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Roberto Minczuk Music Director
VOLUME 7 / NO. 1
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2017/18 Season
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NMPhil .
WELCOME TO YOUR NMPHIL’S 7TH SEASON, THE BEGINNING OF A NEW ERA FOR YOUR ORCHESTRA! After an intensive and multiyear search process, we are delighted to welcome Maestro Roberto Minczuk as our first Music Director. His amazing artistry and deep understanding of orchestral repertoire promise to bring a new vision and direction to the artistic aspect of the orchestra. Please welcome him into our community and to the Land of Enchantment. Your NMPhil continues to be the backbone of New Mexico’s performing arts, creating culture that makes this a great place to live, to do business, and to attract and keep the talent that ensures the economic vitality of our community. We have a very exciting season of the world’s greatest music and are welcoming to the stage world-renowned soloists, including Olga Kern, Jason Vieaux, Fumiaki Miura, Karen Gomyo, Paul Huang, and winners of the Olga Kern International Piano Competition, Cheng Guang and Anna Dmytrenko. We will again partner with the New Mexico Ballet Company in another fantastic original production, Aladdin and the Magic Lamp. Our 3rd annual Music and Arts Festival in April continues to grow, this year presenting the theme “Discovering Abundance” in partnership with ten New Mexico arts organizations. Your NMPhil will be presenting events for every musical taste. Once again, we ended our 6th season with strong endorsements from you for our concerts and programs: 97 percent ratings in artistic excellence and 97 percent ratings in overall satisfaction for three years in a row, an amazing achievement for any business. Although our annual fund drive decreased about 20 percent, you contributed over $106,000 to the second year of our five-year campaign, Match the Magnificence, to gradually grow NMPhil’s income. While we carry no recurring debt, financial support continues to be a challenge. We continue to explore new and expanded sources to ensure a bright future for your orchestra, as well as creating new opportunities for music lovers and supporters to invest in the NMPhil. One of those is the recently created New Mexico Philharmonic Foundation. The Foundation will begin accepting bequests, gifts, and donations as soon as its 501(c)(3) status is approved. We deeply appreciate your partnership by investing in your NMPhil through subscriptions, ticket purchases, and donations. And our sponsors appreciate your patronage that enables them to thrive and in turn support us. As the need continues to raise half of NMPhil’s budget from donations and philanthropy, we know we can count on you, just as you can count on outstanding concerts and exceptional artistry from your New Mexico Philharmonic. Your musicians, staff, board, and guild are deeply grateful as we continue to create a healthy future.
Maureen Baca President Board of Directors
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2017/18 Season Season / Volume 7 / No. 1
Marian Tanau Executive Director
LETTER FROM THE MUSIC DIRECTOR I am deeply honored to have been appointed the new Music Director for the New Mexico Philharmonic, and I welcome you to this evening’s performance. I am excited to make music with the wonderful musicians of the NMPhil, and my goal in programming will be to make each concert a “must-see” event for our wonderful Albuquerque audiences. I, along with my wife and daughters, am looking forward to being in Albuquerque and meeting as many in our community as possible. Let’s start this journey together with a message of happiness and positive light. This magnificent music, written by composers over hundreds of years, could make the world a more peaceful place to be. Welcome! Roberto Minczuk Music Director
NMPhil .
Table of Contents PROGRAMS
September 23, 2017 Program October 8, 2017 Program October 14, 2017 Program October 28, 2017 Program Program Notes ARTISTS
Matthew Greer Ingela Onstad Seth Hartwell Michael Hix Chancel Choir of St. John’s United Methodist Church Suzanna Pavlovsky Krzysztof Zimowski Joan Zucker Roberto Minczuk Chen Guang Catalina Cuervo Jason Vieaux
5 7 9 11 13
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YOUR NMPHIL
Welcome Letter from the Music Director Musical Fiestas Donor Circles Thank You Legacy Society Sponsors Orchestra Board of Directors, Advisory Board, Staff Upcoming Concerts
2 3 12 29 31 31 32 33 33 34
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Concert Program .
Saturday, September 23, 2017, 6 p.m.
Jubilation & Surprise
SEP
23
Matthew Greer conductor Ingela Onstad soprano Seth Hartwell tenor Michael Hix baritone Chancel Choir of St. John’s United Methodist Church
Exsultate, jubilate, K. 165 I. Allegro—Recitative II. Andante III. Allegro
St. John’s United Methodist Church
Wolfgang Amadeus Mozart (1756–1791)
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation
Mass No. 2 in G Major, D167 I. Kyrie II. Gloria III. Credo IV. Sanctus V. Benedictus VI. Agnus Dei
Franz Schubert (1797–1828)
St. John’s United Methodist Church
I N T E R M I S S I O N
Symphony No. 94 in G Major, “Surprise” I. Adagio—Vivace assai II. Andante III. Menuetto: Allegro molto IV. Finale: Allegro molto
The New Mexico Philharmonic
Joseph Haydn (1732–1809)
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ManzanoDay-Philharmonic-2017-18 Book 1.indd 1
7/20/2017 9:33:09 AM
Concert Program .
Sunday, October 8, 2017, 2 p.m.
Divertimento, Dances, & Vivaldi!
OCT
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Suzanna Pavlovsky conductor Krzysztof Zimowski violin Joan Zucker cello
National Hispanic Cultural Center
Divertimento in D Major, K. 136 Wolfgang Amadeus Mozart I. Allegro (1756–1791) II. Andante III. Presto Violin Concerto in a minor, RV 356, Op. 3, No. 6 I. Allegro II. Largo III. Allegro
Antonio Vivaldi (1678–1741)
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: The Honorable & Mrs. James Parker
Krzysztof Zimowski violin
Cello Concerto in a minor, RV 418 I. Allegro II. Largo III. Allegro
Vivaldi
Joan Zucker cello
I N T E R M I S S I O N
Concerto for Violin and Cello in B-flat Major, RV 547 I. Allegro moderato II. Andante III. Allegro molto
Vivaldi
Krzysztof Zimowski violin Joan Zucker cello Tangos & More: Five Dances for String Quartet (2003) I. Tango II. Serenata III. Rumba IV. Csardas V. Fandango
The New Mexico Philharmonic
Michael McLean (b. 1952)
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Concert Program .
Saturday, October 14, 2017, 6 p.m. / Pre-Concert Talk, 5 p.m.
A New Era
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Roberto Minczuk Music Director Chen Guang piano Dancers from the New Mexico Ballet Company
By the Beautiful Blue Danube
OCT
Popejoy Hall
Johann Strauss II (1825–1899)
Piano Concerto No. 1 in C Major, Op. 15 Ludwig van Beethoven I. Allegro con brio (1770–1827) II. Largo III. Rondo: Allegro
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: The Computing Center Inc., Maureen and Stephen Baca
Chen Guang piano
I N T E R M I S S I O N
Vernissage Donovan Seidle I. Apotheosis of Gilbert Desrochers, (b. 1977) series by John Hartman II. Woman in Helmet, by Mark Chatterley Pictures at an Exhibition Modest Mussorgsky I. Promenade (1839–1881) II. Gnomus arr. Ravel III. The Old Castle IV. Tuileries V. Bydlo VI. The Ballet of the Chicks in Their Shells VII. Samuel Goldenberg and Schmuÿle VIII. The Marketplace at Limoges IX. The Catacombs (A Roman Sepulchre) and With the Dead in a Dead Language X. The Hut on Fowl’s Legs—Baba Yagá XI. The Great Gate at Kiev
The New Mexico Philharmonic
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Concert Program .
Saturday, October 28, 2017, 6 p.m. / Pre-Concert Talk, 5 p.m.
Spanish Sensación
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Roberto Minczuk Music Director Catalina Cuervo soprano Jason Vieaux guitar
Popejoy Hall
El amor brujo Manuel de Falla I. Introducción y Escena; Introduction and Scene (1876–1946) I(a). En la Cueva; In the Cave: La noche; Night-time II. Canción del amor dolido; Song of a Broken Heart III. El Aparecido; The Apparition IV. Danza del terror; Dance of Terror V. El círculo mágico; The Magic Circle: Romance del pescador; The Dance of the Fisherman VI. A medianoche; Midnight: Los sortilegios; The Spells VII. Danza ritual del fuego; Ritual Fire Dance: Para ahuyentar los malos espíritus; To Drive Away the Evil Spirits VIII. Escena; Scene IX. Canción del fuego fatuo; Song of the Will-o’-the-Wisp X. Pantomima; Pantomime XI. Danza del juego de amor; Dance of the Game of Love XII. Final; Finale: Las campanas amanecer; The Bells of Morning
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Sandia Laboratory Federal Credit Union Dr. & Mrs. Larry Lubar
Catalina Cuervo soprano Fantasía para un gentilhombre I. Villano y ricercar II. Españoleta y fanfarria de la caballería de Nápoles III. Danza de las hachas IV. Canario
Joaquín Rodrigo (1901–1999)
Jason Vieaux guitar
I N T E R M I S S I O N
La valse Boléro
The New Mexico Philharmonic
Maurice Ravel (1875–1937) Ravel
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NMPHIL MUSICAL FIESTAS Join us for fundraising events at private homes that feature our guest artists in an intimate performance setting, which includes dinner and wine. This is a chance to meet the guest artists in person.
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WE INVITE YOU TO ENGAGE MORE DEEPLY WITH THE ORCHESTRA AND ITS MUSICIANS. George & Sibilla Boerigter Concertmaster Sponsor
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Friday, October 13, 2017, 7 p.m. Olga Kern International Competition winner, pianist Chen Guang, will perform in the North Albuquerque Acres sleek contemporary home of Drs. Kelly and Lee Caperton. An added bonus is an exclusive opportunity to meet NMPhil’s newly appointed Music Director, Maestro Roberto Minczuk. $200 Sunday, October 29, 2017, 4 p.m. Dr. Ron Bronitsky will host Grammy-winning guitarist Jason Vieaux at his arts-and-craftsinspired North Valley home. $200 Call for more information and to reserve your tickets.
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Program Notes .
Program Notes Charles Greenwell
Wolfgang Amadeus Mozart
Born January 27, 1756, in Salzburg, Austria Died December 5, 1791, in Vienna, Austria
Exsultate, jubilate, K. 165
Scored for soprano solo, 2 oboes, 2 horns, and strings. Approx. 12 minutes.
Mozart was just 16 when he composed this delightful motet, and it is probably his earliest work that is still regularly performed. While he was in the employ of Hieronymous Colloredo, the Prince-Archbishop of Salzburg, Mozart wrote a considerable amount of sacred music. This work was written during the last of three concert tours of Italy that Mozart undertook with his father, this one lasting from October of 1772 to March 1773, and was centered around Milan, where he had been invited to oversee the premiere of his new opera Lucio Silla. One of the principals in that production was a remarkable soprano castrato named Venanzio Rauzzini who had a powerful high voice that was greatly admired. He had a brief but successful career as an opera star, making his debut in Rome in 1765, then from 1766 to 1772 was a principal singer at the Elector’s Court in Munich. In 1767 his travels overlapped those of the Mozarts, who were both very impressed when they heard him sing, and because of that exposure this motet was later written expressly for Rauzzini’s agile voice. The work was premiered in a church in Milan in January of 1773 as part of a Mass. Because Mozart’s early Italian operas are rarely performed, this motet best represents his early vocal style. The form follows what was then a standard Italian motet, namely a sacred solo work including two arias, two recitatives, and ending with an Alleluia. Here, Mozart omits the second recitative, going straight from the slow second aria directly into the Alleluia. Originally scored for oboes, horns, and strings, Mozart substituted flutes for the oboes in an alternate edition created in Salzburg in 1779. Although he called it a traditional motet, it is in effect a concerto for soprano and orchestra with an organaccompanied recitative that introduces the slow movement. Clearly, Rauzzini was an extraordinary singer, as Mozart’s writing features a whole arsenal of virtuoso techniques including scales, leaps, and trills, as well as
Haydn is often referred to as “the father of the symphony,” but a more accurate title might be “stepfather.” calling for beautiful tone and long-breathed lines in the central movement. For most of the work’s existence it was known in its original scoring with oboes, but in 1978 two alternate versions were discovered in a small village outside of Salzburg, one of them in the hand of a copyist that Mozart often employed. Not only did these settings use flutes in place of the oboes, but both changed the text, one making the work suitable for Trinity Sunday, the other making it appropriate for Christmas. It is interesting to note that this vocal motet form of fast-slow-fast became the basis on which Mozart composed his instrumental concertos, a prominent feature of his considerable output. ●
Franz Schubert
Born 1797, Vienna, Austria Died 1828, Vienna, Austria
Mass No. 2 in G Major
Schubert composed his Mass in G Major when he was merely eighteen years old. He completed the Mass in six days, and it was premiered (as was his first Mass) in the Lichtenthal church where he had attended services as a child. The Mass includes the traditional Roman Catholic text, but Schubert does take some artistic liberties and varies the words by way of repetition, reordering, and most notably in the Credo, a few deletions. Schubert’s Mass in G was never published in his lifetime. In fact, it was first published in 1845, but by another composer. The composer and music director at St. Vitus Cathedral in Prague, Robert Führer, had somehow gotten the work published under his name. Schubert’s brother, Ferdinand, was able to rectify the situation, and it is believed Führer ended up in prison for an embezzlement charge unrelated to his
pilfering of Schubert’s Mass. Originally the Mass was scored for soprano, tenor, and bass soloists, mixed chorus, strings, and organ. Sometime later, Schubert added trumpet and timpani parts. These parts were initially considered spurious by Schubert scholars, thought to be the additions of either Ferdinand or Führer, but have since been deemed authentic. ●
Franz Joseph Haydn
Born March 31, 1732, in Rohrau, Austria Died May 31, 1809, in Vienna, Austria
Symphony No. 94 in G Major, “Surprise”
Scored for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, and strings. Approx. 24 minuntes.
Haydn was a classic example of a self-made man. Life threw him entirely on his own resources, and with steadfast determination he worked his way up from very humble circumstances to become one of the most celebrated artists of his time and one of the greatest composers in history. What helped him achieve this was an eternal optimism that allowed him to be at peace with himself and the world. He was also one of the most prolific, astonishingly fertile and inventive composers who ever lived, and one of the most highly skilled craftsman in all of music. As far as we can tell, he wrote 106 symphonies, 70 string quartets (a genre that he essentially created), 60 piano sonatas, dozens of piano trios, 25 operas, about a dozen masses, four oratorios (of which, The Creation is one of the supreme achievements), a great number of songs, and hundreds of smaller works. He enlarged, extended, and reshaped virtually every genre in which he worked, and his symphonies are a remarkable example of his development of a particular form, marked by deep feeling, drama, continued on 14
The New Mexico Philharmonic
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Program Notes . continued from 13 elegance, and wit. Haydn is often referred to as “the father of the symphony,” but a more accurate title might be “stepfather,” since he was preceded by a number of other composers who wrote symphonies. What the man did was to expand the symphony’s structure and increase its profundity, in the process, changing the form from diversion to drama. One of the amazing things about his output is that, taken on their own terms, his first symphonies are almost as fine as his last. Haydn was the greatest single force in the development of the symphony, primarily because of his remarkable ability to see in the form its inherent possibilities for development and expansion. It is certainly true that he played on the symphony as other musicians played on their instruments, and in so doing bequeathed to history one of the great legacies of 18th-century Enlightenment. There are few more heartwarming episodes in music history than the story of Haydn’s two visits to London, and how they came about. He had spent most of his composing career— some 28 years—in provincial obscurity as court composer for the wealthy and culturally aware Prince Nikolaus Eszterhazy, even as his reputation grew throughout Europe. When the Prince died in 1790, his culturally unaware son Anton largely disbanded the family musical establishment, at which point Haydn moved to Vienna and immediately received many tantalizing employment offers. The most attractive one came from a Germanborn violinist and impresario named Johann Peter Salomon, who offered Haydn a large sum of money to come to London to present
“[Haydn] can amuse and shock, arouse laughter and deep emotion as no one else can.” —Wolfgang Amadeus Mozart
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“ … I was interested in surprising the public with something new.” —Franz Joseph Haydn
some new compositions in an extended series of concerts. Making his first-ever trip outside Austria, Haydn arrived in England on New Year’s Day 1791, and the first set of what proved to be wildly successful concerts began that March. Suddenly, he found himself the center of attention in a major foreign capital, where he was entertained by the nobility and by the royal family; became Dr. Haydn with an honorary degree from Oxford; through performances, benefit concerts, teaching, and publications became wealthy beyond his dreams; and received the plaudits of his fellow musicians and a large number of music lovers. The London years in Haydn’s career (1791–1792 and 1794–1795) were distinguished by a remarkable number of masterpieces in all genres, but when looked at as a whole, it is his last 12 symphonies that have consistently been public favorites and that seem to contain more than any other form the true essence of the man’s personality. Curiously, the true chronological order of these “London” or “Salomon” symphonies is not the order by which they are known, the first six having been composed in the order 96, 95, 93, 94, 98, and 97. These extraordinary works represent the zenith of his art as a symphonist: the freedom, the variety of form, and the richness of invention make each symphony a unique and entirely fresh experience, none of which was lost on his extremely enthusiastic English audiences. For the record, the orchestral forces which Salomon offered Haydn were far beyond what he had had at Eszterhaza, the basic orchestra containing 12 to 16 violins, four violas, five cellos, and four double basses, along with a standard complement of winds (but no clarinets), and with a trombone used during the first season to strengthen the bass line. At the time, the finest players in London were employed at the rival Professional Concert Series, but by rigorous training Salomon and Haydn forged an orchestra of impeccable ensemble and deep musical understanding. The Symphony No. 94 was first performed under Haydn’s direction in March of 1792 and is still probably the most popular of these 12 great works. In English, the work’s subtitle is “Surprise,” but in German, it is called “The Symphony With the Timpani Beat,” referring
of course to the unexpected loud drum note that occurs in a quiet passage in the second movement. Haydn was a great musical humorist, a fact that his contemporaries knew and loved, and it was Mozart who summed it up when he said that Haydn “can amuse and shock, arouse laughter and deep emotion as no one else can.” Now, Haydn did have a problem with the English audiences, as they were noisy and inattentive and needed to be quieted down, thus the reason for most of these symphonies beginning with soft, slow introductions. About the men in the audiences, Haydn once quipped, “They take a comfortable seat in the concert room and are so gripped by the magic of the music that they fall right to sleep.” One of Haydn’s late biographers asked him if he had put in the now-famous loud chord in the second movement in order to wake people up, to which he replied, “No, but I was interested in surprising the public with something new.” That, he certainly did! ●
Wolfgang Amadeus Mozart
Born 1756, Salzburg, Austria Died 1791, Vienna, Austria
Divertimento in D Major, K. 136 Very little is known of the circumstances surrounding the composition of Mozart’s three Divertimenti, K. 136–138. We do know that they were written in Salzburg in 1772, after Mozart had returned from Italy. There is no information for what specific purpose the Divertimento in D Major may have been composed. Incidental instrumental works like this, divertimenti, serenades, nocturnes, and the like, were written for various, fairly mundane occasions— weddings, engagements, birthdays, or name-day celebrations. By definition, divertimento means “diversion” and was probably used for a run-of-the-mill event for a wealthy resident of Salzburg. The Divertimento in D Major is written for four parts, specifically two violins, viola, and a bottom part marked “basso.” It is unclear if the bottom line was intended for a string bass instead of cello (there
Program Notes . is precedence for this instrumentation), or whether it simply is marked that way because it is the bass line. Curiously, the Divertimento is written for four strings but is not categorized as a string quartet in Mozart’s catalogue. “Divertimento” is written in someone else’s handwriting on the manuscript, so it is unclear how Mozart envisioned future performances of this work. In Mozart’s time, the divertimento would have offered several performing possibilities—string quartet, string quartet with bass instead of cello, small ensemble, or full orchestral complement of strings, which would have made it appealing for the musical needs of the day. Most modern-day performances of the work are for string orchestra with the celli and bassi doubling the bottom line at the octave. The three Divertimenti are sometimes referred to as the “Salzburg Symphonies,” because when played with a full string section, they can pass for early symphonies or sinfonias. The D Major is in three movements in the typical fast-slow-fast configuration. The first movement is a jubilant allegro in sonata form whose principal melodic material belongs to the violins. The celli and bassi are rarely used for anything other than a rhythmic motor or sparse accompaniment to the violin flourishes. The movement ends with an imperfect cadence (the first violin ending on the third instead of tonic, in this case, D), which leaves the listener unsettled. This makes for an interesting and satisfying transition into the second movement when the first violin begins on the missing D from the previous movement. The second movement is an affable andante with two central themes that employ Italian-style ornamentation—perhaps a nod to Mozart’s recent Italian excursions. The presto, also in
sonata form, is light and elegant. The middle section contains a brief fugue, another possible wink to Mozart’s time in Italy, as he had studied counterpoint with Giovanni Martini while in Bologna. While Mozart was a mere sixteen years old at the time of the Divertimento in D Major’s composition, the work shows a surprising maturity and points toward the composer’s soon-to-berealized genius. ●
Antonio Vivaldi
Born March 4, 1678, in Venice, Italy Died July 28, 1741, in Vienna, Austria
Violin Concerto in a minor, RV 356, Op. 3, No. 6 Cello Concerto in a minor, RV 418 Violin and Cello Concerto in B-flat Major, RV 547 Once virtually forgotten, Vivaldi now enjoys a reputation that equals the international fame he enjoyed in his heyday. He was the most original and influential composer of his generation and laid the foundation for the mature Baroque concerto. He made great contributions to style, violin technique, and orchestration and was a pioneer in the area of program music. He lived in Venice when it was a major cultural center and featured a number of outstanding musicians and painters who set trends for the rest of Europe. Vivaldi was no exception in this regard, and one of his major contributions was to establish a concerto form that continued into the 19th century. Moreover,
[Vivaldi’s] works not only changed form, procedure, and technique in all branches of music, but contributed immeasurably to the development of thematic, harmonic, and formal thinking. The New Mexico Philharmonic
his brilliant, innovative, and virtuosic writing for the violin was a product not only of a golden age of violin playing, but also his own extraordinary capabilities as a performer. In the first half of the 18th century, three main types of concerto arose, one of which featured a solo violin being given a predominant part. It was from this form, with influences from the realm of opera, that Vivaldi developed the solo concerto that ultimately led to the concerto as we know it today. The man was amazingly facile and prolific and wrote more than 500 instrumental concerti, which created an exciting new musical language replete with simple but strong effects, powerful driving rhythms, bold melodic contours, unusual colors, a unique kind of tone-painting, and in the fast movements, set new standards for solo virtuosity. His innovations not only influenced the concerto form but almost all other genres as well. His works not only changed form, procedure, and technique in all branches of music, but contributed immeasurably to the development of thematic, harmonic, and formal thinking. It was also no accident that the rise of the concerto coincided with that of music publishing in northern Europe, and each greatly benefited the other. Like so many men of his day, Vivaldi originally intended to become a priest, was tonsured in 1693, and received his holy orders in 1703. Later that year, he followed in his father’s footsteps by becoming the lead violin in the orchestra of St. Marks. It was at this time, due to his red clerical garb and his striking red hair, that he was given the nickname of “The Red Priest,” and this stayed with him most of his life. In 1704, he was hired as a violin teacher by the Conservatory of the Ospedale della Pieta, one of four institutions in Venice that provided shelter and musical training for orphaned and illegitimate girls, and he later was appointed Master of the school’s concerts. After spending 36 years there, he went to Vienna hoping to find a lucrative position at the court of Charles VI, but due to political complications, it never happened. Inexplicably, instead of returning to his native Venice, he decided to remain in Vienna where he spent his last months in poverty, failing health, and relative obscurity. Sadly, he died penniless in the Austrian capital in 1741, and was buried anonymously in a pauper’s grave. He was 63 when he died—certainly older than average for the time—but one wonders how much longer he continued on 16 nmphil.org
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Program Notes . continued from 15 might have lived had he not been troubled all of his life by angina, asthma, and other respiratory ailments. No brief description can do justice to the variety of form, scoring, and imaginative conception of the man’s 500+ concerti, written for a remarkable variety of instruments. In addition to those concerti, he wrote at least 50 operas, 25 sacred cantatas, and many other sacred vocal works. Although his fame rested for years almost entirely on his instrumental works, 20th-century investigations into and performances of his operas and oratorios have only strengthened and enhanced his stature, as we have come to realize that he possessed a contrapuntal mastery and depth of expression on the level of Bach and Handel. In fact, many scholars now state unequivocally that if you don’t know Vivaldi’s operas and sacred works, you have only an incomplete understanding of the man, and in his greatest works, one is clearly in the presence of genius. L’estro armonico (The Harmonic Inspiration), Vivaldi’s Op. 3, is a set of 12 string concerti first published in Amsterdam in 1711. It was his first collection of concerti to be published, and also the first time he chose a foreign publisher instead of an Italian. Each concerto was printed in eight parts: four violins, two violas, cello, and continuo. A few of the concerti were composed specifically for this set, while others had been written earlier. A noted Vivaldi scholar once described the Op. 3 set as “perhaps the most influential collection of instrumental music to appear during the whole of the 18th century.” Vivaldi wrote no less than 27 concerti for cello and string orchestra and was one of the first composers to feature the cello, which was then a relatively new instrument. Seven of these were preserved in the library of an amateur cellist in Germany, while others found their way into various libraries in Italy and Germany. In these works Vivaldi displays an astonishing variety and inventiveness, using the cello’s possibilities to the fullest, and they still offer a serious challenge, both technical and musical, to any professional cellist. Almost all of them are vintage Vivaldi, featuring a great range of emotional extremes, from heartfelt sadness to infectious joy. In the roughly 500 instrumental concerti that Vivaldi composed, about 50 are for pairs of instruments in various combinations. His innovations in the concerto form include what is called ritornello form (all of the instruments playing together alternating with solo episodes) in the outer movements; 16
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Johann II would ultimately become known as “The Waltz King.” sensitive, often passionate slow movements; virtuosic demands for the soloists; and strong effects such as the orchestra playing in unison. The present double concerto demonstrates all of these characteristics. Here, the violin and cello are presented alternately as colleagues and rivals for the spotlight, playing sometimes in harmonious parallel, while other times they alternate melody and accompaniment figures. ●
Johann Strauss II
Born October 25, 1825, in Vienna, Austria Died June 3, 1899, in Vienna, Austria
By the Beautiful Blue Danube
To be a Strauss in 19th-century Vienna meant you were part of a musical dynasty. Owing to the pioneering legacy of Johann Strauss Sr. (1804–1849), he and his sons (Johann II, Josef, and Eduard) dominated Austrian musical life for decades, but it was Johann II who would ultimately eclipse the fame of all of them on the way to becoming popularly known as “The Waltz King.” He published nearly 500 pieces of dance music (waltzes, polkas, galops, etc.) and many of these have been classics for almost 150 years. Of his magnificent waltzes, none can rival the popularity of this one, which has become one of the most consistently popular works in the entire classical repertoire. In July of 1865, the prestigious Viennese Men’s Choral Society asked Strauss to write a waltz for a concert the group was going to give the following month. Unfortunately, he was so busy with other obligations and personal matters that he had to turn down the request, but he promised that he would deliver one to them the following summer. Once again, he was unable to honor his promise, but in that year of 1866 the Austrian Army suffered a crushing defeat from Prussia, and the mood of the formerly joyous Hapsburg Empire became decidedly grim. Things became so unsettled that the Society actually toned down its traditionally upbeat Carnival Concert for February of
1867 and substituted an unusually sedate program. However, Strauss finally was able to get the new waltz written at the end of 1866 and sent it off to the Society in January of the next year. Originally it consisted of four waltzes, but by the time of the February concert it had been expanded to five waltzes, along with an introduction and a coda. The text was then provided by Joseph Weyl, the Society’s “special-material” poet, who over the years was criticized for providing what many felt were cliché-ridden lyrics. Whatever the case, a close and detailed reading of the text shows that a lot of the superficially silly sections are rich in ironies, which would have been understood at the time by Viennese listeners who were quite aware of the societal and economic upheaval they were going through. There were barbs aimed at Vienna’s politicians, landlords, merchants, and dancing populace, among others, but nowhere in his text does Weyl ever mention the Danube, and no one at the time would ever have described the river as being a color remotely resembling blue—not to mention the fact that at the time the waltz was written, the Danube did not actually flow through Vienna! It was Strauss himself who gave the work its title at the last minute, having recalled a poem by one Karl Isidor Beck (1817–1879) in which each stanza ends with the line “by the Danube, the beautiful blue Danube.” The first performance was given in February of 1867 in a now-demolished venue called the Diana Ballroom, but because it was an imperial ball, Strauss and his orchestra were not permitted to attend. So the orchestra at the first performance of this beloved masterpiece was that of the King of Hannover Infantry Regiment, certainly not the equal of what Strauss and his players could have provided. According to legend, the premiere was not a success, mainly due to the words, and that it was only repeated once—a virtual failure by Strauss’s standards. But was it? Two days later the Viennese newspapers had comments such as, “This lovely waltz with its catchy rhythms should soon belong among the most popular of
Program Notes . this prolific dance composer,” and, “DanceMusic Director Strauss celebrated a great and deserved triumph with this waltz,” and, “The waltz is truly splendid; the composition was received with rejoicing, and had to be repeated by tempestuous general demand.” In any case, Strauss then adapted it into a purely orchestral work for the 1867 Paris World’s Fair, where it was a huge success and has been ever since. Moreover, it did not take long before the famous main theme became truly iconic. ●
Ludwig van Beethoven
Born 1770, Bonn, Germany Died 1827, Vienna, Austria
Piano Concerto No. 1 in C Major, Op. 15 Many successful composers of the 18th and 19th centuries relied on both their proceeds as composers, as well as monies received from their careers as instrumental soloists. Beethoven wrote the first four of his piano concerti as vehicles for his solo piano career, giving the premiere performance of each of the Piano Concertos 1-4. He was unable to premiere his last, and arguably most famous, Piano Concerto No. 5 in E-flat Major, “Emperor,” due to his failing hearing. The Piano Concerto No. 1 is a misnomer twice over. Beethoven’s first attempt at the piano-concerto genre was written when he was just fourteen years old; it was never published and the score was lost, leaving only the solo piano part as evidence of its existence. His next piano concerto, begun in 1788 is the Piano Concerto in B-flat Major (published as No. 2), while the Piano Concerto No. 1 in C Major was written between 1796 and 1797. The numbering inconsistency is a theme found throughout music history: The B-flat Major was published
after the C Major, thereby reversing the numbering from chronological to publication date. A note on the dates of composition: There is some debate as to the composition and premiere dates of the C Major Piano Concerto, some listing it as written and premiered in 1795, but stronger evidence exists for the dates of 1796–1797 for its composition, and its premiere given in Prague in 1798. What is not disputed is that Beethoven was definitely the soloist at the concerto’s premiere. It would now be an appropriate time to mention Beethoven’s influence on the development, popularity, and future of the piano as a mainstay musical instrument. His predecessors and competitors in the pianoconcerto genre were Haydn and Mozart— who grew up and began their studies on the harpsichord, later switching to piano as it became more readily available. Beethoven and his contemporaries were the first to grow up with the piano as the keyboard instrument of choice, and because of this, his piano writing is incredibly well-suited for the instrument. This is not to denigrate the piano works of Haydn and Mozart, but Beethoven had an intimate relationship with the piano, and his knowledge of how to write for the instrument was unmatched at the time. He implored piano makers to make their instruments stronger and to increase the instrument’s range. They happily complied, enabling Beethoven to write the piano masterpieces on a developing instrument we now take for granted. Beethoven’s first two piano concertos are more similar to Mozart than to Haydn in structure and setting. The first movement opens with a seemingly simple melody sung sweetly by the first violins. The melody is then repeated by the full orchestra, with the addition of the winds, in a forte and
more accented style, setting up a more contrapuntal introduction for the piano soloist. The second theme, in the unlikely key of E-flat Major, is soothing and initially devoid of the martial tone of the first theme, until it nears the piano’s entrance. The piano enters with completely new material, lacking the military style of the orchestra’s introductory themes, and only occasionally performs any of the orchestra’s thematic material. The cadenza of the first movement is long, complicated, and showy, all things a cadenza should be. Beethoven wrote three cadenzas for the first movement, most likely written well after the concerto’s premiere— likely after 1804 based on the range used in the cadenzas. The second movement is in three-part form and is contemplative and unhurried in nature. Beethoven chooses to remove the flutes, oboes, trumpets, and timpani from this movement as not to add any extremes of range or sound to his musical poem. The third movement is in the typical sonata rondo form, with the piano introducing the playful rondo theme and the orchestra answering in-kind. It’s odd to imagine the brusque, ornery, and arrogant composer we have all heard tale of being insecure with regards to his own compositions. But so unsure was he of the worth of his first attempts at the piano concerto, he included the following statement in a letter to the publishers Breitkopf and Härtel, who had inquired about his upcoming works, “ … one of my first concertos [No. 2 in B-flat] and therefore not one of the best of my compositions is to be published by Hofmeister, and Mollo is to publish a concerto [No. 1 in C Major] which, indeed was written later, but which also does not rank among the best of my works in this form.” ●
Donovan Seidle
“[No. 1 in C Major] which, indeed was written later, but which also does not rank among the best of my works in this form.” —Ludwig van Beethoven
Born 1977, Calgary, Alberta, Canada.
Vernissage
Notes by Donovan Seidle
“Vernissage.” Merriam-Webster, 2015: Definition: a private showing or preview of an art exhibition. Origin: French, day before an exhibition opens, reserved for artists to varnish and put finishing touches to their paintings; literally, varnishing, from “vernis.” This work was written as a companion piece to Modest Mussorgsky’s Pictures at continued on 18
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Program Notes . continued from 17 an Exhibition, using the same idea of using connected pieces of artwork as inspiration for the composer. In this case, the art pieces are connected to the outgoing CEO of the Calgary Philharmonic Orchestra (in 2015). The orchestra and its administration wanted to send Ann Lewis Luppino off in style, resulting in this commission! The piece was the product of much discussion and planning between me, Music Director Roberto Minczuk, Director of Artistic Planning Heather Slater, and Tony Luppino—always in secret, so as to not alert Ann to the piece’s existence. We all thank her so much for the time, energy, and love she put into her job with the Calgary Philharmonic as CEO. The unveiling concert on June 5–6, 2015 included Mussorgsky’s masterful Pictures at an Exhibition, a work I have always loved. Because both Ann and Tony are such devotees to art of all sorts, and have collected some lovely masterworks, it was an appealing challenge to use the same conceptual seed as Mussorgsky—and I had an “insider” take photographs of each work in their collection in order to make my selections (thanks, Tony!). The piece currently exists in two movements, based on two different works of art, but I look forward to adding to this opus in the future, using other artwork I find intriguing as a basis for additional movements. Movement 1: “Apotheosis of Gilbert Desrochers,” series by John Hartman
A centrepiece in Ann and Tony’s home, this work is colourful and bold. Each of these in the series is set in Georgian Bay, Ontario. Depictions of figurines, sometimes crudely or simply made, blend in the background, or, by contrast, are abstracted and stark against it. These represent a peaceable kingdom of Gilbert’s own creation: “Apotheosis” is the glorification of a humble folk artist, who fell and rose again, and became a solitary artisan who carved his creations. He was visited three times by what he described as God before he devoted all of his energies to his humble craft in solitude. The simple painted figurines were to be his offerings to the world. The movement I have written vacillates between two sections—a more abstract “landscape background” over which Gilbert’s theme floats, and three “visitations” that are overwhelming, undeniable to him, and arguably brutal.
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“Ideas, melodies come to me of their own accord, like a banquet of music I gorge and gorge and overeat myself. I can hardly manage to put them down on paper fast enough.” —Modest Mussorgsky
Movement 2: “Woman in Helmet,” by Mark Chatterley
This sculpture, with an almost lava-like texture, has a primitive, primordial feeling to it—and in that brutal grace, there exudes power. This sculpture, and those in the same series by Mr. Chatterley, is larger than life and based on archetypal characters that transcend culture and time that Carl Jung wrote voluminously about. This one, wearing her helmet, signifies the various masks and facades we assume for protection, power, seduction, persuasion, etc. Beginning with a primitive-sounding woodblock ostinato, this movement is a ternary-formed moto-perpetuo, and throughout, fragments of “The Woman” motif are scattered, disjunct, and fleeting. It is not until the peaceful middle section that the figure is revealed, stark and beautiful without her mask. This time is short-lived, but a welcome respite from the unrelenting energy elsewhere in the movement. On a personal note, I know this concert marks the beginning of the partnership of Roberto Minczuk and the New Mexico Philharmonic. He and his family are dear friends, and under his leadership of the Calgary Philharmonic, we grew a great deal— technically, expressively, and performing larger rep than ever before. We were challenged to produce the highest calibre of music we could, and the results were evident. I am envious of the journey you’re about to have with him, and I encourage you to get to know him and his family personally! We wish him and the New Mexico Philharmonic the very best! —Donovan Seidle, composer; Assistant Concertmaster, Calgary Philharmonic Orchestra ●
Modest Mussorgsky (arr. Maurice Ravel [1922])
Born 1839, Karevo, Pskov district, Russia Died 1881, St. Petersburg, Russia
Pictures at an Exhibition
Modest Mussorgsky wrote his piano suite Pictures at an Exhibition to celebrate the life of his good friend Victor Hartmann, who died tragically from an aneurism at the age of thirty-nine. Hartmann was a celebrated Russian painter and architect, who traveled in the same circles as “The Five” and the critic Vladimir Stasov. In February 1874, Stasov organized an exhibition of over 400 of Hartmann’s works, and it is from this showing that Mussorgsky derived his idea for Pictures at an Exhibition. Mussorgsky wrote Pictures at an uncharacteristically quick rate of speed. He wrote, “‘Hartmann’ is bubbling over, just as Boris did. [Referring to Mussorgsky’s successful opera, Boris Godunov] Ideas, melodies come to me of their own accord, like a banquet of music I gorge and gorge and overeat myself. I can hardly manage to put them down on paper fast enough.” The movements depict a combination of paintings, sketches, and architectural layouts from the exhibition, but also on canvasses that Hartmann had showed Mussorgsky privately prior to his death. Mussorgsky uses ten works as inspiration for his movements, unified by a Promenade that opens the piece and makes several appearances in various forms throughout the work. Promenade: Written in 5/4 time to depict the composer unevenly strolling through Hartmann’s exhibit. Gnomus: Stosov tells that this represents “a child’s plaything, fashioned after Hartmann’s design in wood, for the
Program Notes . Christmas tree at the Artists’ Club ... It is something in the style of the fabled Nutcracker ... The gnome accompanies his droll movements with savage shrieks.” The Old Castle: A troubadour serenades his love in front of a medieval castle. The saxophone represents the “voice” of the troubadour. Tuileries: The Parisian park filled with quibbling children and their nannies. Bydlo: Polish for “cattle.” The solo tuba represents a large cart being drawn by oxen. The Ballet of the Chicks in Their Shells:
Based on a costume sketch by Hartmann in which the dancers are dressed as eggshells and their heads are canaries. Samuel Goldenberg and Schmuÿle:
Hartmann showed Mussorgsky two portraits he had drawn of residents of a Warsaw ghetto. One man is wealthy and arrogant, the other impoverished and lamenting. The themes used to represent the two men are based on Mussorgsky’s visits to Jewish synagogues. The Marketplace at Limoges:
Conversations and haggling from female vegetable vendors at the busy market.
The Catacombs (A Roman Sepulchre) and With the Dead in a Dead Language:
Two sections, the first depicting Hartmann’s sketch of himself being led into catacombs by a “guide”; the second section is the Promenade theme altered to invoke eeriness and mystery. The Hut on Fowl’s Legs—Baba Yagá:
Based on a clock design of Hartmann— Mussorgsky associated it with the witch in Russian folklore, Baba Yagá, who flies around in search of her victims. The Great Gate at Kiev: Based on Hartmann’s design for a grand, stone gate to be built in Kiev.
While there are several arrangements of Mussorgsky’s piano suite, it is Ravel’s version, on a commission from the conductor Serge Koussevitsky, that is the last word in color and orchestration. It is hard to imagine the symphonic repertoire without Pictures at an Exhibition and equally hard to imagine the work as anything other than Ravel’s vision and interpretation of the piano suite. ●
Manuel de Falla
Born November 23, 1876, in Cadiz, Spain Died November 14, 1946, in Alta Gracia, Argentina
El amor brujo
Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bassoon, 2 horns, 2 trumpets, timpani, bells, piano, and strings. (Approx. 24 minutes).
Falla is by general acclaim the greatest Spanish composer of the 20th century, and along with his contemporaries Albéniz and Granados, was one of the first Spanish composers in almost 300 years to win international acclaim. His music was greatly influenced by Debussy and Ravel (who in turn were both fascinated by all things Spanish), but at its core was strongly tied to Spanish folk music, and so completely did he absorb the character and spirit of that music that his own themes often sound like folk originals. What he created was entirely new, but not revolutionary, and his often astonishing originality came from an emphasis on substance over technique. Because of this, his music has shown both remarkable durability and a high ranking in public esteem. Moreover, the majority of his most important scores are music for the theater: zarzuelas, ballets, operas, and incidental music. The esteem in which he was held nationally can be shown by his image
Falla’s great gift is to suggest a variety of distinctive sounds rather than depicting them literally. The most magical of these is in the scene that clearly evokes the chimes of midnight.
having been put on Spain’s 1970 100-pesetas banknote. Following Francisco Franco’s victory in the Spanish Civil War, Falla moved permanently to Argentina. In 1940, he was named a Knight of the Order of King Alfonso X of Castile and was offered a large pension if he would return to Spain, but he refused. After studying in Paris with Debussy, Ravel, and Dukas from 1907 to 1914, Falla returned to Spain at the beginning of World War I, where his first work was El amor brujo, originally a set of Gypsy-based dances, songs, and spoken texts. (The title is usually translated into English as Love the Magician, but a more accurate rendering would be Love Bewitched or Spellbound Love.) The work was requested by the great dancer Pastora Imperio, a legendary ballerina of Gypsy background, whose mother had suggested an old Andalusian legend as the subject. It presents a variation on a theme frequently found in Gypsy (or Romani) folklore, which is the fear of a disembodied spirit that remains among the living even after death. One of Spain’s leading poets, Gregorio Martinez Sierra, wrote the scenario and the texts, and the work, with a very small instrumental ensemble, was premiered in Madrid in April of 1915. It was not a success, with some grumblings about too much French influence in the music. Falla then condensed and recast the score into an abstract ballet, eliminating all of the dialogue that had interrupted and even obscured some of his wonderful music, removed a song and a monologue that had more narrative than musical interest, and expanded the eight-piece ensemble into a full orchestra to give a richer, more varied and more sensuous sound. This new version was given its premiere in 1916, on a program that included the first performance of another of his masterpieces Nights in the Gardens of Spain, and was immediately hailed as one of his artistic legacies. Later still, the full orchestra version served as the basis for another ballet setting, first played in concert in Paris in 1923, and then given as a ballet in 1925. During the creation of this extraordinary work, Falla was immersed in the study of cante jondo, the pervasive folk music of Andalusia, and every aspect of the final score reveals the influence of that study. However, Falla did not quote actual folk songs, preferring to rely on his knowledge of the idiom to create a new form of folk art that is stunning in its power and authenticity. The plot of the ballet is remarkably simple and concerns Candelas, continued on 20
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Program Notes . continued from 19 a young Gypsy widow haunted by the ghost of her departed but still jealous and vengeful husband. In order to free her from his obnoxious attention, Candelas and Carmelo, her new lover, must exchange a kiss of perfect love. In a series of dances, the ghost frightens the couple (the Dance of Terror), Candelas then tries to exorcise it (the famous Ritual Fire Dance), and then her lusty friend Lucia is asked to seduce the specter. While it is distracted by Lucia, Candelas and Carmelo are finally able to kiss. Freed at last from the nightmare of the ghost’s stifling presence, the happy couple emerges from the night of sorcery into a radiant new dawn, with the sound of church bells pealing in triumph. Falla’s great gift, as exemplified by this intense and moving score, is to suggest a variety of distinctive sounds rather than depicting them literally. The most magical of these is in the scene that clearly evokes the chimes of midnight, but does so without a single chime, using instead an amazing combination of brass, strings, and piano. What is more, considering the essential Spanish nature of the work, nowhere is heard a real tambourine, castanets, hand clapping, foot stomping, flamenco tapping, or even a guitar. In the final analysis, the true star of the ballet is the orchestra, with colorful and kaleidoscopic music ranging from flamboyant savagery as in the Ritual Fire Dance to aristocratic refinement in the portion called The Magic Circle. In three sections of the ballet, an off-stage mezzosoprano sings of the cruelty and deceptions of love, using material derived from the cante jondo previously mentioned. All told, it is the measure of Falla’s genius to use surrogate means to produce sounds that are even more vivid than the real thing would have been. He once remarked that the finest Spanish music had been written by Frenchmen, namely Debussy and Ravel, but he was being disingenuous: More than anyone else, it was Falla who sought out, assimilated, and presented to the world the very soul and essence of Spain. ●
Joaquín Rodrigo
Born November 22, 1901, in Sagunto, Spain Died July 6, 1999, in Madrid, Spain
Fantasia para un gentilhombre
Scored for solo guitar, 2 flutes, piccolo, oboe, bassoon, trumpet, and strings. (Approx. 21 minutes)
Joaquín Rodrigo Vidre was a beloved Spanish composer and virtuoso pianist whose music is among the most popular of the 20th century. Perhaps his greatest contribution to music is the series of works he wrote extending and popularizing the repertoire of the classical guitar, and in particular, his beloved Concierto de Aranjuez is considered one of the pinnacles of Spanish music and of the entire guitar concerto genre. This is remarkable in light of the fact that he did not play the guitar, but his 26 works for the instrument reflect the rich legacy of Spanish musical history, particularly the stylized dance forms of Baroque music, and the concertos rank as major contributions to a relatively short list of works for the medium. In a career that encompassed almost all of the 20th century, Rodrigo was a tireless champion of the music of his native country, and his wide range of compositions includes opera, ballet, film music, piano music, chamber music, and works for solo voice in addition to the works for the guitar. Because he was eager to connect with the traditions of his country’s past, he often paid tribute to earlier composers, as in his orchestral work Soleriana that was based on works of the 18th-century composer and harpsichordist Padre Antonio Soler. Rodrigo wrote 14 works for soloists and orchestra—most of them concertos—and in so doing enriched the repertoire of the violin, cello, piano, flute, guitar, and harp. Born in a small city in southeastern Spain, Rodrigo came from a family whose patriarch was a wealthy landowner and conservative politician. When he was just three years old, he contracted diphtheria, which at first severely impaired his eyesight but later rendered him completely blind.
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Nevertheless, he showed a great aptitude for music, and later acknowledged that this misfortune seemed to push him in the direction of music as a career. His parents enrolled him in a school for blind children in nearby Valencia, and he began his formal musical training at age eight with lessons in harmony, piano, and violin. By the time he was in his early twenties, he was already a highly accomplished pianist and a budding composer, and made a name for himself as a pianist with outstanding performances of challenging works by Ravel, Stravinsky, and others. His first work for orchestra was played in Valencia and Madrid in 1924, and the following year another orchestral work entitled Five Pieces for Children won a national prize. In 1927, following in the footsteps of his compatriots Albeniz, Granados, Falla, and Turina, he moved to Paris and studied at the city’s two most important music schools, the Schola Cantorum and the famous Paris Conservatory. In 1929, Rodrigo met the Turkish pianist Victoria Kamhi; they were married in 1933 and remained true soulmates, inseparable companions, and collaborators until her death in 1997. The outbreak of civil war in Spain in 1936 prevented them from returning home, and they spent the next three years traveling in Germany, Austria, and Switzerland, while maintaining their home base in Paris. Rodrigo finally returned to Spain when the civil war ended in 1939, and the following year the premiere of the Concierto de Aranjuez established him as one of the country’s leading musicians. (Later on, the immense popularity of the Concierto caused the composer to remark that it was like a giant tree that cast a shadow on all of his other music!) In that year, he took a teaching position at the Royal Conservatory of Music in Madrid, and in the 1940s he also worked as a music critic for several newspapers in Madrid, and for a time was the musical adviser for Spain’s National Radio Network, as well as Director of the Artistic Section of the National Organization for the Blind. In 1983, Rodrigo was given the Premio Nacional de Musica, Spain’s highest award for composition. Then in 1991, he was raised into the Spanish nobility by King Juan Carlos I and given the hereditary title of Marquis of the Gardens of Aranjuez. Five years later, he received the prestigious Prince of Asturias Award, Spain’s highest civilian honor. Finally, in 1998, he was named Commander of the Order of Arts and Letters by the French Government.
Program Notes . In 1954, the great Spanish guitar virtuoso Andres Segovia commissioned a new work from Rodrigo, and for inspiration, the composer drew from another Spanish guitar virtuoso, the 17th-century guitarist, composer, and teacher Gaspar Sanz, whose most famous work is the lengthy 1697 treatise entitled “Musical Instruction for the Spanish Guitar,” which is to this day a cornerstone of guitar pedagogy. The word gentilhombre (gentleman or sometimes nobleman) in the work’s title pays tribute both to Sanz and Segovia, and the concerto is dedicated to both of those gentlemen. As he began to compose the work, Rodrigo borrowed several themes from some of Sanz’s short guitar pieces, and in some instances, he completed melodies that Sanz had left unfinished. He also said that the light but piquant orchestration was intended to create a sound “ … in the manner of strong spices that were so popular in the food of that period.” The work was given its premiere in San Francisco in March of 1958 with Segovia, of course, the soloist, and the orchestra conducted by another Spaniard, Enrique Jorda. It was a tremendous success. The work is cast in four movements, the titles of which refer either to Spanish dances or Baroque contrapuntal forms. The texture throughout the work consists of melodic phrases stated alternately by the solo guitar, orchestral strings, or orchestral winds. The composer himself provided these descriptions of the various movements: I. “The Villano which opens the work is developed monothematically within a melodic framework appropriate to the period. Following this is a Ricercar in which I have worked out a fugue which Sanz only sketched.” [The Villano, a popular 17th-century dance, can also be heard as continuous variations on the simple but stately theme.] II. “The Espanoleta is interrupted by a curious episode which serves as a trio or middle part … Bugle Calls of the Naples Cavalry makes reference to the time when that kingdom
was in close contact with Spain.” [In fact, in Sanz’s time, Naples was actually governed by Spain, and for a time, Sanz was an army officer in the proceedings.] III. “The Hatchet Dance, with its great rhythmic animation, is like a duel between the guitar and the orchestra.” [In real life, this dance is traditionally performed with flaming torches.] IV. “The work ends with a Canario, a popular folk dance full of tense gaiety.” [This dance gets its name from its origins in the Canary Islands, and, carrying on from the previous movement, is here like an increasingly intense competition between soloist and orchestra, and is the most overtly Spanish music in the whole concerto. A short cadenza occurs toward the end of the movement.] ●
Maurice Ravel
Born March 7, 1875, in Ciboure, France Died December 28, 1937, in Paris, France
La valse
Scored for 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. Approx. 13 minutes.
Maurice Ravel was one of the most significant and influential composers of the early 20th century and was one of the most meticulous craftsmen there ever has been in the music world. He was also one of the great masters of the orchestra, a position that will never be challenged. In 1906, he began to sketch a symphonic poem as a tribute to Johann Strauss II, who had died just seven years earlier. It was tentatively to be called Wien, the German name for Vienna. At that time he wrote to a friend: “You know of my deep sympathy for these wonderful rhythms, and that I value the joie de vivre expressed by the dance … ” This would eventually become La valse some 14 years later, and a number of things brought
“… it’s not a ballet. It’s a portrait of a ballet—a painting of a ballet.” —Sergei Diaghilev
“[La valse] is mingled in my mind the fantastic and fatal whirl of destiny.” —Maurice Ravel
about this delay. Sergei Diaghilev, the brilliant impresario of the celebrated Ballets Russes, commissioned a full-length ballet from Ravel in 1909, but because of a number of unexpected production problems, the new ballet, Daphnis and Chloe, was not given its premiere until 1912. Then came World War I. Ravel wanted desperately to enlist in the army but was turned down for physical reasons and became a military truck and ambulance driver. He was horrified by what he witnessed on the front lines, and even though he began to think about composing again in 1916, a severe bout with dysentery that required surgery to correct sent him into a long convalescence, and this was aggravated not only by the depression which overtook him because of what he had witnessed, along with the loss of several close friends in the conflict, but also by the death of his mother in 1917. After the end of the war, Diaghilev again approached Ravel with a commission for a new ballet. He decided to revise the Wien project into Diaghilev’s new concept, but found that he had to make major changes to his original ideas due to the fact that his thinking and life in general in Europe had been radically changed. He completed what was now called La valse in 1920, and in a version for two pianos it received its first hearing in a private home in Paris in October of that year. In the audience on that occasion were Diaghilev, Stravinsky, Poulenc, and dancer-choreographer Leonid Massine. Following the performance, Diaghilev proclaimed the work a masterpiece, but said it was unsuitable for staging because, in his words, “ … it’s not a ballet. It’s a portrait of a ballet—a painting of a ballet,” and so he refused to produce it. Ravel, thinking that his refusal was a criticism of the music (which it continued on 22
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Program Notes . continued from 21 was not), angrily picked up his manuscript and stormed out of the home. Ravel never forgave Diaghilev for this incident, and when they met again in Monte Carlo five years later, Ravel refused to shake the impresario’s hand, whereupon Diaghilev challenged him to a duel! Fortunately some friends intervened and the duel never took place, but in any case, the two men never again met. La valse was one of the few works that Ravel conceived in entirely orchestral terms right from its first inspiration as Wien. Along with the two-piano version, he also prepared one for solo piano, but because of the extreme difficulty of these keyboard versions, they are rarely performed. In the original orchestral score Ravel wrote an explanatory note. It can be translated in slightly different ways, and one version might read like this: “Through whirling clouds waltzing couples may be faintly distinguished. The clouds gradually disperse, and we see an immense hall filled with a whirling crowd. As the rhythm becomes clearer the scene takes on greater illumination until the light of the chandeliers bursts forth. An imperial court about 1855.” He later spoke of the work as “ … a kind of apotheosis of the Viennese waltz, with which is mingled in my mind the fantastic and fatal whirl of destiny.” In its orchestral garb, La valse was first heard in the concert hall in 1920. Its first performance as a ballet was choreographed at the Paris Opera in 1929 by the celebrated dancer Ida Rubinstein, who had premiered
“I have written only one masterpiece. That is the Boléro. Unfortunately, it contains no music.” —Maurice Ravel
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Bolero the previous year. The work, with its extraordinary combination of suspense and tension, has been variously viewed as portraying the collapse of Viennese society, the general breakdown of European culture following World War I, a biting satire on the Viennese waltz, and a premonition of even greater horrors to come. One of the most fascinating ideas is that there is a connection between Ravel and Edgar Allan Poe, who had a great influence on French literature toward the end of the 19th century, and that Ravel’s “fantastic whirling” bears a resemblance to “ … a masked ball of the most unusual magnificence … [that] went whirlingly on” in Poe’s classic short story of 1842 called The Masque of the Red Death. ●
Maurice Ravel
Boléro
Classical music aficionados usually fall into two categories—those who respect, appreciate, and enjoy Ravel’s Boléro, and those who categorically despise it. Very few are ambivalent to the work’s genius, or lack thereof, depending in which camp the critic lies. Ravel appears to have been keenly aware of the schism the work would have on the audience. He wrote: I am particularly desirous that there should be no misunderstanding about this work. It constitutes an experiment in a very special and limited direction, and should not be suspected of aiming at achieving anything different from or anything more than it actually does achieve. Before its first performance, I issued a warning to the effect that what I had written was a piece lasting about seventeen minutes and consisting wholly of ‘orchestral tissue without music’—of one long, very gradual crescendo. There are no contrasts, there is practically no invention except the plan and the manner of execution. The themes are altogether impersonal ... folk tunes of the usual Spanish-Arabian kind, and (whatever may have been said to the contrary) the orchestral writing is simple and straightforward throughout, without the slightest attempt at virtuosity ... I have carried out exactly what I intended, and it is for listeners to take it or leave it. The “experiment” began with a commission from the ballerina Ida Rubinstein who was looking for a new work for her troupe. Ms. Rubinstein’s dance that corresponded to the music of Boléro was fairly racy for the time and caused its own series of problems
irrespective of the music. However, the ballet did not last in popularity, but when Boléro began being performed regularly in concert halls, that is when Ravel’s name and reputation took off. How exactly does Ravel maintain a steady crescendo for approximately seventeen minutes? It’s all related to his orchestration, instrumentation, and eccentric combinations of instruments. The snare drum plays the Bolero rhythm throughout and is the rhythmic center to the piece, as well as the integral leader in gauging the crescendo. The melody is initially played by individual instruments, and as the piece progresses, more and more instruments take up the melodic line until it reaches a nearly fevered pitch. Ravel is quoted as saying, “I have written only one masterpiece. That is the Boléro. Unfortunately, it contains no music.” Half of his audience agrees. However, the other half just as fervently denies Ravel’s selfdeprecating claim. ●
Artists .
Matthew Greer conductor Matthew Greer is Director of Music and Worship Ministries at St. John’s United Methodist Church in Albuquerque, where he directs several choirs and oversees a comprehensive music program. He also serves as Artistic Director for Quintessence: Choral Artists of the Southwest. At St. John’s, he founded the highly successful “Music at St. John’s” concert series, and “Thursday Evening Musicales,” an annual series of benefit concerts for Albuquerque Healthcare for the Homeless. In recent years, he has conducted performances of Mozart’s Requiem, Duruflé’s Requiem, Handel’s Messiah, and Karl Jenkins’s The Armed Man: A Mass for Peace. In addition, Greer has lectured on and conducted the music of Brahms, Bach, Copland, and Barber. In spring of 2012, he was among the recipients of Creative Albuquerque’s Bravos! Awards, honoring artistic innovation, entrepreneurship, and community impact. A native of Kansas City, Greer holds degrees in Music and Theology from Trinity University and Boston University. His teachers have included Ann Howard Jones, Daniel Moe, Jane Marshall, and Alice Parker. ●
The New Mexico Philharmonic
Ingela Onstad soprano Soprano Ingela Onstad, a native of Santa Fe, has enjoyed a varied international career in opera, concert work, and contemporary music. Operatic highlights include performances at Dresden’s Staatsoperette, Oldenburgisches Staatstheater, Landestheater SchleswigHolstein, UNM Opera Theatre, and Santa Fe Opera, in roles including Musetta in La bohéme, Pamina and Papagena in Die Zauberflöte, Nannetta in Falstaff, Mabel in Pirates of Penzance, and the title role in Suor Angelica. She also sang the roles of Merab and Michal in the staged production of Handel’s oratorio Saul in Oldenburg, Germany. Highlights of her career as an oratorio soloist include Orff’s Carmina Burana, Charpentier’s Te Deum, Haydn’s The Creation, and Bach Cantatas 84 and 140. A sought-after interpreter of contemporary works, she has sung Kristine in Antonio Bibalo’s Fräulein Julie, Bubikopf in Viktor Ullman’s Der Kaiser von Atlantis, and created the role of Andia in Gordon Kampe’s ANOIA. She performed Schoenberg’s Pierrot Lunaire and Joseph Schwantner’s Sparrows with New Music New Mexico, and Feldman’s Rothko Chapel with Chatter. She was also recently featured with songs of Hilda Paredes with New Music New Mexico at the Robb Composers’ Symposium. Her 2014/15 season included Haydn’s “Lord Nelson” Mass, Handel’s Messiah, and Bach Cantatas 32, 209, and 140. Onstad completed her undergraduate degree at McGill University, where she studied with Professor William Neill. She earned a Master of Music degree at the University of New Mexico, where she studied with Professor Leslie Umphrey. She maintains private voice studios in Albuquerque and Santa Fe. ●
Seth Hartwell tenor Seth Hartwell has performed Baroque oratorio with such groups as VocalEssence, Santa Fe Pro Musica, and the Valparaiso University Chorale under the baton of worldrenowned Bach scholar Helmuth Rilling. Hartwell has performed with Desert Chorale II, The Santa Fe Opera, Opera Southwest, and the Royal Norwegian Opera. Seth has a Master’s degree in Vocal Performance from the University of New Mexico and a Bachelor’s degree in Music Education from Valparaiso University (Indiana). He maintains a private voice studio and is the Music Director of St. Paul Lutheran Church in Albuquerque. ●
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Artists .
Michael Hix baritone Baritone Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” Dr. Hix’s career highlights include performances at Tanglewood Music Center, a solo appearance with the Boston Pops in “Bernstein on Broadway,” and his Carnegie Hall debut as the baritone soloist in Rutter’s Mass of the Children. Recent European appearances include solo performances at the International Haydn Festival in Vienna, Austria, and song recitals in Dresden and Leipzig, Germany. A frequently sought-after concert soloist, his repertoire includes over 45 oratorios, cantatas, and major concert works. Highlights of his 2015/2016 season included bass aria soloist in Bach’s St. John Passion at the Arizona Bach Festival, a concert of Christoph Graupner cantatas with the Sebastians at New York City’s Trinity Lutheran, bass soloist in Mozart’s “Coronation” Mass, Handel’s Messiah, Bach’s Cantata 80 Ein feste Burg ist unser Gott, and Haydn’s Missa in tempore belli, “Paukenmesse” with the New Mexico Philharmonic, and a concert of 18th-century Latin American Colonial music with the Chicago Arts Orchestra. He will also appear with the Santa Fe Desert Chorale for their Winter Season and at the Dallas Choral Festival. Dr. Hix holds a Bachelor of Music degree in music theory from Furman University, Master’s degrees in both voice and historical musicology from Florida State University and a Doctorate of Music in Voice Performance from Florida State University. Dr. Hix is an Assistant Professor of Vocal Studies at the University of New Mexico. ●
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Chancel Choir of St. John’s United Methodist Church The 80-voice Chancel Choir of St. John’s United Methodist Church sings in worship each Sunday. In recent years, the ensemble has performed works such as the Duruflé Requiem, the Mozart Requiem, and Karl Jenkins’s The Armed Man: A Mass for Peace. In 2005, the Chancel Choir traveled to New York City to perform Handel’s Messiah at Carnegie Hall. They have performed with mezzo-soprano Barbara Smith Conrad and premiered works by K. Lee Scott and Bradley Ellingboe. They are directed by Matthew Greer and accompanied by Maribeth Gunning. ●
Suzanna Pavlovsky conductor Dr. Suzanna Pavlovsky is a passionate musician with extensive education and experience. She holds a D.M.A. in Orchestral Conducting from the University of South Carolina, Columbia, an M.M. in Music Theory from the Eastman School of Music, an M.M. in Orchestral Conducting from Michigan State University, and a B.M. in Orchestral Conducting from Tel-Aviv University, Israel. Her educational and teaching experiences in the USSR, Israel, Canada, and the United States give her a broad appeal to performers and a wealth of skills and knowledge to draw upon. Dr. Pavlovsky’s conducting endeavors include diverse places such as Israel, Canada, and the United States, where she has served as a guest and associate conductor of university, community, and professional ensembles. She was twice a winner of National Orchestral Conducting Competitions by the America-Israel Cultural Foundation in Israel in 1993 and 1995. Her conducting teachers include an international community of conductors such as Vag Papian, Leon Gregorian, Neil Varon, William Weinert, and Donald Portnoy. Ms. Pavlovsky’s additional professional development includes the Conductors Institute in Columbia, SC, where she was an active participant of master classes and seminars with conductors Peter Jaffe, Donald Portnoy, Maurice Peress, Diane Wittry, and Paul Vermel, and composers Samuel Jones and Russell Peck, and The Savvy Musician in Action, an immersive laboratory designed for performing artists, educators, and administrators to develop successful skills in generating the most impact via 21stcentury artistic vision. Maestra Pavlovsky is the founder, artistic director, and music director of
Artists . the Palmetto Chamber Orchestra, a group consisting of dedicated string educators and capable community members from the larger Columbia area, and Ensemble Eclectica, a group that aims for an interdisciplinary approach to aid music with different art forms. In addition to the symphonic staples, Maestra Pavlovsky’s conducting repertoire includes Pops, educational programs, contemporary compositions, and chamber music. Dedicated to pedagogy, Ms. Pavlovsky feels equally comfortable on the podium or in the classroom with students. She was a recipient of the Graduate Teaching Award at the Eastman School of Music and of Fellowship in Honor of Teaching Excellence at USC. Additionally, she received the William H. Nolte Teaching Award for outstanding teaching from USC. She currently lives in Columbia, SC, with her husband, son, and the family dog, Phill. Maestra Pavlovsky is affiliated with and an active member of the College Music Society, the League of American Orchestras, and the Conductors Guild. ●
The New Mexico Philharmonic
Krzysztof Zimowski violin Krzysztof Zimowski was born in Wroclaw, Poland. He began his musical studies when he was just six years old. Participating in various music camps and schools organized by La Federation International des Jeunesses Musicales, Mr. Zimowski performed as a Concertmaster of the Symphony Orchestra of Weikersheim and Bayreuth in Germany, with Franz Paul Decker, the music director of the Montreal Symphony at the time. In the fall of 1986, he moved to the United States, where he helped to form the Helios String Quartet, an ensemble-in-residence at the Placitas Artists Series in Albuquerque’s north community of Placitas. Mr. Zimowski has performed with the Phoenix Symphony, Santa Fe Opera Orchestra, Santa Fe Symphony, and Santa Fe Pro Musica. He was also the Concertmaster and soloist of the Chamber Orchestra of Albuquerque. In October of 1986, Krzysztof Zimowski began playing with the New Mexico Symphony Orchestra and became an Associate Concertmaster in 1995. He was appointed Concertmaster and soloist of the New Mexico Symphony Orchestra in 1999. Currently, he is Concertmaster of the New Mexico Philharmonic and was appointed a Concertmaster of the Opera Southwest Orchestra. Each summer since 1994, Mr. Zimowski has performed with the Grant Park Symphony Orchestra in the renowned International Music Festival in Millennium Park in Chicago. ●
Joan Zucker cello Joan Zucker is principal cellist of the New Mexico Philharmonic, and had been the long-time principal cellist for the New Mexico Symphony Orchestra. She is a native New Yorker who holds music degrees from Bennington and Ithaca Colleges. She was first heard by New Mexicans in the mid-seventies, as jazz cellist with the Johnny Gilbert Quartet and Principal Cellist of the Orchestra of Santa Fe. Since then she has performed in many of New Mexico’s ensembles from the Santa Fe Chamber Music Festival and Opera, to Willy Sucre and Friends and the Santa Fe Chorale. She has performed with numerous chamber groups, orchestras, and festivals in the United States and in Venezuela, her home for four years. A versatile musician, she has taught extensively (cello, recorder, voice, orchestra, chamber music, theory, composition and improvisation), both privately and at various institutions including UC Santa Cruz, Ithaca College, and UNM. Zucker plays a Benjamin Banks cello made in Salisbury, England in 1788. ●
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Artists .
Roberto Minczuk Music Director In 2017, Grammy® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history. Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach St. John Passion, Bruckner Symphony No. 7, Fidelio, and The Damnation of Faust with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Don Giovanni) and the Tokyo Metropolitan Symphony Orchestra; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires. A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than one hundred orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic 26
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Orchestra’s US tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco. Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival. Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone award of excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin Grammy in 2004 and was nominated for an American Grammy in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin, and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prize-winner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album. Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin
E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. A child prodigy, Minczuk was a professional musician by the age of 13. He was admitted into the prestigious Juilliard School at 14 and by the age of 16, he had joined the Orchestra Municipal de São Paulo as solo horn. During his Juilliard years, he appeared as soloist with the New York Youth Symphony at Carnegie Hall and the New York Philharmonic Young People’s Concerts series. Upon his graduation in 1987, he became a member of the Leipzig Gewandhaus Orchestra at the invitation of Kurt Masur. Returning to Brazil in 1989, he studied conducting with Eleazar de Carvalho and John Neschling. He won several awards as a young horn player, including the Mill Santista Youth Award in 1991 and I Eldorado Music. Roberto lives in both Calgary and São Paulo with his wife, Valéria and their four children, Natalie, Rebecca, Joshua, and Julia.●
Artists . Academy with Leonid Margarius. Among his other teachers are Zhu Lianping, Zhao Pingguo, Matti Raekallio, Enrica Ciccarelli, and Paul Badura-Skoda, to name a few. Antonio Mormone was among the first to recognize the talent of Chen Guang, and Mormone has been following his artistic growth for years. ●
Chen Guang piano Winner of the Scriabin Prize and the Rome Prize, together with numerous other internationally renowned competitions, the 21-year-old pianist Chen Guang combines his extraordinary technical capacity with a profound and mature musical sensibility and an exceptional on-stage charisma. Numerous concert associations of Europe, America, and Asia have hosted him both in recital and in orchestral performances with programs ranging from William Byrd to Ligeti to modern-day composers. He has performed in the Shanghai Oriental Center, Shenzhen Concert Hall, Beijing Concert Hall, Sala Verdi of Milan Conservatory, Teatro Verdi of Florence and Pisa, Teatro la Fenice of Venice, Auditorium della Conciliazione at Rome, Teatro del Fuoco of Foggia, Teatro Goldoni of Livorno, Kawai Concert Hall at Krefeld, Historische Stadthalle Wuppertal, Stadthalle of Muhlheim, PaderHalle of Paderborn, Stadtpark Schützenhof of Herford, Konzerthalle of Bad Salzuflen, Palau de la Musica of Barcelona, Royal Concertgebouw of Amsterdam, Theater of Zwolle, Slovak Philharmonic Hall in Bratislava, Lincoln Center and Alice Tully Hall of New York, Davis Hall of Fairbanks, National Music Center of Canada, among others. Chen Guang was born into a family of musicians in the province of Hubei, China. At the age of 11, he moved to Beijing to study in the Central Conservatory. In 2012, he received his pre-College Diploma at The Juilliard School of New York. In 2015, he received the Diploma at the Accademia Internazionale Pianistica di Imola, where he studied with Maestro Ashkenazy as the youngest graduate in the Academy’s history. He is now continuing his studies at the
The New Mexico Philharmonic
Catalina Cuervo soprano Known as the “Fiery Soprano,” Colombianborn Catalina Cuervo holds the distinction of having performed the most productions of Piazzolla’s María de Buenos Aires. She has performed the role of María for numerous prestigious companies, including Florida Grand Opera, the Atlanta Opera, Cincinnati Opera, and Syracuse Opera to name a few. Ms. Cuervo made her debut in Detroit with much success as Frida Kahlo in the revival of the opera Frida with Michigan Opera Theater in 2015 and then with Cincinnati Opera for their 2017 season. This opera gave her a huge following in the Michigan and Cincinnati and both ended with sold-out shows and triumphant reviews, one even calling Frida the best opera of the 2015 season. As a result, Catalina was named one of the five most successful Colombian sopranos in the opera world by the Ministry of Culture of Colombia. 2017 is the year of Manuel de Falla for Ms. Cuervo: Last May, she made her symphonic debut with the Detroit Symphony Orchestra in The Three Cornered Hat. Now she will debut El amor brujo with the New Mexico Philharmonic, the Atlanta Symphony, and the St. Louis Symphony. Ms. Cuervo was a finalist at the Neue Stimmen International Singing Competition in Germany and won the graduate division of the chicago area for the Classical Singer Competition as well as being a finalist in New York for the same. Besides singing, Catalina Cuervo is also a model, flamenco, tango, and belly dancer. ●
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Artists .
Jason Vieaux guitar Grammy-winner Jason Vieaux, “among the elite of today’s classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. NPR describes Vieaux as, “perhaps the most precise and soulful classical guitarist of his generation.” His most recent solo album, Play, won the 2015 Grammy Award for Best Classical Instrumental Solo. Vieaux has earned a reputation for putting his expressiveness and virtuosity at the service of a remarkably wide range of music, and his schedule of performing, teaching, and recording commitments is distinguished throughout the U.S. and abroad. Recent and future highlights include performances at the Caramoor Festival, Amsterdam’s Concertgebouw, Philadelphia Chamber Music Society, New York’s 92Y, Ravinia Festival, Chamber Music Society of Lincoln Center, Bard Music Festival, Music@Menlo, Strings Music Festival, and Grand Teton. A first-rate chamber musician and programmer, he frequently collaborates with artists such as the Escher Quartet, harpist Yolanda Kondonassis, and accordion/ bandoneón virtuoso Julien Labro. Vieaux’s passion for new music has fostered premieres of works by Avner Dorman, Dan Visconti, Vivian Fung, Keith Fitch, Eric Sessler, Jeff Beal, Gary Schocker, and many more. He has performed as concerto soloist with nearly 100 orchestras, including Cleveland, California, Houston, Toronto, San Diego, Fort Worth, and Buffalo. Vieaux continues to bring important repertoire alive in the recording studio as well. His latest album, Infusion with bandoneónist Julien Labro, was released in October 2016 on Azica Records and features Vieaux and Labro in their own arrangements 28
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of works by Leo Brouwer, Piazzolla, Gnattali, Metheny, and iconic 1980s rock band Tears for Fears. Vieaux recently recorded Alberto Ginastera’s Sonata for Guitar, Op. 47 for a Ginastera Centennial album produced by Yolanda Kondonassis, which was released in October 2016 on Oberlin Music. His duo album Together, with harpist Yolanda Kondonassis, was released in January 2015. In addition to his Grammy-winning 2015 solo release Play, his previous albums include a recording of Astor Piazzolla’s music with Julien Labro and A Far Cry Chamber Orchestra; Bach: Works for Lute, Vol. 1; Images of Metheny; and Sevilla: The Music of Isaac Albeniz. Vieaux was the first classical musician to be featured on NPR’s popular “Tiny Desk” series. In 2012, the Jason Vieaux School of Classical Guitar was launched with ArtistWorks Inc., a technological interface that provides one-on-one online study with Vieaux for guitar students around the world. In 2011, he co-founded the guitar department at The Curtis Institute of Music, and in 2015 was invited to inaugurate the guitar program at the Eastern Music Festival. Vieaux has taught at the Cleveland Institute of Music since 1997, heading the guitar department since 2001. Vieaux is affiliated with Philadelphia’s Astral Artists. In 1992, he was awarded the prestigious GFA International Guitar Competition First Prize, the event’s youngest winner ever. He is also honored with a Naumburg Foundation top prize, a Cleveland Institute of Music Alumni Achievement Award, and a Salon di Virtuosi Career Grant. Jason Vieaux is represented by Jonathan Wentworth Associates, Ltd and plays a 2013 Gernot Wagner guitar with Augustine strings. For more information, visit jasonvieaux.com. ●
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 Howard A. Jenkins Living Trust The Meredith Foundation
MOZART CIRCLE Donation of $10,000– $24,999
Anonymous E. Blaugrund Family Fund George & Sibilla Boerigter Deborah Borders Art Gardenswartz Holmans USA, LLC, Anthony D. Trujillo McCune Charitable Foundation John Moore & Associates, Inc. Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings The Honorable & Mrs. James A. Parker Cynthia Phillips & Thomas Martin Patricia & George Thomas United Way of Central New Mexico Vintage Albuquerque
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Anonymous Anonymous Paula & William Bradley Eugenia & Charles Eberle Andrea Escher & Todd Tibbals Mary & Sam Goldman Hancock Family Foundation Hunt Family Foundation Chris & Karen Jones The Law Firm of Keleher & McLeod Henry & Judith Lackner Lockheed Martin/Sandia National Laboratories Dr. & Mrs. Larry Lubar Menicucci Insurance Agency Microsoft New Mexico Arts New Mexico Gas Company Bob & Bonnie Paine Dr. Ole & Sheila Peloso 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 U.S. Bank Foundation Wells Fargo Dr. Helmut Wolf, in memory Mrs. M. Jane Wolf Dr. Dean Yannias
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Anonymous Bob & Greta Dean The Estate of H.L. Floyd Bob & Fran Fosnaugh Eiichi Fukushima & Alice Hannon Cynthia & Thomas Gaiser Tanner & David Gay Barbara & Heinz Schmitt Steven Schroeder Southwest Gastroenterology Associates Marian & Jennifer Tanau Barbara & Richard VanDongen
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Thomas Bird & Brooke Tully Jonathan Miles Campbell Century Bank Richard & Margaret Cronin Richard & Margaret Cronin D’Addario Foundation Suzanne S. DuBroff, in memory of Warren DuBroff Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Roland Gerencer, MD Keith Gilbert Madeleine Grigg-Damberger & Stan Damberger Jonathan & Ellin Hewes The Hubbard Broadcasting Foundation Erika Blume Love Myra & Richard Lynch, in memory of Orval E. Jones Linda S. Marshall Bob & Susan McGuire Sara Mills & Scott Brown Moss-Adams LLP Ruth & Charles Needham George & Mary Novotny Scott Obenshain, in memory of Toots Obenshain Steve Ridlon, in memory of Casey Scott Beverly Rogoff Ellen Ann Ryan Terrence Sloan Vernon & Susannah Smith Kathleen & David Waymire Dr. & Mrs. Albert Westwood William & Dianne Wiley Drs. Bronwyn Wilson & Kurt Nolte Lance Woodworth
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Gay & Stan Betzer Craig Billings Nancy & Cliff Blaugrund Ann Boland Robert Bower & Kathryn Fry Ronald Bronitsky, M.D. Pat Broyles Dawn & Joseph Calek David & Mary Colton John Crawford Nance Crow & Bill Sullivan Krys & Phil Custer Marjorie Cypress & Philip Jameson Clare Dreyer, in memory of Joan Allen David & Ellen Evans Gertrude Frishmuth GE Foundation Dennis & Opal Lee Gill Claudia & Leonard Goodell, in memory of Brandon Lynn Crotty Barbara & Berto Gorham Roger Hammond & Katherine Green Hammond Stuart Harroun Mary Herring Martha Hoyt Robert & Elisa Hufnagel Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Bonnie & Hank Kelly Virginia Lawrence, in memory of Jean Sharp Virginia LeRoy, in memory of Jack LeRoy Jean & William Mason Tyler M. Mason Kathy & John Matter Joan McDougall Jackie & C. Everett McGehee Ina S. Miller Mark Moll Judy & Michael Muldawer Carol & Gary Overturf Jerald & Cindi Parker Marc Powell Matthew Puariea Carolyn Quinn & John Crawford Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Dick Ransom & Marythelma Brainard Sandra P. & Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson Jr. Deborah Ridley & Richard S. Nenoff Gregory Shields Susan Spaven Conrad & Marcella Stahly Jane & Doug Swift Fund for Art & Education Lynett & David Tempest Betty & Luke Vortman Endowment Michael Wallace Barbara & Eugene Wasylenki Judy Basen Weinreb & Peter Weinreb Dolly Yoder
CONCERTMASTER CIRCLE Donation of $500–$999 William & Ona Albert
Christopher Apblett Atkinson & Co., Clarke Cagle George Baca Sally Bachofer Daniel Balik Dorothy M. Barbo Hugh & Margaret Bell, in memory of Joan Allen Sheila & Bob Bickes Rod & Genelia Boenig Suzanne Brown Michael Bustamante & Cheryl Hall Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Clarke Cagle Camille Carstens Edith Cherry & Jim See Betty Chowning Beth Clark, in celebration of Matt Puariea Judith & Paul Clem Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Gale Doyel & Gary Moore Patricia & Leonard Duda Mildred & Richard Elrick Jeffrey & Laura Erway Marie Evanoff David Ferrance Fifty ‘n Fit, Inc., George & Pat Fraser Helen Fuller Ann Gebhart Chuck & Judy Gibbon Laurence Golden Jean & Bob Gough Kellie & Bing Grady Dr. Kirk & Janet Gulledge Ron & Nancy Halbgewachs Steve Hamm & Mary Kurkjian Harris L. Hartz Margaret Harvey & Mark Kilburn Guy & Nina Hobbs Kory I. Hoggan, CPA Noelle Holzworth Lorna Howerton Betty & Pete Humphrey Ira & Sheri Karmiol Joyce S. Kaser, in memory of Gene W. Taylor Marlin Kipp Susie Kubié Stephanie & Ken Kuzio R. Jeffrey & Jane W. Lawrence Rita Leard Jae Lee Harry & Elizabeth Linneman Terrence & Kristina Linton Judith Matteucci Roger & Kathleen McClellan John & Kathleen Mezoff Martha Miller Ranne Miller Miller Stratvert P.A. Deborah & Louis Moench Robert & Claudia Moraga Mardelle Morrow Dick & Sharon Neuman David & Audrey Northrop Stuart & Janice Paster Mike Provine Ken & Diane Reese Donald Rigali John & Faye Rogers Jeffrey Romero Ruth Ronan Nancy Scheer Howard & Marian Schreyer
Frederick & Susan Sherman, in memory of Joan Allen Janet & Michael Sjulin Charles & Flossie Stillwell Betsey Swan & Christopher Calder Larry Titman Arthur & Sandra Vall-Spinosa Margaret Vining Richard Vivian, in memory of Zanier Vivian Patricia & Robert Weiler Carl G. & Janet V. Weis Bill & Janislee Wiese, in honor of Joan Allen Jane & Scott Wilkinson David & Evy Worledge Vince & Anne Yegge Michael & Jeanine Zenge Zia Trust
PRINCIPALS CIRCLE Donation of $125–$499
Wanda Adlesperger Dr. Fran A’Hern-Smith John B. Aidun & Joan M. Harris Albertsons Community Partners Program Carol & Mike Alexander Gerald Alldredge Jo Marie & Jerry Anderson Anderson Organizing Systems Anonymous Anonymous Anonymous, in honor of Adrianna Belen Gatt Robert & Marilyn Antoine Judith & Otto Appenzeller Janice J. Arrott Edward & Leslie Atler Joel & Sandra Baca L.G. & M.S. Baca Mary E. Baca Thomas J. & Helen K. Baca Toni Baca Charlene Baker Gail Baldacchino, in memory of Mr. Herbert Floyd E. Patricia Barbier Sarah Barlow Sheila Barnes Elinore M. Barrett Steve Bassett William Bechtold Joe Bentley Leonie Boehmer Dr. David & Sheila Bogost Susan Brake Ann & James Bresson Marcia Bumkens Gordon Cagle Jonathan Campbell Dante & Judith Cantrill Christopher & Maureen Carusona Robert Case Shirley & Ed Case M. David Chacon Don & Tina Chan Judith & Thomas Christopher Kathleen & Hugh Church Paul & Susan Citrin, in honor of David Felberg Jane & Kenneth Cole James Connell John & Sarah Curro Stephen & Stefani Czuchlewski George deSchweinitz Jr. Jerry & Susan Dickinson Fran DiMarco
continued on 30 The New Mexico Philharmonic
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Donor Circles . continued from 29 Raymond & Anne Doberneck Thomas & Martha Domme Carl & Joanne Donsbach Ernest & Betty Dorko Janice Dosch Gale Doyel & Gary Moore, in honor of Sibilla & George Boerigter Susan & Daniel Dunne Reverend Suzanne Ebel Mary Lou Edward Paul & Catherine Eichel Eleanor D. Eisfeller Carol & John Ellis Roger C. Entringer Stephanie Eras & Robert Hammerstein Harry Ettinger David & Frankie Ewing Helen Feinberg Winifred & Pelayo Fernandez The Financial Maestro, LLC, Joann MacKenzie Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming James & Jean Franchell Howard Friedman Caroline Gaston Paul Getz Drs. Robert & Maria Goldstein Yvonne Gorbett A. Elizabeth Gordon Paul & Marcia Greenbaum Peter Gregory Justin M. & Blanche G. Griffin Stanley Griffith Sharon Gross Mina Jane Grothey Bennett A. Hammer Janet Harris Joan Harris John & Diane Hawley Dennis & Jan Hayes Stephen & Aida Ramos Heath Rosalie & Leon Heller Susan & Glenn Hinchcliffe Fred Hindel Bud & Holly Hodgin David & Bonnie Holten John Homko Constance & James Houle Carolyn & Hal Hudson Janet & Vincent Humann Jerry & Diane Janicke Sandra & Michael Jerome Ruth Johnson Nancy M. Johnson & Bob Tillotson, in memory of Doug Swift Anne & Lawrence Jones Robert & Mary Julyan Carol Kaemper Summers & Norty Kalishman Julius & Robin Kaplan Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Thomas & Greta Keleher Ann King Neva King Blossom Kite Noel & Meredith Kopald Asja Kornfeld, MD & Mario Kornfeld, MD Elizabeth Kubie Woody & Nandini Kuehn Karen & George Kupper Lacey & Berweida Learson Rebecca Lee & Daniel Rader
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Robert & Judith Lindeman Thomas & Donna Lockner Dr. Julianne Lockwood Dr. Ronald & Ellen Loehman Bruce & Lesle Loughridge Betty Lovering Maureen & Robert Luna Robert & Linda Malseed Avigael Mann Carolyn Martinez Andrew Mason, in honor of Jean Mason Linda Mayo Jack & Victoria McCarthy Sallie McCarthy Ronald & Barbara McCarty Jon McCorkell & Diane Cress 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 B. & Mary Ann Moreno James & Margaret Morris Shirley Morrison & Cornelis Klein Paula Mortensen Lynn Mostoller & Kathryn McKnight Sharon Moynahan Brian Mulrey Edward & Nancy Naimark Donald & Carol Norton Ben & Mary Lee Nurry Suzanne Oakdale & David Dinwoodie Rebecca Okun Bethe Orrell Joyce & Pierce Ostrander Deborah Peacock & Nate Korn Calla Ann Pepmueller Richard Perry Judi Pitch Dan & Billie Pyzel Therese Quinn Robert Reinke Lee A. Reynis & David W. Stryker Erika Rimson & David Bernstein Joan Robins & Denise Wheeler Erica Roesch Justin Roesch Edward Rose Salazar, Sullivan, & Jasionowski Oscar Sander Scott & Margaret Sanders Alicia Santos Christine Sauer Warren & Rosemary Saur Dewey Schade John & Karen Schlue Laura Scholfield Norman Segel Archbishop Michael Sheehan Ronald & Lisa Shibata Ronald & Claudia Short, in memory of Susie Kubie R.J. & Katherine Simonson Walt & Beth Simpson Gary Singer Norbert F. Siska George & Vivian Skadron Carol Smith Harry & Patricia Smith Smith’s Community Rewards Mr. & Mrs. William E. Snead Steven & Keri Sobolik
2017/18 Season / Volume 7 / No. 1
Anne Coleman Speer Marilyn & Stanley Stark Jennifer Starr Patricia & Luis Stelzner Daphne Stevens Maria & Mark Stevens Alexander & Mary Ann Stone John & Patricia Stover Carmen & Lawrence Straus Martha Strauss, in memory of Richard Strauss Laurence Tackman Suzanne Taichert, in memory of Robert D. Taichert David & Jane Tallant Phyllis Taylor & Bruce Thompson Nina & Gary Thayer David Ther Maxine Thevenot & Edmund Connolly Marit Tully & Andy Thomas Jay Ven Eman Tatiana Vetrinskaya, New Mexico School of Music Marianne Walck Cynthia & William Warren Alfred Watts & Jan Armstrong Marie Weingardt Margaret Wente Jeffrey West Kay West Marybeth White Trudy & Robert White Helen Whitesides Phyllis Wilson Walter Wolf Marian Wolff Stanley Yager Mae S. Yee & Eric Brock Albert & Donna Zeman Andrew A. Zucker Carol Zulauf
FRIENDS OF THE PHILHARMONIC Donation of $25–$124
Nancy & Harro Ackerman David & Elizabeth Adams Natalie Adolphi & Andrew McDowell Kelly Aldridge Carol Allen Jo Anne Altrichter & Robin Tawney AmazonSmile Judith Anderson Ben Andres David Baca Jackie Baca & Ken Genco Diane & Douglas Brehmer Bailey Jan Bandrofchak & Cleveland Sharp Graham Bartlett Joanne Bartlett Julian & Margaret Bartlett Donna Bauer, in memory of Susie Kubie Susan Beard Edie Beck Debra & Kirk Benton Barry Berkson Dorothy & Melbourne Bernstein Jerome & Susan Bernstein Cliff & Nancy Blaugrund, in memory of Andrew Lackner Cliff & Nancy Blaugrund, in memory of Paul Matteucci
Dusty & Gay Blech Bosque School Henry Botts Joan Bowden J.M. Bowers & B.J. Fisher Charles Brandt, in memory of Jennifer K. Brandt Marilyn Bromberg Carolyn Brooks Gloria Brosius, in memory of John Cory Carolyn Brown Carolyn Rose Brown Jeanette Buffett Elaine Burgess Robert & Suzanne Busch Glo Cantwell James Carroll Joseph Cella Barbara & Roscoe Champion Jean Cheek Kathy & Lance Chilton Wendy Cieslak, in memory of Richard Strauss Barry Clark Donald & Sonja Clark Virginia Clark Francine Cogen Randall & Valerie Cole Aleli & Brian Colon Lloyd Colson III Henry & Ettajane Conant Marcia Congdon Patrick Conroy Bertha Cory, in memory of John Cory Nancy Covalt, in memory of Paul Matteucci John & Mary Covan Ralph Cover Mark Curtis Rosalie D’Angelo William Davidson Joan Davis Jeanpaul Dedam & Tamara Trejo-Perez David del Castillo Winnie Devore Thomas & Elizabeth Dodson Patricia Dolan Stephen R. Donaldson Sheila Doucette Dr. James & Julie Drennan Michael & Jana Druxman Jeff & Karen Duray Sondra Eastham, in memory of Dr. Andrew Lackner Joy Eaton, in memory of C.J. Eaton Lestern Einhorn Jeannine Encinas, Alicia & Roland Fletcher, in memory of Chela Hatch Robert & Dolores Engstrom Ronald & Christine Escudero Irma Espat, in memory of Celia Hatch Cheryl Everett David & Regan Eyerman Helene K. Fellen Mary Filosi Rona Fisher Stephen Fisher Leonard & Arlette Felberg 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 Martin & Ursula Frick Cynthia Fry Gigi Galassini Patricia Gallacher, in memory of Susie Kubie Yolanda Garcia Karen Gatlin Mary Day Gauer T. David & Ilse Gay, in memory of Susie Kubie Paula Getz Rosalind Gibel 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 Mr. & Mrs. Thomas Grace Erna Sue Greening Charles Gregory Carl & Nancy Guist Herman Haase Linda Lalita Habib Michael Hall Donald Harrison Joan & Fred Hart John & Madeline Harvey E. R. Haskin Rogene Henderson Robert & Sara Henning Patricia Henning Duane & Yongtae Henry Pamelia S. Hilty Nancy Hoffman Diane & Joe Holdridge Tom & Linda Holley Kiernan Holliday Theresa Homisak Suzanne Hood Tom & Vinita Hopkins Helen & Stanley Hordes Stephanie Horoschak & Paul Helman Timothy Howard William & Sylvia Hughes John & Karla Ice Joan Jander Olivia Jaramillo Eldon Johnson Judy & Scott Jones Pamela Jones Peggy Jones Robert Jones Paul Karavas Margaret Keller James Kelly Sue Kil Gerald F. Kiuttu Barbara Kleinfeld Gerald Knorovsky Sushilla Knottenbelt Philip Kolehmainen & Vivian Waldron Katherine Kraus Phil Krehbiel Deborah Krichels Roger & Marcia Brumit Kropf, in memory of Richard Strauss Jennifer C. Kruger Janice Langdale Karin Lanin Molly Lannon Gerard Lavelle & Cathy Drake Madeleine Lewis Byron & Tania Lindsey
Donor Circles . Carl Litsinger William J. Lock Joel Lorimer Carol Lovato Kenneth Luedeke Audrey Macdonald William Majorossy Fred & Joan March Maria Teresa Marquez Jeffrey Marr Marita Marshall John & Carolyn McCloskey Mary Kay McCulloch Brian McDonald David McGuire Virginia McGiboney Eugene McGuire & Rosemary Hunter Paul & Cynthia McNaull Sterrett Metheny Patricia Meyer Sandra Lee Meyer Kathleen Miller John & Mary Mims Kenneth Moorhead Claude Morelli Baker H. Morrow & Joann Strathman John Morrow & Harriette Monroe Shirley Morrison Ted & Mary Morse Bruce & Carolyn Muggenburg Bruce & Ruth Nelson Betsy Nichols & Steve Holmes Elizabeth Norden Marilyn Jean O’Hara Ruth Okeefe Gloria & Greg Olson, in memory of Celia Hatch H. George Oltman Jr. Diane Orchard Wendy & Ray Orley Daniel O’Shea Pete & Anita Palmer, in memory of Richard Strauss Judyth Parker Howard Paul Brian Pendley Oswaldo & Victoria Pereira Sergio & Isabelle Hornbuckle Perez, in memory of Chela Hatch Phil & Maggie Peterson Timothy Peterson Lang Ha Pham Barbara Pierce Regina & Daniel Puccetti Jane Rael Dr. Lidio Rainaldi Russell & Elizabeth Raskob David & Tracey Raymo Ray Reeder Patricia Renken Kerry Renshaw John Reynolds Kathryn & Chris Rhoads Judith Ribble & Clark Bussey Barbara & Herbert Richter Dr. Eugene M. Rinchik Cher Rivera Margaret E. Roberts Matthew Robertson Gwenn Robinson, MD & Dwight Burney III, MD Ralph, Stella & Stephen Rogers Socorro Ruddy Diane & William Rueler Harvey & Laurie Ruskin Robert Sabatini Glen & Beverly Salas John Salathe Evelyn E. & Gerhard L. Salinger Esperanza Sanchez
The New Mexico Philharmonic
Elaine G. Schepps David A. Schnitzer Stephen Schoderbek Kathleen & Wallace Schulz Roland & Justine Scott Arthur & Colleen M. Sheinberg Howard Sherry Beverly Simmons Marion & Andy Simon Marsha & Don Simonson Diane & Matthew Sloves 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 Charlie & Alexandera Steen Donald & B. Joan Stehr Geny Stein Alice Stephens & Robert Bruegger, in memory of Celia Hatch Elizabeth C. Stevens Judge Jonathan Sutin Christine Swanson William Swift Alice Thieman Max Thrasher Betty Tichich & Fred Bunch Valerie Tomberlin Jacqueline Tommelein Dean & Bonita Tooley Hy Tran Karen & John Trever Jorge Tristani Stephen Turner Ross Van Dussen John Vittal & Deborah Ham Marmion Walsh Wendy Weygandt, in memory of Joe Zoeckler Leslie White Ellen Whitman Katherine Whitman Keith & Jane Wilkinson Kathryn Wissel & Robert Goodkind Don & Dot Wortman Daniel & Jane Wright Kenneth Wright Diana Zavitz, in honor of Pat & Ray Harwick Linda R. Zipp Vita Zodin 8/30/2017
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Thank You for Your Generous Support
Volunteers, Expertise, Services, & Equipment The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment. CITY & COUNTY APPRECIATION
Mayor Richard J. Berry & the City of Albuquerque Trudy Jones & the Albuquerque City Council Maggie Hart Stebbins & the Bernalillo County Board of Commissioners Dana Feldman & the Albuquerque Cultural Services Department Mayling Armijo & the Bernalillo Economic Development & Cultural Services Amanda Colburn & the Bernalillo County Cultural Services Maryann Torrez & the Albuquerque BioPark Zoo
BUSINESS & ORGANIZATION APPRECIATION Central United Methodist Church First United Methodist Church St. John’s United Methodist Church
INDIVIDUAL APPRECIATION
Lee Blaugrund & Tanager Properties Management Billy Brown Anne Eisfeller Rosemary Fessinger Chris Kershner Jim Key Rose Maniaci Jackie McGehee Brent Stevens 8/25/2017
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LEGACY SOCIETY GIVING FOR THE FUTURE
Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you. Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Nancy Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Bob & Jean Gough Peter Gregory Dr. & Mrs. Larry Lubar George Richmond Eugene Rinchik Jeanne & Sid Steinberg Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman 8/25/2017
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Thank You .
Sponsors & Grants Sound Applause
Albuquerque Community Foundation albuquerquefoundation.org
Bank of Albuquerque bankofalbuquerque.com
Bernalillo County bernco.gov
Century Bank mycenturybank.com
City of Albuquerque cabq.gov
Computing Center Inc. cciofabq.com
D’Addario Foundation daddariofoundation.org
Holmans USA holmans.com
Hunt Family Foundation huntfamilyfoundation.com
John Moore & Associates johnmoore.com
Keleher & McLeod keleher-law.com
Lexus of Albuquerque lexusofalbuquerque.com
Music Guild of New Mexico musicguildofnewmexico.org
New Mexico Arts nmarts.org
PNM pnm.com
RBC Wealth Management rbcwealthmanagement.com
Lockheed Martin lockheedmartin.com
New Mexico Gas Company nmgco.com
Menicucci Insurance Agency mianm.com
Olga Kern International Piano Competition olgakerncompetition.org
Sandia Foundation sandiafoundation.org
Sandia Laboratory Federal Credit Union slfcu.org
Sandia National Laboratories sandia.gov
Scalo Northern Italian Grill scalonobhill.com
SWGA, P.C. southwestgi.com
United Way of Central New Mexico uwcnm.org
U.S. Bank usbank.com
Wells Fargo wellsfargo.com
SUPPORT YOUR NMPHIL / The concerts of the New Mexico Philharmonic are supported in part by the City of Albuquerque Department of Cultural Services, the Bernalillo County, and the Albuquerque Community Foundation. Interested in becoming a sponsor of the NMPhil? Call Today! (505) 323-4343.
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2017/18 Season / Volume 7 / No. 1
BOARD OF DIRECTORS Maureen Baca President Al Stotts Secretary Treasurer
New Mexico Philharmonic 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 FLUTE Valerie Potter • Sara Tutland Jiyoun Hur ••• PICCOLO Sara Tutland OBOE Kevin Vigneau • Amanda Talley + ENGLISH HORN Melissa Peña ••• CLARINET Lori Lovato •• Timothy Skinner E-FLAT CLARINET Lori Lovato
BASS CLARINET Timothy Skinner BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Nathan Ukens Katelyn Benedict ••• Allison Tutton Niels Galloway •••• TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Byron Herrington David Tall BASS TROMBONE David Tall TUBA Richard White • TIMPANI Douglas Cardwell • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Anne Eisfeller •
Ruth Bitsui Vice President for Operations Emily Cornelius Thomas Domme Roland Gerencer, MD 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 Heinz Schmitt William Wiley STAFF Marian Tanau Executive Director Roberto Minczuk Music Director Chris Rancier Executive Assistant & Media Relations Alexis Corbin Co Operations Coordinator, Co Personnel Manager & Development Assistant Katelyn Benedict Co Operations Coordinator, Co Personnel Manager & Office Manager Mancle Anderson Production Manager Allison Tutton Head Librarian Danielle Frabutt Artistic Manager & Social Media Coordinator
Principal • Assistant Principal •• Associate Principal ••• Assistant •••• Leave + One year position ++
BOARD OF THE FUTURE Robbie C’de Baca Erin Gandara Jess Bernal Tomas Garcia Jason Cloyes Walt Gill Davina Detrik Calisa Griffin Galen Detrik Cailyn Kilcup
Byron Herrington Payroll Services Joshua Lujan Stephen Segura Chris Schroeder
Mary Montaño Grants Manager Joan Olkowski Design & Marketing Lori Newman Editor Sara Tutland Ensemble Visits Coordinator
The New Mexico Philharmonic
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UPCOMING CONCERTS NHCC
Popejoy Classics
NOV
NOV
19
11
MENDELSSOHN MEETS BEETHOVEN MAGNIFICENT
MAHLER 4
PROTÉGÉ SERIES
Neighborhood
Popejoy Pops
DEC
DEC
1
HANDEL’S
16
Holiday Pops!
MESSIAH NHCC JAN
14
WINDS & HORNS APLENTY 34
2017/18 Season / Volume 7 / No. 1
Popejoy Pops JAN
20
LIGHTS! CAMERA! MUSIC!
UPCOMING CONCERTS Popejoy Classics
Popejoy Pops
APR JAN FEB MAR
FEB
30 27 9 19
3
FOR THE NMPHIL
MOZART’S REQUIEM
CLASSICAL MYSTERY TOUR
A TRIBUTE TO THE BEATLES
FUNDRAISING SPECIAL
NHCC
Popejoy Classics FEB
FEB
24
11
FROM BACH TO BACHIANAS & BRITTEN
TCHAIKOVSKY’S 1812
Neighborhood
Popejoy Classics MAR
MAR
17
10
MAR
18
BALLET!
Aladdin & the Magic Lamp CLASSICAL GIANTS The New Mexico Philharmonic
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Encore Proud sponsor of the New Mexico Philharmonic 4821 Pan American Fwy., Albuquerque, NM 87109 | 505.341.1600 | lexusofalbuquerque.com