), is where the truly original theatrical material begins, and the orchestration here is striking. Carmina Burana continues to be a favorite with audiences everywhere, appealing as it does to the most fundamental musical instincts. ●

Gioachino Rossini

Born February 29, 1792, Pesaro, Italy Died November 13, 1868, Passy, France

Overture to The Barber of Seville

Scored for 2 flutes, piccolo, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, and strings.

Approx. 8 minutes.

Few composers in history have so thoroughly dominated their sphere of excellence as did Rossini from the 1810s through the 1830s.

His comic operas were thought of as supreme examples from a style which flourished in 18th century Italy, and his serious operas were models for succeeding generations of composers. Although he stopped writing operas in 1829, every French or Italian opera composer writing during his lifetime had to deal with his legacy. When he stopped composing opera in the wake of William Tell, his grandest and noblest achievement, he had written 39 operas in the span of a mere 20 years, running the gamut from frothy comic opera to weighty serious opera, as well as tragic, historic, and epic works. In purely musical terms, however, the fine line between comic and tragic in his operas is

“Audiences took to [Rossini’s] music as if to an intoxicating drug—or, to put it more decorously, to champagne, with which his bubbly music was often compared.”

—Oxford History of Western Music

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amazingly indistinct: There are times when under the most serious of librettos one can find the effervescence and bubbly rhythms of his most joyous works. No composer in the first half of the 19th century enjoyed the prestige, wealth, popular acclaim, or artistic influence as Rossini, and his contemporaries regarded him as the greatest Italian composer of his time, creating as he did new standards against which other composers were judged.

Rossini took existing operatic genres and forms and perfected them in his own style.

As a result, his style dominated Italian opera throughout the first half of the 19th century.

His popularity was phenomenal, and as one writer so beautifully put it, “Audiences took to his music as if to an intoxicating drug—or, to put it more decorously, to champagne, with which his bubbly music was often compared.” Not until Verdi emerged on the scene was he replaced at the center of Italian operatic life. This was due in great part to his understanding of the voice which approached perfection, and to his orchestrations which set new standards for their lucid, sparkling and remarkably varied imagination. His operas were the first Italian examples of a kind originally found in Mozart, in which drama was activated simultaneously on the vocal and instrumental planes. In The Barber of Seville, we have an extraordinary opera which combines the elegance of its literary source (the play of the same name by the French writer Pierre Beaumarchais) with the slapstick and clowning of the Italian commedia dell’arte tradition. It also is the oldest opera by an Italian composer which has never been out of the international repertoire, and is arguably not only Rossini’s supreme masterpiece but the greatest of all comic operas. ●

Antonio Vivaldi

Born March 4, 1678, Venice, Italy Died July 28, 1741, Vienna, Austria

Guitar Concerto in D Major, RV 93

Scored for solo guitar and strings. Approx. 9 minutes.

Mandolin Concerto in C Major, RV 425 Scored for solo mandolin and strings. Approx. 7 minutes.

Vivaldi was the most original and influential composer of his generation, and laid the foundation for the mature Baroque concerto.

Program Notes .

He made great contributions to style, violin technique, and orchestration, and was pioneer in the area of program music.

He lived in Venice when it was a major cultural center and featured a number of outstanding musicians and painters who set trends for the rest of Europe. Vivaldi was no exception in this regard, and one of his major contributions was to establish a concerto form which continued into the 19th century. Moreover, his brilliant, innovative, and virtuosic writing for the violin was a product not only of a golden age of violin playing but also his own extraordinary capabilities as a performer. In the first half of the 18th century three main types of concerto arose, one of which featured a solo violin being given a very predominant part.

It was from this form, with influences from the realm of opera, that Vivaldi developed the solo concerto which ultimately led to the concerto as we know it today. The man was amazingly facile and prolific, and wrote no less than 500+ instrumental concertos which created an exciting new musical language replete with simple but strong effects, powerful driving rhythms, bold melodic contours, unusual colors, a unique kind of tone-painting, and in the fast movements, set new standards for solo virtuosity.

His innovations not only influenced the concerto form but almost all other genres as well. His works not only changed form, procedure, and technique in all branches of music, but contributed immeasurably to the development of thematic, harmonic, and formal thinking. It was also no accident that the rise of the concerto coincided with that of music publishing in northern Europe, and each greatly benefited the other. Like so many men of his day, Vivaldi originally intended to become a priest, was tonsured in 1693, and received his holy orders in 1703.

Later that year, he followed in his father’s footsteps by becoming the lead violin in the orchestra of St. Mark’s. It was at this time, due to his red clerical garb and his striking red hair, that he was given the nickname of “The Red Priest,” and this stayed with him most of his life. In 1704, he was hired as a violin teacher by the Conservatory of the Ospedale della Pieta, one of four institutions in Venice which provided shelter and musical training for orphaned and illegitimate girls, and later was appointed Master of the School’s Concerts. After spending 36 years there, he went to Vienna hoping to find a lucrative position at the court of Charles VI, but due to political complications it never

Puccini’s unmistakable style was once dismissed by musicologists, mainly because of a perception that his work, with its emphasis on melody and popular appeal, lacked depth. happened. Inexplicably, instead of returning to his native Venice, he decided to remain in Vienna where he spent his last months in poverty, failing health, and relative obscurity.

Sadly, he died penniless in the Austrian capitol in 1741, and was buried anonymously in a pauper’s grave. He was 63 when he died—certainly older than average for the time—but one wonders how much longer he might have lived had he not been troubled all of his life by angina, asthma, and other respiratory ailments.

No brief description can do justice to the variety of form, scoring, and imaginative conception of the man’s 500+ concertos, written for a remarkable variety of instruments. In addition to those concertos, he wrote at least 50 operas, 25 sacred cantatas, and many other sacred vocal works. Although his fame rested for years on his instrumental works, 20th century investigations into and performances of his vocal output have only strengthened and enhanced his stature, as we have come to realize that he possessed a contrapuntal mastery and depth of expression on the level of Bach and Handel. In fact, many scholars now state unequivocally that if you don’t know Vivaldi’s operas and sacred works, you have only an incomplete understanding of the man, and in his greatest works one is clearly in the presence of genius. Vivaldi’s career at the Ospedale in Venice and his strong links with northern Europe seem to have produced a body of instrumental music unique for an Italian composer of his time. No one else in Italy wrote for the chalumeau, the clarinet, the bassoon, the horn, and the viola d’amore, along with more conventional instruments like the trumpet, the oboe, the lute, and the mandolin. His concertos and trios

for plucked instruments like the lute and mandolin are somewhat problematic, as we know very little about why or when they were written. In the case of the lute works we don’t know for sure what type of instrument he intended, as there is no body of comparable Italian music to help us make an educated guess. Vivaldi’s four works for the lute are all written with a mostly single-line part notated in the treble clef. This has much more in common with mandolin music and violin writing than the full textures characteristic of northern European Baroque lute music, and so the parts are commonly played in our time as they were written on either a Renaissance lute or a modern guitar. In the case of RV 425, which is one of the most famous works written for the instrument, the demands on the soloist are greater than other Vivaldi concertos, and there are unusually wide contrasts throughout between the mandolin and the strings. ●

Luigi Boccherini

Born February 19, 1743, Lucca, Italy Died May 28, 1805, Madrid, Spain

Minuet in A Major Scored for strings. Approx. 4 minutes.

Luigi Rodolfo Boccherini was an Italian composer and cello virtuoso who influenced the development of the string quartet, and who composed the first-ever string quintets, in his case the quintets being mainly for two violins, viola, and two cellos. His approximately 500 compositions also include sacred works, around 30 symphonies, and 12 virtuoso cello concertos. He composed more than 90 string quartets—far more than Haydn’s output—as well as more than continued on 10

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Program Notes . continued from 9 100 string quintets, a dozen guitar quintets, plus numerous trios, sextets, and other chamber music ensembles. His mature works were written in a courtly and galante style, particularly after he settled in Spain and matured apart from the major European music centers. This style is characterized by great charm, lightness, a notable optimism, and considerable melodic and rhythmic invention along with frequent influences from the Spanish guitar tradition. He was one of the great cellists of his day who often played violin music at pitch, a skill he developed by substituting for ailing violinists while touring. This remarkable command of the cello brought him great acclaim from his contemporaries, and is reflected in the cello parts of his compositions, which, for example, brought the four voices of the string quartet into closer balance than previously.

In this regard, he is credited with improving Haydn’s model of the string quartet where the cello was often relegated to an accompanying role. In 1761, Boccherini went to Madrid as court musician to the Crown Prince Luis Antonio, younger brother of King Charles III of Spain, and remained in his service until the Prince died in 1785. Without his royal patron’s support, Boccherini eventually fell on hard times and by the early 1800s was reported to be in ill health and living in poverty. He died in 1805 of a long-standing respiratory ailment. In 1771, he produced the String Quintet in E Major, Op. 11, No. 5, the third movement of which is this graceful and delightful minuet, which to this day is played most often on its own outside of the Quintet. ●

Giacomo Puccini

Born December 22, 1858, Lucca, Italy Died November 29, 1924, Brussels, Belgium

Crisantemi

Scored for strings. Approx. 6 minutes.

Giacomo Antonio Domenico Michele Secondo Maria Puccini was an Italian composer whose greatest operas are among the most frequently performed in the standard repertoire, and some of his most famous arias have become a part of popular culture. Puccini’s unmistakable style was once dismissed by musicologists, mainly because of a perception that his work, with its emphasis on melody and popular appeal, lacked depth. Despite the place he occupies in the grand Italian operatic tradition, his style of orchestration clearly shows the

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“It is a pity that I wrote Cavalleria first, for I was crowned before I became king.”

—Pietro Mascagni

influence of Wagner, matching specific orchestral sounds and musical manipulations to specific dramatic moments. Moreover, his greatest operas contain striking use of orchestral colors, and in many instances it is the orchestra which creates a scene’s atmosphere. Along with other criticisms, Puccini was once thought of as a rather conservative figure in early 20th century music, but it can easily be shown that he responded to contemporary developments in music when it suited his dramatic purposes.

He was an innovator, however, in his attempts to fashion new types of musical drama, and in trying to create for each new work a unique structure and dynamic relationship between the various elements of the narrative. The man himself acknowledged that his real talent lay in the theater, and so he understandably wrote very few nonoperatic works. Nevertheless, his personality and relationships were notable for their theatrical nature, and this tendency toward the dramatic is reflected in his compositions, be they operatic or not. In short, it can be said that all of his music is operatic in theme, content, and style. The string quartet was a medium for which Puccini had a great affinity, and in his life he composed five individual works or groups of pieces for it.

All of these works have fallen by the wayside except for this elegy called Crisantemi (Chrysanthemums) written in 1880. According to the composer, it was written in a single evening in response to the sudden death of one of his friends, Amadeo di Savoia, Duke of Aosta, a young and ambitious Italian prince who was chosen to assume the throne of the King of Spain following the famous Revolution of 1868. However, in the wake of extensive political problems and personal hardships, Amadeo abdicated the throne in 1873, after which a Republic was created.

Humiliated, he returned to Italy and lived quietly in Turin until his death at age 44. The relationship between Puccini and the Duke is still shrouded in mystery, but the friendship

was evidently strong enough to inspire this moving work, named after the flower of remembrance and heroism in Italian culture. The work is in one continuous, dark-hued movement, based on two fluid and lyrical themes, both of which were later incorporated into the last act of Puccini’s third opera, Manon Lescaut, along with other ideas from all of his early string quartets. ●

Pietro Mascagni

Born December 7, 1863, Livorno, Italy Died August 2, 1945, Rome, Italy

Intermezzo from Cavalleria rusticana

Scored for 2 flutes, piccolo, 2 oboes, 2 bassoons, 2 horns, harp, and strings. Approx. 3 minutes.

Pietro Antonio Stefano Mascagni was an Italian composer most famous for his operas, and one in particular: His 1890 masterpiece Cavalleria rusticana caused one of the greatest sensations in opera history and singlehandedly ushered in the verismo movement in Italian dramatic music. (Verismo, from the Italian word for truth, meant a realistic dramatic style in which people were presented in real-life situations and with normal human emotions). Premiered in Rome in May of 1890, it received an unprecedented 60 curtain calls, and within a year it had been performed all over Europe, then all over the world. Medals were struck in Mascagni’s honor; his home town welcomed him as a hero; and the King of Italy bestowed on him the Order of the Italian Crown— an honor which even Verdi was not given until middle age. On the strength of this one masterpiece, the formerly struggling composer became famous and wealthy almost overnight. Toward the end of his life, Mascagni mused, “It is a pity that I wrote Cavalleria first, for I was crowned before I became king.” He wrote 14 other operas, an operetta, several orchestral and vocal works, as well as solo songs and piano music. It

Program Notes . was often said that Mascagni, like Ruggero Leoncavallo (the composer of another popular sensation, Pagliacci), was a “one-hit composer” who never repeated his first great success. Perhaps not, but two of his other operas, L’amico Fritz and Iris, have remained in the repertoire in Italy and elsewhere ever since their first performances. It is true that all of his other operas produced several popular arias, but none of them ever matched the phenomenal success of Cavalleria. Toward the end of his life he became affiliated with fascist elements, writing works for Mussolini and many political gatherings. In 1929, Mascagni succeeded Toscanini as musical director of the famed La Scala opera house in Milan and had no qualms about beginning every performance with the fascist hymn.

As a result of these political leanings, he lost the relationships of many of his musical colleagues. He did not long survive the collapse of Mussolini’s ideology and died penniless and alone in an obscure, run-down Roman hotel. No other opera in history has equaled the speed with which Cavalleria spread around the world, no doubt because of its groundbreaking presentation of ordinary people in believable situations, telling a story which is simple and realistic and true to life: a passionate and tragic tale of Sicilian peasants that takes place ironically on Easter Sunday. The serene and poignant intermezzo is played toward the end of the drama to an empty stage, a classic example of calm before a violent storm. ●

Ottorino Respighi

Born July 9, 1879, Bologna, Italy Died April 18, 1936, Rome, Italy

Ancient Airs and Dances, Suite No. 1

Scored for 2 flutes, 2 oboes, English horn, bassoon, 2 horns, trumpet, harp, harpsichord, and strings.

Approx. 16 minutes.

Respighi was an Italian composer, conductor, and musicologist, best known for his socalled Roman trilogy for orchestra, consisting of The Fountains of Rome, The Pines of Rome, and Roman Festivals, in which he introduced into Italian music some of the color of the Russian school (via Rimsky-Korsakov), and some of Richard Strauss’s violent harmonic techniques. However, he was a multi-faceted composer whose output also included chamber music, works for small orchestra, opera, and some splendid songs, and his

love of music from the 16th–18th centuries led him to compose some delightful works based on music from that period. Respighi had his first musical studies with his father, and then went to the music school in his native Bologna where he studied violin and viola, composition, and music history from 1891 to 1899. The following year, he went to Russia to become the principal violist in the orchestra of the Russian Imperial Theatre in St. Petersburg for its season of Italian opera and then returned for a repeat engagement in 1902. During these two extended visits, he studied composition and orchestration

Respighi had no such resources, and simply set the pieces using his colorful and skillful command of the modern orchestra. with Rimsky-Korsakov, a tutelage which had an enormous effect on his development as a composer. From 1903 to 1908 he pursued a career as a concert violinist, including a stint as first violin in a well-known Italian string quartet. In 1908 he went to Berlin, where he spent a year concertizing and absorbing German culture. He then returned to Italy where he decided to concentrate full time on composition, eventually settling in Rome for the rest of his life, and in 1913 he accepted a position as professor of composition at the Saint Cecelia Conservatory. He was named director of the Conservatory in 1923, but resigned three years later so he could devote more time to composing. His international

fame began in 1917 following the first performances of The Fountains of Rome, and with the addition of Pines in 1924 and Festivals in 1929, he became known as one of the great masters of the orchestra. Arturo Toscanini became one of Respighi’s most fervent advocates, and in fact, the world premiere of Roman Festivals was given by the New York Philharmonic under his direction.

His music was quite popular here, and he made two visits to the U.S. as a conductor and pianist in 1925 and 1932. Although it is now rarely performed, his largescale set of theme and variations entitled Metamorphoseon was commissioned by the Boston Symphony Orchestra to help celebrate its 50th anniversary season in 1931.

Respighi was a devoted and enthusiastic scholar of early Italian music, and actually edited editions of works by Monteverdi and Vivaldi. His work in this area created a body of compositions which are in great contrast to his powerful and colorful (and somewhat better-known) orchestral works.

Among these delightful creations are the three suites of Ancient Airs and Dances, the Botticelli Triptych, The Birds, and one of his most magical but least-known compositions, the Laud to the Nativity of our Lord. His love of earlier Italian masters also led him to write an absolutely marvelous ballet entitled La Boutique fantasque (1919), a brilliant and colorful adaptation for orchestra of many of the late piano pieces and songs of Rossini.

The three sets of Ancient Airs and Dances for the Lute (to give them their full title) were written in 1917, 1923, and 1932, the first for chamber orchestra, the second for full orchestra, and the third for strings alone.

They all feature arrangements of Renaissance and early Baroque keyboard and lute pieces, dressed up tastefully in 20th century orchestral garb. While present-day composers and arrangers usually try to use some kind of historical perspective in their transcriptions, Respighi had no such resources, and simply set the pieces using his colorful and skillful command of the modern orchestra.

Nevertheless, he treated the originals with great respect, much as Stravinsky did in his Pergolesi-based ballet Pulcinella. This first suite is based on Renaissance lute pieces by Simone Molinaro, Vincenzo Galilei (father of the famous Galileo), and a few anonymous composers of that time, and is done with an almost 18th century grace and refinement, utilizing very crisp and clean rhythms. ●

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Joy in LearningÂŽ Since 1938 Now accepting applications for the 2017-2018 school year.

Pre-K through 5th Grade

21st Century skills

In-Session Open House Wednesday, October 5 9:00 -11:00 a.m.

Sunday Open House November 13 2:00 - 4:00 p.m.

We are the only Albuquerque elementary school accredited by the Independent Schools Association of the Southwest.

Concert Program .

Saturday, November 12, 2016, 6:00 p.m.

Russian Titans: Prokofiev & Tchaikovsky Rune Bergmann conductor Jennifer Frautschi violin

NOV

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Popejoy Hall

Violin Concerto No. 2 in g minor, Op. 63 Sergei Prokofiev I. Allegro moderato (1891–1953) II. Andante assai III. Allegro ben marcato Jennifer Frautschi violin

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

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Computing Center Inc.

PRE-CONCERT TALKS WITH KHFM’S BRENT STEVENS Made possible by: Keleher & McLeod, P.A.

Symphony No. 5 in e minor, Op. 64 Piotr Ilyich Tchaikovsky I. Andante—Allegro con anima (1840–1893) II. Andante cantabile con alcuna licenza III. Valse. Allegro moderato IV. Finale. Andante maestoso—Allegro vivace

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Program Notes . continued from 11

Sergei Prokofiev

Born April 27, 1891, Sontskova, Ukraine Died March 5, 1953, Moscow, Russia

Violin Concerto No. 2 in g minor, Op. 63

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, percussion, and strings. Approx. 26 minutes.

Sergei Prokofiev was one of the great creative minds of the 20th century, and the most prolific Russian composer, pianist, and conductor of that era. His extraordinary genius created symphonies, operas, ballets, choral works, film music, chamber music, and solo piano music, and probably no other 20th century master enriched the musical world in as many different forms and at such a consistently high level as he did. He was one of the great modern masters of orchestration, something which he got from his studies with Rimsky-Korsakov, and the power and dynamic quality of his scores is something quite remarkable. In addition, his gift for creating beautiful, lyrical melodies was almost without equal. His compositions and piano prowess gained him popularity both in Russia and here in the west, with visits to Chicago, New York, London, and Paris, and his immortal Peter and the Wolf has been a perennial favorite with audiences and children of all ages, young and old. Like Shostakovich and other Russian composers of the middle of the 20th century, Prokofiev fell afoul of Stalin’s Soviet bureaucracy, but he still managed to contribute enough highlevel music for him to rightly be considered one of the greatest Russian composers of his time. Of the three greatest Russian masters of the 20th century—along with Stravinsky and Shostakovich—Prokofiev’s music is at once the most popular and the most difficult to pigeon-hole. He could be severely modernist, like Stravinsky, and he could sound like a 20th century version of Haydn. He could write music of profound tragedy, like Shostakovich, and he could write melodies which are so child-like and

“[Prokofiev] remain[s] for us the greatest figure of contemporary music.”

—Arthur Honegger

infectious that they have been turned into Christmas songs. One minute his complex mind was re-inventing 18th and 19th century ideals, and the next minute he was trashing those very same traditions.

He was at one time in his life purposefully avant-garde, writing fiercely dissonant and uncompromising music which to this day is difficult to listen to. Nevertheless, his greatest works have a uniquely life-affirming character, mostly the result of his dynamic personality and positive outlook on life. He was one of the few 20th century composers with a sense of humor, and many of his scores contain instances of musical pranks and a sardonic wit, but at the same time he was able to recreate to a greater and more profound degree than his contemporaries— Shostakovich being the only exception— both the sufferings and the triumphs of the Second World War. What is amazing about all of this is that his immense reputation rests on a relatively small number of works (somewhat like Brahms in this respect), and this is a shame because some of his most powerful and remarkable creations are infrequently performed. Of all 20th century Russian composers, Prokofiev was uniquely and amazingly diverse. His career, which had begun in pre-revolutionary Russia, continued in the West and ended in the strict atmosphere of the Stalin regime, and with the single exception of Stravinsky, he encompassed a wider range of locales, attitudes, and influences than any of his contemporaries. Inevitably, his output is compared to that of Shostakovich, and while Shostakovich was arguably the

“Shostakovich argues and convinces. Prokofiev makes you fall in love.”

—Steven Schwartz

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greater symphonist, in the fields of ballet and even opera, Prokofiev certainly had the greater gift for melodic invention. As writer Steven Schwartz so beautifully put it, “Shostakovich argues and convinces.

Prokofiev makes you fall in love.” After hearing of his passing, composer Arthur Honegger said that Prokofiev would “… remain for us the greatest figure of contemporary music.” By an odd quirk of fate, Prokofiev and Josef Stalin died on the same day, and as a result, his death went almost unnoticed for several days.

Prokofiev composed his Second Violin Concerto in 1935, while he was still living in Paris, but was making plans to return to the Soviet Union. It was written at the same time as his glorious ballet Romeo and Juliet, and one can find similarities between the two scores. In fact, in the same sketchbook there is material that would find its way into both works. He had been putting sketches together for some sort of a violin piece when he was approached by a group of admirers of the distinguished French violinist Robert Soetens, asking for a concerto that the violinist could premiere and to which he would maintain exclusive rights for a year. In 1932 Soetens, along with Samuel Dushkin, had given the first performance of Prokofiev’s Sonata for Two Violins, and the composer was eager to provide a follow-up work. The new concerto was completed in the summer of 1935 with a premiere scheduled for that fall in Paris, but the venue was changed to Spain, where the performance took place on December 1 in Madrid. Prokofiev initially thought about calling the work a Concertino or a Concert Sonata for Violin and Orchestra, but finally called it simply Violin Concerto No. 2. It had been 18 years since the creation of the First Violin Concerto, but the two works share a similar beautiful lyricism along with virtuoso passagework, although the Second Concerto is somewhat darker than the First and has a degree of austerity and tension

Program Notes . not found in its predecessor. Following the premiere, he and Soetens went to North Africa for a tour which marked the first time that he had ever done a recital tour with another musician. Prokofiev was one of the great masters of the orchestra, and the Second Concerto is full of remarkable but lean instrumental combinations and effects. Perhaps most striking is the very imaginative use of the percussion section (bass drum, snare drum, triangle, cymbals, and castanets), particularly the castanets.

It has been suggested that the castanets were added to the percussion when the premiere was changed from Paris to Madrid to give the work an evocation of Spain, and Prokofiev managed the neat trick of having them sound cheerful and ominous at the same time. The first movement is based on two lyrical themes, the first of which has a definite Russian flavor. The second movement is a beautiful lyrical Andante, one the loveliest slow movements in the violin concerto repertoire; and the finale is a brilliant and challenging Rondo, a form in which the main subject matter keeps reappearing, but the repetitions are interspersed with new material. ●

Piotr Ilyich Tchaikovsky

Born May 7, 1840, Votkinsk, Russia Died November 6, 1893, St. Petersburg, Russia

Symphony No. 5 in e minor, Op. 64

Scored for 3 flutes, piccolo, 2 oboes, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. Approx. 48 minutes.

Tchaikovsky was in many ways the archetype of the Romantic artist. His personal life was filled with crises and unhappiness;

“Shall I throw myself in the embraces of Faith??? … a wonderful program, if only I could carry it out.”

—Piotr Ilyich Tchaikovsky

he found happiness in a relatively small group of friends; he was afflicted with a chronic melancholy; he was tormented by self-doubts; and probably no composer was ever so enthusiastic about his works in the creative stage, then so unhappy about them when they were completed, and so curiously unable to recognize success when it came to him. Since the premiere of the Fourth Symphony in 1878, ten years had gone by during which time his international reputation was solidified; he decided to give up teaching in order to devote more time to composition; he began to be active as a conductor; and in which he composed four operas, including the ever-popular Eugene Onegin, the Violin Concerto, the Second Piano Concerto, the Concert Fantasy, the four orchestral suites, the Capriccio Italien, the Serenade for Strings, the 1812 Overture, the a minor Piano Trio, the symphonic suite Manfred, and some of his best songs. Given his nature, it was only natural that he would approach his next symphony with his usual extreme self-doubt.

In the spring of 1888, Tchaikovsky moved into a new summer house near the city of Klin. It was there in April of that year that he began work on his Fifth Symphony, but

“… too long, too massive and exaggerated, too patchy and insincere, and I have come to the conclusion that it is a failure. Is it possible that I have written myself out?”

—Piotr Ilyich Tchaikovsky

one month later he wrote to his brother Modest that he feared his imagination had deserted him and that he had nothing more to express in music, but adding, “I am hoping to collect, little by little, material for a new symphony.” It had been eleven years since he began writing the Fourth Symphony, and if one disregards the so-called Manfred Symphony (which is not a real symphony but a four-movement symphonic poem), this was the longest hiatus between the composition of any two of his successive symphonies.

The idyllic location of the summer house appears to have been a stimulus to his creativity, however, as he completed the Fifth Symphony in the remarkably short span of just four months. Although he was reasonably satisfied with the new symphony upon its completion, after the premiere, which he conducted in St. Petersburg in November of that year, and which was hailed by both the audience and the orchestra but blasted by the critics, he was assailed by his usual self-doubts and dissatisfactions.

During the composition of the symphony Tchaikovsky, as usual, kept his patroness, Nadezhda von Meck informed in great detail about its progress. Following the premiere, he made extensive revisions to the last movement in particular, and at the same time wrote to Mme. Von Meck in very gloomy terms about his increasing unhappiness of the work, and his feelings that it was “too long, too massive and exaggerated, too patchy and insincere, and I have come to the conclusion that it is a failure. Is it possible that I have written myself out? I cannot complain of any lack of inventive power, but I have always suffered from lack of skill in the management of form.” Later on, he admitted that these feelings were based to a large extent on his weakness and uncomfortableness as a conductor, something the critics had severely criticized, and that perhaps the symphony wasn’t so bad after all. It could be said that his self-criticism continued on 16

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Program Notes . continued from 15 was wrong, but for all the right reasons.

Certainly the handling of classical form had always been a great weakness (although he did come up with some innovative solutions to the problem), and the symphony can be viewed as something of a patchwork, especially when compared to the relatively tight Fourth Symphony. If Tchaikovsky really had been embarrassed by the degree of overt sentiment in this symphony, it would later be surpassed by the emotional outpourings in the Sixth Symphony of 1893. Written shortly after a long European tour, the Fifth Symphony is typical of the artistic balance Tchaikovsky favored: It is not strongly nationalistic, but there is a distinctive Russian flavor to many of the themes.

Following the composer’s gloomy feelings about the work after the premiere, there were performances in Russia and Germany with seasoned conductors, and with these performances came genuine enthusiasm and affection for the symphony. His last three symphonies are now generally recognized as the finest of the six, and the Fifth has become perhaps the most beloved of them all. If this is the case, it is certainly due to the abundance and warmth of its melodies, the richness of its harmonies and orchestration, and the passion and intensity of its spirit.

Tchaikovsky left a very detailed program for the Fourth Symphony, in which the so-called “Fate” motive appears in the first and last movements, but there is no comparable literary analysis of the Fifth.

Nevertheless, it is the present work which is probably the most overtly programmatic of all of the symphonies, and which begins with a similarly ominous theme which reappears in all the other movements. After his death, an examination of the composer’s notebooks revealed these thoughts on the “meaning” of the Fifth: “Program of the First Movement: Introduction. Complete resignation before Fate, or, which is the same, before the inscrutable predestination of Providence. Allegro (I) Murmurs, doubts, plaints, reproaches against XXX. (II) Shall I throw myself in the embraces of Faith??? … a wonderful program, if only I could carry it out.” The “XXX” is understood to be a reference to the composer’s homosexuality, something which caused him deep pain and which, in addition, terrified him as a potential cause of scandal. ● Program Notes ® Charles Greenwell

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MUSICAL FIESTAS Join us for Sunday afternoon fundraising 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.

Sunday, November 13, 2016, 4:00 p.m.

Violinist Jennifer Frautschi will perform in the art- and antique-filled home of Roz Hurley, in the hills of Sandia Heights. $150/person Sunday, January 29, 2017, 4:00 p.m.

Dr. Ron Bronitsky will host NMPhil stars Sarah Tasker and Shanti Randall at his new arts and crafts-inspired North Valley home featured in this year’s Parade of Homes. $150/person Sunday, March 26, 2017, 4:00 p.m.

Albuquerque favorite, Olga Kern, is once again hosted at the lovely North Valley home of Dr. Charles and Eugenia Eberle. $200/person Sunday, April 23, 2017, 4:00 p.m.

Marie Weingardt will open her Sauvignon home overlooking the Tanoan Golf Course to host violinist Jennifer Koh. $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

Artists . the George London Foundation, and two consecutive wins from the Metropolitan Opera National Council district auditions in New York City. She has been an apprentice at Santa Fe Opera, Central City Opera, Wolf Trap Opera, and Utah Festival Opera. When she isn’t singing, Ms. Owens enjoys dancing, writing, conducting, teaching other singers about staying healthy, and attempting to learn the accordion. ●

Roger Melone conductor Music director of the New Mexico Symphonic Chorus, Roger Melone was previously Resident Conductor and Chorus Director of the New Mexico Symphony Orchestra (NMSO). Since arriving in Albuquerque in 1983, Melone has brought national acclaim to the NMSO Chorus, now known as the New Mexico Symphonic Chorus.

Under Melone’s direction, the NMSO Chorus performed at the Bravo! Vail Valley Music Festival. Mr. Melone led the chorus to triumphant performances, first with the Rochester Philharmonic Orchestra in 2006 and then in 2007 and 2008 with the Philadelphia Orchestra.

As Resident Conductor of the NMSO, Mr. Melone conducted subscription, tour, pops, and children’s concerts. The NMSO Chorus received the Albuquerque Arts Alliance Bravo Award for Music Excellence for its 1998 performances of Beethoven’s Symphony No. 9 and William Walton’s Belshazzar’s Feast. In 1994, Mr. Melone was awarded the prestigious Albuquerque Arts Alliance Bravo Award for excellence in the arts. He continues to develop the talents of the New Mexico Symphonic Chorus, whose performances have been described as “stunning” and “riveting” by national critics.

Prior to his tenure at the New Mexico Symphony Orchestra, Mr. Melone held similar posts with the San Antonio Symphony Orchestra. He attended Del Mar College in Corpus Christi, Texas, where he studied with Ronald Shirey. He then studied with B.R. Henson at Texas Christian University in Ft. Worth, Texas. In San Francisco, Mr. Melone studied Baroque performance practices and harpsichord with Laurette Goldberg. ●

Amy Owens soprano Soprano Amy Owens is establishing herself as a versatile performer with comedic flair, a knack for new music, and a soaring high range. During her two-year residency with Utah Opera, Ms. Owens was praised in Opera News for her “vivacious enthusiasm,” “engaging, bell-like soprano,” and “highflying vocals,” noted especially for the roles of Blonde in Die Entführung aus dem Serail and Papagena in Die Zauberflöte.

For Ms. Owens, the 2015/16 season included appearances with the Utah Symphony as Le Feu, La Princesse, and Le Rossignol in L’enfant et les sortilèges and Mater Gloriosa in Mahler’s Symphony No. 8, which will be released as a commercial recording next year. She joined Wolf Trap Opera for a second season in the summer of 2016, where she sang the roles of Lucia in The Rape of Lucretia and Porporina in Gassmann’s L’Opera Seria. Last season included appearances with Wolf Trap as Florestine in the mid-atlantic premier of The Ghosts of Versailles and Barbarina in Le nozze di Figaro. She was also seen as Despina with Opera Naples and appeared in workshop performances of Bright Sheng’s new opera The Dream of the Red Chamber in New York City and San Francisco with the Shenzhen Symphony Orchestra. In the 2016/17 season, Ms. Owens will join the New Mexico Philharmonic for performances of Carmina Burana, Washington University of St. Louis for a Liederabend, the New York Festival of Song for performances of Paul Bowles’s Picnic Cantata, The Intimacy of Creativity in Hong Kong for works by Bright Sheng, and the Reno Philharmonic for performances of The Here and Now by Theofanidis.

Ms. Owens is the recipient of a Sullivan Award, an encouragement award from

Sam Shepperson tenor Sam Shepperson is a graduate of the University of New Mexico and currently a member of its voice faculty and co-director of the Opera Theatre at UNM. Active in opera, oratorio, and art song, he has been a soloist with such groups as the New Mexico Symphony Orchestra, the Santa Fe Symphony, Music in the Mountains, the Orchestra of Santa Fe, the Colorado Opera Festival, Opera Southwest, Emerald City Opera, the Santa Fe Desert Chorale, and has performed numerous roles with the UNM Opera Theater as well as the role of Ben Budge in the Santa Fe Opera’s production of The Beggar’s Opera.

For several years, Sam toured a production for the Santa Fe Opera outreach program. His opera résumé includes such roles as Ferrando in Così fan tutte, Pedrillo in The Abduction from the Seraglio, Fenton in The Merry Wives of Windsor, Leo in Regina, Lindoro in L’italiana in Algeri, Camille in The Merry Widow, Almaviva in The Barber of Seville, Ernesto in Don Pasquale, Eisenstein in Die Fledermaus, Dr. Caius in Falstaff, and Little Bat in Susannah. His oratorio résumé includes Judas in Judas Maccabeus, Samson in Samson, tenor soloist in Carmina Burana, Florentino in Cantata Criolla, and standard continued on 18

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Artists . continued from 17 repertoire such as Messiah, Elijah, The Seasons, Mozart’s Requiem, and Beethoven’s Ninth Symphony.

He has appeared under the baton of Margaret Hillis, Neal Stulberg, William Kirschke, John Crosby, Donald Neuen, Stewart Robertson, Michael Butterman, Guillermo Figueroa, Anthony Barrese, and Jorge Pérez-Gómez. In the summer of 1995, he made his international debut as tenor soloist in Haydn’s “Lord Nelson” Mass with the Symphony of the Americas. In 2012, he made his Lincoln Center debut in New York as tenor soloist in René Clausen’s Requiem. ●

Hugh Russell baritone Canadian baritone Hugh Russell continues to receive high praise for his charisma, dramatic energy, and vocal beauty. He is widely acclaimed for his performances in the operas of Mozart and Rossini and is regularly invited to perform with symphony orchestras throughout North America. At the center of his orchestral repertoire is Orff’s popular Carmina Burana, which Mr. Russell has performed with the Philadelphia Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, San Francisco Symphony, Houston Symphony, Pittsburgh Symphony, Seattle Symphony, Toronto Symphony, and Vancouver Symphony, among others. The New Orleans Times-Picayune said, “Baritone Hugh Russell also grasped the theatrical nature of Orff’s work, nearly stealing the show with a voice that ranged from organdeep rumbles to flutelike falsetto – and an acting style that drew roars of laughter as he captured the bullishness of an intoxicated medieval abbot.”

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In the current season, Hugh Russell joins Calgary Opera as Papageno in The Magic Flute.

Orchestral engagements include Carmina Burana with the Columbus Symphony Orchestra and the Grand Rapids Symphony, as well as Rachmaninoff’s The Bells with the Cincinnati Symphony. Last season, Mr. Russell performed the role of Falke in Die Fledermaus with Vancouver Opera. Orchestral engagements included Faure’s Requiem with the Dallas Symphony, opera scenes with the Princeton Symphony, and Carmina Burana with the Rhode Island Philharmonic, the West Michigan Symphony, and the Louisville Orchestra. In the 2013/14 season, Mr. Russell performed Carmina Burana with the Pittsburgh Symphony, the Israel Philharmonic, and the Detroit Symphony Orchestra. He debuted Mendelssohn’s Elijah with the Orquestra Sinfonica del Principado de Asturias in Oviedo, Spain.

The San Francisco Classical Voice proclaimed, “He seems born for the stage.

And with a lyrical voice boasting a strong and exciting top end, he is a complete performer.”

As a member of the Pittsburgh Opera Center, Mr. Russell sang the roles of Malatesta in Don Pasquale, the title role in Pelléas et Mélisande, and Guglielmo in Così fan tutte, a role he has also performed with Boston Baroque.

Reviewing the latter performance, the Pittsburgh Tribune Review wrote, “Baritone Hugh Russell was magnificent…His was also the most completely acted performance.” A further triumph with this company was his performance in Dominick Argento’s Postcard from Morocco. He has also been a regular performer with the New York Festival of Song and has sung in the Festival’s recitals at Merkin Concert Hall, the Kaye Playhouse, and the Kennedy Center in Washington, DC, and was cited by The New York Times for his “lovely sound.” ●

New Mexico Symphonic Chorus The 2016/2017 season marks the 44th anniversary of this highly select, allvolunteer chorus and its sixth season with the name New Mexico Symphonic Chorus.

Under Roger Melone’s direction since 1983, the chorus, formerly known as the New Mexico Symphony Orchestra Chorus, has gained national renown.

In 1999, the chorus received the Albuquerque Arts Alliance Bravo Award for Excellence in Musical Performance for its 1998 performances of Walton’s Belshazzar’s Feast and Beethoven’s Symphony No. 9. In 2006, Christopher Seaman, music director of the Rochester Philharmonic Orchestra, invited the New Mexico Symphony Orchestra Chorus to perform Mozart’s Requiem with his orchestra at the 2006 Bravo! Vail Valley Music Festival. Accolades from the audience, conductor, and orchestra were overwhelming, leading to return engagements in 2007, 2008, and 2011 to perform Beethoven’s Symphony No. 9 and Orff’s Carmina Burana with the Philadelphia Orchestra.

Local artistic collaborations include Verdi’s Aida in 2015 and Bizet’s The Pearl Fishers in 2014, both with Opera Southwest, Holiday Festival of Voices at Popejoy Hall in 2013 and 2014 with the Albuquerque Youth Symphony Program, and Mahler’s Symphony No. 2, “Resurrection” with the New Mexico Philharmonic in 2012.

The volunteer members of the chorus are a diverse group. Among the singers, approximately 16 are professional musicians working in music-related fields, 34 hold degrees in music, and seven maintain private teaching studios. All of the singers have studied voice, are currently studying voice, or play an instrument. Some travel from as far as Santa Fe and Socorro to sing in the chorus. ●

Artists .

Christopher Confessore conductor Christopher Confessore currently serves as Music Director and Principal Conductor of the Brevard Symphony Orchestra and Principal Pops Conductor of the Alabama Symphony Orchestra. During his tenure in Brevard, the orchestra has enjoyed a dramatic and sustained period of artistic excellence and has been praised for its innovative programming, spirited performances, and broad repertoire. Mr. Confessore joined the Alabama Symphony Orchestra as its Associate Conductor in 2000 and currently serves as the ASO’s Principal Pops Conductor.

His appearances on the ASO’s Masterworks series have garnered rave reviews for his “special talent for drawing the broadly lyrical out of his orchestra.” He also leads the orchestra in a wide variety of educational and outreach performances.

Mr. Confessore’s schedule as a guest conductor has included appearances with the Houston Symphony, Florida Orchestra, Jacksonville Symphony Orchestra, Naples Philharmonic, and the Musicians of the Detroit Symphony Orchestra. He made his international debut in June of 2004, conducting the Sibiu Philharmonic Orchestra in Romania, returning for additional performances in 2009.

During the 1999/2000 Season, Mr. Confessore served as Interim Education and Outreach Conductor of the Houston Symphony, conducting multiple performances on the orchestra’s Lollipops, Discovery, and First Concerts series, as well as other community outreach concerts. In June of 2007, he conducted eight performances on the Houston Symphony’s Sounds Like Fun Community Outreach series.

From 1992–2000 Mr. Confessore served as Associate Conductor of the Florida West Coast Symphony in Sarasota. From 19901995 he served as Education Director of the Florida West Coast Symphony, administering one of the most intensive orchestral education programs in the country.

Heralded as a sensitive accompanist and inspiring collaborator, Christopher Confessore has accompanied a distinguished list of artists, including Itzhak Perlman, Joshua Bell, and Lang Lang. As a Pops conductor, he has appeared with a diverse group of superstars, including GRAMMY Award winners Art Garfunkel, Roberta Flack, Judy Collins, Whoopi Goldberg, Marvin Hamlisch, Chris Botti, LeAnn Rimes, Peabo Bryson, and Charlie Daniels, and Tony Award winners Idina Menzel, Debbie Gravitte, and Michael Maguire.

In April of 2005, music columnist Mary Colurso of The Birmingham News remarked, “Anyone who regards the symphony as stuffy and elitist hasn’t been to a SuperPops show when Confessore’s in charge. He exudes niceguy appeal on stage, along with real warmth, a sense of humor, and smarts to spare.”

Mr. Confessore has studied with internationally acclaimed conductor Leonard Slatkin and has attended workshops and seminars led by Gustav Meier, Harold Farberman, and Lawrence Leighton Smith.

He holds a Master of Music degree in Instrumental Conducting from the University of Southern California and the Bachelor of Music degree in Bassoon Performance from Florida State University. ●

Colin Davin guitar Hailed as “the real thing, a player with a virtuoso’s technique, a deeply expressive musicianship, and a probing imagination” (American Record Guide) and for his “precision, musical intelligence, and passion” (Cleveland Classical), guitarist Colin Davin has emerged as one of today’s most dynamic young artists. Highlights of the 2016/17 season include concertos with the Champaign-Urbana Symphony Orchestra, Elmhurst Symphony, and Orchard Park Symphony; collaborations with Sharon Isbin at the Aspen Music Festival and the Cavani Quartet at the Cleveland Institute of Music; and solo recitals in Dubai, Kabul, and across the United States.

Davin appeared as a featured musical guest on the Late Show with David Letterman alongside soprano Jessye Norman. He has performed at venues across the world, including Carnegie Hall, Alice Tully Hall, the Metropolitan Museum of Art (on historic instruments from the museum’s collection), New York Philharmonic Ensembles, the ELLNORA Festival at the University of Illinois, the Alhambra Palace in Granada, Spain, the Paris Conservatoire, and venues throughout the United States.

His collaborators include GRAMMY Awardwinning sopranos Estelí Gomez and Dawn Upshaw, conductor and pianist Philippe Entremont, and Pulitzer Prize-winning composer Caroline Shaw. From 2012–2015, he taught and performed at the Aspen Music Festival as the teaching assistant to Sharon Isbin and has three times been a guest teacher at the Afghanistan National Institute of Music in Kabul, Afghanistan.

Davin’s debut solo recording The Infinite Fabric of Dreams has been praised as “some of the finest interpretations I’ve heard … achingly beautiful … a thoughtful, perceptive continued on 20

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Artists . continued from 19 interpretation, filled with details often missed” (American Record Guide) and “a first-rate disc … Davin knows the pieces deeply and delivers virtuosic and exciting performances … state of the art” (Soundboard Magazine). As a catalyst for the creation and performance of contemporary music, he has performed with Contemporaneous, Axiom, New Juilliard Ensemble, and Mimesis Ensemble. Davin is the founder of The Millennial Music Festival, which has promoted new commissions and intriguing programs featuring some of New York’s most sought-after musicians.

Colin Davin holds a Master of Music from The Juilliard School, where he studied with Sharon Isbin; a Bachelor of Music from the University of Southern California with William Kanengiser; and preparatory studies at the Cleveland Institute of Music with Jason Vieaux. He holds numerous top prizes in international competitions, including the Guitar Foundation of American International Solo Competition. He currently serves on the conservatory faculty at the Cleveland Institute of Music. ●

Rune Bergmann conductor Norwegian conductor Rune Bergmann is quickly gaining a reputation as an inspiring and profound musician and is considered “one of the most talented Scandinavian conductors.” He is praised as a dynamic and versatile conductor with an extensive classical, romantic, operatic, and contemporary repertoire. To date, he has conducted many European orchestras, such as the Oslo Philharmonic Orchestra, Norwegian National Opera, Augsburger Philharmoniker, Mainfranken Theater Würzburg, Kuopio Symphony, 20

2016/17 Season

Malmö Symphony Orchestra, Helsingborg Symphony Orchestra, as well as the Symphony Orchestras of Bergen, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense.

In addition to symphonic masterworks, he masters a large choral repertoire including Requiems by Mozart, Brahms, and Verdi.

Performances of works by Sibelius, Svendsen, Nielsen, Halvorsen, and Grieg have also earned him acclaim.

Rune Bergmann studied conducting at the Sibelius Academy in Helsinki with Leif Segerstam, where he graduated with the highest honors. Prior to the Sibelius Academy, he studied choir and orchestral conducting at the Royal College of Music in Stockholm with professors Anders Eby, Jin Wang, and Jorma Panula.

He is a proud recipient of the Kjell Holm Foundation Culture Prize 2010 and the SMP Press 2009 culture award. He was awarded the second prize of the Nordic Conducting Competition in Helsingborg in 2002.

As a guest professor in conducting, Rune Bergmann has been engaged at several universities and has until recently had the position as First Kapellmeister with the Augsburger Philharmoniker and Theater Augsburg in Germany. Currently, Rune Bergmann holds the position as principal guest conductor of the Kaunas City Symphony Orchestra and music director of the Fjord Cadenza Festival. ●

Jennifer Frautschi violin Two-time GRAMMY nominee and Avery Fisher career grant recipient, Jennifer Frautschi has garnered worldwide acclaim as an adventurous musician with a remarkably wide-ranging repertoire.

Highlights of her past season included performances with the St. Paul Chamber Orchestra and Tucson Symphony, as well as return engagements with the Alabama, Arkansas, Belo Horizonte, Chattanooga, Phoenix, and Toledo Symphonies and the Rhode Island Philharmonic. This past summer she performed at the Ojai, La Jolla, Santa Fe, Moab, Bridgehampton, and Salt Bay Music Festivals.

Her discography includes the Stravinsky Violin Concerto with the Philharmonia Orchestra, conducted by Robert Craft, and two GRAMMY-nominated recordings with the Fred Sherry Quartet, of Schoenberg’s Concerto for String Quartet and Orchestra and the Schoenberg Third String Quartet.

Her most recent releases are a recording of Romantic Horn Trios with hornist Eric Ruske and pianist Stephen Prutsman, and the Stravinsky Duo Concertant with pianist Jeremy Denk. With pianist John Blacklow, she will release two discs on Albany Records this year: the first devoted to the Schumann sonatas; the second an exploration of recent additions to the violin and piano repertoire

by American composers.

Born in Pasadena, California, Ms. Frautschi was a student of Robert Lipsett at the Colburn School; she also attended Harvard, NEC, and The Juilliard School, where she studied with Robert Mann. She performs on a 1722 Antonio Stradivarius violin known as the “ex-Cadiz,” on generous loan from a private American foundation. ●

NMPhil .

New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca President

The Musicians

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 Roberta Branagan Sheila McLay Elizabeth Young Brad Richards 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 Frank Murry Derek DeVelder + FLUTE Valerie Potter • Sara Tutland Jiyoun Hur ••• PICCOLO Sara Tutland OBOE Kevin Vigneau • Lindsay Flowers ++ Amanda Talley + ENGLISH HORN Melissa Peña ••• CLARINET Andrew Cho • ++ James Shields • + Lori Lovato •• Timothy Skinner E-FLAT CLARINET Lori Lovato

BASS CLARINET Timothy Skinner BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Nathan Ukens Katelyn Benedict Allison Tutton Niels Galloway •••• TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Amanda Hudson •++ Debra Taylor •+ Byron Herrington David Tall BASS TROMBONE David Tall

Al Stotts Secretary Treasurer Ruth Bitsui Vice President for Operations Roland Gerencer, MD Kory Hoggan David W. Peterson Marc Powell Nancy Pressley-Naimark Jeffrey Romero Steve Schroeder David Tall Anthony Trujillo Nathan Ukens Michael Wallace Richard White ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Robert Desiderio Larry Lubar 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

BOARD OF THE FUTURE Jason Cloyes Erin Grandara Calisa Griffin Alyssa Jensen Cailyn Kilcup

Tim Nisly Chris Schroeder Stephen Segura Courtney Weaks Jason Weaks

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

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Thank You .

Sponsors & Grants Sound Applause

Albuquerque Community Foundation albuquerquefoundation.org

Bank of Albuquerque bankofalbuquerque.com

Bernalillo County bernco.gov

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

Hancock Family Foundation nmhff.org

Holman’s USA holmans.com

Hunt Family Foundation huntfamilyfoundation.com

John Moore & Associates johnmoore.com

Keleher & McLeod keleher-law.com

Lexus of Albuquerque lexusofalbuquerque.com

Lockheed Martin lockheedmartin.com

New Mexico Arts nmarts.org

New Mexico Gas Company nmgco.com

PNM pnm.com

Real Time Solutions rtsolutions.com

Recarnation recarnationabq.com

Sandia Laboratory Federal Credit Union slfcu.org

Sandia National Laboratories sandia.gov

Scalo Northern Italian Grill scalonobhill.com

SWGA, P.C. southwestgi.com

United Way of Central New Mexico uwcnm.org

U.S. Bank usbank.com

Vein Center of New Mexico veincenternm.com

Wells Fargo wellsfargo.com

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2016/17 Season

Menicucci Insurance Agency mianm.com

Music Guild of New Mexico musicguildofnewmexico.org

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

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

Thank You .

Thank You for Your Generous Support

THOUGHTS FROM OUR SPONSORS

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 Jim Key Rose Maniaci Jackie McGehee Brent Stevens 8/23/2016

●

COVER The painting is acrylic and oil pastel on imported paper.

About the Artist Randall Virgil Biggers Randall Biggers served in the Foreign Service for 21 years and is also a returned Peace Corps Volunteer (Afghanistan 74–76). In addition to painting, Randy also does collage and photography. To schedule a private viewing, call (505) 366-3525, or email: nmrvb2@gmail.com.

The painting is donated to NMPhil and available for sale. Call (505) 323-4343 for inquiries.

It takes a phenomenal amount of precision and talent to make the sounds of an orchestra genuinely move you. It’s certainly the talents of the many musicians hitting their notes at just the right time, but it’s also the conductor guiding the musicians to ensure the sounds being produced exceed expectations.

Lexus of Albuquerque operates in much the same way. When owners Tom Bohlman and his partners took over the dealership back in 1999, they inherited 18 employees. Today between Lexus of Albuquerque and Santa Fe, Tom now manages 132 employees. “The challenge in any business is ensuring your employees see your same vision and making sure that vision is conveyed to the customer, from every employee at every level,” says Tom. Much like a conductor of an orchestra, Tom has managed to make music out of his two stores that continues to impress. According to Tom, “Business continues to grow year over year and that’s due to our customers receiving the message that we are dedicated to spoiling each and every customer beyond reason.” That message has been conveyed to every employee who is empowered to take care of any customer’s need without the need to seek approval first. That may just be the reason why Lexus of Albuquerque was voted the #1 Dealership in New Mexico by readers of the Albuquerque Journal.

However, just like the music of an orchestra, you always have to find ways to make it even better. “You can never rest on your laurels, because the competition will be quick to copy your success. That’s just what happens when you’re on top of the podium, but that’s also what we use as fuel to make sure our customers know how much they inspire us to better their experience at every turn,” says Tom.

The New Mexico Philharmonic

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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 Computing Center Inc., Maureen & Stephen Baca The Meredith Foundation Marc Powell & Holland Sutton United Way of Central New Mexico

MOZART CIRCLE Donation of $10,000– $24,999 E. Blaugrund Family Fund George & Sibilla Boerigter Deborah Borders Eugenia & Charles Eberle Holmans 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 Dr. Dean Yannias

BRAHMS CIRCLE Donation of $5000– $9999 Anonymous Anonymous Paula & William Bradley Andrea Escher & Todd Tibbals Ann & Gordon Getty Foundation Mary & Sam Goldman Hunt Family Foundation

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The Law Firm of Keleher & McLeod Henry & Judith Lackner Dr. & Mrs. Larry Lubar Payday, Inc. PNM Resources Foundation Sandia Foundation, Woodward Grant Sandia Laboratory Federal Credit Union, Robert Chavez Scalo Northern Italian Grill, Steve Paternoster Barbara & Richard VanDongen Dr. Helmut Wolf, in memory Mrs. M. Jane Wolf Zia Trust

CHOPIN CIRCLE Donation of $3500– $4999 Anonymous Bank of Albuquerque Mary & Jim Brown Bob & Greta Dean Bob & Fran Fosnaugh Cynthia & Thomas Gaiser Hancock Family Foundation New Mexico Gas Company Bob & Bonnie Paine Barbara & Heinz Schmitt Steven Schroeder Southwest Gastroenterology Associates Melissa & Al Stotts Marian & Jennifer Tanau U.S. Bank Foundation Wells Fargo

GRACE THOMPSON CIRCLE Donation of $1933– $3499 Albuquerque Community Foundation, Chester French Stewart Endowment Fund Douglas Allen APS Foundation Avista Video Histories Thomas Bird & Brooke Tully Richard & Margaret Cronin D’Addario Foundation Suzanne S. DuBroff, in memory of Warren DuBroff Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Eiichi Fukushima Yolanda Garcia David & Tanner Gay Roland Gerencer, MD Keith Gilbert

2016/17 Season

Madeleine GriggDamberger & Stan Damberger Jonathan & Ellin Hewes Virginia Lawrence Lexus of Albuquerque Erika Blume Love Myra & Richard Lynch Menicucci Insurance Agency Sara Mills & Scott Brown Gerard & Doreen Murphy Ruth & Charles Needham Mary Raje, in memory of Frederick C. Raje Steve Ridlon, in memory of Casey Scott Beverly Rogoff Ellen Ann Ryan Conrad & Marcella Stahly Kathleen & David Waymire Dr. & Mrs. Albert Westwood Lance Woodworth

BACH CIRCLE Donation of $1000– $1932 Kristen Anderson Anonymous Anonymous Anonymous, in honor of Adrianna Belen Gatt Christopher Apblett Stephen & Maureen Baca, in memory of Deborah Cazzola Craig Billings Nancy & Cliff Blaugrund Robert Bower Dr. Marythelma Brainard & Dick Ransom Pat Broyles Dawn & Joseph Calek Jonathan Miles Campbell Edward Cazzola, in memory of Deborah Cazzola David & Mary Colton Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Cathy Conrad Susan Conway Krys & Phil Custer Marjorie Cypress & Philip Jameson Clare 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 GE Foundation Dennis & Opal Lee Gill Sarah Gmyr Barbara & Berto Gorham Jean & Bob Gough Roger Hammond & Katherine Green Hammond Mary Herring The Estate of Van Dorn Hooker

The Hubbard Broadcasting Foundation Robert & Elisa Hufnagel Chris & Karen Jones Victor Jury Ira & Sheri Karmiol Stephanie & David Kauffman Stephen Kaufman Stephanie & Ken Kuzio Dr. Benjamin D. Lane Linda S. Marshall Kathy & John Matter Thomas & Edel Mayer Joan McDougall Bob & Susan McGuire Microsoft Ina S. Miller Mark Moll Moss-Adams LLP Diane M. Mueller Scott & Toots Obenshain Carol & Gary Overturf Jerald & Cindi Parker Julia Phillips & John Connor, in honor of Ilya Kaler Matthew Puariea Carolyn Quinn & John Crawford Dr. Barry & Roberta Ramo Clifford & Sandra Richardson Deborah Ridley & Richard S. Nenoff Jacquelyn Robins, in honor of Melvin Robins Gregory Shields Vernon & Susannah Smith Susan Spaven Sid Steinberg, in honor of Jeanne Steinberg Patricia & Luis Stelzner Jane & Doug Swift Lynett & David Tempest Larry Titman Michael Wallace Barbara & Eugene Wasylenki Judy Basen Weinreb & Peter Weinreb Julia Carson White William Wiley Scott Wilson Dolly Yoder Michael & Jeanine Zenge

CONCERTMASTER CIRCLE Donation of $500–$999 Leah Albers & Thomas Roberts John Ames Anonymous Judith & Otto Appenzeller Mary & John Arango Richard & Linda Avery Sally Bachofer Luis Baez & Andrea Yannone Stanley & Genevieve Baker Daniel Balik Dorothy M. Barbo Ellen Bayard & Jim O’Neill

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 Susanne B. Brown M. Susan Burgener & Steve Rehnberg Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Clarke Cagle Edith Cherry & Jim See Betty Chowning Judith & Paul Clem Bob Crain Ann DeHart & Robert Milne, in memory of Joan Allen Patricia & Leonard Duda The Financial Maestro, LLC, Joann MacKenzie Frontier Restaurant, Dorothy & Larry Rainosek Helen Fuller Art Gardenswartz Lawrence Golden Kellie & Bing Grady Dr. Kirk & Janet Gulledge Steve Hamm & Mary Kurkjian Harris L. Hartz Margaret Harvey & Mark Kilburn Stephen & Aida Ramos Heath Kory I. Hoggan, CPA Noelle Holzworth Lorna Howerton Martha Hoyt Rosalyn Hurley Sue Johnson & Jim Zabilski John & Julie Kaltenbach Joyce S. Kaser Karen Kehe Marlin Kipp Susie Kubié Rita Leard Jae Lee Bing Leroy Linda Lewis Harry & Elizabeth Linneman Tyler M. Mason Jackie & C. Everett McGehee Donna McGill John & Kathleen Mezoff Martha Miller John Mims Robert & Claudia Moraga Mardelle Morrow Richard & Sharon Neuman David & Audrey Northrop George & Mary Novotny Stuart Paster Deborah Peacock & Nate Korn Christine & Jerry Rancier Dan Rice Ken & Diane Reese The Rodey Law Firm

Jeffrey Romero Ruth Ronan Nancy Scheer Howard & Marian Schreyer Janet & Michael Sjulin Terrence Sloan Maria & Mark Stevens Charles & Flossie Stillwell Betsey Swan & Christopher Calder Stephen Tolber & Louise Campbell-Tolber Tamara Tomasson Eberhard H. Uhlenhuth Dr. Berthold Umland & Gregory Grannan Patrick Villella Margaret Vining Richard Vivian Patricia & Robert Weiler Carl G. & Janet V. Weis Jane & Scott Wilkinson Drs. Bronwyn Wilson & Kurt Nolte Carol Zulauf

PRINCIPALS CIRCLE Donation of $125–$499 Wanda Adlesperger Dr. Fran A’Hern-Smith John B. Aidun & Joan M. Harris Albertsons Community Partners Program Ed Alelyunas ALH Foundation Inc. Gerald Alldredge Jo Marie & Jerry Anderson Judith Anderson Anderson Organizing Systems Anonymous Anonymous Anonymous Anonymous Michael & Katherine Anthony Paul & Mary Lee Anthony Robert & Marilyn Antinone Myrna T. Arguello & Genaro M. Roybal Janice J. Arrott Lynn Asbury & John Wronosky Atkinson & Co. B2B Bistronomy David Baca Joel A. & Sandra S. Baca Mary E. Baca Stephen & Maureen Baca Thomas J. & Helen K. Baca Toni Baca Charlene Baker Gail Baldacchino E. Patricia Barbier Sheila Barnes Holly Barnett-Sanchez & David Foster Elinore M. Barrett Edward & Therese Barts Steve Bassett Carla Beauchamp Edie Beck

Donor Circles .

Helen Benoist Joe Bentley Leonie Boehmer Rod & Genelia Boenig Dr. David & Sheila Bogost Tim & Jackie Bowen Michael & Monica Bowlin Richard & Iris Brackett Susan Brake James & Ann Bresson Sheldon & Marilyn Bromberg Carolyn Brooks Carolyn Rose Brown James & Elizabeth Brown Fred Bryant Thomas Cagle Laurel Callan Carolyn Callaway & William Schuler Jose & Polly Canive Dante & Judith Cantrill Ann Carson Camille Carstens Shirley & Ed Case Edsal Chappelle Linda Chavez Elaine & Wayne Chew Kathleen & Hugh Church Wendy Cieslak Beth Clark, in celebration of Matt Puariea Virginia Clark Linda & Paul Cochran Jane & Kenneth Cole Dianne Cress & Jon McCorkell James & Mabel Culpepper Nancy Cutter, in memory of Joan Allen Stephen & Stefani Czuchlewski George deSchweinitz Jr. Jerry & Susan Dickinson Fran DiMarco The Divas of ‘56, in memory of Stewart Graybill Thomas & Martha Domme Stephen R. Donaldson Carl & Joanne Donsbach Ernest & Betty Dorko Janice Dosch Gale Doyel & Gary Moore, in memory of Joan Allen Susan & Daniel Dunne Jeff & Karen Duray Thomas Dyble 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 Jackie Ericksen David & Frankie Ewing Jo Margaret & John Farris Leonard & Arlette Felberg Winifred & Pelayo Fernandez Rosario Fiallos Stephen Fisher

Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming Nancy Flowers James & Jean Franchell Edmund & Agnes Franzak Louis Fuchs Caroline Gaston Barb & Larry Germain Paul Getz Chuck & Judy Gibbon Drs. Robert & Maria Goldstein A. Elizabeth Gordon Paul & Marcia Greenbaum Julie Gregory Peter Gregory Julia Grimes & Jeff Baker Sharon Gross Virginia Grossetete Dick & Suzanne Guilford Elene & Bob Gusch Ron Halbgewachs Janet Harris Gloria B. Hawk Betty Hawley & Donald Robbins John & Diane Hawley Anne Hill Pamelia S. Hilty Susan & Glenn Hinchcliffe Fred Hindel Bud & Holly Hodgin David & Bonnie Holten John Homko Suzanne Hood Constance & James Houle Carolyn & Hal Hudson William B. Hughes Janet & Vincent Humann Ken & Cindy Johns, Johns Family Foundation, in memory of Joan Allen Nancy M. Johnson Ann & Lawrence Jones Robert & Mary Julyan Carol Kaemper Summers & Norty Kalishman Julius & Robin Kaplan Thomas & Greta Keleher Bonnie & Hank Kelly Ann King Neva King Karen & Bill Knauf Noel & Meredith Kopald Asja Kornfeld, MD & Mario Kornfeld, MD Elizabeth Kubie Karen M. Kupper R. Jeffrey & Jane W. Lawrence Lacey & Berweida Learson Rebecca Lee & Daniel Rader Robert & Judith Lindeman Michael Linver Thomas & Donna Lockner Dr. Julianne Lockwood Dr. Ronald & Ellen Loehman Bruce & Lesle Loughridge Kenneth Luedeke Bruce Malott & Martha Wood

Aabbee Mann Carolyn Martinez Paul & Judith Matteucci Jack & Victoria McCarthy 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 Bruce & Jill Miller Peggy Sanchez Mills & Jim Mills Christine & Russell Mink Mohinder & Deborah Mital Jan Mitchell Dr. William Moffatt James Moffitt Hossein Mojtahed Mary Montano James B. & Mary Ann Moreno James & Margaret Morris Rick Morrison Shirley Morrison & Cornelis Klein Baker H. Morrow & Joann Strathman Paula Mortensen John & Patsy Mosman Lynn Mostoller & Kathryn McKnight Sharon Moynahan Lynn Mullins, in memory of Joan Allen Brian Mulrey Edward & Nancy Naimark Marilee Nason Anne E. Nokes Donald & Carol Norton Ben & Mary Lee Nurry Rebecca Okun Alexander Onieal 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 Therese Quinn Dick & Andy Rail Russell & Elizabeth Raskob T.D. Raymond Robert & Marjorie Reed Ray Reeder Robert Reinke Patricia Renken Lee A. Reynis & David W. Stryker Renee Richardson Erika Rimson & David Bernstein Ira J. Rimson

Donald Robbins & Betty Hawley Shelly Roberts & Dewey Moore Justin Roesch A. Rolfe & Dorothy Black, in memory of Joan Allen Paul Romo Kletus & Lois Rood Stuart & Mimi Rose, in honor of the wedding of Paul Silverman & Susan Mesuda Pamela & Richard Salmon Oscar Sander Alicia Santos Christine Sauer Warren & Rosemary Saur Brigitte Schimek & Marc Scudamore John Schlue Stephen Schoderbek Laura Scholfield Kathleen Schulz Paula & Melvin Schwartz Roland & Justine Scott 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 Ronald Shibata Robert Simonson Walt & Beth Simpson Norbert F. Siska George & Vivian Skadron Carol Smith Harry & Patricia Smith Smith’s Community Rewards Jane Snyder Steven & Keri Sobolik Karen Soutar David & Laurel Srite Robert St. John Marilyn & Stanley Stark Alexander & Mary Ann Stone John Stover Carmen & Lawrence Straus Fred & Terry Sturm Pamela Sullivan Suzanne Taichert Nina & Gary Thayer Joan & Len Truesdell Marit Tully & Andy Thomas Jay Ven Eman Jean Villamarin E.M. Wachocki Marianne Walck Bettie & Harry Wallingford Robert Walston, in memory of Mary Walston E. Anna Watkins, Career Performance Coach Alfred Watts & Jan Armstrong

Marie Weingardt Jeffrey West Kay West Denise Wheeler & Joan Robins, in memory of Melvin Robins Marybeth White Trudy & Robert White Bill & Janislee Wiese, in honor of Joan Allen Walter Wolf David & Evy Worledge Don & Dot Wortman Sue Wright Paula Wynnyckyj Janice B. Yates Mae S. Yee & Eric Brock Tony Zancanella Albert & Donna Zeman Andrew A. Zucker

FRIENDS OF THE PHILHARMONIC Donation of $25–$124 Ron Abramshe Nancy Adams Hannah Albers Kelly Aldridge Edward & Nancy Alley, in memory of Joan Allen Carl & Linda Alongi, in memory of Joan Allen Jo Anne Altrichter & Robin Tawney AmazonSmile Anonymous Anonymous Anonymous Eugene Aronson Emil & Lori Ashe Lance & Kristin Atencio Edward & Leslie Atler Rosa & Joseph Auletta George Baca Jackie Baca & Ken Genco Renee Baca Diane & Douglas Brehmer Bailey John & Suzanne Bailey, in memory of Marjorie Shapiro Stein Jan Bandrofchak & Cleveland Sharp John Banister Joyce Barefoot Rom Barnes Sheila Barnes, in memory of Joan Allen Lois Barraclough Graham Bartlett Julian Bartlett Mary Beall Susan Beard Christopher Behl David & Judith Bennahum Debra & Kirk Benton Sarah & Joshua Benton, in memory of Joan Allen Mark & Beth Berger Dorothy & Melbourne Bernstein Ellen & Anthony Biernacki Bob & Charlene Bishop Denise Bissell 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 Suzanne Brown Dr. Lisa M. Brunacini & Rita M. Giannini Maryann Bryan Jeanette Buffett Sandy Buffett Valerie Burek Elaine Burgess Helen & Gerald Buster Douglas & Ann Calderwood Caroline Campbell & Ruth Cousins Mary Ann CampbellHoran & Tom Horan Glo Cantwell James Carroll Ann L. Carson Robert Case Virginia Cavalluzzo Joseph Cella Barbara & Roscoe Champion Ralph Chapman Kathy & Lance Chilton Jay & Carole Christensen, in memory of Joan Allen Judith & Thomas Christopher Paul Citrin Barry Clark Donald & Sonja Clark Douglas & Carla Clark James & Joan Cole Randall & Valerie Cole Aleli & Brian Colon Lloyd Colson III 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 Mark Curtis Philip & Joan Dale Rosalie D’Angelo Barbara David Margaret Davidson & James Barbour, in memory of Joan Allen William Davidson

continued on 26 The New Mexico Philharmonic

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Donor Circles . continued from 25 Dana Davis Joan Davis Margaret DeLong Doug & Drina Denham Herb Denish John Dickel Thomas & Elizabeth Dodson Patricia Dolan Darryl Domonkos J.R. & Peggy Dotson, in memory of Joan Allen Sheila Doucette Keith & Consuelo Dowler Dr. James & Julie Drennan Woodie Dreyfuss, in memory of Joan Allen Michael & Jana Druxman Ken Duckert Charmazel Dudt Patsy Duphorne Madeline Dwyer Sondra Eastham, in memory of Joan Allen David Ted Eastlund Joy Eaton, in memory of C.J. Eaton Meg Patten Eaton, in memory of Joan Allen John Eckert Keith & Helene Eckrich Ida Edward Sylvia & Ron Eisenhart Wolfgang Elston Robert & Dolores Engstrom Helen Erb Cheryl A. Everett David & Regan Eyerman Jane Farris & Michael Pierson Helen Feinberg Helene K. Fellen Rona Fisher Robert & Diane Fleming Michael Floyd Elizabeth & Blake Forbes Beverly Forman & Walter Forman, MD Douglas & Nancy Francis J. Arthur Freed Ron Friederich Jack Fuller Robert & Diana Gaetz Gigi Galassini Patrick & Patricia Gallacher Daniel & Elena Gallegos Julia Gallegos Joyce Gammill Michael Garcia Ann Gateley Jim & Margaret Gates Karen Gatlin Paula Getz Duane & Janet Gilkey Donald & Diane Goldfarb Jim L. Gonzales Lois Gonzales Janice K. Goodman Richard Gordon Dr. Thomas & Linda Grace, in memory of Joan Allen Erna Sue Greening Charles Gregory Craig Griffith Insurance Agency

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Virginia Grossetete, in memory of Joan Allen Mina Jane Grothey Ellen Guest Carl & Nancy Guist Charles & Betsy Gunter Herman Haase Janet & Stan Hafenfeld Michael Hall Anne Hallett Bennett A. Hammer Ed Hanish Debra Harbaugh Janet Harrington Bhanu Harrison Donald Harrison Joan & Fred Hart Marilyn Hartig John Harvey Paul Hass Hedy Hatchell Allan Hauer William & Rossanna Hays Jo Ellen Head James Headley, in memory of Joan Allen Deborah Helitzer Rosalie & Leon Heller Rogene Henderson Wallace Henderson Patricia Henning Duane & Youngtae Henry Douglas & Joyce Hilchie Eileen Grevey Hillson & Dr. David Hillson, in memory of Joan Allen Barbara Holt Thomas & Toyoko Hooker Tom Hopkins Helen & Stanley Hordes Stephanie Horoschak & Paul Helman Linda Hummingbird Anthony & Susan Hunt John & Karla Ice Barbara & Edward Ida Paul Isaacson Nancy Jacobson Joan Jander Jerry & Diane Janicke Olivia Jaramillo Sandra & Michael Jerome Eldon Johnson Eric R. Johnson Ruth Johnson Joyce D. Jolly Barbara Jones Judy & Scott Jones Pamela Jones Robert Jones Tracy Jones William Jones & Siu Wong Phyllis Kaplan Paul Karavas Clayton Karkosh Judy Kauffman Richard & Julia Kavet Carl & Jeanette Keim Joelle Keller Margaret Keller James Kelly Charles Kemble David & Leslie Kim, in memory of Joan Allen Judith Allen Kim, in memory of Joan Allen Blossom Kite Gerald Kiuttu Barbara Kleinfeld

2016/17 Season

Sushilla Knottenbelt Herb & Shelley Koffler, in memory of Joan Allen Philip Kolehmainen & Vivian Waldron Katherine Kraus Jennifer C. Kruger Flora Kubiak, in memory of Joan Allen Hareendra & Sanjani Kulasinghe Stephen & Isadora Kunitz Mike Langner Donald Leach Day Lee Susan Lentz Madeleine Lewis Susan & George Lind Claire Lissance 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 Carol Lovato Betty Lovering Ed & Jeanne Lynch Audrey Macdonald 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 Diane & Walter Masincup Stephen & Janice Matthews 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 Sterrett Metheny Kathleen Miller Robert Miller Barbara Mills-Bria, in honor of Dr. Sara A. Mills & Dr. Scott Brown Carolyn Mohoric Claude Morelli Letitia Morris Cary & Evelyn Morrow Ted & Mary Morse Guy Frederick Morton Karen Mosier Carolyn Muggenburg Cynthia & David Nartonis

Jennie Negin & Harold Folley Bruce & Ruth Nelson Dr. Michael & Patsy Nelson Harold & Barbara Newman Betsy Nichols & Steve Holmes Elizabeth Norden Candace & Frank Norris David & Marilyn Novat Richard & Marian Nygren James & Kathryn Oates Marilyn Jean O’Hara Gloria & Greg Olson H. George Oltman Jr. George Onieal Bethe Orrell Dr. Joseph & Barbara Ann Oser Margaret & Doyle Pargin Judyth Parker Howard Paul Larry Pearsall 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 & Cathryn Pokorny Judy & Orville Pratt Charles & Theresa Pribyl, in memory of Joan Allen Shirley Puariea Regina & Daniel Puccetti Noel Pugach, in memory of Marjorie Shapiro Stein Suzanne Rademacher Mary Ellen Ratzer Marit Rawley David & Tracey Raymo Tom & Marla Reichert Kerry Renshaw Kathryn & Chris Rhoads Judith Ribble Jacob & Nancy Rittenhouse Margaret E. Roberts Matthew Robertson Gwenn Robinson, MD & Dwight Burney III, MD Larry & Alice Rodgers Ralph, Stella & Stephen Rogers Bruce Roginson Susan Rogowski Donald Rokop Stuart & Mimi Rose, in honor of Cliff Blaugrund’s 70th birthday Dr. Estelle Rosenblum Jeffrey Ross F. Warren Rowe Harvey & Laurie Ruskin Robert Sabatini John Salathe Evelyn E. & Gerhard L. Salinger Scott & Margaret Sanders Steve A. Schaefer Elaine G. Schepps

David A. Schnitzer Judith Schwartz Baiba Garoza Seefer Claude-Marie Senninger Arthur & Colleen M. Sheinberg Robert & Lelia Shepperson Barbara Shiller Beverly Simmons Marsha & Don Simonson Richard & Eileen Simpson Suzanne & L.J. Slankard Carl & Marilyn Smith Donald Smith & Patricia Fleming Katherine Smith, in memory of Craig Smith Enid Solin Frederick Snoy Vera Snyder Gwyneth & Tracy Sprouls William Stanley Bill Stanton Ronald & Patricia Stauber Donald & B. Joan Stehr Geny Stein Elizabeth C. Stevens Christine Swanson Laurence Tackman David & Jane Tallant Emily Terrell Maxine Thevenot & Edmund Connolly Alice Thieman Patricia & George Thomas Richard & Thereseann Thompson Max Thrasher Betty Tichich & Fred Bunch Julie Tierney John Tischhauser Marian Trainor & David Dixon Hy Tran Karen & John Trever Jorge Tristani Stephen Turner Gabrielle & Alexander Uballez Arthur & Sandra VallSpinosa Anna Y. Vigil & Clarence Gallegos John Vittal & Deborah Ham Hilda Volkin, in memory of Howard C. Volkin Rose Walker Marmion Walsh Marilyn Warrant Maryann Wasiolek Judy & Peter Weinreb Margaret Wente Joseph & Merida Wexler Wendy Weygandt, in memory of Joe Zoeckler Carol Whiddon Leslie White Ellen Whitman Wendy & Roland Wiele Keith & Jane Wilkinson Bronwyn Willis Phyllis Wilson David Winter & Abigail Stewart Kathryn Wissel Marion S. Woodham

Stanley Yager Judith Yandoh Diana Zavitz, in honor of Pat & Ray Harwick Linda R. Zipp Anne & Michael Zwonlinski 8/23/2016

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