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2016/17 Season







Wizard of Oz B A L L E T



BACH, JUST BACH! 2016/17 Season 2

2016/17 Season

NMPhil .

Table of Contents PROGRAMS

February 18, 2017 Program March 12, 2017 Program March 25, 2017 Program April 1, 2017 Program Program Notes ARTISTS

Grant Cooper Oriol Sans Edvard Pogossian Fawzi Haimor Olga Kern Jason Altieri

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

The New Mexico Philharmonic

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

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NMPhil .

MATCH THE MAGNIFICENCE! One year ago we launched the Fabulous Fifth: Match the Magnificence campaign: a five-year effort to both celebrate your New Mexico Philharmonic’s 5th Anniversary Season and begin to gradually grow by 5 percent each year, moving from a $2 Million to a $2.5 Million budget by our 10th year. We are asking you today to continue this campaign with us. In 2016, “Match” raised $101,000 in four months, a very encouraging result demonstrating our community’s support and the beginning of the trend of the NMPhil becoming a community-supported orchestra. Unfortunately due to priority changes at various foundations, NMPhil’s grants were cut by the same amount. The net result was no increase in NMPhil’s income for 2015/16. We know we cannot rely on others to take care of the NMPhil. All of us must take care of this orchestra, truly our cultural treasure. This year the annual fund drive produced $135,000, down from last year’s $166,000, the first year of a decline in this drive. The NMPhil is well into our 6th season of excellent concerts with exemplary fiscal and business responsibility and meaningful community involvement. Our highly qualified musicians and staff earn very limited incomes and continue with us because of their commitment, love of the music, and the hope that we continue toward a secure future. We are in the final stages of selecting a music director, a key position and person who will help take the orchestra to the next level, and something many in the community feel we need to confirm our permanent existence. Potential additional cost will be about $50,000. All of this makes this year’s “Match” campaign even more important. Every new donation, every increased donation, and every commitment to continue the journey with us is an important investment in our future. Our deepest thanks,

Maureen Baca President Board of Directors


2016/17 Season

Marian Tanau Executive Director

NMPhil .

MOVING NMPHIL TO THE NEXT LEVEL. FINANCIALS The NMPhil is managed as a business. The organization has operated on a $2,000,000 budget for its five full seasons, with very careful management, razor-thin margins, and no recurring debt. Here are some key business facts:

INCOME Earned $1,000,000 Donated $1,000,000 Total Income per Season $2,000,000

(ticket sales, advertising, car raffle) (annual fund, individual donations, grants) Ticket sales pay less than half the cost of operating the NMPhil, which is managed extremely conservatively.

EXPENSES Total Expenses per Season $2,000,000

With an overhead of 20% compared to 36% national average for non-profits.

RESULTS The NMPhil has achieved five years of positive results, all with favorable trends, including: • Reaching 40,000+ audience members • Attaining audience satisfaction of 96% and artistic excellence of 97% • Achieving attendance at concerts of 75%+ of venue capacity, well above the 50% industry average • Providing education programs that reach over 17,000 students, impacting lives and academics • Being the only arts organization in New Mexico to ever receive Quality New Mexico’s Piñón Recognition for Excellence in its organizational practices HOW THIS HAS BEEN MADE POSSIBLE To make the NMPhil successful on this budget, key stakeholders have made amazing commitments: • NMPhil Musicians have accepted limited work and fewer rehearsals, resulting in less income • NMPhil Staff (6) all work multiple jobs • Guest Artists and Conductors have accepted greatly reduced fees • Every member of the Board of Directors has donated very generously of their time and resources

The New Mexico Philharmonic

LET’S CONTINUE TO MOVE NMPHIL TO THE NEXT LEVEL Achieving the next level means: • Increased work for the musicians • Being better able to attract and keep musicians • Continuing to bring in world-class soloists • Having our own conductor/music director • Serving the community better with expanding education programs and additional concerts HOW DO WE GET THERE? • Raising $125,000 + in our 6th season drive, the second year of “Match the Magnificence” • Gaining commitments to increase financial support in each of the coming four seasons • Achieving a $2,500,000 budget by our 10th anniversary season (by 2021)

NMPHIL EXPENSES Percentage of Total Budget of Two Million Dollars per Season.

















HOW YOU CAN HELP Use the included form or visit to make a donation (please specify in the comments section of the website that your donation is for the Match the Magnificence initiative). Together, we can take the NMPhil to a new level of success and ensure it remains a strong cultural asset in our community.


Concert Program .

Saturday, February 18, 2017, 6:00 p.m.

Popejoy Classics: The Hammer



Grant Cooper conductor Popejoy Hall

Symphony No. 8 in b minor, D. 759, “Unfinished” I. Allegro moderato II. Andante con moto

Franz Schubert (1797–1828)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Southwest Gastroenterology Associates Thomas & Cynthia Gaiser 


Dr. & Mrs. Larry Lubar

Symphony No. 6 in a minor, “Tragic” I. Allegro energico, ma non troppo. Heftig, aber markig II. Scherzo: Wuchtig III. Andante moderato IV. Finale: Sostenuto–Allegro moderato–Allegro energico

The New Mexico Philharmonic

Gustav Mahler (1860–1911)


Concert Program .

Sunday, March 12, 2017, 2:00 p.m.

NHCC: Passionate Sunday: Protégé Series



Oriol Sans conductor Edvard Pogossian cello

National Hispanic Cultural Center

Melodía en La menor Astor Piazzolla (1921–1992)

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

Cello Concerto No. 1 in C Major, Hob. VIIb/1 I. Moderato II. Adagio III. Allegro molto Edvard Pogossian cello

Joseph Haydn (1732–1809)

Meredith Foundation


Symphony No. 49 in f minor, Hob. I/49, “La passione” I. Adagio II. Allegro di molto III. Menuet e Trio IV. Presto

Sinfonia No. 7 in d minor I. Allegro II. Andante amorevole III. Menuetto–Trio IV. Allegro molto

The New Mexico Philharmonic


Felix Mendelssohn (1809–1847)


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Concert Program .

Saturday, March 25, 2017, 6:00 p.m.

Popejoy Classics: Olga Fantastique!



Fawzi Haimor conductor Olga Kern piano

Popejoy Hall


Mason Bates (b. 1977)

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

Piano Concerto No. 1 in b-flat minor, Op. 23 I. Allegro non troppo e molto maestoso–Allegro con spirito II. Andantino semplice–Prestissimo III. Allegro con fuoco Olga Kern piano

Peter Ilyich Tchaikovsky (1840–1893)

Menicucci Insurance Agency


Symphonie fantastique, Op. 14 I. Rêveries–Passions (Daydreams-Passions) II. Un bal (A Ball) III. Scène aux champs (Country Scene) IV. Marche au supplice (March to the Scaffold) V. Songe d’une nuit du sabbat (Dream of a Witches’ Sabbath)

The New Mexico Philharmonic

Hector Berlioz (1803–1869)


SALES & SERVICE CONCERT R E N TA L S C A R TA G E & S TO R AG E 1742 Menaul Blvd NE Albuquerque, NM 87107


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Concert Program .

Saturday, April 1, 2017, 8:00 p.m.

Popejoy Pops: Sci-Fi Spectacular!



Jason Altieri conductor

Popejoy Hall

Star Wars Suite

John Williams

Across the Stars


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

Excerpts from Close Encounters of the Third Kind The Empire Strikes Back Medley The Phantom Menace Suite

Williams Williams/arr. Whitney Williams


Star Trek Through the Years

Calvin Custer

The Wrath of Khan Suite

James Horner

Star Trek Into Darkness Suite Suite from Battlestar Galactica “Jupiter” from The Planets

The New Mexico Philharmonic

Michael Giacchino Stu Phillips Gustav Holst


Program Notes .

Program Notes Charles Greenwell

Franz Schubert

Born January 31, 1797, in Vienna, Austria Death November 19, 1828, in Vienna

Symphony No. 8 in b minor (“Unfinished”) Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. Approx. 26 minutes.

This famous symphony was started by Schubert in 1822 but left with only two movements, even though he lived for another six years. To this day, musicologists and historians have no real answer as to why he failed to complete the symphony. As a result, this two-movement torso has achieved almost mythical status, and is normally viewed as a one-off occurrence. In fact, Schubert was a chronic un-finisher of compositions, and these include symphonies, piano sonatas, string quartets, and even some songs. He was also notoriously absentminded, and it is well established that he actually lost quite a number of movements and shorter pieces. As to this work and its incompletion, there have been a number of theories advanced, among them: he was distracted by the inspiration of his Wanderer Fantasy for solo piano, which occupied his time right after writing the two movements; the first two movements are both in triple meter (3/4 for the first and 3/8 for the second), and having the third movement also in triple meter, the usual rhythm for a scherzo, may have made him lose interest in the project; that year of 1822 was when he was diagnosed with the illness that would eventually take his life, and perhaps there were bad associations as a result; and the late Nikolaus Harnoncourt has stated, “I am convinced that Schubert found it impossible to continue after the second movement. There came a time when he thought this cannot be continued: the form is perfect, and there is simply nothing else to say.” This probably makes the most sense: We know that he intended to finish the symphony, as there exists a virtually complete third movement in a piano sketch with about 20 bars of orchestration. However, the musical quality of the third movement is so far inferior to the two completed ones, that it is possible he just gave up, realizing that he had run out of inspiration. Some have argued


2016/17 Season

“… the form is perfect, and there is simply nothing else to say.” —Nikolaus Harnoncourt

that the b minor entr’acte in the Rosamunde music is the completed but discarded finale, but musically this holds little water. Another interesting idea, proposed in 1938 by the German musicologist Arnold Schering, is that the two completed movements form a musical setting of Schubert’s own 1822 fantasy-romance story entitled Mein Traum (My Dream), and that there was nothing more to say. Whatever the reasons might be, these two completed movements complement each other perfectly, and together form one of the supreme masterpieces in music history. A new world of sound is created here with harmony finely graded to the color of each instrument, melody shaded to an extraordinary degree, and the whole written in a style of vast range and tremendous power. There is as well a depth of feeling which had earlier appeared mainly in his songs. (For the record, in 1928 the Columbia Gramophone Company of England actually considered hosting a competition for the best completion of the symphony! Fortunately, this never happened.) When the 25-year-old Schubert began writing this symphony, he was charting new musical terrain. His first six symphonies, wonderfully joyous works influenced by Haydn and Mozart, were in the past, and he simply was unable to return to that style. So instead of trying to compete with Beethoven on his own ground, Schubert found a new way of shaping time and tonality that no other symphonic composer up to then had managed. In the history of the symphony, this music was unprecedented. There is also a fearlessness and directness about the symphony which might have come from his experience of a world of darkness and pain following the diagnosis in 1822 of the disease that would kill him six years later. One can say that the gulf between the Sixth Symphony and the “Unfinished” was to some extent bridged by the symphony sketches from 1818 and 1821 that he never completed. The story behind this symphony’s creation is just as

fascinating. In 1823, the Graz Music Society gave Schubert an honorary diploma, and he felt obligated to dedicate a symphony to them in return. He then sent to his friend Anselm Huttenbrenner, a leading member of the Society, the two completed movements plus the first two pages of the beginning of the scherzo. The existence of this score was public knowledge from at least 1836, but the manuscript remained in the Huttenbrenner family until 1865—why is uncertain— when the conductor Johann von Herbeck retrieved it and subsequently gave the work its first performance in December of that year. On that occasion the bubbly finale of Schubert’s Third Symphony was added as a totally incongruous finale. Nevertheless, the performance was received with great enthusiasm by the audience. In the final analysis, this extraordinary two-movement torso is one of the wonders of the music world, and we simply need to be grateful that it exists. As in much of Schubert’s instrumental music, this symphony’s melodic invention demonstrates his remarkable skills as a songwriter. Departing from models of Haydn and Beethoven, who often would thoroughly explore a few themes and then navigate long and ingenious paths between sections, Schubert keeps the focus concentrated on an exquisite succession of melodies. Moreover, the subdued ending after the two movements is certainly not the way one would normally end a symphony in that era, but right from the start this unique creation demonstrates a reluctance to conform to the Beethoven model of a symphony, and here, tacking on additional movements would have served no purpose. From an early age its composer pursued his ambitious goals in the face of discouragements which would have deterred lesser men, and a close study of his life reveals a tenacity of purpose which is quite amazing. In the words of one of his close friends, “Schubert was a little man physically, but musically he was a giant.” ●

Program Notes .

Gustav Mahler

Born July 7, 1860, in Kalischt, Bohemia Death May 18, 1911, in Vienna, Austria

Symphony No. 6 in a minor (“Tragic”)

Scored for piccolo, 4 flutes, 4 oboes, English horn, E-flat clarinet, 3 clarinets, bass clarinet, 4 bassoons, contrabassoon, 8 horns, 6 trumpets, 4 trombones, tuba, timpani, percussion (including on-stage and off-stage cowbells), 2 harps, celesta, and strings. Approx. 80 minutes.

One of the finest recent summaries of what this extraordinary work is all about was given by Alan Gilbert, current Music Director of the New York Philharmonic, when he wrote, in part, I’ve always been struck by what Herbert von Karajan said: that there are very few symphonies which end in complete hopelessness and that Mahler’s Sixth Symphony is one of them. Very rarely does a musical work conclude with a feeling of utter defeat. Throughout the work you can feel the desperate search for relief and happiness—and there are many opulent, lush passages in the symphony that are incredibly beautiful and seemingly optimistic— but for me, there’s always the sense that it is on the verge of collapse. In the end, one is left with a sense of total despair, the feeling that the gorgeous place we caught glimpses of during the symphony is closed to us forever. When Mahler wrote his Sixth Symphony during the summers of 1903 and 1904, he was persevering as director of the Vienna Court Opera, a position he would hold with mounting frustration until 1907. It was highly stressful job, and Mahler’s anxiety at work led to frequent medical problems. Throughout Mahler’s career, pressing administrative and performance duties forced him to do most of his composing during the summer. In June of 1901 he moved to a new house on the Worthersee, the idyllic mountain resort where Brahms

had loved to vacation, and began work on his Fifth Symphony. It had been a harrowing winter, marked by a near-fatal medical emergency in February, and by his resignation as principal conductor of the Vienna Philharmonic shortly afterwards. He wrote the Fifth Symphony that summer as well as some magnificent songs, and the Sixth Symphony followed over the course of the next two summers, written amid the same inspiring natural surroundings. In what would later seem to his wife to be tempting fate, he also completed his haunting Kindertotenlieder (Songs on the Death of Children) that summer as well. Mahler dated the completion of the Sixth Symphony as May 1, 1905. Some contemporary comments about the work are instructive. Conductor Bruno Walter, the composer’s friend, assistant, and dedicated champion, said of the work, “The Sixth is bleakly pessimistic: It reeks of the bitter cup of human life. In contrast to the Fifth, it says NO, above all in the last movement where something resembling the inexorable strife of ‘all against all’ is translated into music.” Julius Korngold, the influential and perceptive critic at one of Vienna’s leading newspapers (and father of Erich Wolfgang Korngold), wrote, “The classical form is not abandoned: The traditional number of movements is retained. Only in the orchestra is there an innovation: Percussion is employed with a completeness hitherto unheard of, and constitutes an organized invasion by rhythmic noises of the symphonic field. The new symphony surpasses its predecessors in solidity of structure, but also in its realism and nerve-wracking intensity. It operates like an alarm.” A much later viewpoint is expressed in an essay by none other than Aaron Copland, written in 1941 before Mahler’s music had gained wide acceptance, and is really more about Mahler in general than the Sixth Symphony specifically. Wrote Copland, “It is music that is full of human

“It is music that is full of human frailties […] (Mahler’s) symphonies are suffused with personality.” —Aaron Copland

frailties, so Mahler-like in every detail. His symphonies are suffused with personality; he has his own way of doing and saying everything, from the heaven-storming calls in the brass, to the special quality of his communings with nature, the gentle melancholy of a transitional passage, and the pages of an incredible loneliness. Two facets of his musicianship were years in advance of their time: one is the curiously contrapuntal fabric of the musical texture, and the other, more obvious, his strikingly original instrumentation.” The disparity between the outward circumstances of his life and the inner world of the Sixth Symphony, is particularly glaring. This should have been a happy time, with his music being performed with increasing frequency, his family life seemingly stable and filled with positive emotions, and he was meeting with enormous success with his productions at the Vienna Court Opera. Yet, here he was, creating arguably his darkest, most combative symphony, and at the same time two of the wrenching Kindertotenlieder. Within a year after the Sixth Symphony’s premiere, which Mahler conducted in May of 1906, his four-year-old daughter died of diphtheria, his own, ultimately fatal heart condition was diagnosed, and he parted company with the Vienna Opera, on very acrimonious terms. Whatever caused the symphony to turn out as it did, with its dark and overwhelmingly angst-ridden nature, it is certainly no surprise that it was the last of Mahler’s nine completed symphonies to achieve recognition with the public. Though we know Mahler today as a symphonist, he was known mainly as a conductor throughout his adult life. At the time, the problems he was having in Vienna were mirrored by those in New York, where he had dual responsibilities with the Metropolitan Opera and the New York Philharmonic. Though his performances there received great acclaim, his conflicts with the trustees of both organizations broke his spirit and damaged his health, and in 1911 he returned to Vienna where he died later that year. Mahler certainly had influences, for example the brassy thunder of Bruckner and the superb craftsmanship of Brahms, but his style was utterly unique, and looking back in time it is quite surprising that its greatness was so long in gaining recognition beyond his fellow composers. The Sixth was the first four-movement, purely instrumental symphony he had composed since the First, and even that one began its life as a fivecontinued on 16

The New Mexico Philharmonic


Program Notes . movement quasi-tone poem. This is the most thematically united of the symphonies, three of the four movements being in a minor and unified by a repeated motif of a major triad moving to a minor one. Mahler revised the symphony several times, beginning after preliminary reading rehearsals with the Vienna Philharmonic. These changes, mainly a tightening of the orchestration here and there, the alteration of some tempo indications, and the elimination of the third hammer blow in the finale—these were all incorporated into the second edition of the score published in 1906. Much of what we know—or think we know—about the Sixth comes from Mahler’s long-lived widow Alma, who died in 1964. In her memoirs she writes, “Not one of his works came so directly from the heart as this one … The music and what it foretold touched us so deeply. [This] is the most completely personal of his works and a prophetic one also … In the Sixth he anticipated his own life in music.” Autobiographical, but written in advance of events, a kind of musical second sight if you will. Many commentators have talked about how Mahler’s music anticipates the future. Leonard Bernstein went even further by arguing that Mahler foresaw the future in broad cultural and historic ways, fortelling the cataclysms of the 20th century. The original three hammer blows in the last movement were like three mighty blows of fate, in Mahler’s words, “the third of which fells him like a tree.” Those blows were the death of his daughter, the diagnosis of his ultimately fatal heart condition, and his forced resignation from the Vienna Opera. One thing which all conductors have to deal with is the order of the middle movements, a sequence which Mahler himself changed several times. The original manuscript score shows that the Scherzo was second, and the Andante third. While rehearsing for the premiere, Mahler changed his mind and reversed that order. Some accounts, which have their own

problems, say that Mahler later thought that his initial order was the best. There are compelling arguments for either order, which is probably why Mahler was conflicted about this situation, but whatever the case, this is certainly Mahler’s most revised and most controversial symphony. ●

Astor Piazzolla

Born March 11, 1921, in Mar del Plata, Argentina Death July 5, 1992, in Buenos Aires, Argentina

Melodia en La menor (Melody in a minor) Scored for strings. Approx. 6 minutes.

Until comparatively recently, Latin American music was not heard very often on concert programs in the United States. The great names in Latin American concert music are limited to the 20th century, but the contribution of these figures has been substantial. Of all composers from that part of the Western hemisphere, Astor Piazzolla has become the most widely performed, and indeed has achieved something resembling pop star status. He was a composer, bandleader, and a virtuoso on the bandoneón, an Argentine type of accordion that has buttons instead of keys. His family emigrated to New York in 1924, but he returned to Buenos Aires in 1937, and in 1944 formed a small orchestra to play his own compositions. In 1954, he wrote a symphony for the Buenos Aires Philharmonic, which won him a scholarship to study with the legendary Nadia Boulanger in Paris, where he eventually settled in 1974. His very distinctive and trendsetting tangos included fugues, extreme chromaticism, dissonance, and elements of jazz. Initially, this music was condemned by the traditionalists and found favor mainly in the U.S. and France. By the 1980s, however, his work became widely accepted, and he

“Not one of his works came so directly from the heart as this one … The music and what it foretold touched us so deeply.” —Alma Mahler

was even regarded by many as the savior of the tango, the musical soul of Argentina. At that time his works were taken up by many classical performers, among them the Kronos Quartet, Mstislav Rostropovich, Michael Tilson Thomas, Gidon Kremer, and Daniel Barenboim. Piazzolla forged a new music that fused folkloric beauty with contemporary practices, and in so doing challenged the traditional concepts of concert music. It is no exaggeration to say that he is the single most important figure in the history of the tango, a towering giant whose influence looms large over everything which preceded and followed him. His place in tango music can be roughly equated with that of Duke Ellington in jazz, that is, a genius who took an earthy, sensual, and even disreputable folk music and elevated it into a sophisticated form of high art. In addition, Piazzolla was a virtuoso performer with a nearly unequaled mastery on the bandoneón. In his hands, the tango was lifted out of the realm of dance music and infused with an entirely new harmonic and rhythmic vocabulary made for the concert hall more than the ballroom. Of course, he wrote other things beside tangos, and this lovely and poignant work, sub-titled “October Song,” was written in 1965 as his 25-year-old marriage was coming apart under the stress of two extramarital affairs, the first with a lady much younger than him, and later, one with a woman named Norma, who was married to a Swiss banker. Whether or not this work was an actual elegy to his doomed marriage is open to question, but after both of these affairs came to an end, he changed the title of the piece to “La Mandragora” (“The Mandrake”), a reference both to the poisonous plant and his nickname for Norma. ●

Franz Joseph Haydn

Born March 31, 1732, in Rohrau, Austria Death May 31, 1809, in Vienna, Austria

Cello Concerto in C Major

Scored for solo cello, 2 oboes, 2 horns, and strings. Approx. 25 minutes.

Although Haydn’s reputation rests mainly on his extraordinary output of symphonies, string quartets, and piano sonatas, he wrote a large quantity of music in many other genres. Until fairly recently his concertos were generally neglected (except for the brilliant Trumpet Concerto), and in fact Haydn’s first biographer did not even mention any of continued on 17


2016/17 Season

Program Notes . continued from 16 the concertos. This was due in part to these works having been overshadowed by Mozart’s great concertos, and to problems relating to the authenticity of the Haydn works which have only recently been resolved. At one time, no less than six cello concertos were attributed to Haydn, but that number was ultimately reduced to two, and until as recently as 1961 only one of them (in D Major) was thought to have survived. Then in that year a set of parts to the present work was discovered in the National Museum in Prague in the hand of Joseph Weigl, Haydn’s principal cellist at the court of Eszterhaza (the palace where Haydn was employed), for whom the concerto was probably written. To this day, however, the autograph score remains missing. In 1761, Haydn took a step that would define not only the rest of his career but the whole course of Western musical history. That spring he accepted the post of ViceKapellmeister (assistant musical director) for the Eszterhazy princes, a powerful family of Austro-Hungarian aristocrats who ruled over vast expanses of Central Europe from their court in Eisenstadt, which was about a day’s journey from Vienna. He thus became the second man in the court’s musical hierarchy, the top man being Gregor Joseph Werner, who had held that post since 1728. The ruling prince Paul Anton was careful to explain that Haydn was not being hired to replace the aging Werner, who would still be in charge of all church music, while Haydn would take over instrumental duties. Nevertheless, Werner felt threatened, and in October of 1765 he petitioned the court to rectify what he considered were the declining standards of its musical establishment. Fate intervened the following year when Werner died at the age of 75, elevating Haydn immediately to the post of Kapellmeister, overseeing all types of music, sacred and secular. Back in March of 1762, almost a year into Haydn’s tenure, Paul Anton died, but the Eszterhazy dynasty continued with his brother, Nicholas (“The Magnificent”) succeeding him. Haydn continued to serve the court devotedly until 1790 when Nicholas died, after which he enjoyed a much looser relationship with the court. Most of Haydn’s famous symphonies date from the middle and later years of his career, but the best known of them were not written for this court but for other musical enterprises. During his almost-30 years of service to the Eszterhazys, Haydn wrote an immense amount of music. The investigation of all of these works has posed a number The New Mexico Philharmonic

of problems, not the least of which was that, even in his lifetime, and even more so after his death, an amazing number of works of questionable authenticity appeared under his name. For years there was only one Haydn cello concerto, the lovely and expansive D Major one composed in 1783, whose authenticity was questioned for a time but which is now looked on as entirely genuine. Scholars also knew that he had written an earlier Cello Concerto in C Major because it was listed in the Draft Catalogue of his works, begun around 1765 and added to sporadically over the years, and then assembled in his last years with the help of a secretary/copyist. There was, however, no trace of this concerto and was presumed

Haydn took a step that would define not only the rest of his career but the whole course of Western musical history. lost. Then, in 1961 a Czech musicologist discovered a good 18th century copy of the concerto in the archives of the National Museum in Prague, and its authenticity was definitely established. The only thing we don’t know for sure is exactly when it was composed, but a number of solid criteria seem to place it at the beginning of Haydn’s Eszterhazy years, when he often gave prominent solos in the symphonies to his players, and wrote concertos for the best of them, in this case the orchestra’s principal cellist, Joseph Franz Weigl, who was a good friend and by all accounts an excellent musician. Even if one assumes that the latest date it could have been written is 1765, that places it only 15 years after the death of Bach, and six years after that of Handel. Small wonder, then, that there is so much

vibrant Baroque style in the concerto. There are three notable features of the concerto: In the first movement, the main theme is slightly modified each time it appears; in the second movement the cello is accompanied by strings only; and in the last movement the minor-key coloration which affects the main theme during its initial statement leaves its mark on the entire movement. ●

Franz Joseph Haydn

Born March 31, 1732, in Rohrau, Austria Death May 31, 1809, in Vienna, Austria

Symphony No. 49 in f minor (“La passione”) (“The Passion”)

Scored for 2 oboes, bassoon, 2 horns, and strings. Approx. 24 minutes.

This symphony was written by Haydn in 1768 during the period in his output known as Sturm und Drang (Storm and Stress). This was a movement in German literature which is recognized as an early manifestation of the romanticism which would dominate European culture during the following century. What is fascinating is that the theatrical works from this movement did not reach Eszterhaza until a good ten years after his series of minor-key works were written to which the title was applied. Somehow, in spite of his seeming isolation, he managed to keep in touch with the times. There are a number of Haydn’s symphonies which have titles, but none of them appear to have originated with the composer himself. For many years it was thought that this title derived from the music itself: the slow, somber first movement, the minor key which pervades almost the entire work, and the fact that it was written during the Sturm und Drang period of his symphonic output. However, it appears that the title probably comes from a performance given in the Northern German city of Schwerin in 1790, where secular music had been banned between 1756 and 1785. Whatever the origin, this symphony truly embodies the whole spirit and feeling of the Sturm und Drang movement with its extravagant expression of emotions and dark, dramatic moods. In spite of its numbering (which with many of the earlier Haydn symphonies has been shown to be out of order much of the time), this work actually was written before the symphony we know as No. 41, and marks something of a watershed in the


Program Notes . continued from 17 man’s symphonic development. It is the last in a series of symphonies that used an antiquated form known as a “church sonata,” in which the usual fast first movement and slow second movement are reversed. The symphony’s nickname suggests that it might have been intended for performance in a church during Lent, possibly on Good Friday, a period when secular music was mostly banished from the Eszterhazy court. Written in the pessimistic and very rare key of f minor, the symphony begins with a powerful, heart-rending slow movement which is followed by an Allegro movement with an intense and inexorable rhythmic drive. After a rather stern Minuet, whose Trio is the only portion of the work which is not in f minor, the final monothematic Presto brings to a close one of Haydn’s darkest and most austere symphonies which nevertheless enjoyed considerable popularity in his lifetime, and which marked the culmination of a particular development of the symphony and the expression of an unusual depth of feeling. This amazing work clearly impressed the musical world in Haydn’s time, judging by the number of manuscript copies and publications which were available all across Europe. ●

Felix Mendelssohn

Born February 3, 1809, in Hamburg, Germany Death November 4, 1847, in Leipzig, Germany

Sinfonia No. 7 in d minor Scored for strings. Approx. 23 minutes.

Unlike so many of the great composers, Mendelssohn was born into a prosperous middle-class family. His father was a very

successful banker, and his grandfather was the famous philosopher Moses Mendelssohn. The household hosted many distinguished guests, the great German writer Goethe among them, with whom the young Felix became a close friend. Evenings would sometimes be spent performing plays in which family members took part, other times there would be every-other-Sunday musical events which began in 1822. Certainly, the talent which the young lad was born with was nurtured and lovingly developed in this environment, and it was not long before he began to show signs of exceptional abilities. One of the perks the young Felix enjoyed was having a private orchestra with which he could try out new compositions, among them his twelve completed string symphonies, astonishing works which showed his progress toward increasing refinement and subtlety in manipulating orchestral forces. Mendelssohn’s general musical education took place under the supervision and guidance of Carl Friedrich Zelter (1758– 1832), a composer, conductor and teacher who insisted on a thorough grounding in basic compositional techniques and who impressed on his young pupil the importance of studying Baroque and early Classical music. Zelter introduced Mendelssohn to the music of J.S. Bach, among others, and this sparked not only a lifelong love of fugue and other contrapuntal techniques, but ultimately led to a major revival of interest in the great early master who had been virtually forgotten since his death in 1750. By the time Felix was just ten years old, he had already assimilated these various styles and was beginning to compose in an idiom that not only incorporated those styles into his music

Just in his teens, [Mendelssohn was] writing in a style which has its roots in the previous era but which has been refined and personalized through his genius. 18

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but clearly showed the first flowerings of something quite new and original. Mendelssohn’s earliest surviving compositions date from 1820 when he was only eleven, and include a violin sonata, a piano trio, several songs, piano and organ pieces, and two operas! His first excursion into the field of orchestral music took place the following year with the first six of his string symphonies, originally written as exercises for Zelter. Through these, and the second set of six, he worked out various classical techniques, and also experimented with texture and dividing the string sections in unconventional ways to create new and unusual effects. The complete set of twelve was completed in 1823, and they were long thought to be lost until they were rediscovered in 1950 in the archives of the East Berlin State Library. Within two years of the completion of the 12th String Symphony, he composed the phenomenal Octet for Strings, and the year after that came the Overture to A Midsummer Night’s Dream, his first work for full orchestra and probably the most amazingly mature work ever written by a 17-year-old composer. Of course there have been other precocious composers, Mozart for one example, but not even he was as assured and mature as was Mendelssohn at that age. If you listen to these 12 symphonies chronologically, you can hear how very quickly he found his true voice, and in the later ones there is no doubt that here is an enormously gifted composer, just in his teens, writing in a style which has its roots in the previous era but which has been refined and personalized through his genius. Even though these symphonies were written as exercises and not intended for public performance or publication, they are still finished and polished works. Moreover, these symphonies were not intended to be played by the massed string section of a modern orchestra, or even by the strings of what we now call a chamber orchestra. It is almost certain that Mendelssohn intended most of them—including this symphony—to be played by no more than six players: 2 violins, 2 violas, cello, and bass. The seventh of the set, written in 1822, marks a clear departure from the first six, in that the stylistic influences of other composers are not used as a starting point, but rather as extensions of his own fast-developing musical personality. In addition, this is the first of the set to have four movements rather than three. ●

Program Notes .

Mason Bates

Born January 23, 1977, in Philadelphia, PA


Scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, electronica, harp, piano, and strings. Approx. 9 minutes.

Bates is a Grammy-nominated composer of symphonic music and a DJ of electronic dance music. Distinguished by his innovations in orchestration and large-scale form, he is best known for his expansion of the orchestra to included electronics. He has worked closely with the San Francisco and Chicago Symphony Orchestras, and is currently the composer-in-residence of the Kennedy Center for the Performing Arts— the first time this organization has had such a position. Born in Philadelphia but raised in Richmond, Virginia, Bates earned a Bachelor of Arts degree in both English literature and music composition in the exchange program of Columbia University and The Juilliard School, studying with John Corigliano, David Del Tredici, and Samuel Adler. Later he graduated from the University of California, Berkeley with a PhD in composition. Bates’s music fuses innovative orchestral writing, imaginative narrative forms, the harmonies of jazz and the rhythms of techno. His symphonic music has been the first to receive widespread acceptance for its expanded palette of electronic sounds and is championed by leading conductors such as Michael Tilson Thomas, Leonard Slatkin, and John Adams. He has become a strong advocate for bringing new music to new spaces and new audiences through partnerships with major orchestras, and through his classical/DJ project Mercury Soul, which has transformed commercial clubs and concert halls into exciting, hybrid musical events. Contemporary audiences seem to respond favorably to his compositions, as they are basically tonal, accessible, wellconstructed, and wonderfully orchestrated, while using a kind of universal modern mainstream language mixed with ultracontemporary popular elements. According to Bates, classical fans have put up the most resistance to what he is doing, but in general most people have been receptive to the cross-pollination of classical and electronic music. In the composer’s words, “I’ve found that there is a remarkable amount of curiosity across these two worlds. There

“… it showcases the orchestra’s ability to be inclusive. Mothership is fun, and there is nothing wrong with that!” —Andrew Druckenbrod

might be an image of [traditional] classical patrons as people who are fairly distrustful of pop music, but they are open-minded if something really works.” Across the years, Bates has demonstrated a liking for clever and unusual title for his works, among them Devil’s Radio, Garages of the Valley, Carbide and Carbon, The Rise of Exotic Computing, Sea-Blue Circuitry, Rusty Air in Carolina, White Lies for Lomax, and Omnivorous Furniture. Mothership, a single-movement composition for orchestra and electronica, is probably the most direct and largest-scale representation of Bates’s style as an ensemble composer, blending contemporary American classical composition with jazz and electronic sounds. The work received its premiere at the Sydney Opera House in March of 2011 by the YouTube Symphony Orchestra conducted by Michael Tilson Thomas, with improvised solos on electric guitar, violin, zither, and bass guitar. The premiere was broadcast live on YouTube (of course!) and had an audience of almost two million viewers. In the original program notes, Bates wrote, This energetic opener imagines the orchestra as a mothership that is ‘docked’ by several visiting soloists who offer brief but virtuosic riffs on the work’s thematic material over action-packed electro-acoustical orchestral figurations. The piece follows the form of a scherzo with double trio, as found, for example, in the Schumann Symphony No. 2. Symphonic scherzos historically play with dance rhythms in a highenergy and appealing manner, with the Trio sections temporarily exploring new rhythmic areas. Mothership shares a formal connection with the symphonic scherzo, but is brought to life by thrilling sounds of the 21st century—the rhythms of modern-day techno in place of waltz rhythms, for example. This scherzo comprises a nervous, jangling theme with an underlying electronic ostinato that appears at the beginning and end of the piece, as well as between the two trios. Each of the trios involves a different jazz rhythm and features two different instruments,

so that there are, in effect, four dockings. In a later interview about this work, Bates had this to say: The orchestra is the mothership. The orchestra is the thing. The improvisers are important, but they are the docking astronauts who come on board. That image really did come to me as a bit of an epiphany when I was in New York watching people get on and off the subway, and I thought that’s the way it should be. The main place I went for sound design in Mothership was samples of machinery and aircraft … [with] a kind of engine revving quality that was really interesting. At the end of the day, you’re dealing with a sound file, but often that file … will have some kind of the personality of the space where it was recorded embedded in it … So I tried a mix of actual, literal spaceship sounds from NASA and some from military transport stuff. In reviewing a performance of the work by the Pittsburgh Symphony Orchestra, writer Andrew Druckenbrod said, “… it showcases the orchestra’s ability to be inclusive. Mothership is fun, and there is nothing wrong with that!” ●

Peter Ilyich Tchaikovsky

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

Piano Concerto No. 1 in b-flat minor, Op. 23

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Approx. 32 minutes.

Because Tchaikovsky’s First Piano Concerto is among the most beloved and frequently performed concertos in any form, it is always startling to discover that it was brought into being through very negative circumstances. Tchaikovsky finished the first draft of the work in December of 1874 and, not being a first-rate pianist, sought the advice of someone eminently qualified as a keyboard continued on 20

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Program Notes . continued from 19 artist. The logical choice was his trusted colleague and mentor Nikolai Rubinstein, one of the great piano virtuosos of the day, and the man who had given the 24-yearold Tchaikovsky the post of Professor of Harmony at the Moscow Conservatory when it opened in 1865. Accordingly, the two men got together on Christmas Eve in 1874 for the express purpose of allowing Rubinstein to hear the new concerto. Rubinstein sat in stony silence as Tchaikovsky played through the entire work, and when it was ended he launched into a tirade of criticism and invective (“worthless and unplayable, clumsy, badly written, many passages manufactured and guilty of plagiarism, vulgar, only two or three pages were worth preserving”) which left the younger man stunned, unable to speak, and extremely angry. Tchaikovsky left the room and Rubinstein followed him, repeating some of his most scathing comments, and told him that if he would make wholesale revisions to the score, he, Rubinstein would consider performing it. Whatever insecurities Tchaikovsky might have had previously seemed to vanish in the heat of this exchange, and most uncharacteristically, he shouted at Rubinstein that he would not alter a single note and would have the work published exactly as it was—and so he did. However, the work was extensively revised for its second publication in 1889, and this is the version that has been known and loved ever since. One of the more interesting aspects of this story is that the work was given its world premiere not in Russia or even in Europe, but in Boston in October of 1875. The soloist was the great German pianist and conductor Hans von Bulow, and the orchestra was conducted by Benjamin Johnson Lang, a pupil of Franz Liszt who lived in nearby Salem, Massachusetts. The performance was an enormous success, and even though some critics found it less than wonderful, the audience took it immediately to heart. (An interesting sidelight: when the Boston Symphony Orchestra was founded some years later, it was Lang who played the solo part in a concert given in February of 1885, the first time that great American orchestra performed the work.) The work was ultimately dedicated to von Bulow, who by all accounts was ecstatic about the work when he first looked at the score. The Russian premiere took place in St. Petersburg in November of that year, and the Moscow premiere took place a month later with pianist/composer Sergei Taneyev as soloist. 20

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“His beloved herself appears as a melody which becomes a recurrent theme, or idée fixe.” The conductor on that occasion, amazingly enough, was Nikolai Rubinstein, the very same man who had so greatly criticized the work less than a year earlier. In 1878, the breach with Rubinstein was healed to a certain extent, but only after the pianist admitted that he had been dead wrong about the concerto and agreed to make amends by playing the work all over Europe. Rubinstein had, of course, made a dreadful mistake, but for all of his later efforts on the concerto’s behalf, Tchaikovsky never really forgave him. The famous main theme of the first movement is based on a Ukrainian folk song which Tchaikovsky once heard from a street singer, and another Ukrainian folk song comes into play in the last movement. In the fast portion of the second movement a French chanson is alluded to, a song that Tchaikovsky and his brothers used to sing all the time in the early 1870s. ●

Hector Berlioz

Born December 11, 1803, in La Cote St.-Andre, France Death March 8, 1869, in Paris, France

Symphonie fantastique

Scored for piccolo, 2 flutes, 2 oboes, English horn, E-flat clarinet, 2 clarinets, 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, 2 tubas, timpani, percussion, 2 harps, and strings. Approx. 50 minutes.

Berlioz stands as the leading musician in France at a time when that country’s main artistic output was literary, and whose musical pioneers were German. In many ways the Romantic movement found full expression in his works, but he had strong Classical roots and stood apart from many of the ideals of that movement. He worked tirelessly as a composer, conductor, and critic to advance new ideas, and though there were people who recognized greatness in his music right from the beginning, it was not until the 20th century that his extraordinary genius was fully appreciated. No Romantic composer’s music is more strongly linked with the circumstances of his life than

Berlioz, and in the most vivid ways possible, his work reflects the events and emotions he experienced in the course of his passionate and sometimes unstable existence. He had a strong distaste for authority of all kinds, particularly toward the entrenched musical academicians of his day. His music has a grand sweep of phrase, a freedom of form, and extremes of dynamic contrast. Another typically Romantic aspect of his music is his penchant for huge orchestral and choral forces. His reputation has long rested on his supreme skill as an orchestrator, with instrumental color being a basic element of his music. He brought into his panorama instruments from outside the orchestral norm, such as the harp, the English horn, the bass clarinet, the valve trumpet, and the saxhorn. It is not, however, the novelty of the instruments that is so striking; rather, it is the remarkable skill with which he used them, and his ear was most acute and inventive in combining and contrasting the winds, writing for them in layers more often than in solos. The influence of his orchestration was enormous, particularly on Liszt, Wagner, Strauss, Mahler, and the Russians, and more than that was the way in which he liberated traditional ideas of orchestration. Even more than Liszt, Berlioz is now regarded as the quintessential archromantic among composers, with the colorful and somewhat improbable episodes of his life contributing to this. Among those were his all-consuming but rather tenuously based infatuation with the Irish Shakespearean actress Harriet Smithson, with whom he fell totally in love after seeing her just once on the stage; a number of later and equally unstable emotional involvements; and frequent impulses (happily never fulfilled) to avenge perceived slights of love by crimes of passion and even suicide. It is certainly not surprising that these biographical elements of unfettered romanticism are reflected in the man’s music, and several of his works are unabashedly autobiographical, chief among them this extraordinary and groundbreaking

Program Notes . symphony. Even here, however, most of his music preserves a strong strain of classicism, and maintains clear links with traditional forms. By the way, Berlioz’s involvement with Smithson was not just romantic: for him, Shakespeare represented the zenith of poetic expression, and his plays were to provide the basis of three major works—Romeo and Juliet, Beatrice and Benedict, and the King Lear Overture. Berlioz read and quoted Shakespeare throughout his life, and put him on an equal footing with the ancient Roman poet Virgil. Students’ infatuation with actresses was nothing new at the time, and it is not surprising that Berlioz fell madly in love with the Irish beauty Smithson after seeing her as Juliet and Ophelia in productions of Shakespeare in Paris in 1827. The plays were presented in English, and even though the 23-year-old spoke hardly a word of that language, he was somehow able to understand what the plays were all about. He then started sending her a barrage of letters declaring his love and admiration, but inasmuch as she had never heard of the lad she wisely ignored them. His next step was to arrange a concert of his works at considerable expense in an attempt to impress her, but she ignored that as well. There was now only once thing left to do, and that was to write this symphony about his stricken condition, and to make sure that all of Paris knew that Smithson was the adored lady in the work. So even before the symphony got underway, he published explanatory notes in the newspapers in the hope that concertgoers would read them in advance of the premiere. Berlioz’s own program for the Symphonie begins, A young musician of nervous temperament and fiery imagination has been so distracted by unrequited love that he has poisoned himself with opium. Having taken a dose too weak to kill him, it instead puts him into a deep sleep

which is interrupted by strange nightmares. As these sensations, emotions, and memories pass through his fevered mind, they are transformed into musical imagery. His beloved herself appears as a melody which becomes a recurrent theme, or idée fixe. The five movements are then described as follows: First Movement – Dreams & Passions. The young musician relives the agitation, dark longings, joy, and melancholy he experienced before meeting his Beloved. He then remembers the cataclysmic love she instantly aroused in him, followed by anxiety, jealousy, tenderness, and finally, the consolation of religion. Second Movement – A Ball. In a grand ballroom, amid the flurry of a gala celebration, the hero briefly encounters his Beloved again. Third Movement – Country Scene. On a summer’s eve, the hero comes across two young shepherds piping calls to their flocks. All that is in this scene combines to inspire in the youth a serenity he has seldom known. Suddenly his Beloved reappears, filling his heart with forebodings and doubts of her fidelity. The melody resumes, now played by a single herdsman. The sun sets, increasing the hero’s desolation. There is a distant rolling of thunder. Fourth Movement – March to the Scaffold. Still dreaming, the youth has murdered his Beloved and faces a death sentence. His walk to the place of execution is underscored by a march, by turns solemn, vivid and wild. The procession suddenly halts, and in his last moments the idée fixe returns—but suddenly, it, too stops. The axe has descended. Fifth Movement – Dream of a Witches’ Sabbath. The musician now imagines himself to be among the grotesques at a Witches’

[Berlioz] was probably the first of the truly great conductors, and his ideas about the craft of conducting laid the basis for the very rules of the profession. The New Mexico Philharmonic

Sabbath in observance of his funeral. Unearthly groans, cackles, and shrieks suggest tormented souls. The idée fixe recurs, now as a hideous travesty of its former self. Welcomed by raucous cries, the Beloved joins the orgy of the damned. Funeral bells toll: the Dies irae is burlesqued. As the hellish celebration reaches its peak, the Dies irae and the infernal dance are combined. The Symphonie was premiered in Paris in December of 1830. It was a tremendous success, and established Berlioz as the unquestioned leader of the avant garde. As to the romance that inspired it, there is not enough space here to do that relationship full justice! Smithson did not go to the premiere, but she did hear it later on and met Berlioz the next day. A troubled courtship ensued between these two ill-matched people, and in October of 1833 they were married, with Franz Liszt and Heinrich Heine as witnesses. After this, Smithson suffered a series of reversals, her once-great popularity declined, and she was seriously injured in an accident which marred her beauty and left her an invalid. Their marriage was a tragic history of debts, health problems, jealousy, and estrangement, and eventually the two separated. This once-popular actress died penniless in Paris in March of 1854, and this occasioned a remarkable letter to Liszt, which said in part, “In spite of everything, she was always so dear to me. For the last 12 years we have not been able to live together or to part. These very tortures we suffered together have made this final separation even more painful for me. She has been delivered from an appalling existence …” Seven months after Harriet’s death, Berlioz remarried. The man wanted to be remembered for his total love of art and for a commitment to the highest ideals, and no other composer wrote as frequently of his devotion to beauty. He was probably the first of the truly great conductors, and his ideas about the craft of conducting laid the basis for the very rules of the profession. In addition, he was a keen observer of people and the human condition, and his early training in medicine certainly contributed to that ability. Berlioz’s style is one of the most idiosyncratic and easily recognizable in all of 19th century music, and his life and particularly his music continue to fascinate us because his orientation to people, events, and artistic trends was so consistently out of step. ● Program Notes ® Charles Greenwell


Artists .

Grant Cooper conductor Grant Cooper, Artistic Director and Conductor of the West Virginia Symphony Orchestra, was named to the position in March 2001 and officially began his duties as the ninth conductor in the WVSO’s history on July 1, 2001. From 1997–2007, Mr. Cooper served as Resident Conductor of the Syracuse Symphony, where he gave over 600 performances with that orchestra, appearing to critical acclaim on all the major series. Mr. Cooper is also Artistic Director of the Bach and Beyond Festival in Fredonia, New York. Mr. Cooper was born in Wellington, New Zealand, the son of a professional opera singer. He sang and acted in his first opera at age four and studied piano and music theory prior to college. After completing his degree in Pure Mathematics at the University of Auckland, his performing career took him to many of the major concert halls of the world, from Beijing to London. Following a performance at the Henry A. Wood Promenade Concerts at the Royal Albert Hall under conductor Claudio Abbado, Mr. Cooper was invited by Maestro Abbado to join the orchestra of La Scala as solo trumpet. Instead, Mr. Cooper accepted a fellowship from the Queen Elizabeth II Arts Council for study with Bernard Adelstein and Gerard Schwarz in the United States. This, in turn, led to performances at New York’s Carnegie Hall and at Tanglewood under Arthur Fiedler, where he also performed as principal trumpet under conductors Leonard Bernstein, Seiji Ozawa, and Sir Neville Marriner. Mr. Cooper was guest conductor of the XIVth Commonwealth Games closing ceremonies, appearing with Dame Kiri Te Kanawa as soloist. In Europe, his engagement as guest conductor for the Mozart Wochen of the Heidelberger Schlossfestspiele prompted 22

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high critical praise. His appearances with the West Virginia Symphony Orchestra have generated considerable enthusiasm and acclaim across the whole gamut of programs, showing his deep affinity for repertoire of enormous stylistic range. Mr. Cooper’s collaborations with artists such as Hilary Hahn, Midori, Elmar Oliviera, and Deborah Voigt have, similarly, prompted critical praise for his skills as an accompanist. In their March 2009 Pops Concerts, the WVSO premiered Mr. Cooper’s original scores for two Charlie Chaplin films: The Immigrant and Easy Street. Mr. Cooper’s original concert work for soprano and orchestra entitled A Song of Longing, Though..., with poetry by Tom Beal, was premiered by the orchestra in April 2007 and was performed by the Chautauqua Symphony in 2010. Cooper was awarded the National Symphony Orchestra Chamber Music Commission following competitive adjudication as part of the 2010 American Residency program of the NSO. His new work will be premiered at the Kennedy Center in Washington, D.C., in 2012. Mr. Cooper is especially passionate about creating works designed to introduce young audiences to the orchestra, including such works as Rumpelstiltzkin for Narrator and Orchestra, Goldilocks and the Three Bears, Boyz in the Wood for Coloratura Soprano and Rap Singer, and Song of the Wolf. His educational music is an eclectic blend of modern and established styles with interactive participation of the audience, a compositional style that reflects his belief that orchestral music is a living, vital, and relevant part of our society, able to be appreciated by all. Mr. Cooper has recorded for Delos International, Atoll, Ode, Mark, and Kiwi Pacific recordings. As a conductor, a CD devoted to the premier recordings of the string music of New Zealand composer Douglas Lilburn has been enthusiastically received. Recently, Mr. Cooper released Points in a Changing Circle, featuring himself as trumpet soloist in works by New Zealand composers and a CD featuring three of his own works recorded with the Cayuga Chamber Orchestra on a disc titled Boyz in the Wood. With this, Mr. Cooper has reached the milestone of having CD recordings of him as conductor, performer, and composer, all currently available in the catalogue. Mr. Cooper resides in Charleston with his wife, Margie, and daughters, Jessica and Rachel. ●

Oriol Sans conductor Oriol Sans was born in Catalonia, Spain, where he began his musical studies when he was five years old. At the age of nine he began to study violin and piano when he became a member of the Escolania de Montserrat. He graduated in Orchestral and Choral Conducting from the Barcelona Conservatory and received the school’s Honors Award in both specialties. In 2006, Oriol became a student in Orchestral Conducting at the University of Michigan School of Music, Theatre, and Dance, where he studied with Professor Kenneth Kiesler as the recipient of the Dorothy Greenwald Scholarship for promising instrumentalists, conductors, and composers. In December 2007, the Agustí Pedro i Pons Foundation in Barcelona granted him a scholarship for upper-level musical studies. He received his Master’s degree in Orchestral Conducting (2008) and his Doctorate in Musical Arts (2011) from the University of Michigan. Oriol has complemented his musical studies with master classes in Spain, Austria, Germany, England, France, Canada, and the United States with Professors George Hurst, Denise Ham, Rodolfo Saglimbeni, Robert Houlihan, Salvador Mas, Jörg Bierhance, Jesús López-Cobos, David Effron, Gennady Rozhdestvensky, and Gustav Meier. He also holds a degree in Humanities from the Pompeu Fabra University in Barcelona, and he completed graduate courses in musicology at the Autònoma of Barcelona University. Oriol was music director of the Mollerussa String Youth Orchestra, guest conductor of the La Noguera Chamber Orchestra, guest conductor of the Diputació de Tarragona Youth Symphony Orchestra, assistant conductor of the Feminine Choir of Barcelona

Artists . Conservatory, and music director of the Eurídice Choir and the Lleida University Choir. He taught at the Mollerussa School of Music and at the Lleida Conservatory, where he conducted the Lleida Conservatory Symphony Orchestra, among other ensembles. In addition, he was a faculty member at Lleida University, where he collaborated with the Aula de Música and the Musicology Laboratory. He has been assistant conductor to maestros Kenneth Kiesler, John Nelson, Jerry Blackstone, and Martin Katz with several orchestras and projects, including a production of the Damnation of Faust by Berlioz in Lisbon with the Gulbenkian Orchestra, and the Ensemble Orchestral de Paris for their concerts in the Festival de Saint-Denis and in the Théatre des Champs-Elysées. While a doctoral student, he conducted performances of two opera productions: Eugene Onegin in 2008 and The Marriage of Figaro in 2009, and in November 2011, he was appointed the music director of a production of Verdi’s Falstaff. Oriol was the music director of the University of Michigan Campus Philharmonia and Campus Symphony Orchestras from 2008 to 2010, and he currently holds the music director position of the Life Sciences Orchestra. In 2012, he was a guest conductor of the San Juan Symphony in Durango (Colorado) and the Orquesta Filarmónica de Jalisco in Guadalajara (Mexico). He also works as the score reader for the Detroit Symphony Orchestra for their webcast series. ●

at various high-profile occasions, including the recent performance for the First Lady of China, and he is a proud recipient of a Kovner Fellowship from The Juilliard School.●

Edvard Pogossian cello Eddie Pogossian (cello) is a sophomore studying with Natasha Brofsky at The Juilliard School. As the recent winner of the Juilliard Concerto Competition, Eddie performed the Tchaikovsky Rococo Variations at David Geffen Hall in New York and at the Harris Theater in Chicago with the Juilliard Orchestra under the direction of Itzhak Perlman. He was also the winner of the inaugural Los Angeles Philharmonic Young Artists Competition, giving him the honor to play the Saint-Saëns Cello Concerto with the Hollywood Bowl Orchestra in Walt Disney Hall. Eddie’s other notable performances include appearances at Carnegie Hall, Zipper Hall, and on NPR’s From the Top radio show. He has performed as a soloist live on KUSC with the Colburn Chamber Orchestra and also performed Saint-Saëns’s “The Swan” with the Moscow Ballet at Wiltern Theater in Los Angeles. Eddie is a long-time participant of the Apple Hill Chamber Music Festival in New Hampshire and has also attended the Heifetz International Institute of Music, Pinchas Zukerman’s Young Artists’ Program, Kneisel Hall, and the Meadowmount School of Music. He has studied in Los Angeles with Paul Cohen and Rick Mooney, and later spent two years studying with Ronald Leonard at the Colburn Young Artists Academy. He has also worked with Frans Helmerson, Hans Jensen, Clive Greensmith, Joel Krosnick, Phoebe Carrai, and received chamber coachings from Arnold Steinhardt, Ida Kavafian, Joseph Kalichstein, Paul Coletti, Joseph Lin, and Laurie Smukler. Dedicated to chamber music, Eddie is a founding member of the Zelda Piano Quartet, a group currently a part of the Juilliard Honors Chamber Music Program. He represented The Juilliard School

Fawzi Haimor conductor Fawzi Haimor was born in Chicago in 1983 and was raised in the Middle East and San Francisco Bay area. With a growing diary of international guest engagements, Haimor recently completed his tenure as Resident Conductor of the Pittsburgh Symphony Orchestra, where he conducted a variety of concerts including classical, pops, and outreach. While in Pittsburgh, he served as a cover conductor to esteemed conductors, including Manfred Honeck, Leonard Slatkin, Gianandrea Noseda, Rafael Fruhbeck de Burgos, and Jan Pascal Tortelier. In spring 2014, Fawzi Haimor made an impressive debut with the Filarmonica del Teatro Comunale di Bologna with Bruckner’s Symphony No. 4. Last season he returned to Orquesta Sinfonica do Porto and gave further impressive debuts with Orchestra Sinfonica di Milano Giuseppe Verdi, Haydn Orchestra Bolzano, Qatar Philharmonic, Orchestre Philharmonique du Luxembourg (in a staged production of Grieg’s Peer Gynt), and the Indianapolis Symphony. Following Haimor’s final concert with the Pittsburgh Symphony in August, his 2015/16 season contains such highlights as his Finnish debut with Oulu Sinfonia, his Parisian debut with Orchestre de Chambre de Paris, and his first appearance with NDR Radiophilharmonie Hannover. He also continues his association with Württembergisches Kammerorchester Heilbronn, in a program of English continued on 24

The New Mexico Philharmonic


Artists . continued from 23 chamber music. In the USA, he appears with Symphoria Orchestra Syracuse, the New Mexico Philharmonic, and the Florida Orchestra. His repertoire includes the late-romantic Germanic works, 19th and 20th century Russian and American composers, plus, he is a committed advocate of contemporary music and has performed premieres by composers such as Kevin Puts, Bela Fleck, Mohammed Fairouz, and Avner Dorman. An eloquent and compelling speaker from the podium, he equally excels in outreach and education projects. Haimor completed his violin training at the Jacobs School of Music at Indiana University, and studied conducting under David Effron and Arthur Fagen. He earned Bachelor’s degrees in both music and neurobiology, a Master’s degree in conducting from the University of California-Davis, and a second Master’s degree in instrumental conducting from Indiana University. He was previously Assistant Conductor with the Alabama Symphony Orchestra, where he was also the first Music Director of the Alabama Symphony Youth Orchestra.●


2016/17 Season

Olga Kern piano Russian-American pianist Olga Kern is now recognized as one of her generation’s great artists. With her vivid stage presence, passionately confident musicianship and extraordinary technique, the striking pianist continues to captivate fans and critics alike. Olga Kern was born into a family of musicians with direct links to Tchaikovsky and Rachmaninoff and began studying piano at the age of five. She jump-started her US career with her historic Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas, as the first woman to do so in more than thirty years. Steinway Artist and First Prize winner of the Rachmaninoff International Piano Competition at the age of seventeen, Ms. Kern is a laureate of many international competitions and tours throughout Russia, Europe, the United States, Japan, South Africa, and South Korea. The first Olga Kern International Piano Competition was held in Albuquerque, New Mexico, in November of 2016, where Ms. Kern served as Artistic Director and Jury Chair. Ms. Kern is a corresponding member of the Russian Academy of Sciences, Division of the Arts, and served as Jury Chairman of the Seventh Cliburn International Amateur Piano Competition in June 2016. In the 2016/17 season, Ms. Kern will premiere her first American concerto, the Barber Piano Concerto, with the Saint Louis Symphony and Leonard Slatkin. She will also appear with the Pacific Symphony, Colorado Symphony, Seoul Philharmonic Orchestra, Stuttgarter Philharmoniker, and Copenhagen Philharmonic. Recital appearances include the Herbst Theatre in San Francisco, Scottsdale Center for the Arts, Virginia Arts Festival, Milan, and Glasgow.

Ms. Kern opened the Baltimore Symphony’s 2015/16 centennial season with Marin Alsop. Other season highlights included returns to the Royal Philharmonic with Pinchas Zukerman, Orchestre Philharmonique de Nice with Giancarlo Guerrero, performances with the Rochester Philharmonic and San Antonio Symphony, a month-long tour of South Africa for concerts with the Cape and KwaZulu Natal Philharmonics, an Israeli tour with the Israel Symphony, solo recitals at Sarasota’s Van Wezel Hall, New York’s 92nd Street Y, and the University of Kansas’s Lied Center, and recitals with Renée Fleming in Carnegie Hall and Berkeley. In recent seasons, Ms. Kern has performed with Tokyo’s NHK Symphony; Orchestre National de Lyon; Orquestra Sinfônica do Estado de São Paulo; the Detroit Symphony for Tchaikovsky Piano Concertos 1, 2, and 3; and the Symphonies of Pittsburgh, Cincinnati, Nashville, Colorado, Madison, and Austin. Ms. Kern has also given recitals in New York, San Francisco, Seattle, and Louisville, with performances alongside Renée Fleming and Kathleen Battle. Ms. Kern’s performance career has brought her to many of the world’s most important venues, including Carnegie Hall, Lincoln Center, the Great Hall of the Moscow Conservatory, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zurich, and the Châtelet in Paris. Ms. Kern’s discography includes Harmonia Mundi recordings of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman (2003), her Grammy-nominated recording of Rachmaninoff’s Corelli Variations and other transcriptions (2004), a recital disc with works by Rachmaninoff and Balakirev (2005), Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit (2006), Brahms’s Variations (2007), and a 2010 release of Chopin’s Piano Sonatas Nos. 2 and 3 (2010). Most recently, SONY released their recording of Ms. Kern performing the Rachmaninoff Sonata for Cello and Piano with cellist Sol Gabetta. She was also featured in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge, as well as in Olga’s Journey, A Musical Odyssey in St. Petersburg, and They Came to Play. In 2012, Olga and her brother, conductor and composer, Vladimir Kern, co-founded the “Aspiration” foundation, whose objective is to provide financial and artistic assistance to musicians throughout the world. ● Jason Altieri conductor

MEET THE MUSICIANS MUSICAL FIESTAS 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 on June 24, 2011. He also served as the orchestra director for the International Double Reed Society Conference in July of 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. ● The New Mexico Philharmonic

Katelyn Benedict horn Katelyn Benedict, originally from Los Angeles, California, is currently Third Horn in the New Mexico Philharmonic. Previous to her current position, Katelyn performed as a freelance musician in the greater Los Angeles area, playing with several ensembles, including the Los Angeles Philharmonic, the Los Angeles Chamber Orchestra, the Los Angeles Master Chorale, and the Santa Barbara Symphony. In addition, she has attended several prestigious music festivals, including Music Academy of the West, the Aspen Music Festival, the Sarasota Music Festival, and Round Top Music Festival. Alongside performing, Katelyn has a deep passion for the thriving of the arts through teaching and arts management. Katelyn earned her Bachelor’s degree of music in Horn Performance from the Eastman School of Music, her Master’s degree from the University of Southern California, and is currently completing examinations to receive her Doctorate of Musical Art’s degree at USC, majoring in Horn Performance with a minor in Music Theory. Her principal teachers include W. Peter Kurau, Dr. Kristy Morrell, and Steve Becknell. In her free time, Katelyn enjoys swimming, yoga, reading crime fiction, and spending time with her family. ●

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, March 26, 2017, 4:00 p.m. Olga Kern Albuquerque favorite, Olga Kern, will perform at the Marie Weingardt’s beautiful Sauvignon home overlooking the Tanoan Golf Course. $200/person Sunday, April 23, 2017, 4:00 p.m. Jennifer Koh NMPhil Board President Maureen Baca and her husband Steve will host violinist Jennifer Koh in their lovely modern pueblo adobe home in scenic Sandia Heights. $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


Thank You .

Sponsors & Grants Sound Applause

Albuquerque Community Foundation

Bank of Albuquerque

Bernalillo County

Century Bank

City of Albuquerque

Computing Center Inc.

D’Addario Foundation

Holmans USA

Hunt Family Foundation

John Moore & Associates

Keleher & McLeod

Lexus of Albuquerque

Music Guild of New Mexico

New Mexico Arts


Real Time Solutions

Lockheed Martin

New Mexico Gas Company

Olga Kern International Piano Competition

you’re going to love your site.


Sandia Laboratory Federal Credit Union

Sandia National Laboratories

Scalo Northern Italian Grill


United Way of Central New Mexico

U.S. Bank

Vein Center of New Mexico

Wells Fargo


Menicucci Insurance Agency

2016/17 Season

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 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 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 TUBA Richard White •

ENGLISH HORN Melissa Peña •••

TIMPANI Douglas Cardwell •

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

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius


HARP Anne Eisfeller •

Al Stotts Secretary Treasurer Ruth Bitsui Vice President for Operations Thomas Domme Roland Gerencer, MD Emily Cornelius Kory Hoggan David W. Peterson Nancy Pressley-Naimark Barbara Rivers Jeffrey Romero Chris Schroeder Steve Schroeder David Tall Anthony Trujillo Michael Wallace ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Robert Desiderio Larry Lubar Steve Paternoster Marc Powell Heinz Schmitt William Wiley STAFF Marian Tanau Executive Director Chris Rancier Executive Assistant & Media Relations Alexis Corbin Operations Coordinator & Personnel Manager Mancle Anderson Production Manager Alexander Onieal Head Librarian & Office Manager Danielle Frabutt Artistic Coordinator Byron Herrington Payroll Services

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

Mary Montaño Grants Manager Joan Olkowski Design & Marketing Lori Newman Editor Sara Tutland Ensemble Visits Coordinator


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

Anonymous E. Blaugrund Family Fund George & Sibilla Boerigter Deborah Borders Eugenia & Charles Eberle Holmans USA, LLC, Anthony D. Trujillo Lockheed Martin/Sandia National Laboratories 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 Vintage Albuquerque

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 The Law Firm of Keleher & McLeod

Henry & Judith Lackner Dr. & Mrs. Larry Lubar Microsoft James Parker Payday, Inc. PNM Resources Foundation Sandia Foundation, Hugh & Helen Woodward Fund Sandia Laboratory Federal Credit Union, Robert Chavez Scalo Northern Italian Grill, Steve Paternoster Melissa & Al Stotts Barbara & Richard VanDongen Dr. Helmut Wolf, in memory Mrs. M. Jane Wolf Dr. Dean Yannias 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 Eiichi Fukushima & Alice Hannon Cynthia & Thomas Gaiser New Mexico Gas Company Bob & Bonnie Paine Barbara & Heinz Schmitt Steven Schroeder Southwest Gastroenterology Associates 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 Century Bank Richard & Margaret Cronin D’Addario Foundation Suzanne S. DuBroff, in memory of Warren DuBroff Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Yolanda Garcia Tanner & David Gay Roland Gerencer, MD Keith Gilbert

Madeleine GriggDamberger & Stan Damberger Jonathan & Ellin Hewes Chris & Karen Jones Erika Blume Love Myra & Richard Lynch Menicucci Insurance Agency Sara Mills & Scott Brown Gerard & Doreen Murphy Ruth & Charles Needham George & Mary Novotny Scott Obenshain, in memory of Toots Obenshain 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 Lance Woodworth

BACH CIRCLE Donation of $1000– $1932

Kristen Anderson Anonymous Anonymous Anonymous, in honor of Adrianna Belen Gatt Richard & Linda Avery 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 Cathy Conrad Susan Conway Nance Crow & Bill Sullivan Krys & Phil Custer Marjorie Cypress & Philip Jameson Clare Dreyer, in memory of Joan Allen 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 Sue Johnson & Jim Zabilski Victor Jury Stephanie & David Kauffman Stephen Kaufman Henry Kelly Stephanie & Ken Kuzio Dr. Benjamin D. Lane Virginia Lawrence, in memory of Jean Sharp Virginia LeRoy, in memory of Jack LeRoy Linda S. Marshall Kathy & John Matter Thomas & Edel Mayer Joan McDougall Jackie & C. Everett McGehee Bob & Susan McGuire Ina S. Miller Mark Moll Moss-Adams LLP Diane M. Mueller Judy & Michael Muldawer 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 Drs. Bronwyn Wilson & Kurt Nolte 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 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 Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin 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 Ann Gebhart Laurence Golden Kellie & Bing Grady Dr. Kirk & Janet Gulledge Steve Hamm & Mary Kurkjian Harris L. Hartz Margaret Harvey & Mark Kilburn Stephen & Aida Ramos Heath Guy & Nina Hobbs Kory I. Hoggan, CPA Noelle Holzworth Lorna Howerton Betty & Pete Humphrey Rosalyn Hurley John & Julie Kaltenbach Ira & Sheri Karmiol Joyce S. Kaser, in memory of Gene W. Taylor Karen Kehe Marlin Kipp Susie Kubié R. Jeffrey & Jane W. Lawrence Rita Leard Jae Lee Linda Lewis Harry & Elizabeth Linneman Terrence & Kristina Linton Tyler M. Mason Roger & Kathleen McClellan Donna McGill John & Kathleen Mezoff Martha Miller John Mims Robert & Claudia Moraga Mardelle Morrow Sharon & Robert Neuman David & Audrey Northrop Stuart & Janice Paster

Deborah Peacock & Nate Korn Christine & Jerry Rancier Ken & Diane Reese Dan Rice 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 Arthur & Sandra VallSpinosa Patrick Villella Margaret Vining Richard Vivian, in memory of Zanier Vivian Patricia & Robert Weiler Carl G. & Janet V. Weis Dr. & Mrs. Albert Westwood David & Evy Worledge Vince & Anne Yegge 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. Edward & Leslie Atler B2B Bistronomy David Baca Joel A. & Sandra S. Baca Mary E. Baca Stephen & Maureen Baca, in memory of Mr. Herbert Floyd Thomas J. & Helen K. Baca

continued on 29 28

2016/17 Season

Donor Circles . continued from 28 Toni Baca Charlene Baker Gail Baldacchino, in memory of Mr. Herbert Floyd E. Patricia Barbier Sheila Barnes Holly Barnett-Sanchez & David Foster Elinore M. Barrett Edward & Therese Barts Steve Bassett Carla Beauchamp William Bechtold Edie Beck Helen Benoist Joe Bentley Leonie Boehmer Rod & Genelia Boenig Dr. David & Sheila Bogost Tim & Jackie Bowen Michael & Monica Bowlin Richard & Iris Brackett Susan Brake Ann & James 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 Barbara & Roscoe Champion Don & Tina Chan Edsal Chappelle Linda Chavez Elaine & Wayne Chew Kathleen & Hugh Church Judith & Thomas Christopher Wendy Cieslak Paul & Susan Citrin, in honor of David Felberg Beth Clark, in celebration of Matt Puariea Linda & Paul Cochran Jane & Kenneth Cole James 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 Thomas Dyble Reverend Suzanne Ebel Mary Lou Edward Paul & Catherine Eichel 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 Helen Feinberg Leonard & Arlette Felberg Winifred & Pelayo Fernandez 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 Justin M. & Blanche G. Griffin Julia Grimes & Jeff Baker Sharon Gross Virginia Grossetete Mina Jane Grothey Dick & Suzanne Guilford, in honor of Diane & Robert Fleming’s birthdays Elene & Bob Gusch Ron Halbgewachs Bennett A. Hammer Janet Harris Gloria B. Hawk Betty Hawley & Donald Robbins John & Diane Hawley Rosalie & Leon Heller 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 & Sylvia Hughes Janet & Vincent Humann Jerry & Diane Janicke Nancy M. Johnson & Bob Tillotson, in memory of Doug Swift Ann & Lawrence Jones Robert & Mary Julyan Carol Kaemper Summers & Norty Kalishman Julius & Robin Kaplan Carl & Jeanette Keim Thomas & Greta Keleher Bonnie & Hank Kelly Ann King Neva King

The New Mexico Philharmonic

Blossom Kite Karen & Bill Knauf Noel & Meredith Kopald Asja Kornfeld, MD & Mario Kornfeld, MD Elizabeth Kubie Karen & George Kupper 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 Maureen & Robert Luna Bruce Malott & Martha Wood Aabbee Mann Carolyn Martinez Paul & Judith Matteucci Jack & Victoria McCarthy Sallie McCarthy Ronald & Barbara McCarty 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 Brian Mulrey Edward & Nancy Naimark Marilee Nason Anne E. Nokes Donald & Carol Norton Ben & Mary Lee Nurry Rebecca Okun Alexander Onieal Bethe Orrell Joyce & Pierce Ostrander James & Ann Pedone Sandra Penn Calla Ann Pepmueller Richard Perry Lang Ha Pham Herbert & Judi Pitch Dan & Billie Pyzel Therese Quinn Dick & Andy Rail

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 Edward Rose 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 & Wallace 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 & Lisa Shibata Silk Road Connection Robert Simonson Walt & Beth Simpson Gary Singer Norbert F. Siska George & Vivian Skadron Carol Smith Harry & Patricia Smith Smith’s Community Rewards Jane Snyder Steven & Keri Sobolik Karen Soutar Anne Coleman Speer 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, in memory of Robert D. Taichert, from the Taichert family Nina & Gary Thayer

Maxine Thevenot & Edmund Connolly 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 Jane & Scott Wilkinson Phyllis Wilson Walter Wolf Don & Dot Wortman Sue Wright Paula Wynnyckyj Janice B. Yates Mae S. Yee & Eric Brock Tony Zancanella Albert & Donna Zeman Andrew A. Zucker


Ron Abramshe Nancy & Harro Ackerman David & Elizabeth Adams Nancy Adams Natalie Adolphi & Andrew McDowell Hannah Albers Kelly Aldridge Carol Allen Jo Anne Altrichter & Robin Tawney AmazonSmile Anonymous Anonymous Anonymous Eugene Aronson Emil & Lori Ashe Lance & Kristin Atencio 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 Joanne Bartlett

Julian & Margaret 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 Bosque School Henry Botts Karen Bovinette, in memory of Joan Allen Joan Bowden Julia B. Bowdich, in memory of Joan Allen J.M. Bowers & B.J. Fisher 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 Robert & Suzanne Busch Michael Bustamante & Cheryl Hall Helen & Gerald Buster Douglas & Ann Calderwood Caroline Campbell & Ruth Cousins Mary Ann CampbellHoran & Tom Horan Glo Cantwell James Carroll Ann L. Carson Virginia Cavalluzzo Joseph Cella Ralph Chapman Jean Cheek Kathy & Lance Chilton Jay & Carole Christensen, in memory of Joan Allen Barry Clark Donald & Sonja Clark Douglas & Carla Clark Virginia Clark Francine Cogen 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


Donor Circles . John & Mary Covan Ralph Cover Judith Crocker 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 Doug & Drina Denham Herb Denish Winnie Devore 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 Jeff & Karen Duray 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 Ronald & Christine Escudero Cheryl A. Everett David & Regan Eyerman Jane Farris & Michael Pierson Helene K. Fellen Rona Fisher Robert & Diane Fleming Michael Floyd, in memory of Mr. Herbert Floyd Jr. Cheryl & William Foote, in honor of Susan Patrick & Don Partridge Elizabeth & Blake Forbes Beverly Forman & Walter Forman, MD Douglas & Nancy Francis J. Arthur Freed Ron Friederich Jack Fuller Robert & Diana Gaetz Gigi Galassini Patricia Gallacher, in memory of Susie Kubie Daniel & Elena Gallegos Julia Gallegos Joyce Gammill


Michael Garcia Ann Gateley Jim & Margaret Gates Karen Gatlin Mary Day Gauer Paula Getz Duane & Janet Gilkey Global Organization for EPA & DHA Omega-3s, in memory of Susan Kubie Allen Gold Donald & Diane Goldfarb David Goldheim Jim L. Gonzales Lois Gonzales Maria & Ira Goodkin, in memory of Susan Kubie Janice K. Goodman Richard Gordon Mr. & Mrs. Thomas Grace Erna Sue Greening Charles Gregory Craig Griffith Insurance Agency Virginia Grossetete, in memory of Joan Allen Ellen Guest Carl & Nancy Guist Charles & Betsy Gunter Herman Haase Janet & Stan Hafenfeld Michael Hall Anne Hallett Ed Hanish Debra Harbaugh Janet Harrington Bhanu Harrison Donald Harrison Joan & Fred Hart Marilyn Hartig John Harvey Paul Hass Hedy Hatchell, in memory of Herbert L. Floyd Allan Hauer William & Rossanna Hays Jo Ellen Head James Headley, in memory of Joan Allen Deborah Helitzer 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 Olivia Jaramillo Sandra & Michael Jerome Eldon Johnson Eric R. Johnson Ruth Johnson Joyce D. Jolly Barbara Jones

2016/17 Season

Judy & Scott Jones Pamela Jones Robert Jones Tracy Jones William Jones & Siu Wong Phyllis Kaplan Paul Karavas Clayton Karkosh Judy Kauffman Richard & Julia Kavet, in memory of Margaret Birmingham Joelle Keller, in memory of Mr. Herbert Floyd Margaret Keller James Kelly Charles Kemble David & Leslie Kim, in memory of Joan Allen Judith Allen Kim, in memory of Joan Allen Gerald Kiuttu Barbara Kleinfeld Gerald Knorovsky Sushilla Knottenbelt Herb & Shelley Koffler, in memory of Joan Allen Philip Kolehmainen & Vivian Waldron Katherine Kraus Jennifer C. Kruger Flora Kubiak, in memory of Joan Allen Hareendra & Sanjani Kulasinghe Stephen & Isadora Kunitz Mike Langner Karin Lanin Gerard Lavelle & Cathy Drake 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 Maria Teresa Marquez 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 Hunter 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, in memory of Joan Allen 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 Diane Orchard Wendy & Ray Orley Daniel O’Shea 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, in honor of Matthew Puariea Regina & Daniel Puccetti Noel Pugach, in memory of Marjorie Shapiro Stein Suzanne Rademacher Dr. Lidio Rainaldi Russell & Elizabeth Raskob Mary Ellen Ratzer Marit Rawley David & Tracey Raymo Tom & Marla Reichert Kerry Renshaw John Reynolds

Kathryn & Chris Rhoads Judith Ribble Barbara & Herbert Richter Jacob & Nancy Rittenhouse Cher Rivera Margaret E. Roberts Matthew Robertson Gwenn Robinson, MD & Dwight Burney III, MD Larry & Alice Rodgers John Rogers 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 Diane & William Reuler Harvey & Laurie Ruskin Robert Sabatini John Salathe Evelyn E. & Gerhard L. Salinger Esperanza Sanchez 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 Marion & Andy Simon Marsha & Don Simonson Richard & Eileen Simpson Suzanne & L.J. Slankard Carl & Marilyn Smith Donald Smith & Patricia Fleming Katherine Smith, in memory of Craig Smith Frederick Snoy Vera Snyder Enid Solin Gwyneth & Tracy Sprouls Linda Srote William Stanley Bill Stanton Ronald & Patricia Stauber Charlie & Alexandera Steen Donald & B. Joan Stehr Geny Stein Elizabeth C. Stevens Christine Swanson Laurence Tackman David & Jane Tallant Phyllis Taylor & Bruce Thompson Emily Terrell Alice Thieman Patricia & George Thomas Richard & Thereseann Thompson Max Thrasher Betty Tichich & Fred Bunch Julie Tierney

John Tischhauser Dean & Bonita Tooley Marian Trainor & David Dixon Hy Tran Karen & John Trever Jorge Tristani Stephen Turner Gabrielle & Alexander Uballez Anna Y. Vigil & Clarence Gallegos John Vittal & Deborah Ham Hilda Volkin, in memory of Howard C. Volkin Rose Walker Marmion Walsh Marilyn Warrant Cynthia & William Warren 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 David Winter & Abigail Stewart Kathryn Wissel Marion S. Woodham Kenneth Wright Stanley Yager Judith Yandoh Diana Zavitz, in honor of Pat & Ray Harwick Linda R. Zipp Anne & Michael Zwonlinski 1/28/2017

Thank You .



“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


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.

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 Jerrilyn Foster Chris Kershner Jim Key Rose Maniaci Jackie McGehee 1/18/2017

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 1/18/2017

The New Mexico Philharmonic


“For my part, I travel not to go anywhere, but to go. I travel for travel’s sake. The great affair is to move.” – Robert Louis Stevenson

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

New Mexico Philharmonic 2016/17 Season Program Book 4  

New Mexico Philharmonic 2016/17 Season Program Book 4 •

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