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Table of Contents PROGRAMS
April 8, 2017 Program April 22, 2017 Program May 21, 2017 Program Program Notes
7 9 11 13
David Felberg Natalie Harris Roberto Minczuk Jennifer Koh Kiera Johnson Katie Mahan
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COVER Spring Sonata This painting is acrylic and oil pastel on imported paper.
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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 1974â€“76). In addition to painting, Randy also does collage and photography. To schedule a private viewing, call (505) 366-3525, or email firstname.lastname@example.org.
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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
Marian Tanau Executive Director
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
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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.
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HOW YOU CAN HELP Use the included form or visit nmphil.org 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.
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Concert Program . Program
Saturday, April 8, 2017, 6 p.m
The Wizard of Oz Ballet
David Felberg conductor Natalie Harris NMBC Artistic Director & choreographer New Mexico Ballet Company
Dorothy and her dog, Toto, live on a Kansas farm with her Auntie Em and Uncle Henry. One day their mean neighbor, Miss Gulch, demands Toto be put down after accusing him of biting her. Dorothy feels it is best for her and Toto to run away before Miss Gulch returns. Just as they try to leave the house, Dorothy and Toto are swept up in a powerful tornado and dropped in the strange and magical Land of Oz. Dorothy and Toto are greeted by a good witch named Glinda and the Munchkins. After being praised for accidentally killing the Wicked Witch of the East, Dorothy explains that she just wants to find her way back home to Kansas. Glinda tells Dorothy to follow the yellow brick road on a journey to the Emerald City in search of assistance from the great and powerful Wizard of Oz. Along the way, Dorothy is joined by a Scarecrow, who only wants a brain; a Tin Man, who only wants a heart; and a Cowardly Lion, who only wants a little courage. They are challenged by many different obstacles, including angry apple trees and poison poppies, but none are greater than the Wicked Witch of the West. After finally reaching the Emerald City, the powerful Oz requests the Witch’s broom before he will grant their wishes. Despite facing the flying monkeys, the characters defeat the Wicked Witch of the West and bring her broom back to the Wizard. At the end of their journey, we learn that quick wits, compassion, and courage are inside of us all. ● ACT I
Overture On the Farm Glinda and the Munchkins Scarecrow Evil Trees Tin Man Wicked Witch of the West Cowardly Lion
Field of Poppies Emerald City The Witch’s Castle Return to Emerald City Back in Kansas
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Sandia Laboratory Federal Credit Union
I N T E R M I S S I O N
Performed to the music of Ludwig van Beethoven, Gioachino Rossini, Paul Dukas, Modest Mussorgsky, and Hector Berlioz.
The New Mexico Philharmonic
Concert Program .
Saturday, April 22, 2017, 6 p.m.
Koh Plays Brahms
Roberto Minczuk conductor Jennifer Koh violin
Samba Alexandre Levy (1864–1892)
Violin Concerto in D Major, Op. 77 Johannes Brahms I. Allegro non troppo (1833–1897) II. Adagio III. Allegro giocoso, ma non troppo vivace
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation
Jennifer Koh violin
I N T E R M I S S I O N
Symphony No. 9 in e minor, Op. 95, “From the New World” Antonín Dvořák I. Adagio–Allegro molto (1841–1904) II. Largo III. Molto vivace IV. Allegro con fuoco
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Concert Program .
Sunday, May 21, 2017, 2 p.m.
Bach, Just Bach!
David Felberg conductor Katie Mahan piano
National Hispanic Cultural Center
Brandenburg Concerto No. 1 in F Major, BWV 1046 Johann Sebastian Bach I. [Allegro] (1685â€“1750) II. Adagio III. Allegro IV. Menuetto
Keyboard Concerto No. 4 in A Major, BWV 1055 I. Allegro II. Larghetto III. Allegro ma non tanto Katie Mahan piano
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: The Honorable & Mrs. James A. Parker
I N T E R M I S S I O N
Keyboard Concerto No. 7 in g minor, BWV 1058 I. [Allegro] II. Andante III. Allegro assai Katie Mahan piano
Brandenburg Concerto No. 3 in G Major, BWV 1048 I. [Allegro] II. Adagio III. Allegro assai
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Program Notes .
Program Notes Charles Greenwell
Born November 10, 1864, in São Paulo, Brazil Died January 17, 1892, in São Paulo
Scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 trumpets, 3 trombones, timpani, percussion, harp, and strings. Approx. 4 minutes.
Alexandre Levy was a Brazilian composer, pianist, and conductor who pioneered a fusion of classical elements with Brazilian popular folk music and rhythms. Sadly, this very gifted musician died prematurely of unknown causes at the age of just 27, and in his honor the city of São Paulo annually grants a prestigious musical award in his name. Levy grew up in a very musical environment: His father, Henrique Luis Levy, was a fine amateur clarinetist who founded the Casa Levy, a music establishment that promoted composers and performers, published scores, sold instruments, and disseminated classical music to the citizens of São Paulo. It was very important in the cultural life of the city, and Casa Levy still exists today as a piano store. There was a strong French influence in the family, as the father was born in France and the mother came from the French part of Switzerland, and young Alexandre gave French titles to many of his compositions. In 1887, he went to Paris to study with Emile Durand, who later became a teacher to Claude Debussy. After returning to São Paulo, Levy founded a concert association called the Haydn Club, which actively popularized the cause of Brazilian nationalism in music, as well as sponsoring concerts of the standard symphonic repertory. His death at 27 was in some ways mysterious, as he did not suffer from any illness that was apparent, but he suddenly passed away leaving behind an amazing output of works for one so young. Considered one of the best Brazilian composers of the Romantic period, Levy’s music was heavily influenced by Schumann, but his compositions are quite original, being built on Brazilian popular folk music, and this made him a pioneer of Brazilian music nationalism. Even if he was not the first composer to use indigenous popular elements as a thematic and rhythmic basis, this in no way diminishes his historical importance, which is due equally to the excellence of his compositions. This Samba is the last
“Never in the course of my artist’s life had I been more completely overwhelmed.” —Joseph Joachim
movement of his Suite Brasileira, and is based on two popular melodies of the day, while at the same time attempting to portray the frenzy of the dance by mixing its characteristic syncopations with the basic rhythmic patterns of the habanera. In addition, its rhythmic component was a considerable influence on later Brazilian composers. ●
Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna, Austria
Violin Concerto in D Major, Op. 77
Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Approx. 40 minutes.
No discussion of this glorious work can take place without mentioning Brahms’s great friend and colleague, the Hungarian violinist, composer, and conductor Joseph Joachim (1831–1907), for whom the concerto was written. He was perhaps the greatest violinist of the 19th century, an extraordinary child prodigy whose formal debut at age eight was hailed as the coming of a second Paganini, and whose name became, throughout the sixty-plus years of his career, a byword for nobility and truth in his art. He was also a fine composer, an excellent conductor, a revered teacher, and the leader of the most highly esteemed string quartet of his day. Among other things, Joachim wanted to find a way to make the orchestra and soloist entirely equal in a violin concerto, with a score that would demonstrate the full mastery of the orchestra just as the violin part would display the full virtuosity of the soloist. He attempted to reach this goal with his own Violin Concerto in d minor (called the “Hungarian” concerto), but his ability to write for the orchestra simply did not match his ability to write for the violin. It was not until Brahms composed his Violin Concerto
that Joachim’s goal was finally reached. There were two Hungarian-born violinists from whom Brahms absorbed the Hungarian strain found in many of his works, among them the present concerto: Joachim was one, the other was Eduard Remenyi, with whom Brahms toured as a pianist before he met Joachim. That meeting took place in 1853, and Joachim was so impressed with Brahms’s compositions and musicianship that, some 50 years later, he said, “Never in the course of my artist’s life had I been more completely overwhelmed.” He recognized a real kindred spirit in Brahms and introduced him to both Schumann and Liszt, after which the two embarked on an extended series of concert tours throughout Europe, which, among other things, helped to establish a very close personal and professional relationship. Brahms was a superb pianist but knew little about the violin, and it was on these tours that he became familiar with violin repertoire and technique, as well as Joachim’s desire to reinvent the violin concerto. Brahms was fascinated by this, but did nothing about it for 25 years, as the two friends purposely developed their respective careers in such a way as to not create any rivalry. Furthermore, it is known that Brahms did not even make an attempt to write a violin concerto until it was clear that Joachim had stopped composing. The first mention of a concerto occurred in a letter from Brahms in August 1878, when he was spending the summer on a beautiful lake in southern Austria, a region, he once said, where the melodies were so abundant that care had to be taken not to step on them. The two men met at the lake toward the end of that month, and correspondence continued between them for some time. As he was composing the concerto, Brahms received from Joachim a good deal of technical advice, but sources differ as to whether Brahms accepted most of the violinist’s suggestions or whether he continued on 14
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Program Notes . continued from 13 simply showed the score to Joachim out of courtesy and was not much influenced by those suggestions. What seems certain is that the new concerto was created in very broad dimensions in the footsteps of the Beethoven concerto. It must be remembered that Joachim gave the London premiere of the Beethoven in 1844, with Mendelssohn conducting, when he was just shy of his 13th birthday, and by the time he met Brahms some nine years later, virtually every prominent violinist was playing the Beethoven. Following the new concerto’s completion, plans were made for a tryout with the Berlin Conservatory orchestra in the fall of 1878, for Joachim to compose a cadenza, and for the premiere to take place with the Leipzig Gewandhaus Orchestra on New Year’s Day in 1879. It was in this same hall that, some 20 years previously, Brahms’s First Piano Concerto had met with a disastrous reception, and as a result he had not written any kind of a concerto since. At the premiere the audience seemed unmoved by the first movement, began to warm up to the second movement, and then responded enthusiastically to the finale. Joachim’s playing was universally admired, as was his cadenza, and when the work was premiered in Vienna two weeks later, Brahms reported that Joachim had “… played the cadenza so magnificently that the people clapped right into my coda!” One way in which Joachim definitely influenced the work was in its construction: Originally there were to have been four movements, but the scherzo was taken out, and the material was later reworked to become the second movement of the Second Piano Concerto. Even though Brahms had input from Joachim and others, his musical imagination far exceeded the existing conventions for a violin concerto. Curiously, both Brahms and Tchaikovsky wrote their violin concertos in the same year, and both works changed expectations of how a violin should sound in an orchestral setting. In spite of Brahms’s solid prestige at the time and Joachim’s passionate sponsorship, the new concerto took a long time to establish itself, but now is rightly considered to be one of the greatest of all violin concertos. Joachim had wanted the violin and the orchestra to be on an equal footing, but in a very real sense Brahms made the violin the rhythmic force driving the orchestra forward, particularly in the outer movements, and also exploited the high register of the instrument in a lyrical way that was unprecedented. The slow movement contains one of the most 14
“I don’t deny that it is very good music, but do you think I could stand, violin in hand, and listen to the oboe play the only good tune in the whole work?” —Pablo de Sarasate
beautiful melodies that Brahms ever created, but it was the reason the great Spanish violinist Pablo de Sarasate refused to play the concerto, saying, “I don’t deny that it is very good music, but do you think I could stand, violin in hand, and listen to the oboe play the only good tune in the whole work?” Then there is the rollicking, boisterous finale, which in the principal section of the rondo was a heartfelt tribute from Brahms to Joachim’s Hungarian roots. However, just as Joachim never returned to Hungary or sympathized with its nationalist causes, other themes intervene that are definitely not Hungarian in character. Finally, the concerto ends in a most unusual way by having the music change meter, not once, but twice, then slows down almost to a standstill until three powerful chords bring the work to its magnificent conclusion. ●
Born September 8, 1841, in Nelahozeves, Czechoslovakia Died May 1, 1904, in Prague, Czechoslovakia
Symphony No. 9 in e minor, Op. 95 “From the New World”
2 flutes (one doubling piccolo), 2 oboes (one doubling English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Approx. 40 minutes.
No other major composer of the 19th century faced as many difficulties in creating a career as did Dvořák. He was the son of an innkeeper from a small provincial village, and the eldest of nine children. At an early age he showed great talent for music and a strong desire to express himself in composition, but he had too little education to go on to training in the more advanced areas of music. His early studies were supported by a well-to-do uncle, and eventually he moved
to Prague where he played both violin and viola in two different orchestras for several years. He kept composing all the while, and gradually his remarkable talent became known, particularly after Brahms became a strong champion of his music. From the start, Dvořák had a single-minded interest in music, and this drive to compose, along with his unique harmonic and melodic gifts, eventually brought him great success and fame. He was a man of great natural dignity and character, and to his credit, to the end of his life he retained a taste for simple things, had a great love of nature and the Czech countryside, and was very devoted to his wife and children. Moreover, the great success and public acclaim that he enjoyed never turned his head or made him vain or self-centered. Dvořák’s music sounds very fluent and spontaneous and natural, so it is easy to assume that he was an instinctive composer who had little trouble coming up with ideas. Actually, he worked very hard at composing, and was constantly revising and reworking material—in the case of the fourth movement of this symphony, no less than ten attempts to get the main theme exactly as he wanted it. The miracle of the man is that, in spite of this, his music does manage to sound so fresh and spontaneous. In 1885, Mrs. Jeannette Thurber, the wife of a wealthy New York grocer, established a unique conservatory in the city that she called the National Conservatory of Music. The school, which was one of the most remarkable musical institutions ever established in this country, was set up as a nonprofit institution, based its fees on the students’ ability to pay, and if a student was too poor to afford anything, that student was given a scholarship. In addition, the school was open to anyone who wished to attend, including African Americans, a unique policy at the time. The school remained in existence until 1920, and attempts to revive it were
Program Notes . made as late as 1946. In 1891, Mrs. Thurber offered the directorship of the Conservatory to Dvořák who initially declined, but later succumbed to the post’s benefits including the then-princely annual salary of $15,000, a residency of eight months out of the year, and the opportunity to conduct ten concerts of his own music. He stayed in this country for three very happy and productive years (1892–95), spending his winters in New York and his summers in the small Bohemian community of Spillville, Iowa. Dvořák’s stay in this country gave him a unique exposure to indigenous American music and to works by American authors. Mrs. Thurber tried to interest him in writing an opera based on Longfellow’s Song of Hiawatha, and while this project went nowhere, features taken from the poem found their way into the Ninth Symphony. Just to name two, the beautiful second movement was inspired by Minnehaha’s funeral, while the third movement relates to the dance of the character Pau-Puk-Keewis. Incidentally, it was one of Dvořák’s pupils, William Arms Fisher, who turned the beautiful melody of the slow movement into the spiritual known as “Goin’ Home.” Many people claim they can recognize actual American folk tunes in the work, but it really is the spirit of Native American music rather than any actual quotations that colors the musical texture. The work’s nickname, by the way, came from Dvořák himself. The first performance of the work took place in
Carnegie Hall in New York in December of 1893, and it was received with enormous enthusiasm. Dvořák later wrote to his publisher: “The success of the symphony was tremendous; the papers say that no composer has ever had such a triumph; the hall was filled with the best New York audience, and the people clapped so much that I was obliged to thank them from my box like a king!” Even though it was written by a foreigner, one can say that this is probably the most widely acclaimed and universally beloved symphony ever produced here in the New World. ●
Johann Sebastian Bach
Born March 21, 1685, in Eisenach, Germany Died July 28, 1750, in Leipzig, Germany
Brandenburg Concerto No. 1 in F Major, BWV 1046 Scored for 2 horns, 3 oboes, bassoon, violin piccolo, 2 violins, viola, and basso continuo. Approx. 22 minutes.
Brandenburg Concerto No. 3 in G Major, BWV 1048 Scored for strings. Approx. 10-12 minutes.
Few works in music history are as beloved as these six instrumental concertos, which display a somewhat lighter side of Bach’s
“The success of the symphony was tremendous; the papers say that no composer has ever had such a triumph; the hall was filled with the best New York audience, and the people clapped so much that I was obliged to thank them from my box like a king!” —Antonín Dvořák
extraordinary genius. Sent to the Margrave of Brandenburg in 1721, there is no way that Bach could have known that these works would become a benchmark of Baroque music, and that almost 300 years later they would still have the power to move listeners with their extraordinary musical substance. Bach thought of them as a set (even though they did not acquire their title until years later), compiling them from instrumental sinfonias and concerto movements he had already written, reworking and elaborating the music as he saw fit. Each of the six concertos requires a different combination of instruments along with some very skilled soloists. The Margrave had a small court orchestra in Berlin, but they were not firstrate performers. What we know indicates that these concertos were tailored for the excellent musicians that Bach had in AnhaltCothen, which brings up the question, how did this small provincial town get so many first-rate performers? Just before Bach arrived in Cothen in 1717 a new king came to the throne in Prussia: He was Friedrich Wilhelm I, known as the “Soldier King” because he was more interested in military matters than in artistic endeavors. He immediately disbanded the very prestigious Berlin court orchestra, which threw many fine musicians out of work, and as luck would have it, at least seven of the finest ones were instantly hired by the music-loving Prince Leopold in Cothen. That is why Bach found such a splendid music scene there, and it gave him the ability to write for virtuosos who in turn inspired him to push the boundaries of his fertile creativity. Over the years, scholars have had to fill in a lot of gaps in dealing with Bach’s music: Nearly half of his output is considered lost, and many of the concertos exist only in later arrangements and dubious copies. However, these six concertos survive in his original manuscript, which is one of the most beautiful examples of Bach’s calligraphy that has come down to us. In 1721, Bach was in his fourth year as Prince Leopold’s musical director, and all was going well until the Prince decided to marry his cousin that year. She is known to have disliked music, and we know that Bach certainly disliked her! Toward the end of March he began to feel an urgent need to leave Cothen, and so he sent these concertos, along with a very servile dedication letter, to Margrave Christian Ludwig of Brandenburg whom he had met a couple of years earlier, and who he thought might be interested in hiring him. The meeting referred to took continued on 16
The New Mexico Philharmonic
Program Notes . continued from 15 place in March of 1719 in Berlin, where Bach had gone to approve and bring home a marvelous new harpsichord for Prince Leopold. At the time, Bach is reputed to have played for the Margrave, who was quite impressed and requested some music to add to his meager library. Bach obviously did so, but no one can figure out why it took him two years to send the music off. Clearly, in 1721 these concertos were a reminder to the Margrave, and were meant to serve as a résumé for a new job. It was once held that the Margrave never performed the concertos—almost certainly because his instrumental forces could not handle the technical demands of the music—and possibly never even looked at the score (remember what pristine condition it was in), and that Bach never even received an acknowledgment. In addition, it was felt that the works were considered so worthless that they were sold for a pittance when the Margrave died in 1734. However, modern scholarship suggests that a performance would have used individual parts rather than the score, that the absence of a response could simply mean that it might have been lost, and that the score was not sold, but was given a nominal value in order to assure that the Margrave’s estate was evenly divided among his heirs. Whatever the case, in the estate inventory there is no specific mention of the concertos or even of Bach’s name, but they appear to have been put in a bulk lot of 177 concertos as being worth very little, and eventually were passed on to the heirs. The set then gathered dust until 1849 when it was discovered by one of Bach’s pupils in the Brandenburg archives, and was published the following year to mark the 100th anniversary of Bach’s death. As if this wasn’t enough, the manuscript was nearly lost during World War II, as it was being transported for safekeeping to Prussia by train in the care of a librarian. The train came under aerial bombardment, but happily the librarian escaped unharmed into a nearby forest, with the scores hidden under his coat! Bach’s own title for the set was Six Concertos for Several Instruments, and they are simply one of the great glories of Baroque instrumental music. These works have become so familiar that it is difficult for modern audiences to appreciate just how revolutionary they were. They are splendid examples of the concerto grosso (literally, “big concerto”), and provide a marvelous catalog of instrumental techniques of the day cast as lively and sophisticated court 16
entertainment. Unlike a solo concerto, which features one soloist, the concerto grosso uses a small group of soloists contrasted with the full ensemble. Much of the interest in this form comes from the contrast in color and texture between the instrumental forces, and Bach exploits this to the fullest using imaginative and unprecedented combinations of instruments, with each concerto having its own distinctive character. The First
These works have become so familiar that it is difficult for modern audiences to appreciate just how revolutionary they were. Concerto is the only one in the set with four movements, and appears to have originated in the three-movement Sinfonia in F, BWV 1046a, which Bach composed as the opening of his so-called Hunting Cantata, BWV 208, written to celebrate a royal birthday in Weimar in 1713. In addition, the sprightly Polacca from the last movement also figures in the cantata. The first movement also exists as the sinfonia of a later cantata, and the third movement was used to accompany the opening chorus of yet another cantata, where the horns are replaced by trumpets. The Third Concerto is scored just for strings and does not have the color contrast of the concertos that use wind instruments. What it does have is a remarkably rich texture created by the relationship between the various instrumental lines. In one sense there is no soloist, but in another sense
there are many, as at some time practically all of the instruments assume a solo role. Sometimes all ten parts play together, but often groups of three are used against each other which produces a fascinating variety of texture: witness the first movement in which the musical material is tossed from one instrumental group to another. This is a special type of the Baroque concerto grosso, called an orchestral concerto, and here it is a concerto in the sense that the word was used in the Baroque era to mean a “coming together” of instruments. As Bach wrote it, this concerto really has only two movements, both in fast tempo, that are connected by a sequence of just two chords, forming what is called an imperfect or half cadence. There is little disagreement here about whether the two chords should simply be played as written or whether they should close other music inserted at the director’s discretion. Although there is no direct evidence to support this, it is possible that these chords were meant to surround or follow a cadenza improvised by one of the violin players. As a result, modern performances go from simply playing the chords with minimal ornamentation to actual cadenzas to inserting movements or passages from other Bach works. The first movement is also used in a reworked form as the sinfonia to the cantata BWV 174, with the addition of three oboes and two horns. ●
Johann Sebastian Bach
Born March 21, 1685, in Eisenach, Germany Died July 28, 1750, in Leipzig, Germany
Keyboard Concerto in A Major, BWV 1055 Scored for solo keyboard and strings. Approx. 14 minutes.
Keyboard Concerto in g minor, BWV 1058 Scored for solo keyboard and strings. Approx. 14 minutes.
In Bach’s keyboard concertos, BWV 10521065, there are seven complete concertos for a single soloist, three concertos for two soloists, two concertos for three soloists, and one concerto for four soloists. In addition, there is the concerto BWV 1044 that has solo parts for harpsichord, violin, and flute, and the Brandenburg Concerto No. 5 with the identical scoring. With the exception of the Brandenburg No. 5, most of these concertos
Program Notes . are thought to be arrangements from earlier concertos for melody instruments (violin, oboe, etc.), and in many instances only the harpsichord version has survived. They are important historically, as they are among the very first keyboard concertos ever written. The solo harpsichord concertos were composed mainly to showcase Bach’s own keyboard technique (which was considerable), but the others were written for different situations, one of them being Hausmusik, music for domestic performances in the Bach household at the Thomas School in Leipzig. All of these concertos were composed in a manner idiomatic to the keyboard, and even if they were performed on one of the newly developed fortepianos, they seem to have been written for a small chamber ensemble with one player on a part. The writing also conforms to a practice that lasted until the early 19th century, where the soloist plays along with the orchestra when everybody is playing, only coming into clear prominence in the solo passages. Most of Bach’s concertos are thought to have been written between 1717 and 1723 when he was Kapellmeister (Music Director) at the princely court of Anhalt-Kothen, and had at his disposal a small but excellent group of highly accomplished players. When he went to Leipzig in 1723 to become Cantor of the St. Thomas Church, his professional and personal life changed dramatically. His former situation had no use for elaborate church music, so he concentrated on instrumental works; now he was in charge of music for four major churches and the choir school, and had little reason to write purely instrumental works and little opportunity to hear them performed. So he reworked much of his earlier instrumental music in Leipzig when he became director of the Collegium Musicum concerts. It was for the Friday evening gatherings of this well-known society of university students, gifted amateurs, and some professionals that the harpsichord versions of the lost violin concertos were made. In June of 1730, a newspaper article announced a new keyboard instrument, “the like of which has not been heard,” and this may have been the powerful harpsichord that Bach commissioned to perform his keyboard concertos at the Leipzig coffee concerts. While working at the court of Weimar from 1708 to 1717, Bach first came across the Italian concertos of composers like Vivaldi, Albinoni, and Marcello, and from them he borrowed the three-movement (fast-slowfast) concerto form with its dramatic style, The New Mexico Philharmonic
and the alternating structure of solo and orchestral episodes found mainly in the outer movements. To this basic pattern he added a wealth of contrapuntal and accompanimental material, often blurring the line between solo and ensemble sections found in those Italian concertos. While taking inspiration from the Italian string writing, Bach fully integrated that musical language with his own, in the process creating a much richer and more complex musical texture. With his keyboard concertos he created masterpieces that became the model for such works for the next 200 years. Unlike the other harpsichord concertos, BWV 1055 has no known precursors, either as an instrumental concerto or as a movement in a cantata. However, it is now generally accepted as a reworking of a lost instrumental concerto, most likely for the oboe d’amore. Whatever the case, this is one of the most concentrated and mature of all of Bach’s concertos. It begins with a nimble and spirited first movement, then continues with a very expressive slow movement, which, although not containing the dotted rhythms of a true siciliano, is very close in character to this rather melancholy dance form. The last movement is very lively and spirited with some highly florid keyboard passages, is written in a compact style similar to the first movement, and like the first movement, this finale begins and ends with substantial orchestral passages. BWV 1058 may have been Bach’s first attempt at writing out a full harpsichord concerto, and is a transcription of his a minor Violin Concerto, BWV 1041, now transposed down a whole tone to fit the range of the harpsichord. Once completed, Bach appears to have been dissatisfied with the work, as is shown by the fact that he made very few alterations to the passages where the orchestra plays along with the soloist, resulting in the harpsichord being swamped by the orchestra too much to be effective as a solo instrument. It is thought that this was to have been the first in a series of concertos, but this was the only one written. As was his custom at the beginning of a set of works, Bach marked “J.J.” at the start of the concerto, the letters standing for Jesus juva, or Jesus, Help! ● Program Notes ® Charles Greenwell
David Felberg conductor Praised by The Santa Fe New Mexican for his “fluid phrases; rich, focused tone; rhythmic precision; and spot-on intonation.” Albuquerque native, violinist, and conductor David Felberg is Associate Concertmaster of the New Mexico Philharmonic. He also serves as Artistic Director and cofounder of Chatter Sunday, Chatter 20-21, and Chatter Cabaret. He is Concertmaster of the Santa Fe Symphony and Music Director of the Albuquerque Philharmonic. He also teaches contemporary music at the University of New Mexico. His robust conducting career has included conducting the New Mexico Symphony Orchestra, New Mexico Philharmonic, Santa Fe Symphony, and many performances of contemporary music with Chatter. David performs throughout the Southwest as concert soloist, recitalist, and chamber musician. He made his New York debut in Merkin Hall in 2005. He received a Bachelor of Arts in history from the University of Arizona and a Master of Music in conducting from the University of New Mexico. He has taken advanced string quartet studies at the University of Colorado with the Takács Quartet and was awarded a fellowship to attend the American Academy of Conducting at the Aspen Music Festival. David plays an 1829 J.B. Vuillaume violin. ●
Natalie Harris NMBC Artistic Director & choreographer Natalie Harris first fell in love with the art of ballet at New Mexico Ballet Company’s production of The Nutcracker. She began her training locally with Lana Kroth, Suzanne Johnston, Wendy Rubin, and Jolie Sutton-Simballa. In 2007, she accepted an apprenticeship with Ballet Quad Cities in Rock Island, Illinois. While there, she danced lead roles in The Nutcracker and Coppélia. After a year, Ms. Harris was offered a full scholarship with the Joffrey Ballet School in New York City. There, she trained with Davis Robertson, Brian McSween, Francesca Corkel, Era Jouravlev, Nicole Duffy, and guest teachers such as Desmond Richardson, Maria Kowroski, Daniel Ulbricht, Africa Guzman, and more. While in New York, she had the opportunity to perform as a guest artist with Urban Ballet Theatre in their production of Nutcracker in the Lower. Ms. Harris continued her training with the Joffrey Ballet School and was appointed Company Manager of the first Joffrey Concert Group company tour. After her time in New York, she returned home to New Mexico and started teaching at local schools as well as coaching and choreographing for NMBC. Last year, during her first season as NMBC’s Artistic Director, Ms. Harris put on a new production of The Nutcracker Ballet as well as choreographed a full-length ballet version of Alice in Wonderland. ●
Roberto Minczuk conductor Roberto Minczuk is the Music Director of the Calgary Philharmonic Orchestra in Canada, the Artistic Director and Principal Conductor of the Brazilian Symphony Orchestra, as well as the Artistic Director of the Theatro Municipal do Rio de Janeiro. He has held the positions of Co-Artistic Director and Associate Conductor of the São Paulo State Symphony Orchestra (OSESP), and in 2005, he was its Principal Guest Conductor. He conducted OSESP’s première in a foreign country in 2000 (Lima) and the orchestra’s first European performance in 2003 in Nürnberg, Germany. He was also the Artistic Director and Principal Conductor of the Ribeirão Preto Symphony and the Principal Conductor of the Brasília University Symphony. Roberto Minczuk also held the post of Artistic Director of the Campos do Jordão International Winter Festival for six years. He has conducted orchestras across North America, including New York, Los Angeles, Philadelphia, San Francisco, Houston, Toronto, and Ottawa among others. In Europe, he conducted the London BBC, Cardiff BBC, and BBC Scottish Symphony Orchestras; the London, Oslo, Hallé, Rotterdam Philharmonic, Netherlands, and National Radio of Ireland Orchestras; the France, Lyon, and Belgium National Orchestras; and the Royal National Scottish and Barcelona Symphony Orchestras. His American tour with the London Philharmonic was acclaimed by audiences and critics alike, as were the latest opera productions of The Seven Deadly Sins and The Lindbergh Flight at the Lyon National Opera in France and at the Edinburgh International Festival. Last season, Minczuk conducted, for the first time in the world, the complete Bachianas
Artists . brasileiras cycle in only one concert with the Tokyo Philharmonic. Last season, Minczuk debuted with the City of Birmingham, Bilbao, and Bournemouth Symphony Orchestras. In 1998, he conducted the New York Philharmonic in his first performance in the United States, and in 2002, he was invited to hold the position of Associate Conductor. In 2001, he received the Martin Segall Award, and in 2004, the Latin Grammy for best classical album with the Jobim Sinfônico CD, a project conceived by Mário Adnet and Paulo Jobim. He was also awarded the Emmy for the New York City Ballet Program—“Lincoln Center Celebrates Balanchine 100” (live from Lincoln Center). The Academic Orchestra of the Campos do Jordão International Winter Festival was the Carlos Gomes prize-winner and the CD recorded during the 2005 Festival got the TIM Award for best classical album. In 2006, Roberto Minczuk took the APCA award for best conductor for the second time. He played a role in the minidocumentary Introitus, produced by Amythos Films that aired on the Bravo! Channel in Canada, reproducing the minutes before taking the stage to conduct the Calgary Philharmonic Orchestra. In 2007, the Veja Rio magazine gave him the Carioca do Ano Award for his work at the Brazilian Symphony Orchestra in Rio de Janeiro. In 2008, the Bravo Prime Culture Award gave him the prize as Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro. He has recorded works by Ravel, Piazzolla, Martin, and Tomasi, conducting the London Philharmonic and released by Naxos; seven CDs, including the Bachianas brasileiras, Brazilian Dances and Beethoven, with the São Paulo State Symphony Orchestra, released by BIS; four CDs with the Academic Orchestra of the Campos do Jordão International Winter Festival, that includes works by Dvořák, Mussorgsky, and Tchaikovsky; one CD with the Brazilian Symphony Orchestra, which includes pieces by José Maurício Nunes Garcia; the first CD of the Beethoven symphony cycle with the Calgary Philharmonic Orchestra was released in early 2010 and will be followed by a CD of George Gershwin. Roberto Minczuk is married to Valéria Minczuk and has four children: Natalie, Rebecca, Joshua, and Julia. ●
Jennifer Koh violin Violinist Jennifer Koh is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. An adventurous musician, she collaborates with artists of multiple disciplines and curates projects that find connections between music of all eras, from traditional to contemporary. She believes that all the arts and music of the past and present form a continuum and has premiered over 50 works written especially for her. This season, Ms. Koh performs a broad range of concertos that reflects the breadth of her musical interests, including Steven Mackey’s concerto Beautiful Passing with the Baltimore Symphony led by Marin Alsop and Naples Philharmonic led by Eric Jacobsen, Mozart’s First Violin Concerto with the St. Louis Symphony conducted by Nicholas McGegan, Esa-Pekka Salonen’s Violin Concerto with the Cincinnati Symphony led by Santtu-Matias Rouvali, and Sibelius’s Violin Concerto with the New Jersey Symphony Orchestra led by Xian Zhang. Ms. Koh will perform world premieres of violin concertos by Christopher Rountree with the new music collective wild Up as part of the Los Angeles Philharmonic’s Green Umbrella “From Noon to Midnight” music marathon, and by Vijay Iyer at the 2017 Ojai Festival. She also performs Mozart’s Violin Concerto No. 3 at Carnegie Hall with the New York String Orchestra led by Jaime Laredo. Ms. Koh presents a year-long focus on the music of Kaija Saariaho, one of her most notable collaborators. Ms. Koh has premiered numerous works, in performance and on recording, by the Finnish composer, including Frises for solo violin and electronics, and Light and Matter and Aure, both with cellist
Anssi Karttunen. This season, she performs Ms. Saariaho’s violin concerto, Graal Theatre, with the Curtis 20/21 Ensemble in Philadelphia as part of a collaborative residency that also includes master classes and coachings; the Tampere Philharmonic in Finland; and the Orchestre de Radio France on a program that also features Frises and Light and Matter with Mr. Karttunen. In New York, Ms. Koh performs Ms. Saariaho’s Cloud Trio on a chamber music program with the Variation Trio in its 92nd Street Y debut and Tocar for violin and piano with Shai Wosner as part of a recital for the People’s Symphony Concerts. In the summer of 2016, Ms. Koh and Ms. Saariaho were in residency at the Aspen Music Festival. Ms. Koh’s foray into curating projects has led her to commission works by today’s foremost composers. Shared Madness comprises short works for solo violin that explore virtuosity for the violin in the 21st century by more than 30 of today’s most celebrated composers, all of whom gifted their music for the project. Shared Madness premiered over two recitals in May 2016 at National Sawdust as part of the New York Philharmonic’s Biennial. Her Bridge to Beethoven recital series, performed with pianist Shai Wosner, explores the impact and significance Beethoven has had on a diverse group of composers and musicians. Pairing Beethoven’s ten sonatas for violin and piano with new works by composers Vijay Iyer, Andrew Norman, and Anthony Cheung over four programs, the project seeks to ignite creative conversations around Beethoven not only as a cornerstone of classical music but as a universal source of inspiration. This season, Ms. Koh performs works from Shared Madness in a recital at the Contemporary Arts Center in Cincinnati, and continues Bridge to Beethoven with Shai Wosner in recital at the Kimmel Center in Philadelphia, and in cities nationwide. The exploration of Bach’s music and its influence in today’s musical landscape has played an important role in Ms. Koh’s artistic journey. Bach & Beyond, which she launched in 2009 in commemoration of the 325th anniversary of Bach’s birth, is a three-recital series that traces the history of the solo violin repertoire from Bach’s Six Sonatas and Partitas to composers ranging from Bartók, Berio, Carter, Salonen, and Ysaÿe with commissions and world premieres by composers John Harbison, Phil Kline, Missy Mazzoli, Kaija Saariaho, and video artist Tal Rosner. Another project continued on 20
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Artists . continued from 19 that presents works in response to Bach is Two x Four, which explores mentorship and collaboration between teacher and student and shows how performance traditions and composition practices are passed from generation to generation. Two x Four, performed with Ms. Koh’s former teacher, violinist Jaime Laredo, features double violin concerti by Bach, Philip Glass, Anna Clyne, and David Ludwig, the latter of the two being commissioned and premiered as part of the project. Bach & Beyond Parts 1 and 2 and Two x Four with Mr. Laredo and the Curtis 20/21 Ensemble, have been released on recordings by Cedille Records. Ms. Koh has been heard with leading orchestras around the world, including the Los Angeles and New York Philharmonics; the Atlanta Symphony, Baltimore Symphony, BBC Symphony Chicago Symphony, Cincinnati Symphony, Cleveland Orchestra, Detroit Symphony, Houston Symphony, Mariinsky Theatre, Milwaukee Symphony, Minnesota Orchestra, Montreal Symphony, Nashville Symphony, National Symphony, New Jersey Symphony, New World Symphony, NHK Symphony (Tokyo) Orpheus Chamber Orchestra, Philadelphia Orchestra, Philharmonia (London) Orchestras, Pittsburgh Symphony, RAI National Symphony Orchestra (Torino), St. Louis Symphony, Seattle Symphony, and Singapore Symphony, among others. Conductors she has worked with include John Adams, Marin Alsop, James Conlon, Gustavo Dudamel, Christoph Eschenbach, Giancarlo Guerrero, Manfred Honek, Louis Langree, Carlos Kalmar, Lorin Maazel, Sakari Oramo, EsaPekka Salonen, Juraj Valčuha, Osmo Vänskä, Alexander Vedernikov, and Edo de Waart. A prolific recitalist, she frequently appears at major music centers and festivals, and played the role of Einstein in the revival of Philip Glass’s Einstein on the Beach from 2012–2014. A particular highlight of her career was performing for the First Lady of the United States, Michelle Obama, and the First Lady of South Korea, Kim Yoon-ok, in 2011. Ms. Koh brings the same sense of adventure and brilliant musicianship to her recordings as she does to her live performances. Her latest album, Tchaikovsky: Complete Works for Violin and Orchestra with the Odense Symphony Orchestra conducted by Alexander Vedernikov, released in September 2016, is Ms. Koh’s eleventh recording for the Cedille Records label. Ms. Koh first performed Tchaikovsky’s Violin Concerto conducted 20
by Mr. Vedernikov in the final round of the International Tchaikovsky Competition for Young Musicians in 1992 and went on to win the International Tchaikovsky Competition in Moscow with the concerto in 1994. In addition to her Bach & Beyond and Two x Four albums, her discography on Cedille Records also includes Signs, Games + Messages, a recording of violin and piano works by Janáček, Bartók, and Kurtág with Mr. Wosner; Rhapsodic Musings: 21st Century Works for Solo Violin; the Grammynominated String Poetic, featuring the world premiere of Jennifer Higdon’s eponymous work, performed with pianist Reiko Uchida; Schumann’s complete violin sonatas, also with Ms. Uchida; Portraits with the Grant Park Orchestra under conductor Carlos Kalmar with concerti by Szymanowski, Martinů, and Bartók; Violin Fantasies: fantasies for violin and piano by Schubert, Schumann, Schoenberg, and saxophonist Ornette Coleman, again with Ms. Uchida; and Ms. Koh’s first Cedille album, from 2002, Solo Chaconnes, an earlier reading of Bach’s Second Partita coupled with chaconnes by Richard Barth and Max Reger. Ms. Koh is also the featured soloist on a recording of Ms. Higdon’s The Singing Rooms with the Atlanta Symphony Orchestra led by Robert Spano for Telarc. Ms. Koh is the Artistic Director of arco collaborative, an artist-driven nonprofit that fosters a better understanding of our world through a musical dialogue inspired by ideas and the communities around us. The organization supports artistic collaborations and commissions, transforming the creative process by engaging with specific ideas and perspectives, investing in the future by cultivating artist-citizens in partnership with educational organizations. A committed educator, she has won high praise for her performances in classrooms around the country under her innovative “Music Messenger” outreach program. Ms. Koh is a member of the Board of Directors of the National Foundation for the Advancement for the Arts, a scholarship program for high school students in the arts. Born in Chicago of Korean parents, Ms. Koh began playing the violin by chance, choosing the instrument in a Suzuki-method program only because spaces for cello and piano had been filled. She made her debut with the Chicago Symphony Orchestra at age 11. Ms. Koh is Musical America’s 2016 Instrumentalist of the Year, a winner of the Concert Artists Guild Competition,
and a recipient of an Avery Fisher Career Grant. She has a Bachelor of Arts degree in English literature from Oberlin College and studied at the Curtis Institute, where she worked extensively with Jaime Laredo and Felix Galimir. For further information, visit jenniferkoh.com. ●
Kiera Johnson lead role Kiera Johnson (Dorothy) was born and raised in Albuquerque. She began dancing at the age of two at Elite Dance Studio. While dancing with the company, she became an instructor and choreographer, where her work was featured in multiple studio projects. Kiera is trained in a variety of dance styles, including ballet, jazz, tap, hip hop, and contemporary. In 2015, after auditioning for NMBC’s The Nutcracker ballet, Kiera was offered a contract with the company. Now in her second season with NMBC, she is very excited to be performing soloist roles. Kiera feels blessed to have been given the opportunity to dance with NMBC. ●
Katie Mahan piano Praised as “one of the most outstanding talents coming up today,” American pianist Katie Mahan is capturing the attention of audiences throughout the world for her innovative musical personality, poetic interpretations, and graceful, charming stage presence. She possesses an unquestioned technical mastery combined with a kaleidoscopic palate of tone colors, and has been recognized as “a daring and innovative performer.” A multifaceted artist for whom music is an endless passion, Katie is at home in a broad repertoire ranging from Bach to Poulenc, and is particularly distinguished as an interpreter of the music of George Gershwin—performing her own daring, exciting solo piano arrangements to standing ovations across the globe—and Claude Debussy. Katie’s life has always been filled with music, and at the age of four, inspired by attending a performance of Gershwin’s An American in Paris given by the famous French piano duo, Katia and Marielle Labèque, she decided that she wanted to be a concert pianist. She subsequently began piano studies with her mother, Bobette Mahan, giving her first solo recital two years later at the age of six. An American in Paris opened the door to the vast world of classical music for Katie, and her love of Gershwin quickly led her to discover the music of Debussy and Ravel, the French composers that Gershwin idolized. Although Katie’s music now takes her all over the world, she never forgets her American heritage, and the great American composer who inspired her to become a pianist. Her programs often feature her own classical arrangements of her beloved countryman’s music, alongside works of Debussy and the high pillars of the classical repertoire.
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Katie’s greatest pianistic influence came from her studies with the celebrated French pianist Pascal Rogé, with whom she studied the music of the French Impressionists. Rogé—who traces his musical heritage directly back to the great French tradition of Debussy and Ravel—was not only an important pianistic influence on Katie, but also inspired her to devote years of study to the search for understanding of French music, art, and stylistic tradition. Today, Katie’s playing epitomizes the French style of elegance, beauty, and poetry. Thomas Veszelits of the Münchner Abendzeitung described Katie’s Debussy thus: “Seasoned concertgoers who had already heard Arturo Benedetti Michelangeli, long acclaimed as the best interpreter of Debussy and Ravel, were impressed by Katie Mahan. With such richness of color, perfection of tone, and structural clarity, she takes her world-class place alongside the Maestro.” Since making her orchestral debut in 1999 performing Gershwin’s Concerto in F with the Breckenridge Symphony, Katie has appeared in concerts throughout the USA, Europe, Canada, the Middle East, Russia, and Japan. She has performed with such celebrated conductors as Jiri Belohlavek, Marin Alsop—who described her as a pianist “in the style of Clara Schumann”—Grant Cooper, and Lawrence Leighton-Smith, among others, and in such famous halls as the Konzerthaus in Berlin, the Prinzregenten Theatre in Munich, and the Smetana Hall in Prague. Katie has participated in master classes by such musicians as Lang Lang— who praised her as “a fabulous pianist … full of emotion and originality”—Simon Trpceski, and Michel Béroff, and has recently performed with orchestras including the Prague Philharmonia, Colorado Symphony, West Virginia Symphony, Cheyenne Symphony, Colorado Springs Philharmonic, Boulder Philharmonic, Vancouver Metropolitan Orchestra, and the Wiener Residenz Orchestra, among others. Katie was a protégé of Howard Waltz— himself a student of the legendary French pianist Robert Casadesus—and studied with Robert Spillman at the University of Colorado College of Music where she graduated with highest honors. She has recorded six independently released CDs featuring diverse repertoire, and will release two new CDs in 2017, including an all-Gershwin album in honor of the 80th anniversary of the composer’s death. She will also release an all-Gershwin LP on the
BerlinerMeisterSchallplatten label’s directto-disc format. In addition to performing, Katie devotes her time and talent to the support of various humanitarian, medical, and educational causes. In 2014, Katie founded the Katie Mahan Foundation “Music for a Bright Tomorrow” whose objective is to promote classical music and to inspire giving through music. Katie is a Steinway artist and was awarded the Classic Superstar 2008 award by the Berliner Salon. ●
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BOARD OF DIRECTORS Maureen Baca President
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
E-FLAT CLARINET Lori Lovato
HARP Anne Eisfeller •
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BACH CIRCLE Donation of $1000–$1932
Kristen Anderson 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 Ronald Bronitsky, M.D. & Jim Porcher 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 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 Martha Hoyt Robert & Elisa Hufnagel Sue Johnson & Jim Zabilski Victor Jury Stephanie & David Kauffman 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 Marc Powell 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 William Wiley
Drs. Bronwyn Wilson & Kurt Nolte Scott Wilson Michael & Jeanine Zenge
CONCERTMASTER CIRCLE Donation of $500–$999
Leah Albers & Thomas Roberts John Ames Anonymous Christopher Apblett Judith & Otto Appenzeller 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 Jane Ann Blumenfeld 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 Ira & Sheri Karmiol Joyce S. Kaser, in memory of Gene W. Taylor Henry Kelly 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 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 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 Vall-Spinosa 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 Zia Trust 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 ALH Foundation Inc. Gerald Alldredge Jo Marie & Jerry Anderson Judith Anderson Anderson Organizing Systems 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 Edward & Leslie Atler David Baca George Baca Mary E. Baca Stephen & Maureen Baca, in memory of Mr. Herbert Floyd Thomas J. & Helen K. Baca Toni Baca Charlene Baker Gail Baldacchino, in memory of Mr. Herbert Floyd E. Patricia Barbier Sheila Barnes Elinore M. Barrett Edward & Therese Barts Steve Bassett Carla Beauchamp William Bechtold Edie Beck Joe Bentley Leonie Boehmer Dr. David & Sheila Bogost Tim & Jackie Bowen
Donor Circles . Michael & Monica Bowlin Susan Brake Ann & James Bresson Sheldon & Marilyn Bromberg Carolyn Brooks Carolyn Rose Brown James & Elizabeth Brown Thomas Cagle 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 Kathleen & Hugh Church Judith & Thomas Christopher Wendy Cieslak, in memory of Richard Strauss Paul & Susan Citrin, in honor of David Felberg Beth Clark, in celebration of Matt Puariea Linda & Paul Cochran Jane & Kenneth Cole James Culpepper 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 Susan & Daniel Dunne Thomas Dyble Reverend Suzanne Ebel Mary Lou Edward Paul & Catherine Eichel Eleanor D. Eisfeller Carol & John Ellis Mildred & Richard Elrick Roger C. Entringer Stephanie Eras & Robert Hammerstein Peter & Emily Erb Jackie Ericksen David & Frankie Ewing Helen Feinberg Leonard & Arlette Felberg Winifred & Pelayo Fernandez Stephen Fisher Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming Nancy Flowers James & Jean Franchell Caroline Gaston Paul Getz Chuck & Judy Gibbon Drs. Robert & Maria Goldstein A. Elizabeth Gordon Paul & Marcia Greenbaum 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 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 Blossom Kite Noel & Meredith Kopald Asja Kornfeld, MD & Mario Kornfeld, MD Elizabeth Kubie Karen & George Kupper Lacey & Berweida Learson Rebecca Lee & Daniel Rader Robert & Judith Lindeman 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 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 Deborah Moench Dr. William Moffatt James Moffitt Mary Montano James B. & Mary Ann Moreno James & Margaret Morris 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 Anne E. Nokes Donald & Carol Norton Ben & Mary Lee Nurry Suzanne Oakdale & David Dinwoodie Rebecca Okun Bethe Orrell Joyce & Pierce Ostrander James & Ann Pedone Sandra Penn Calla Ann Pepmueller 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 Kletus & Lois Rood Edward Rose Pamela & Richard Salmon Oscar Sander Alicia Santos Christine Sauer Warren & Rosemary Saur John & Karen Schlue Laura Scholfield Kathleen & Wallace Schulz Paula & Melvin Schwartz Roland & Justine Scott Norman Segel Barbara & Daniel Shapiro Archbishop Michael Sheehan Frederick & Susan Sherman, in memory of Joan Allen Howard Sherry Ronald & Lisa Shibata Ronald & Claudia Short, in memory of Susie Kubie 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 Marilyn & Stanley Stark Alexander & Mary Ann Stone John Stover Carmen & Lawrence Straus Martha Strauss, in memory of Richard Strauss Fred & Terry Sturm Pamela Sullivan Nina & Gary Thayer Maxine Thevenot & Edmund Connolly Marit Tully & Andy Thomas Jay Ven Eman Jean Villamarin 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 Marian Wolff Don & Dot Wortman Sue Wright Paula Wynnyckyj Mae S. Yee & Eric Brock Tony Zancanella Albert & Donna Zeman Andrew A. Zucker
FRIENDS OF THE PHILHARMONIC Donation of $25–$124
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 Emil & Lori Ashe Lance & Kristin Atencio Jackie Baca & Ken Genco Diane & Douglas Brehmer Bailey John & Suzanne Bailey, in memory of Marjorie Shapiro Stein Jan Bandrofchak & Cleveland Sharp John Banister Joyce Barefoot Rom Barnes Joanne Bartlett Julian & Margaret Bartlett Donna Bauer, in memory of Susie Kubie Susan Beard Christopher Behl David & Judith Bennahum Debra & Kirk Benton Mark & Beth Berger Dorothy & Melbourne Bernstein Ellen & Anthony Biernacki Bob & Charlene Bishop Denise Bissell Dusty & Gay Blech Bosque School Henry Botts Joan Bowden J.M. Bowers & B.J. Fisher Charles Brandt, in memory of Jennifer K. Brandt Elizabeth Brower Carolyn Brown Suzanne Brown
Maryann Bryan Jeanette Buffett Valerie Burek Elaine Burgess Robert & Suzanne Busch Michael Bustamante & Cheryl Hall Helen & Gerald Buster Douglas & Ann Calderwood Caroline Campbell & Ruth Cousins Glo Cantwell James Carroll Ann L. Carson Virginia Cavalluzzo Joseph Cella Jean Cheek Kathy & Lance Chilton 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 John & Mary Covan Ralph Cover Judith Crocker Sarah & John Curro Mark Curtis Philip & Joan Dale Rosalie D’Angelo Barbara David William Davidson Dana Davis Joan Davis Doug & Drina Denham Herb Denish Winnie Devore Thomas & Elizabeth Dodson Patricia Dolan Darryl Domonkos Sheila Doucette Keith & Consuelo Dowler Dr. James & Julie Drennan Michael & Jana Druxman Ken Duckert Charmazel Dudt Patsy Duphorne Jeff & Karen Duray Madeline Dwyer Joy Eaton, in memory of C.J. Eaton Keith & Helene Eckrich Jeannine Encinas, Alicia & Roland Fletcher, in memory of Chela Hatch Robert & Dolores Engstrom Helen Erb Ronald & Christine Escudero 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 Beverly Forman & Walter Forman, MD
continued on 26 The New Mexico Philharmonic
Donor Circles . continued from 25 J. Arthur Freed Gigi Galassini Patricia Gallacher, in memory of Susie Kubie Daniel & Elena Gallegos Julia Gallegos Joyce Gammill Jim & Margaret Gates Karen Gatlin Mary Day Gauer Paula Getz Global Organization for EPA & DHA Omega-3s, in memory of Susan Kubie Allen Gold David Goldheim Lois Gonzales Maria & Ira Goodkin, in memory of Susan Kubie Janice K. Goodman Richard Gordon Mr. & Mrs. Thomas Grace Erna Sue Greening Charles Gregory 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 Jo Ellen Head Deborah Helitzer Wallace Henderson Patricia Henning Duane & Youngtae Henry Douglas & Joyce Hilchie Diane & Joe Holdridge Thomas & Toyoko Hooker Tom & Vinita Hopkins Helen & Stanley Hordes Stephanie Horoschak & Paul Helman Anthony & Susan Hunt John & Karla Ice Barbara & Edward Ida Paul Isaacson Joan Jander Sandra & Michael Jerome Eldon Johnson Eric R. Johnson Ruth Johnson Barbara Jones Judy & Scott Jones Pamela Jones Robert Jones Tracy Jones William Jones & Siu Wong Paul Karavas Judy Kauffman Richard & Julia Kavet, in memory of Margaret Birmingham Joelle Keller, in memory of Mr. Herbert Floyd Margaret Keller James Kelly Charles Kemble Barbara Kleinfeld Gerald Knorovsky
Sushilla Knottenbelt Herb & Shelley Koffler, in memory of Joan Allen Philip Kolehmainen & Vivian Waldron Katherine Kraus Roger & Marcia Brumit Kropf, in memory of Richard Strauss Jennifer C. Kruger Hareendra & Sanjani Kulasinghe Stephen & Isadora Kunitz Karin Lanin Gerard Lavelle & Cathy Drake Donald Leach Day Lee Susan & George Lind Claire Lissance William J. Lock George Loehr Rhonda Loos & Neal Piltch, in memory of Joan Allen Joel Lorimer Carol Lovato Betty Lovering Ed & Jeanne Lynch Audrey Macdonald Robert & Linda Malseed Maria Teresa Marquez Jeffrey Marr Anna Marshall Marita Marshall Diane & Walter Masincup Stephen & Janice Matthews Michael Mauldin 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 Claude Morelli 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 James & Kathryn Oates Marilyn Jean O’Hara Gloria & Greg Olson, in memory of Celia Hatch H. George Oltman Jr. George Onieal Diane Orchard Wendy & Ray Orley Dr. Joseph & Barbara Ann Oser Daniel O’Shea Judyth Parker Howard Paul Oswaldo & Victoria Pereira Sergio & Isabelle Hornbuckle Perez, in memory of Chela Hatch Timothy Peterson Barbara Pierce Beverly Pinney Martin & Cathryn Pokorny Judy & Orville Pratt
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 David & Tracey Raymo 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 Susan Rogowski Donald Rokop 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 Elaine G. Schepps David A. Schnitzer Stephen Schoderbek Baiba Garoza Seefer Claude-Marie Senninger Arthur & Colleen M. Sheinberg 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 Enid Solin Gwyneth & Tracy Sprouls Linda Srote William Stanley Bill Stanton Ronald & Patricia Stauber Charlie & Alexandera Steen Donald & B. Joan Stehr Geny Stein Alice Stephens & Robert Bruegger, in memory of Celia Hatch Elizabeth C. Stevens Christine Swanson Laurence Tackman Phyllis Taylor & Bruce Thompson 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 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 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 3/12/2017
Thank You .
SPONSOR A MUSICIAN
WE INVITE YOU TO ENGAGE MORE DEEPLY WITH THE ORCHESTRA AND ITS MUSICIANS. George & Sibilla Boerigter Concertmaster Sponsor
“I am very excited to sponsor Krzysztof our Concertmaster. It will give my wife and me the opportunity to form a lifetime friendship that is surrounded by music.” —George Boerigter
LEGACY SOCIETY GIVING FOR THE FUTURE
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 St. John’s United Methodist Church
INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Billy Brown Anne Eisfeller Rosemary Fessinger Jerrilyn Foster Chris Kershner
Jim Key Rose Maniaci Jackie McGehee Brent Stevens 3/9/2017
Nails and Hair
Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you. Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Nancy Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Bob & Jean Gough Peter Gregory Dr. & Mrs. Larry Lubar George Richmond Jeanne & Sid Steinberg Betty Vortman William A. Wiley Dot & Don Wortman 3/17/2017
Lovely Nails and Hair 6211 4th St Ste 25, Guadalupe Plaza 505-342-1899 | firstname.lastname@example.org The New Mexico Philharmonic
2018 LS Coming Soon
End the season on a high note.
Proud sponsor of the New Mexico Philharmonic 4821 Pan American Fwy., Albuquerque, NM 87109 | 505.341.1600 | lexusofalbuquerque.com
New Mexico Philharmonic 2016/17 Season Program Book 5 • nmphil.org