New Mexico Philharmonic 2016/17 Season Program Book 2

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2016/17 Season

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Table of Contents PROGRAMS

November 19, 2016 Program December 2, 2016 Program Program Notes December 10, 2016 Program Program Notes December 17, 2016 Program ARTISTS

Vladimir Kern David Felberg Ingela Onstad Jacqueline Zander-Wall Jonathan Davidson Michael Hix Central United Methodist Chancel Choir / Jerrilyn Foster Jason Altieri Manzano Day School Chorus / Penny Voss Bosque School Choirs / Joanna Carlson Hart Rio Rancho High School Concert Choir / Becky Talbott Marcelo Lehninger Douglas Cardwell YOUR NMPHIL COVER Glissando This painting is acrylic and oil pastel on imported paper.

ABOUT THE ARTIST Randall Virgil Biggers Legal assistant at the Donald D. Vigil Law Office, Randall Biggers served in the Foreign Service for 21 years and is also a returned Peace Corps Volunteer (Afghanistan 1974-76). In addition to painting, Randy also does collage and photography. To schedule a private viewing, call (505) 366-3525, or email nmrvb2@gmail.com.

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

Cover Art Meet the Musicians Musical Fiestas Sponsors Orchestra Board of Directors, Advisory Board, Staff Donor Circles Sponsor a Musician Legacy Society Thank You Upcoming Concerts

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Concert Program .

Saturday, November 19, 2016, 6 p.m.

Popejoy Classics: Stars of the Future: Olga Kern International Piano Competition Finals Vladimir Kern conductor Soloists & Repertoire TBD

FINALIST CONCERT & ANNOUNCEMENT OF WINNERS

Presenting—from around the globe—the finalists of the inaugural Olga Kern International Piano Competition! See and hear the stars of the future playing the world’s most challenging and beloved piano works—in concert with your NMPhil.

Conducted by Vladimir Kern. Audience members will have the opportunity to vote for the Audience Award winner from the finalists.

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Popejoy Hall

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Olga Kern International Piano Competition Steinway & Sons

ABOUT THE COMPETITION

The 2016 Olga Kern International Piano Competition is being held in Albuquerque, New Mexico, USA, from November 13–November 20, 2016. The Competition provides the New Mexico Philharmonic’s audiences an opportunity to see developing world-class pianists at the beginning of their professional careers. The final round of this impressive new contest will feature the Competition’s finalists in performance with the New Mexico Philharmonic. In addition to a cash prize, the winner will be awarded concert engagements throughout the US and Europe. olgakerncompetition.org

Pianos provided by Steinway & Sons

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

AUDIENCE AWARD VOTING PROCEDURE

It takes inspired people to make things happen, and we invite you to be one of them. That is why the Olga Kern International Piano Competition is proud to present the Audience Award Special Prize. The Competition is very excited to offer you, the audience, the opportunity to vote for the contestant whose performance moved you, captivated you, or entertained you the most.

At the conclusion of the final round of the Competition on November 19, 2016, audience members may submit their vote for the Audience Award Special Prize. To vote for your favorite participant, visit audiencevote.org, select the candidate you’d like to vote for, and click “Done.” The contestants are listed in the order they appeared in the concert and with their corresponding concerto. Please do not use electronic devices during the competition to vote. Polls will close on Sunday, November 20, 2016, at 11 a.m., so please select your nomination by that time. Thank you for voting! audiencevote.org

PO Box 14314 Albuquerque, NM 87191 505.814.5355 info@olgakerncompetition.org o l g a ke rn comp etition .o rg

The New Mexico Philharmonic

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Concert Program .

Friday, December 2, 2016, 7:30 p.m.

Neighborhood Concert: Handel’s Messiah

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David Felberg conductor Ingela Onstad soprano Jacqueline Zander-Wall mezzo-soprano Jonathan Davidson tenor Michael Hix bass Central United Methodist Chancel Choir / Jerrilyn Foster director

Messiah

Central United Methodist Church

George Frideric Handel (1685–1759)

PART I

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

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

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Central United Methodist Church

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

PART II

PART III

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

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

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Program Notes .

Program Notes Lori Newman

George Frideric Handel

Born February 23, 1685, in Halle, Germany Died April 14, 1759, in London, England

Messiah (1741)

Scored for 2 oboes, 2 bassoons, 2 trumpets, timpani, continuo, strings, SATB soloists, chorus.

Approx. 120 minutes.

The oratorio, one of the great Baroque vocal forms, came from the religious play-withmusic of the Counter-Reformation and took its name from the Italian word for a place of worship. The first oratorios were actually sacred operas, and were produced as such. Then, around the middle of the 17th century, the oratorio gradually did away with theatrical trappings and developed its own personality as a large-scale work for solo voices, chorus, and orchestra, usually—but not always—based on a biblical story. These new productions were usually performed in a church or hall without scenery, costumes, or acting, and what action there was developed with the use of a narrator and a series of recitatives, arias, duets, trios, and choruses, with the role of the chorus being quite prominent. Typical of this form are the oratorios of Handel, probably the finest composer of this popular vocal form. Handel came from the middle class and went on to make his career in England, where the middle class first achieved its strength. As he turned from standard opera to oratorio, he became part of an enormous social change, and in so doing, became one of the founders of a new culture and a creator of our modern mass public. He had very keen instincts and was able to understand the needs of his adopted country, and he produced oratorios that were steeped in the settings of the Old Testament, making them perfectly suited to the tastes of England’s middle class. He achieved this in part by making the chorus— in other words, the people—the center of the drama. Like Bach and other great Baroque masters, Handel’s rhythms were strong and unswerving, and he favored the direct language of diatonic harmony as opposed to Bach’s more ingenious idiom, which at times became highly chromatic. Handel’s melodies unfold in great majestic arches and reveal a depth of feeling that sets him apart from most of his contemporaries. Having grown up in the theatrical world, he was able to make

“My Lord, I should be sorry if I only entertained them. I wished to make them better.”

—George Frideric Handel

use of tone color for a variety of moods and dramatic expression.

Handel first came to England when he was 25 and already celebrated throughout Europe as an outstanding composer of Italian-style opera. His main reason in going to England was to repeat his successes as an opera composer, and he was able to achieve this—for a time. After 25 years of triumphs in this realm, two forces did him in: the inevitable changes in public taste and the rivalries and jealousies that have always been a part of theatrical life. As a result,

Handel’s melodies unfold in great majestic arches and reveal a depth of feeling that sets him apart his final season of opera in London in 1741 was such a disaster that he began to think seriously about returning to Germany. Fate intervened, however, when Charles Jennens, his English literary collaborator, seriously worried about losing this supremely gifted composer, gave Handel the libretto of a new oratorio called simply Messiah. Jennens hoped it would inspire the man to new heights, and specifically designed the work

to be presented during Holy Week, when theaters would be closed, thus assuring a full house for some kind of benefit performance.

Jennens was correct: Handel thought the new libretto was inspired and could be used as part of a new venture that had come his way. He had recently been invited to Dublin to give a series of oratorio concerts and realized immediately that Messiah, performed as a benefit concert for charity, would be the perfect way to conclude the season.

Handel began work on the new score in late August of 1741, and in a phenomenal burst of virtually non-stop energy, finished the entire score, orchestration and all, in the amazing space of just 24 days! He set out for Ireland in early November, and arrived in Dublin on the 18th. The trip across the water proved to be a revitalizing experience, and in spite of the hard work that the new oratorio season would require, it was almost like a holiday, away from the financial, artistic, and personal problems that he had been dealing with in London. In addition, when he came to Dublin he was greeted with the kind of adulation that had greeted his arrival in London some 30 years previously, and once again he was idolized, fussed over, feted wherever he went, and in general, treated like some kind of royalty. The music-loving people of Ireland had in Dublin several musical societies that were unusual in that they were all organized for charitable purposes.

This was largely due to the terrible social conditions in the country, compared to which the poor people of London and the inmates of its prisons and hospitals were relatively well off. The citizens of Dublin, appalled by the miserable conditions in their prisons and hospitals, wanted to do everything they could to alleviate this wretched state of affairs, and so they raised money for humanitarian purposes by sponsoring public concerts.

There was then a new Music Hall in the city that was built on order from the Charitable Music Society and their guiding light, a wealthy and influential music publisher

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Concert Program .

Saturday, December 10, 2016, 6 p.m.

Popejoy Classics: Beethoven: Eroica

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Marcelo Lehninger conductor Ingela Onstad soprano Douglas Cardwell timpani

Popejoy Hall

Bachianas brasileiras No. 5

Ingela Onstad soprano

Heitor Villa-Lobos (1887–1959)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Drs. Cynthia Phillips & Thomas Martin

Symphony with Eight Obbligato Timpani Johann Carl Christian Fischer I. Moderato (1752–1807) II. Adagio III. Allegretto Douglas Cardwell timpani

Pearl/Adams Dresden Classic Timpani provided by the Pearl/Adams Corporation

ADDITIONAL SUPPORT

Provided by: I N T E R M I S S I O N

Symphony No. 3 in E-flat Major, Op. 55, “Eroica” Ludwig van Beethoven I. Allegro con brio (1770–1827) II. Marcia funebre: Adagio assai III. Scherzo: Allegro vivace IV. Finale: Allegro molto

The New Mexico Philharmonic

The Honorable & Mrs. James A. Parker

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

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Program Notes . continued from 8 named William Neale. He was also the secretary of Dublin’s Charities Commission, and he not only had a commanding position in all that was to follow, but in all likelihood had a hand in the invitation that brought Handel to Dublin and resulted in the production of Messiah.

On March 27, 1742, the Dublin Journal printed an announcement for a new benefit concert, stating that it would take place at the Music Hall on April 12, at which time would be performed “… Mr. Handel’s new Grand Oratorio, called Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some concertos on the Organ by Mr. Handel.” As it turned out, the concert did not take place until April 13, but there was a public rehearsal on April 9, about which the Journal had written: “Yesterday Mr. Handel’s new Grand Sacred Oratorio called Messiah was rehearsed … and was performed so well that it gave universal satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard … .” In that article and again on the day of the performance there were requests to the audience that ladies come without hoops in their dresses and that gentlemen come without their swords, so that the greatest number of people could be squeezed into the hall. At the formal premiere this resulted in an audience of 700 pressed into a space designed to hold 600, but nobody seems to have been upset in the slightest.

The premiere was an unqualified triumph, and the press notices outdid themselves in praising the work and its performance, with particular praise being given to the fact that everyone performed gratis, thereby helping to raise over 400 pounds for the advertised charities. Because of its great success, Handel was asked to repeat the work at his last Dublin concert, and so began the career of one of the most popular, beloved, and frequently performed works in the whole history of music.

Messiah was given its first performance in London in March of 1743, but it was not at all the great success it had been in Dublin. It is possible that Handel anticipated certain objections to the work, as he advertised it as “a New Sacred Oratorio” without mentioning its title, but he was certainly unprepared for the hostility it received in some quarters.

There were many who were greatly upset that the Scriptures formed the basis for what was presented as secular entertainment and were very vocal in objecting to its having been 10

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“ Not from me—but from Heaven—comes all.”

—George Frideric Handel

presented in a theatre with several famous singers as soloists. Even librettist Jennens, after hearing the work for the first time, said that he was dissatisfied with what he called “some weak parts” in the score. As a result of this, Messiah was rarely performed in London in the mid-1740s, while at the same time it was being performed regularly in Dublin. In 1749, things made a dramatic turnaround, and once again the prime force was a connection with charity. Handel had always been known as a kind and generous man, and at the time he had become interested in the recently created Foundling Hospital for young orphans and children in dire need.

In May of 1749, he proposed a concert for the Hospital’s benefit, and ultimately was appointed a governor of the establishment.

On May 27, the concert was given in the newly built chapel, and it was a great success.

The Hospital received a considerable sum of money from the concert, and that sum was further increased by a very generous gift from the King. The following year, Handel put together a new season of oratorio, and Messiah played a prominent role. It was given at the Hospital on May 1, 1750, and the chapel was so packed with eager listeners that the work had to be repeated on May 15. These were successes on the scale of the Dublin premiere, and marked the beginning of the oratorio’s great popularity in London and elsewhere.

In the years to come, Handel made it a tradition to include Messiah in his oratorio seasons during Lent, and also performed it every year at the Hospital. (Incidentally, although the Foundation still exists and thrives in London, the chapel in which Handel played, and to which he left a score and parts to Messiah in his will in order that the performances might continue, was declared unsafe and demolished in 1926. It was the last remaining building in London in which he had promoted concerts.) He continued to conduct performances of Messiah right up until his death, and in fact in March of 1759 gave three performances at Covent Garden. The annual Foundling Hospital performance was scheduled for May 3, but before the rehearsals could begin

Handel was taken seriously ill. After a week of steady deterioration he finally succumbed on April 14, 1759—the day after Good Friday. He had asked to be given a private burial in Westminster Abbey, but because he was so famous and beloved a figure, he was accorded a very public ceremony on the occasion of his internment on April 20. Of all the memorial statues in the Abbey, his is one of the most striking and memorable: in his right hand is a sheet of music containing the opening bars of the great aria from Messiah, “I know that my Redeemer liveth.”

After the first London performance, Handel said to a friend, “My Lord, I should be sorry if I only entertained them. I wished to make them better.” He clearly intended the oratorio to mean something special to his audiences because it meant something special to him. At a Messiah performance in 1759 on the occasion of his 74th birthday, Handel responded to the very enthusiastic applause by saying, “Not from me—but from Heaven—comes all.” ●

Heitor Villa-Lobos

Born March 5, 1887, in Rio de Janeiro, Brazil Died November 17, 1959, in Rio de Janeiro, Brazil

Bachianas brasileiras No. 5 (1938) Scored for soprano solo and eight cellos.

Approx. 11 minutes.

Described once as “the single most significant creative figure in 20th century Brazilian art music,” Villa-Lobos is certainly the best known of all Latin American composers. He was amazingly prolific, writing over 2,000 orchestral, chamber, instrumental, and vocal compositions, known for their characteristic nationalism, driving rhythms, and unusual instrumentation. His music was influenced by both Brazilian folk music and elements of the European classical tradition, and he was the most original and influential of Brazilian composers in the 20th century who worked toward the development of a national idiom in serious music. In the words of the British composer and guitarist John Duarte, “Villa-

Program Notes .

Lobos remains one of the most individual and colorful figures in 20th century music, one who took what he wanted from the music he heard floating in the air and bent it to his own strongly personal purposes—one of which was to present a panorama of all aspects of his homeland.”

Villa-Lobos was fortunate to have been born into a musical family who entertained musicians at their home every weekend and listened to a variety of performances, sometimes into the early hours of the morning. In his childhood, Brazil was going through a period of social revolution and modernization, abolishing slavery in 1888 and overthrowing the Brazilian Empire the following year. These changes also affected the country’s musical life, as up to that time European music had been the dominant influence, and courses at the Conservatory of Music were grounded in traditional harmony and theory. Villa-Lobos had very little of this traditional training, acquiring most of his musical teaching from his father who was one of Rio’s finest amateur musicians. When his father died suddenly from malaria in 1899, his family urged him to become a doctor, but he was determined to become a musician, having learned from his father to play cello, guitar, and clarinet.

Within a few years he could play the cello as a full-fledged professional and began playing at parties, street fairs, and cafés, in hotels and in cinema and theatre orchestras in order to earn a living. As he grew up, he embarked on a series of wildly adventurous travels all around Brazil absorbing the many musical influences of the country, with the primary cultural influences being Portuguese, African, and Amerindian. In addition, the sounds of jungle creatures, the feeling of solitude, the raw ferocity of the Amazon River, and the thick, dense forest left deep impressions on him, and it is likely that the nationalism inherent in his music developed during this time. Eventually he put together all of these unique traits and elements to create sounds unlike anything that had ever been heard in classical music.

“Villa-Lobos […] took what he wanted from the music he heard floating in the air and bent it to his own strongly personal purposes—one of which was to present a panorama of all aspects of his homeland.”

—John Duarte

Late in his life he described the astounding quantity of his output as “the fruits of an extensive, generous and warm land.”

As he approached 30, he went through a crisis of identity as to whether European or Brazilian music would dominate his style, but as it turned out, it was to be a unique combination of the two that helped to create his fascinating musical language.

In 1917 Sergei Diaghilev and the famous Ballets Russes made a tremendous impact by touring Brazil, and it was at that time that Villa-Lobos met the French composer Darius Milhaud, who was in Rio as secretary to the French ambassador Paul Claudel. The meeting was mutually productive: Milhaud brought with him music of Debussy, Stravinsky, Satie, and others, and in return, Villa-Lobos introduced him to Brazilian street music, which was to be an influence on Milhaud for the rest of his life. The following year VillaLobos met the great pianist Artur Rubinstein, who became a life-long friend and champion.

It was Rubinstein who suggested that the young composer should go to Europe, specifically Paris, and so in 1923, he set out for the French capitol, aided by a government stipend and the support of wealthy friends.

He remained in Paris for most of the next seven years, where he promoted his works

“I learned music from the birds in the jungles of Brazil, not from academies.”

—Heitor Villa-Lobos

to very receptive audiences. Concerts of his music during this period achieved great success with audiences and critics alike, he became the most acclaimed Latin American composer in Europe, and his music was published by one of the most influential Parisian music houses. Indeed, he became an almost mythic figure, a living symbol of Brazilian nationalism.

Villa-Lobos returned to Brazil in 1930, and embarked on a campaign to improve music education in schools throughout the country.

He received strong backing in this from the new government, and his career was helped greatly by this. The following year he was appointed Superintendent of Musical and Artistic Education in Rio de Janeiro, in which capacity he created a program to include music education in all public schools and created a number of large civic choirs that focused on Brazilian music. Even though he was inexperienced in administrative and governmental matters, he nevertheless achieved amazing results, and in 1932 was put in charge of music education throughout the country. In 1942, he established a conservatory for choral singing, and three years later, in partnership with fellow composer Oscar Lorenzo Fernandez, founded the Brazilian Academy of Music.

Between 1944 and 1949 he traveled widely in the U.S. and Europe, received many honors, was much in demand as a conductor, and wrote music for several films. He also received a great number of commissions (among them one for his 11th Symphony from the Boston Symphony Orchestra), and was able to fulfill most of them in spite of failing health. His musical/folk-operetta Magdalena opened on Broadway in 1948 and continued on 12

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Program Notes . continued from 11 was the most expensive show to have been produced there up to that time. Sadly, it was forced to close after just a few performances due to a musicians’ strike. In 1952, he moved to Paris where his works were once again very successful, and then in 1954 made a tour of Israel.

As a tribute to this famous and fascinating man, the Brazilian Ministry of Education and Culture proclaimed 1957 as “The Villa-Lobos Year.” The following year he was commissioned by MGM to write the music for the Audrey Hepburn vehicle Green Mansions and conducted the original soundtrack recording himself. However, due to numerous problems, only a part of his score was used in the actual film, with the rest of the music having been given to Bronislau Kaper. Released in 1959, this was to be his last major work, and from the score he assembled a new piece entitled Forest of the Amazon for voices and orchestra. In that year, he moved back to Brazil, his health rapidly deteriorating, but he was able to direct the Academy of Music again for a few months, and conducted a spectacular recording of the Amazon poem. He kept active until just a few days before his death in Rio in November, his massive state funeral, attended by the President of Brazil and hundreds of music lovers, becoming the last major civic event in the city before the capitol was transferred to Brasilia. On the day of his death, WQXR, the radio station of The New York Times, broadcast a lengthy memorial program in place of its regular programming.

More than any other composer of the 20th century, Villa-Lobos summed up an entire country in his music. He once said that his first harmony teacher was a map of Brazil and that his life in music was a reflection of the expansive cultural, geographical, and musical diversity of his native land. Among his many famous quotes are “I learned music from the birds in the jungles of Brazil, not from academies”; “my music is natural, like a waterfall”; and “I don’t use folklore, I am the folklore.” He was able to create music of a kind that was unique and special, and in 1927

“My music is natural, like a waterfall.”

—Heitor Villa-Lobos

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a critic in Paris wrote that his music is “… an art which we do not recognize, but to which we must now give a new name.”

Among his most significant compositions are a series of 14 works called Choros (1920– 1929), named for a popular country dance, which were a transformation of Brazilian music and sounds by the personality of the composer; and his nine suites for a variety of ensembles and voices that he labelled as Bachianas brasileiras, which can be roughly translated as Brazilian Bachian pieces. These are his best known works and represent not so much a fusion of Brazilian popular music with the music of J.S. Bach, as they do an attempt to freely adapt a number of Baroque harmonic and contrapuntal devices to Brazilian music. They are characterized by a remarkable range, great power, melodic inventiveness, and tightly controlled structures. Most of the movements in the suites have two titles, one related to Bach

Villa-Lobos regarded Bach as “a mediator among all races.”

(Prelude, Fugue, etc.), the other to Brazilian contexts such as Embolada, Modinha, Ponteio, and so forth, but there are no folk melodies in any of the nine works. The suites evolved piecemeal between 1930 and 1945, and above all bespeak the composer’s great love of Bach, whom he regarded as “a mediator among all races.” By the time he completed No. 5—the most famous and popular of the nine—he was riding a wave of international recognition and admiration. This suite, scored for soprano and a chorus of eight cellos, has but two movements, composed separately in 1938 and 1945. The first movement, called Aria—Cantilena features a sensuous and long-spun melody reminiscent of a Bach slow movement, here written in 5/4 time.

“I don’t use folklore, I am the folklore.”

—Heitor Villa-Lobos

The two outer sections call for the soloist to sing and hum a wordless vocalise, whereas the middle section sets a poem by the Brazilian writer and soprano Ruth Correa, who was the soloist in the suite’s premiere in 1945 conducted by the composer. The poem is an ode to the moon “… gently rising from the horizon … like a sweet maiden preparing herself to be dreamily pretty, with her soul anxious to become beautiful, crying to heaven and earth and all of Nature!’ The second movement is marked Danca (Martelo), the word martelo (hammered) referring to the persistent and characteristically Brazilian dance rhythm throughout the piece. This movement sets lyrics by Manuel Bandeira, in which the poet speaks to several birds, principally one name Irere, who recall him to his home in Cariri. The words say, in part, “Irere, my little nestling from the wilds of Cariri, and my beloved companion, where is my guitar?

Where is my sweetheart Maria? Sing, my lovely song-bird, sing your song again as the birds of morning wake Maria at dawn.

Sing your songs with all of your voices, you forest birds!...Your song came from the depths of the wild forest, like summer winds which comfort every mournful heart. Ah! Irere, sing and enchant me! Sing more to remember Cariri!” ●

Johann Carl Christian Fischer

Born 1752 in Germany Died 1807 in Germany

Symphony with Eight Obbligato Timpani (unknown, c. 1780-1792) Scored for 8 timpani, 2 oboes, 2 trumpets, and strings. Approx. 15 minutes.

Very little is known about this musician apart from his being a composer, theater director, and music copyist at the court of Friedrich Franz I, Duke of Mecklenburg, in the Ludwigslust Palace near the city of

Program Notes .

Schwerin in northern Germany. He was responsible for ceremonial pageantry at the court, and it is probable that this unusual work was written for some royal entertainment in the beautifully decorated main dance hall, the Golden Hall of the palace, some time prior to 1792 when he retired from the Duke’s service. It also seems likely that this was just one of several works performed at the entertainment, probably by the man who was the favorite timpanist at the court. This symphony, which is really a kind of timpani concerto, is believed to be the first known concerto of its kind, and even includes a cadenza written by the composer at the end of the first movement.

For many years this work was attributed to Johann Wilhelm Hertel (1727–1789), but contemporary scholarship has convincingly shown that it was indeed written by Fischer, with the main reason being that the paper on which the parts were copied is from the late 18th century and quite different from the paper that Hertel had used earlier. The work generally uses the timpani as a bass instrument, but occasionally they are used in a melodic way. The first movement is written in a loosely constructed concerto form, with the timpani functioning initially as part of the orchestra, then as a solo instrument with frequent bass-like patterns or doubling the two oboes. The very short second movement, using improvised threeand four-note chords, serves mainly as an introduction to the last movement, which is in rondo form, meaning a main theme is repeated several times, but with contrasting sections in between. There is a hint of gypsy music during the finale, and in keeping with the improvisational style of 18th century military timpani playing, there are embellishments to the solo part throughout the entire work. ●

“If I write a symphony an hour long, it will be found short enough.”

—Ludwig van Beethoven

“[Beethoven] recently played it to me, and I think heaven and earth must tremble beneath one when it is performed.”

—Ferdinand Ries

Ludwig van Beethoven

Born December 15, 1770, in Bonn, Germany Died March 26, 1827, in Vienna, Austria

Symphony No. 3 in E-flat Major, Op. 55 (“Eroica”) (1804) Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings.

Approx. 55 minutes.

During the 1780s and 1790s the symphony became established as the leading type of orchestral music, displacing the concerto, which previously held this position. The rise of the symphony was due in large part to Joseph Haydn who worked in and around Vienna and composed over 100 symphonies.

Mozart also made important contributions to the form, particularly with his last three symphonies, but it was Beethoven who raised the symphony to new heights in the early 1800s with a series of nine great masterpieces that have stood the test of time as the pinnacle of the orchestral repertoire.

From an early age, Beethoven was eager to emulate and even surpass his two great predecessors in the field, but realized early on that writing a symphony was a major undertaking, and waited until he was almost 30 before he produced his first.

For the record, his very first attempt at a symphony consists of a sketch in C minor composed around 1787 when he was in his mid-teens. In 1802, after completing his first two symphonies, he wrote to his teacher: “I am not satisfied with my works up to the present. From today I intend to take a new road.” That new road led to the creation of this monumental symphony, called by one critic “his first obviously revolutionary music.” As it was, the leap that he took in writing this work proved to be the largest he was ever to have taken. The Third Symphony was begun in 1802, and the famous Heiligenstadt Testament, in which Beethoven revealed his deepest feelings

about his advancing deafness and increasing isolation, also dates from that year. The symphony was completed in 1804, and in that year he suffered a serious illness (about which we know almost nothing) followed by a slow convalescence, which occurred as Europe was going through political turmoil as Napoleon charged across the landscape. In the fall of 1803, Beethoven’s friend and pupil Ferdinand Ries wrote a letter to a prominent German publisher, saying that Beethoven had been speaking of a “big new symphony” he was writing that would be the largest work he had yet composed. In Ries’s own words, “He recently played it to me, and I think heaven and earth must tremble beneath one when it is performed.” It is clear that Ries sensed more strongly than ever the new and uncompromising nature of Beethoven’s musical language.

Beethoven’s first two symphonies reflected the mature works of Haydn and Mozart, but the “Eroica” was a powerfully original work which announced a new age in symphonic style. It certainly adhered to the Classical principles of tonality and usage of themes, but extended their limits to such an extent that it became the most innovative of all his symphonies up to the Ninth. He added just one instrument to the orchestra of the day in the form of a third horn, but his new handling of the forces revealed an unprecedented depth of orchestral color.

This symphony is thus the main result of the major change and expansion of his style that came out of the great personal and artistic crisis of 1802 when he learned he was going incurably deaf. It deals with universal aspects of heroism, specifically a confrontation with adversity leading to a renewal of the spirit. Looking at Beethoven’s style up to the “Eroica,” there is absolutely nothing to prepare one for the astonishing originality and heightened technical certainty that are found in this symphony, and the “symphonic ideal” that he perfected in creating this landmark composition. This ideal was continued on 14

The New Mexico Philharmonic

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Program Notes . continued from 13 continued in the Fifth, Sixth, Seventh, and Ninth Symphonies, and the development of the musical means to implement this was probably Beethoven’s greatest single achievement. However “Classical” the framework is of these symphonies, what he produced in the early 19th century was definitely a Romantic phenomenon. At the time the Third was the longest symphony ever written, and many critics and listeners commented negatively on this situation, to which Beethoven replied, “If I write a symphony an hour long, it will be found short enough.” The “Eroica” represents a turning point not only in Beethoven’s output, but in the history of music, a stature shared by only a handful of other works, among them Wagner’s Tristan and Isolde, Debussy’s Prelude to the Afternoon of a Faun, and Stravinsky’s The Rite of Spring. The symphony’s unprecedented length, technical challenges, and uncompromising aesthetic viewpoint forced Beethoven’s contemporaries to rethink what a symphony was all about.

The earliest ideas for this landmark work are to be found in his only major ballet The Creatures of Prometheus written in 1801. In the work, two statues are brought to life

by Prometheus and then introduced to the arts on Parnassus by various characters from classical mythology: in short, guiding unenlightened man to a fully human state marked by reason, emotions, and high ideals. So the subject of this light allegorical entertainment is the civilizing power of art, one of Beethoven’s most cherished ideals.

The ballet was a tremendous success, with the finale proving to be particularly popular.

Toward the end of 1801, Beethoven used two of the finale’s themes in a set of country dances, and the following year used the main theme as the basis for a splendid set of Piano Variations, his Op. 35. Immediately after sketching the Variations, he wrote a synopsis for the first three movements of a symphony in Eb, the absence of any mention of the finale strongly suggesting that he had already decided to use the Prometheus theme as the basis for the new symphony’s final movement. From the start, Beethoven was thinking of dedicating the work to Napoleon Bonaparte when he was still First Consul, whom he regarded then as a champion of freedom, a latter-day hero, a guarantor of new ideals for humanity—perhaps even a modern-day Prometheus, a hope for the social enlightenment of mankind. Once again, Ferdinand Ries provides great insight:

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2016/17 Season

“I am not satisfied with my works up to the present.

From today I intend to take a new road.”

—Ludwig van Beethoven

I and several of his close friends saw this new symphony, in fair copy, lying on his desk. At the top of the title page stood the name Buonaparte [the Italian form of the name], and at the bottom, Luigi van Beethoven. [Later on] I was the first to bring him the news that Bonaparte had crowned himself emperor, at which he fell into a rage and shouted, ‘Is he, too, nothing more than an ordinary man? Now he, too, will tread all human rights under foot and serve only his ambition: now he will put himself higher than anyone else and become a tyrant!’

He then went to the desk, seized the top of the title page, tore it in half and threw it on the floor. The first page was written again, and the symphony now received the name Sinfonia Eroica for the first time.

The new work was premiered in a private performance at Prince Lobkowitz’s palace in Vienna in the fall of 1804 and repeated early the following year. At that time, one of the Prince’s guests was so fascinated by the new symphony that it was played through no less than three times that evening! The first public performance was given in April of 1805 with Beethoven conducting, and many found it bewildering and incomprehensible.

Critical opinion was divided, on the one hand engendering praise for being “striking and beautiful,” and “a daring and wild fantasia,” and on the other, calling the music “lost in utter confusion,” and suggesting that the symphony would benefit greatly from being considerably shortened. Nevertheless, toward the end of his life, when Beethoven was asked which of his symphonies he liked the best, he unhesitatingly replied “the Eroica.” It should also be mentioned that this familiar nickname really applies only to the first two movements, marginally to the third, but not at all to the finale, with its Prometheus-based origins. When the Third Symphony was published in 1820, it had a dedication to Prince Lobkowitz, who was one of Beethoven’s most substantial and

loyal patrons. On the title page, under the designation of the work, Beethoven added “Composed to celebrate the memory of a great man.” He also seems to have anticipated the strain that this lengthy work could have on listeners, for in that first edition he stated, “This Symphony, being purposely written at greater length than usual, should be played nearer the beginning than the end of a concert, lest, if it be heard too late, when the audience is fatigued by the previous pieces, it should lose its proper and intended effect.” ● Program Notes ® Charles Greenwell

Concert Program .

Saturday, December 17, 2016, 8 p.m.

Popejoy Pops: Holiday Pops!

DEC

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Jason Altieri conductor Manzano Day School Chorus / Penny Voss director Bosque School Choirs / Joanna Carlson Hart director Rio Rancho High School Concert Choir / Becky Talbott director

Popejoy Hall

We Need a Little Christmas

J. Herman

There’s Christmas in the Air

C. Strommen

Let It Snow! Let It Snow! Let It Snow!

M. Hayes

The Colors of Christmas

J. Rutter

Carol of the Bells

arr. R. Haymen

Brazilian Sleigh Bells

P. Faith

Hannukah Fantasy

J. Biegel

A Christmas Carol Fantasy

arr. P. Campbell

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

ADDITIONAL SUPPORT

Provided by:

John Moore & Associates, Inc. Paula & William Bradley

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

Skaters Overture

J. Tyzik

Christmas at the Movies

arr. B. Krogstad

Grinch Song

arr. Funderburk

Whence is that Goodly Fragrance Flowing

arr. M. Wilberg

“Trepak” from The Nutcracker

P.I. Tchaikovsky

“Polonaise” from Christmas Eve Santa Tap A Christmas Carol Sing Along

The New Mexico Philharmonic

N. Rimsky-Korsakov T. Kaye G. Munford

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Meet the Musicians .

MEET THE MUSICIANS

Donna Bacon violin Donna Bacon is a junior at the University of New Mexico majoring in violin performance.

She is a section member of the New Mexico Philharmonic violin section. She has attended Round Top Festival Institute, New Mexico Chamber Music Festival, Boston University Tanglewood Institute, and Green Mountain Chamber Music Festival. She was a finalist in the Jackie McGehee Young Artists’ Competition in 2012 and the University of New Mexico Summer Institute Bach Competition in 2015 and placed second in 2016. Donna won the University of New Mexico Symphony Orchestra Concerto Competition in 2015 and the Albuquerque Youth Symphony 2013/2014 Concerto Competition. She has performed in master classes for the St. Lawrence String Quartet, the Szymanowski String Quartet, the La Katrina Quartet, Frank Almond, Sergiu Schwartz, Felix Olschofka, and Rachel Barton Pine. Other influential teachers include Nancy Wu, Lina Bahn, and LP How. Donna is a regular substitute for the Santa Fe Symphony. She currently studies with Cármelo de los Santos. ●

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2016/17 Season

Allison Tutton horn Allison Tutton holds the position of fourth horn in the New Mexico Philharmonic and the Quad City Symphony Orchestra.

She was previously a member of the Civic Orchestra of Chicago and has also performed with the symphonies of Chicago, Santa Fe, and Tucson. Her summer engagements have included fellowships with the Youth Orchestra of the Americas and Texas Music Festival, and she holds degrees from the Boston Conservatory and the Chicago College of Performing Arts. She has studied with Eli Epstein, Dale Clevenger, Daniel Gingrich, and David Griffin.

Allison, a Pacific Northwest native, can be found hiking and cooking in her spare time. ●

Artists .

Vladimir Kern conductor Vladimir Kern is a bright conductor with brilliant technique and artistic charisma.

The symphony orchestra and opera conductor is also a pianist, trumpet player, teacher, and composer.

Kern was born into a family of musicians in Moscow, Russia, and at the age of six, he had already given his first public concert with an orchestra. Vladimir is the winner of the international charitable program “New Names,” and for the first time in the history of the Bolshoi Theatre, he became a trumpet soloist with the Bolshoi Orchestra at the age of thirteen. He studied at the Gnessin School of Music in Moscow, and then at the Moscow Conservatory. Kern has two Master’s degree diplomas—one in trumpet and one in conducting. He studied and finished a postgraduate program with legendary Russian conductor Gennady Rozhdestvensky.

The conductor’s debut took place in 1999 at the Moscow Conservatory with the ensemble “Excelente.” In his conservatory student years, he was a guest conductor of the Ryazan Philharmonic Orchestra (Russia), the Cape Town Philharmonic Orchestra (South Africa), and performed with many different orchestras all over the world as principal trumpet, including The State Chamber Orchestra of Russia.

He performed with such orchestras as the Russian National Orchestra, The Bolshoi Theatre, and the Moscow Conservatory Symphony. He performed with great success in Finland, Denmark, Sweden, Norway, Iceland, Brazil, USA, and in many cities in the Russian Federation. He has performed with such soloists as Vladimir Krainev, Arthur Moreira Lima, Olga Kern, Robertino Loreti, among many others.

The New Mexico Philharmonic

In 2005, in cooperation with the winner of the First International Rachmaninoff Competition (Moscow, Russia) and the first prize and gold medal winner of the 11th Van Cliburn International piano competition (Fort Worth, TX, USA), Olga Kern, he conducted all four Rachmaninoff Piano Concerti and the Rhapsody on a Theme of Paganini in Cape Town, Durban, and Johannesburg, South Africa.

In 2006, he was invited to be the head of the famous theatre, directed by Roman Viktyuk, where he performed productions of Fevei by Russian Baroque composer Vasily Pashkevich, Who is a brother, who is a sister by Alexey Verstovsky, Il tabarro and Suor Angelica

by Puccini, The Spanish Hour by Ravel, and The Human Voice by Poulenc. Vladimir has also written music to a play for a theatre production entitled Vasily Kariotsky.

He has participated in many prestigious festivals including “The Moscow Autumn” in Moscow, Russia. In 2006, he made his United States debut conducting at Yamaha Hall on New York’s 5th Avenue.

Vladimir also collaborated with the legendary Russian rock group “Revival” in 2006 and gave concerts with them in Moscow stadium “Luzhniki” and in St. Petersburg stadium “October.”

In 2007, he conducted the world premiere of Revolution Square by American composer Nathan Scalzone in Durban, South Africa, a concert for two pianos and orchestra by David Earl in Cape Town, South Africa, and recently performed the world premiere of Russian composer Boris Frankshtein’s Memoirs of the Fifth Point for soprano, baritone and symphony orchestra.

In 2010, Vladimir won the Grand Prix at the international competition “New Generation” in Russia.

Currently, he is a professor at the Music Academy under the name of Maimonides in Moscow, Russia, where he teaches conducting, trumpet, and orchestra classes.

He is head of the department of orchestra, opera, and symphony conducting. He also has given many master classes all over Russia, including the Music Institute under the name of Ippolitov-Ivanov in Moscow.

Vladimir has performed many times with his orchestra in many prestigious concerts halls, including Svetlanovsky Music Hall in Moscow. As an opera conductor, he performed such operas as Eugene Onegin and Iolanta by Tchaikovsky, Cavalleria rusticana by Mascagni, and The Dawns Here

are Quiet by contemporary Soviet composer Kirill Molchanov.

He supports and is a very active advocate of modern Russian and international music and performs it often in many different stages all over the world.

He is involved with the Vladimir Spivakov Charitable Foundation and also, since 2012, in collaboration with Olga Kern, he founded the non-profit foundation “Aspiration,” which helps and supports young, talented musicians all over the world.

Vladimir lives in Moscow with his two children and family. ●

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Artists .

David Felberg conductor Praised by The Santa Fe New Mexican for his “fluid phrases; rich, focused tone; rhythmic precision; and spot-on intonation.”

Albuquerque native, violinist and conductor David Felberg is Associate Concertmaster of the New Mexico Philharmonic. He also serves as Artistic Director and co-founder of Chatter Sunday, Chatter 20–21, and Chatter Cabaret. He is Concertmaster of the Santa Fe Symphony and Music Director of the Albuquerque Philharmonic. He also teaches contemporary music at the University of New Mexico. His robust conducting career has included conducting the New Mexico Symphony Orchestra, New Mexico Philharmonic, Santa Fe Symphony, and many performances of contemporary music with Chatter. David performs throughout the Southwest as concert soloist, recitalist, and chamber musician. He made his New York debut in Merkin Hall in 2005. He received a Bachelor of Arts in history from the University of Arizona and a Master of Music in conducting from the University of New Mexico. He has taken advanced string quartet studies at the University of Colorado with the Takács Quartet and was awarded a fellowship to attend the American Academy of Conducting at the Aspen Music Festival.

David plays an 1829 J.B. Vuillaume violin. ●

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2016/17 Season

Ingela Onstad soprano Soprano Ingela Onstad, a native of Santa Fe, has enjoyed a varied international career in opera, concert work, and contemporary music. Operatic highlights include performances at Dresden’s Staatsoperette, Oldenburgisches Staatstheater, Landestheater Schleswig-Holstein, UNM Opera Theatre, and Santa Fe Opera, in roles including, Musetta in La bohéme, Pamina and Papagena in Die Zauberflöte, Nannetta in Falstaff, Mabel in Pirates of Penzance, and the title role in Suor Angelica. She also sang the roles of Merab and Michal in the staged production of Handel’s oratorio Saul in Oldenburg, Germany.

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

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

Onstad completed her undergraduate degree at McGill University, where she studied with Professor William Neill. She earned a Master of Music degree at the University of New Mexico, where she studied with Professor Leslie Umphrey. She maintains private voice studios in Albuquerque and Santa Fe. ●

Jacqueline Zander-Wall mezzo-soprano Jacqueline Zander-Wall has over fifty recital credits which include the Stuttgart Hugo Wolf Gesellschaft, the Hamburg Mahler Verein, the Villa-Lobos Ensemble, the Goethe Institute in Moscow and Boston, and the Isabella Stewart Gardner Museum.

She has performed Chamber Music with the New York Skaneateles Music Festival, the Aspen Music Festival, and the Warebrook Contemporary Music Festival in Vermont and throughout Germany. A proponent of new music, Ms. Zander-Wall has sung with L’art pour l’art in Frankfurt, Chaosmas in Moscow, and Boston and Hamburg’s improvisatory Scala Theater.

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

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

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

Artists .

Jonathan Davidson tenor Jonathan Davidson, tenor, is the current Director of Choral Activities and Performing Arts at Mountain View Middle School in Rio Rancho, New Mexico. Jonathan has performed the roles of Alfred in Die Fledermaus, Papa Bear in The Trial of Goldilocks, as well as been soloist with Quintessence, Polyphony: Voices of New Mexico, and the New Mexico Philharmonic.

Jonathan has performed as tenor soloist for works such as Haydn’s Seven Last Words of Christ, Mendelssohn’s Elijah, Schubert’s Requiem, Schubert’s Mass in E-flat, as well as Mozart’s Requiem. Jonathan holds a Bachelor of Music in Vocal Performance and Music Education from Eastern Oregon University and a Master’s degree in both vocal performance and choral conducting from the University of New Mexico. Jonathan studied with Mr. Bradley Ellingboe, Professor Leslie Umphrey, and Dr. Peter Wordelman. ●

The New Mexico Philharmonic

Michael Hix bass Baritone Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” Dr. Hix’s career highlights include performances at Tanglewood Music Center, a solo appearance with the Boston Pops in “Bernstein on Broadway,” and his Carnegie Hall debut as the baritone soloist in Rutter’s Mass of the Children. Recent European appearances include solo performances at the International Haydn Festival in Vienna, Austria, and song recitals in Dresden and Leipzig, Germany. A frequently sought-after concert soloist, his repertoire includes over 45 oratorios, cantatas, and major concert works.

Highlights of his 2015/16 season include bass aria soloist in Bach’s St. John Passion at the Arizona Bach Festival, a concert of Christoph Graupner cantatas with the Sebastians at New York City’s Trinity Lutheran, bass soloist in Mozart’s “Coronation” Mass, Handel’s Messiah, Bach’s Cantata 80 Ein feste Burg ist unser Gott, and Haydn’s Missa in tempore belli, “Paukenmesse” with the New Mexico Philharmonic, and a concert of 18th century Latin American Colonial music with the Chicago Arts Orchestra. He will also appear with the Santa Fe Desert Chorale for their Winter Season and at the Dallas Choral Festival.

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

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

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

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

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Artists .

Jason Altieri conductor Dr. Jason Altieri is the current Music Director of the Atlanta Pops Orchestra and Associate Conductor for the Reno Philharmonic. Dr. Altieri is also a strong advocate for young musicians through his position as Director of Orchestras at the University of Nevada and with guest conducting engagements with youth orchestras all over the United States.

In addition, Jason enjoys regular conducting engagements with the Hollywood Concert Orchestra, an ensemble which he has led on several tours throughout the United States, China, and Japan since 2006. His extensive touring has seen him conducting in most of the major performance venues in the United States and Asia including The People’s Hall in Beijing, China, and Suntory Hall in Tokyo, Japan. In addition to his extensive touring and as a result of his tireless work with young musicians, Dr. Altieri was invited as a guest conductor for the Los Angeles Orchestra Festival held in Walt Disney Hall in 2011.

He also served as the orchestra director for the International Double Reed Society Conference in 2012.

A native of Georgia, Jason Altieri grew up in a musical family with both parents being members of the Atlanta Symphony Orchestra. High school was completed at the Dekalb Center for the Performing Arts and his education continued at the University of Georgia, where he received a Bachelor’s degree in Music Education. While pursuing advanced degrees in conducting from Michigan State University, Jason not only served as Assistant Conductor for the Orchestra Program but was also the conductor of the Opera Theatre Program and was fortunate to have additional studies with Neeme Jarvi of the Detroit Symphony Orchestra and Gustav Meier of the Peabody Conservatory. Dr. Altieri currently resides in Reno, Nevada. ● 20

2016/17 Season

Manzano Day School Chorus The Manzano Day School Chorus is a nonauditioned group comprised of the entire fourth and fifth grades of the school. Chorus rehearsals are built into the six-day rotation as part of the music curriculum. In addition to chorus, students also have general music classes focused on singing, playing, moving, creating, and reading music. Music has long been valued as an integral part of education at this historic school, which is now in its seventy-seventh year. The chorus performs one concert mid-year and a full musical play each spring. They were the New Mexico Music Education Association’s Honor Choir in 2001.

The chorus was privileged to sing for many Holiday Pops concerts with the New Mexico Symphony Orchestra. As service projects, they have sung for hospitals, senior centers, and Noonday Ministries. Accompanist Amy Woolley teaches music classes for preschool through second grade students at Manzano Day School. She holds a Bachelor of Music degree from Baylor University, Kindermusic certification, and has studied Orff-Schulwerk at UNLV, the University of St. Thomas, and the Orff Institute.

Manzano Day School is an independent pre-kindergarten through fifth grade elementary school near Old Town in Albuquerque. Manzano moved to its present location in 1942, having previously held classes in the historic Huning Castle. Our La Glorieta, an adobe hacienda, was originally the home of an early Spanish settler Don Diego Trujillo. Generations of families have cherished the history and warm atmosphere of Manzano Day School. Students learn core curriculum in innovative ways in small classes. In addition, all students receive instruction in music, art, physical education, Spanish, and technology.

Penny Voss director Penny Voss is an active music educator with diverse experience and a strong track record of teaching music literacy to children of all ages. Voss recently accepted the position of Upper School Music Teacher at Manzano Day School. Prior to this current appointment, Voss served as the Director of Choral Activities at Moriarty High School in Moriarty, New Mexico. Under her direction, the choirs received superior ratings and were known for their strong music literacy skills.

Sought after as an adjudicator and clinician for a variety of choral music events across the state of New Mexico, Voss serves as an active advocate for the importance of quality music education for all children. Voss holds degrees from Walla Walla College and the University of New Mexico. In addition, Voss is a Certified Kodaly Specialist and works closely with the New Mexico Kodaly Institute as a teaching assistant. Inspiring young people to become lifelong singers is a passion that Voss hopes to instill in her students of all ages. ●

Artists .

MUSICAL FIESTAS Bosque School Choirs Cantate is one of five vocal ensembles at Bosque School in Albuquerque, New Mexico, and is an auditioned choir comprised of students in grades 9-12. Cantate performs works of all genres and has commissioned two contemporary a cappella works in the past six years. In addition to regular performances for morning meeting, Cantate is routinely asked to perform for prestigious campus events, numerous community events, and has traveled and performed in Los Angeles, CA; Savannah, GA; Houston and Dallas, TX; and on the world famous Carnegie Hall stage in New York City and on stage at Disneyland as part of the Disneyland Performing Artists Series. Most recently, the choir auditioned and was selected to sing with Z. Randall Stroope with the Rome Choral Festival at the Basilica di Santa Maria Sopra Minerva in Rome, Italy, and at St. Peter’s Basilica at the Vatican. During the 2011–2012 school year, Cantate was asked to perform with Quintessence and in 2012/13 participated in a master class with VOCES8 at Bosque School. Along with regular choir concerts, members of the choir are showcased in a very popular Spaghetti and Serenades evening of solos and ensembles. Treble Ensemble is one of the five vocal ensembles at Bosque School and showcases unchanged voices in a non-competitive class that focuses on vocal technique and projection. Treble Ensemble is comprised of students in grades 9–12 and performs for many functions at Bosque School including morning meeting and other fun opportunities such as Otter Day!

Joanna Carlson Hart director Joanna Carlson Hart is a graduate of the Master’s Program in Vocal Performance at the University of New Mexico and received her Bachelor’s degree from Concordia College in Moorhead, Minnesota, where she studied under the renowned conductor and composer René Clausen. Ms. Hart has sung roles with the Santa Fe Opera, Opera Southwest, UNM Opera Theatre, and the International Opera Academy in Rome, and as a soloist with the Albuquerque Philharmonic, Concordia Choir, St. Joseph Symphony, UNM Orchestra, and the Concordia College Orchestra. In the fall of 2011, Ms. Hart performed the soprano solo under the direction of Dr. Clausen at Avery Fischer Hall at Lincoln Center in New York City for his piece Memorial. She is in her eleventh year as director of choirs at Bosque School, an independent College Preparatory School, and has found another love in teaching. Under her direction, the choirs have grown from six students to seventy-five in the upper school, and doubled in size in the middle school. Ms. Hart conducts five different choirs ranging from sixth through twelfth grade. Ms. Hart is often invited to adjudicate solo and ensemble and choral festivals throughout New Mexico and around the country. ●

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, January 29, 2017, 4:00 p.m.

Dr. Ron Bronitsky will host NMPhil stars Sarah Tasker and Shanti Randall at his new artsand-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

The New Mexico Philharmonic

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Artists .

Rio Rancho High School Concert Choir When the Rio Rancho High School Concert Choir takes the stage, it is much more than a concert, it is an event. Presenting music from different time periods and genres, while maintaining appropriate performance practices and enthusiasm for the repertoire, is their specialty. Since the inception of Rio Rancho High School in 1997, the choir has grown and developed under the baton of several fine directors into a program that is recognized for its quality and dynamic performances. Members of the Concert Choir regularly receive Superior with Honors ratings at Solo and Ensemble Festival and are consistently well represented in the New Mexico All-State Choirs. The choir has received Superior ratings at the annual NMMEA Central District VI Music Performance Assessments, including three perfect scores in March of 2014. The choir is currently under the direction of Mrs. Becky Talbott.

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2016/17 Season

Becky Talbott director Becky began her music studies with piano at an early age. She studied choral conducting with John Clark and piano with Rita Angel at the University of New Mexico, receiving a Bachelor’s degree in Music Education with Distinction in December 1984. She then received her Master’s degree in Music Education in May 2002. She has taught all levels and grades and had an extensive private studio for many years as well.

Becky is currently in her sixth year as Director of Choral Activities at Rio Rancho High School in Rio Rancho, New Mexico, which currently boasts over one hundred thirty students participating in five choirs (Mixed Choir, Women’s Choir, Advanced Women’s Ensemble, Concert Choir, and the Ramifications). Becky is also the Vocal Director for the school’s musicals and adjudicates festivals throughout New Mexico.

The Rio Rancho Concert Choir is the NMMEA All-State Honor Choir for 2015. ●

Marcelo Lehninger conductor Brazilian-born conductor Marcelo Lehninger is in his fourth season as Music Director of the New West Symphony Orchestra in Los Angeles. In 2014, he received the Helen Thompson Award for his outstanding work with the orchestra at the League of American Orchestras Annual Conference in Seattle.

Mr. Lehninger was appointed Assistant Conductor of the Boston Symphony Orchestra by James Levine. After three successful seasons, he renewed his contract for two more seasons as the Orchestra’s new Associate Conductor.

Mr. Lehninger made his BSO debut in 2010 with the violinist Pinchas Zukerman as soloist, and in 2011, he stepped in for Maestro James Levine on very short notice to conduct the world premiere of Harrison Birtwistle’s Violin Concerto and Bartok’s 2nd Violin Concerto with Christian Testzlaff.

In 2012, Mr. Lehninger filled in for Andris Nelsons, conducting a program that included the American premiere of Mark-Anthony Turnage’s Trumpet Concerto, “From the Wreckage” with Håkan Hardenberger as well as Strauss’s Also sprach Zarathustra. He also successfully conducted a program, without any rehearsals, that included Stravinsky’s Piano and Winds Concerto with Peter Serkin and Shostakovich’s Fifth Symphony.

On the occasion of his highly praised debut at Carnegie Hall with the BSO in 2011, critic Anthony Tommasini wrote in The New York Times: “He was terrific, conducting all three works with impressive technique, musical insight and youthful energy.” Maestro Lehninger’s other BSO appearances include his Tanglewood debut in the summer of 2012 with pianist Nelson Freire, a subscription week in the 2012/13

Artists . season with violinist Joshua Bell, the 2013/14 Season Opening Gala with violinist Augustin Hadelich, a 2014 Tanglewood concert with pianist Jean-Yves Thibaudet, and the 2014/15 Season Opening concerts.

In February 2014, Mr. Lehninger successfully replaced Maestro Pierre Boulez, conducting the Chicago Symphony in a program that included Stravinsky’s Symphony in Three Movements and Suite No. 2, as well as Ravel’s Une barque sur l’ocean and Alborada del gracioso.

As a guest conductor in the United States, he has led the Baltimore, Boston, Chautauqua, Chicago, Fairfax, Grand Rapids, Indianapolis, Hartford, Houston, Jacksonville, Louisville, Milwaukee, National (Washington, DC), New Jersey, Omaha, and Seattle Symphony Orchestras, as well as the Florida Orchestra and the Rochester Philharmonic. In Canada, Mr. Lehninger conducted the Toronto Symphony, Hamilton Philharmonic, and Calgary Philharmonic.

Future guest conducting engagements include concerts with the Florida Orchestra, New Mexico Philharmonic and the Detroit, Fort Worth, Grand Rapids, KitchenerWaterloo, Knoxville, North Carolina, Pittsburgh, and Winnipeg Symphonies.

A dual citizen of Brazil and Germany, Marcelo Goulart Lehninger was born in Rio de Janeiro in 1979 into a family of musicians.

Before dedicating his career to conducting, Mr. Lehninger studied violin and piano. He holds a Master’s degree from the Conductors Institute at New York’s Bard College, where he studied conducting and composition under Harold Farberman. ●

The New Mexico Philharmonic

percussion instructor in Michigan at North Farmington High School, and in Texas at Lee College, Cypress-Fairbanks, and Spring Branch Independent School Districts.

As founder of the After Five jazz quartet and member of the Latin group La Cofradia, Cardwell performs at local venues in addition to teaching privately at his percussion studio in Albuquerque.

Visit dcpercussion.com to view new timpani mallets; The DC Series. ●

Douglas Cardwell timpani Douglas Cardwell currently holds the position of Principal Timpanist with the New Mexico Symphony Philharmonic. He has served on the New Mexico Symphony Orchestra Artistic Advisory Committee and as President of the Orchestra Committee.

During his tenure, Linda and Carl Alongi endowed his Principal Timpani chair. In 2004, Mr. Cardwell was appointed Principal Timpanist of the National Sphinx Orchestra (sphinxmusic.org). He is a versatile musician.

In addition to playing symphonic and African percussion, Cardwell is adept at other musical genres as well.

From 1994 to 1996, he was the Fellowship recipient with the Detroit Symphony Orchestra, and continued to perform with the DSO throughout the 1998/99 season, including recording and touring Eastern and Western Europe. Cardwell received a Bachelor of Music Education degree from James Madison University. He performed with the Houston Symphony Orchestra (1992–94) on an Orchestral Internship earning him a full tuition scholarship to Rice University, where he received a Master of Music Performance degree from the Shepherd School of Music.

Other credits include the Houston Grand Opera, the Spoleto Festival Orchestra in Italy, and an international tour with the AmericanRussian Orchestra.

While living in the Detroit area he was a member of “Embaire” which performs West African and Western percussion ensemble music. Their work focused on the drumming of Ghana and Uganda, as well as compositions for the Ugandan xylophone, from which the ensemble takes its name.

Cardwell has presented master classes at the University of New Mexico and James Madison University and has served as nmphil.org

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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.

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 Donna Bacon 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 Lisa Donald 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 +

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 Emily Cornelius Kory Hoggan David W. Peterson Marc Powell Nancy Pressley-Naimark Barbara Rivers Jeffrey Romero Steve Schroeder David Tall Anthony Trujillo Michael Wallace 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

ENGLISH HORN Melissa Peña •••

TIMPANI Douglas Cardwell •

Chris Rancier Executive Assistant & Media Relations

CLARINET Andrew Cho • ++ James Shields • + Lori Lovato •• Timothy Skinner

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

E-FLAT CLARINET Lori Lovato

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

nmphil.org

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Donor Circles .

Donor Circles

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

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

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 United Way of Central New Mexico 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, Hugh & Helen Woodward Fund 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 The Estate of H.L. Floyd 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 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 Martha Hoyt

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 Jackie & C. Everett McGehee Bob & Susan McGuire Microsoft Ina S. Miller Mark Moll Moss-Adams LLP Diane M. Mueller Judy & Michael Muldawer 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 Christopher Apblett 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 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 Terrence & Kristina Linton Tyler M. Mason 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 Donald Rigali 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 Helen Benoist

Donor Circles .

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 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 Mina Jane Grothey 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 & Bob Tillotson 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 Jon McCorkell & Diane Cress 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

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 & Karen 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 & Susan 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 Dana Davis Joan Davis Margaret DeLong

continued on 28 The New Mexico Philharmonic

nmphil.org

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Donor Circles . continued from 27 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 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 Virginia Grossetete, in memory of Joan Allen Ellen Guest Carl & Nancy Guist

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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 Diane & Joe Holdridge Barbara Holt Thomas & Toyoko Hooker Tom & Vinita 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 Sushilla Knottenbelt Herb & Shelley Koffler, in memory of Joan Allen

2016/17 Season

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 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 10/31/2016

SUPPORT YOUR NMPHIL TODAY Donate. Volunteer.

Advertise.

Planned Giving.

(505) 323-4343 nmphil.org/support

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Thank You .

NEW MEXICO SYMPHONIC

C H O RUS

RO GER MELONE, MUSIC DIRECTOR

Singing the Music You Love.

Our 2016/17 Season is here!

Join us for a sensational series of concerts beginning Sunday, October 16! Including Handel’s Messiah at Popejoy Hall on Friday, December 16 with the NMPhil!

Season packages from $86.

Tickets and info: NMSChorus.org

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 10/31/2016

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Thank You for Your Generous Support

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

CITY & COUNTY APPRECIATION Mayor Richard J. Berry & the City of Albuquerque Trudy Jones & the Albuquerque City Council Maggie Hart Stebbins & the Bernalillo County Board of Commissioners Dana Feldman & 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 10/31/2016

Jerrilyn Foster Chris Kershner Jim Key Rose Maniaci Jackie McGehee Brent Stevens

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Sponsor a Musician

We invite you to engage more deeply with the orchestra and its musicians.

George & Sibilla Boerigter Concertmaster Sponsor

“I am very excited to sponsor Krzysztof our Concertmaster. It will give my wife and me the opportunity to form a lifetime friendship that is surrounded by music.”

—George Boerigter

Sponsor Today

(505) 323-4343

The New Mexico Philharmonic

nmphil.org

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WINTER WINDS & BRASS

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THE MUSIC OF U2

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UPCOMING CONCERTS

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SCI-FI SPECTACULAR!

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Wizard of Oz B A L L E T

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OLGA FANTASTIQUE! The New Mexico Philharmonic

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KOH PLAYS BRAHMS nmphil.org

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With a sound system so clear, you’d think the New Mexico Philharmonic was in your car.

Proud sponsor of the New Mexico Philharmonic 4821 Pan American Fwy., Albuquerque, NM 87109 | 505.341.1600 | lexusofalbuquerque.com