New Mexico Philharmonic Program Book • 2017/18 Season • Volume 7 • No. 4

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VOLUME 7 / NO. 4

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2017/18 Season

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LETTER FROM THE MUSIC DIRECTOR

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Table of Contents PROGRAMS

February 3, 2018 Program February 11, 2018 Program February 24, 2018 Program March 10, 2018 Program Program Notes ARTISTS

David Felberg Roberto Minczuk Kevin Vigneau Kimberly Fredenburgh Karen Gomyo Patrick Kavanaugh Sarah Tasker YOUR NMPHIL

Letter from the Music Director Musical Fiestas Orchestra Board of Directors, Advisory Board, Staff Donor Circles Thank You Legacy Society Sponsors Upcoming Concerts

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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 mustsee 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

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3035 Menaul NE #2 Albuquerque, NM 87107 CONNECT WITH US

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Interested in placing an ad in the NMPhil program book? Contact Christine Rancier: (505) 323-4343 crancier@nmphil.org

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2017/18 Season / Volume 7 / No. 4

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. ●

Concert Program .

Saturday, February 3, 2018, 8:00 p.m.

Popejoy Pops: Classical Mystery Tour: A Tribute to The Beatles with The New Mexico Philharmonic

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Popejoy Hall

James Owen presents

Classical Mystery Tour Jim Owen rhythm guitar, piano, vocals Joey Curatolo bass guitar, piano, vocals Tom Teeley lead guitar, vocals Doug Cox drums, vocals David Felberg conductor

Beatles Medley Overture

arr. Martin Herman

Classical Mystery Tour (performing selections from the following) A Day in the Life A Hard Day’s Night All You Need Is Love Eleanor Rigby Got to Get You Into My Life Here Comes the Sun I Saw Her Standing There Lucy in the Sky With Diamonds Penny Lane Sgt. Pepper’s Lonely Hearts Club Band With a Little Help From My Friends Yesterday

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

ADDITIONAL SUPPORT Made possible by: Holmans USA & Anthony Trujillo

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

Classical Mystery Tour (performing selections from the following) Come Together Golden Slumbers I Am the Walrus Imagine Live and Let Die The Long and Winding Road Magical Mystery Tour Ob-la-di, ob-la-da While My Guitar Gently Weeps Yellow Submarine

All songs written by John Lennon, Paul McCartney, or George Harrison classicalmysterytour.com

The New Mexico Philharmonic

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Life Sounds Better Here.

Also streaming at KHFM.org.

Concert Program .

Sunday, February 11, 2018, 2:00 p.m.

NHCC: From Bach to Bachianas & Britten

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Roberto Minczuk Music Director Kevin Vigneau oboe Kimberly Fredenburgh viola

National Hispanic Cultural Center

Libertango

Astor Piazzolla (1921–1992) arr. James Kazik

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

Oblivion Kevin Vigneau oboe

Piazzolla arr. Robert Longfield

Concerto for Oboe and Viola Allan Stephenson I. Allegro animato (b. 1949) II. Poco lento III. Allegro vivo Kevin Vigneau oboe Kimberly Fredenburgh viola

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

Air from Orchestral Suite No. 3 in D Major, BWV 1068

Johann Sebastian Bach (1685–1750)

Bachianas Brasileiras No. 9 Heitor Villa-Lobos I. Prélude (1887–1959) II. Fugue Cantus in Memoriam Benjamin Britten

Arvo Pärt (b. 1935)

Simple Symphony for String Orchestra, Op. 4 Benjamin Britten I. Boisterous Bourrée (1913–1976) II. Playful Pizzicato III. Sentimental Sarabande IV. Frolicsome Finale

The New Mexico Philharmonic

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Behind every music performance is a strategy for success

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1/9/18 2:33 PM

Concert Program .

Saturday, February 24, 2018, 6:00 p.m., 5 p.m. Pre-Concert Talk

Popejoy Classics: Tchaikovsky’s 1812

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Roberto Minczuk Music Director Karen Gomyo violin

Popejoy Hall

Vltava (The Moldau) Bedrich Smetana (1824–1884)

Violin Concerto No. 1 in D Major, Op. 19 I. Andantino II. Scherzo: Vivacissimo III. Moderato—Allegro moderato Karen Gomyo violin

Sergei Prokofiev (1891–1953)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: RBC Wealth Management

PRE-CONCERT TALK Made possible by: I N T E R M I S S I O N

Menicucci Insurance Agency

Romeo and Juliet (Overture-Fantasy) Piotr Ilyich Tchaikovsky (1840–1893)

1812 Overture, Op. 49

The New Mexico Philharmonic

Tchaikovsky

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Concert Program .

Saturday, March 10, 2018, 6:00 p.m.

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Neighborhood Concert: Classical Giants

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Patrick Kavanaugh conductor David Felberg violin Sarah Tasker violin

First United Methodist Church

Overture to The Marriage of Figaro, K. 49 Wolfgang Amadeus Mozart (1756–1791)

Concerto for Two Violins in d minor, BWV 1043 I. Vivace II. Largo ma non tanto III. Allegro David Felberg violin Sarah Tasker violin

Johann Sebastian Bach (1685–1750)

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

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

Symphony No. 8 in F Major, Op. 93 I. Allegro vivace e con brio II. Allegretto scherzando III. Tempo di menuetto IV. Allegro vivace

The New Mexico Philharmonic

Ludwig van Beethoven (1770–1827)

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NMPhil .

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.

Sunday, February 25, 2018, 4 p.m.

Marie Weingardt will open her Sauvignon home overlooking Tanoan Golf Course to host internationally renowned violinist Karen Gomyo. $200 Sunday, March 25, 2018, 4 p.m.

Albuquerque favorite, Olga Kern and her brilliant son will perform at the lovely North Valley home of Dr. Charles and Eugenia Eberle. $250 Call for more information and to reserve your tickets.

Reserve Tickets

(505) 323-4343

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WE INVITE YOU TO ENGAGE MORE DEEPLY WITH THE ORCHESTRA AND ITS MUSICIANS. George & Sibilla Boerigter Concertmaster Sponsor

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

—George Boerigter

Sponsor Today

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Program Notes .

Program Notes

Charles Greenwell & Kevin Vigneau (Stephenson notes)

Astor Piazzolla

Born March 11, 1921, in Mar del Plata, Argentina Died July 4, 1992, in Buenos Aires, Argentina

Libertango and Oblivion

Until comparatively recently, Latin-American music was not heard very often on concert programs in the United States. The great names in Latin-American concert music are limited to the 20th century, but the contribution of these figures has been substantial. Of all composers from that part of the Western hemisphere, Astor Piazzolla has become the most widely performed, and indeed has achieved something resembling pop-star status. He was a composer, bandleader, and a virtuoso on the bandoneón, an Argentine type of accordion that has buttons instead of keys.

His family emigrated to New York in 1924, but he returned to Buenos Aires in 1937, and in 1944 formed a small orchestra to play his own compositions. In 1954, he wrote a symphony for the Buenos Aires Philharmonic that won him a scholarship to study with the legendary Nadia Boulanger in Paris, where he eventually settled in 1974. His very distinctive and trendsetting tangos included fugues, extreme chromaticism, dissonance, and elements of jazz. Initially this music was condemned by the traditionalists, and found favor mainly in the US and France.

By the 1980s, however, his work became widely accepted, and he was even regarded by many as the savior of the tango, the musical soul of Argentina. At that time his works were taken up by many classical performers, among them the Kronos Quartet, Mstislav Rostropovich, Michael Tilson Thomas, Gidon Kremer, and Daniel Barenboim. Piazzolla forged a new music that fused folkloric beauty with contemporary practices, and in so doing challenged the traditional concepts of concert music. It is no exaggeration to say that he is the single most important figure in the history of the tango, a towering giant

whose influence looms large over everything that preceded and followed him. His place in tango music can be roughly equated with that of Duke Ellington in jazz, that is, a genius who took an earthy, sensual, and even disreputable folk music and elevated it into a sophisticated form of high art.

In addition, Piazzolla was a virtuoso performer with a nearly unequaled mastery on the bandoneón. In his hands, the tango was lifted out of the realm of dance music and infused with an entirely new harmonic and rhythmic vocabulary made for the concert hall more than the ballroom. With Stravinsky-esque rhythms, sparse-textured counterpoint, and driving bass lines, he renewed the tango’s universality and its basic essence, in the process bringing him great international acclaim, particularly in Europe and Latin America. It also earned him the lasting enmity of many tango purists who mercilessly attacked him for what they considered his abandonment of tradition, and this was enough to force him out of Argentina during the dark years of the military junta in the 1970s. In spite of this, he remained true to his vision and became the tango’s principal ambassador to the world at large until he died in 1992. He was a true original because of his artistic uniqueness and innovative honesty.

Libertango, which was recorded and published in 1974 in Milan, is one of Piazzolla’s most frequently performed works.

The title is a portmanteau word combining Libertad (Spanish for liberty) and Tango, which here marked a change from Classical Tango to Tango Nuevo (New Tango), a new style of the master’s compositions. This sultry work with spicy rhythms and a striking melody also features an accordion, which gives the music a folk-like element, and has kept it at the forefront of the modern Tango.

Although it was originally an instrumental work, in 1990 the Argentinian poet Horacio Ferrer added Spanish lyrics concerned with the theme of freedom.

This is one of Piazzolla’s most traditional tangos, less jazzy and angular than many of his works.

The haunting and atmospheric Oblivion, another of Piazzolla’s most popular tangos, became widely known from the soundtrack of the 1984 Italian film Henry IV—the Mad King.

Based on Luigi Pirandello’s play of the same name, it tells the story of a man, played by Marcello Mastroianni, who, after falling off his horse and receiving a concussion, spent the next 20 years of his life believing he was Henry IV, the 11th-century German king and Holy Roman Emperor. The film was directed

by Marco Bellochio, a highly regarded mainstay of the Italian film industry who is sadly little known outside of Italy. This is one of Piazzolla’s most traditional tangos, less jazzy and angular than many of his works, which owes much to the work of the Brazilian composer, pianist, and singer Antonio Carlos Jobim, one of the greatest exponents of Brazilian music, and the man who made the bossa nova internationally famous. ●

Allan Stephenson

Born 1949, Wallasey, Cheshire, England

Concerto for Oboe, Viola, and Strings (2013) Allan Stephenson is a composer, cellist, and conductor who immigrated to South Africa in 1973. Educated at the Royal Manchester College of Music, he has been a cellist with the Cape Town Symphony Orchestra and a faculty member at the South African College of Music. He has conducted all of the major orchestras in South Africa.

Allan Stephenson is an unabashedly tonal composer who describes his work as “Romantic, lyrical, exciting rhythmically, but, above all, enjoyable to play and listen to.” His numerous compositions include three ballets, three operas, two symphonies, and concertos for almost every orchestral instrument.

Kimberly Fredenburgh and Kevin Vigneau commissioned The Concerto for Oboe, Viola, and Strings in 2013. They premiered this work in March 2014 with the Stellenbosch Camerata at the University of Stellenbosch in South Africa. This commission was supported by a University of New Mexico Research and Creativity grant. The performance you will hear today is an American premiere.

The first movement, ostensibly in b minor, begins with a vigorous theme in the solo parts. Much of the movement is in a sunny allegro mood, exploring many quickly continued on 12

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Program Notes . continued from 11 changing key areas in sonata form. The lyrical second theme group, in C Major, provides the first of many pleasing contrasts of character.

The movement closes with a lively cadenza for the solo instruments.

The second movement is a lilting Siciliana in e minor, full of beautiful melodies shared by the oboe and viola. The third movement is inspired by a Western hoedown, and it is full of infectious energy and challenging passagework for soloists and orchestra alike.

—Notes by by Kevin Vigneau ●

Johann Sebastian Bach

Born March 21, 1685, in Eisenach, Germany Died July 28, 1750, in Leipzig, Germany

Air from Orchestral Suite No. 3 in D Major Scored for strings alone. Approx. 4 minutes.

When Bach died in the summer of 1750, he was mourned as one of the greatest organists and keyboard players of his time, but his compositions were relatively unknown.

At the time, his manuscripts were divided among his sons, and many of them were lost. When the big Bach revival began in the mid-1800s, only a small fraction of his works was recovered. Orchestral suites were very popular in Germany during the first part of the 18th century, and were called by various names such as Partie, but Bach called all four of these works Ouvertures, using the French spelling to indicate a reliance on the French style that influenced the form. Using the term Orchestral Suite is acceptable, but these works were written for forces that were just beginning to evolve into what we would now call an actual orchestra. Bach did use the term Orchestre just once in his output, but no one is sure what he meant by it. His four suites, or ouvertures, have generally been thought of as a collection, in spite of the fact that they were not composed as a set (like the English Suites) or compiled from existing works (like the Brandenburg Concertos). He almost certainly wrote more than the four we have, but if so, they are part of the body of tragically lost compositions, and even these have come down to us not in their original form but in later reorchestrations.

Exact information about the Suites’ composition is almost nonexistent, and unlike the popular Brandenburg Concertos, surviving manuscripts of the Suites contain no scores in Bach’s handwriting and only a few orchestral parts, and no mention of the works has been found in documents 12

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

—John Duarte

of the time, either by Bach or any of his contemporaries. The suite had its origin in the early 16th century, when composers turned to printed collections of dance music in order to satisfy their employers’ enormous demands for new music to be used at court balls and other entertainments. At the time the dances were grouped by type, and the musicians would assemble suites according to what was required and the available musical forces. By Bach’s time, most of the dances found in the earlier suites had gone out of fashion, and the suite had moved from the ballroom and banquet hall to the concert room. This beautiful and expressive movement is one of the most famous short works ever penned, and under its alternate title of Air on the G-String has been used countless times the world over in memorial services or situations. ●

Heitor Villa-Lobos

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

Bachianas Brasileiras No. 9

Scored for string orchestra. Approx. 8 minutes.

Described once as “the single most significant creative figure in 20th-century Brazilian art music,” Villa-Lobos is certainly the bestknown of all Latin-American composers. He was amazingly prolific, writing over 2,000 orchestral, chamber, instrumental, and vocal compositions, known for their characteristic nationalism, driving rhythms, and unusual instrumentation. His music was influenced by both Brazilian folk music and elements of the European classical tradition, and he was

the most original and influential of Brazilian composers in the 20th century who worked toward the development of a national idiom in serious music. In the words of the British composer and guitarist John Duarte, “VillaLobos remains one of the most individual and colorful figures in 20th-century music, one who took what he wanted from the music he heard floating in the air and bent it to his own strongly personal purposes—one of which was to present a panorama of all aspects of his homeland.”

Villa-Lobos was also known and highly regarded for the work he did in Brazil to reform music education in local schools.

He was fortunate to have been born into a musical family and acquired most of his musical teaching from his father who was one of Rio’s finest amateur musicians. When his father died suddenly from malaria in 1899, his family urged him to become a doctor, but he was determined to become a musician, having learned from his father to play cello, guitar, and clarinet. Within a few years he could play the cello as a full-fledged professional and began playing at parties, street fairs, and cafés, in hotels and in cinema and theatre orchestras in order to earn a living. As he approached 30, he went through a crisis of identity as to whether European or Brazilian music would dominate his style, but as it turned out, it was to be a unique combination of the two that helped to create his fascinating musical language. In 1918, Villa-Lobos met the great pianist Arthur Rubinstein, who became a lifelong friend and champion. It was Rubinstein who suggested that the young composer should go to Europe, specifically Paris, and so in 1923 he set out for the

Program Notes .

French capitol, aided by a government stipend and the support of wealthy friends.

He remained in Paris for most of the next seven years, where he promoted his works to very receptive audiences. Concerts of his music during this period achieved great success with audiences and critics alike, and he became the most acclaimed LatinAmerican composer in Europe, indeed becoming an almost mythic figure, a living symbol of Brazilian nationalism.

Villa-Lobos returned to Brazil in 1930, and embarked on a campaign to improve music education in schools throughout the country, receiving strong backing from the new government. The following year he was appointed Superintendent of Musical and Artistic Education in Rio de Janeiro, in which capacity he created a program to include music education in all public schools. Even though he was inexperienced in administrative and governmental matters, he nevertheless achieved amazing results, and in 1932 was put in charge of music education throughout the country. In 1945, in partnership with fellow composer Oscar Lorenzo Fernandez, he founded the Brazilian Academy of Music.

In 1952 he moved to Paris, where his works were once again very successful. In 1959, he moved back to Brazil, his health rapidly deteriorating, but he was able to direct the Academy of Music again for a few months. He kept active until just a few days before his death in Rio in November.

“[Villa-Lobos’s music is] an art which we do not recognize, but to which we must now give a new name.”

—Paris Critic

His massive state funeral, attended by the President of Brazil and hundreds of music lovers, became the last major civic event in the city before the capitol was transferred to Brasilia. More than any other composer of the 20th century, Villa-Lobos summed up an entire country in his music, and he was able to create music of a kind that was unique and special. In 1927 a critic in Paris wrote that his music is “ … an art which we do not recognize, but to which we must now give a new name.”

Among his most significant compositions are a series of 14 works called Choros (1920–1929), named for a popular country dance, which were a transformation of Brazilian music and sounds by the personality of the composer. His nine suites for a variety of ensembles and voices that he labeled Bachianas Brasileiras can be roughly translated as Brazilian Bachian pieces.

Holding a special place in his enormous output, these are his best-known works and represent not so much a fusion of Brazilian popular music with the music of J.S. Bach, as they do an attempt to freely adapt a number of Baroque harmonic and contrapuntal devices to Brazilian music.

They are characterized by a remarkable range, great power, melodic inventiveness, and tightly controlled structures. Most of the movements in the suites have two titles, one related to Bach (Prelude, Fugue, etc.), the other to Brazilian contexts such as Embolada, Modinha, Ponteio, and so forth, but there are no folk melodies in any of the nine works. The suites evolved piecemeal between 1930 and 1945, and above all bespeak the composer’s great love of Bach, whom he regarded as “a mediator among all races.” During the reign of the dictator Getulio Vargas (1930–1945), Villa-Lobos’s music became strongly nationalistic. And being initially a supporter of the man, Villa-Lobos composed mainly patriotic and propaganda works—the Bachianas Brasileiras being notable exceptions. When Vargas was deposed in 1945, Villa-Lobos resumed his European connections, and began to receive many commissions from Europe and the United States. It was also in that year of 1945 that this final work in the series was composed. It is the shortest of the nine, and the only one in the set that does not have double titles. Instead, it is a very Bach-like prelude and fugue. What is surprising here is that—unique in the series—he wrote an alternate version of the music for wordless choir, but it is rarely performed, even in

Brazil. The Prelude begins with the marking (in Italian) Vague and mystical and features striking sonorities with the strings playing in their highest registers, followed by a Bachlike aria with a harmonization that is often bi-tonal (two tonalities at the same time). The Fugue is fast and strong, builds to a stunning climax, and then ends calmly, a fitting end to one of the most famous series of classical compositions ever written in South America.

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Arvo Pärt

Born September 11, 1935, in Paide, Estonia

Cantus in Memoriam Benjamin Britten

Scored for strings and bell. Approx. 6 minutes.

Pärt’s musical education began when he was seven, and by the time he was 14 he was starting to work as a composer. After finishing requisite military service, in 1958 he enrolled in the Tallinn Music Conservatory, and from then until 1967 he also worked as a recording engineer for the music division of the Estonian Radio. While at the Conservatory, he displayed such a remarkable facility for writing music that it was said, “He just seemed to shake his sleeves and notes would fall out.”

At the time, he was composing scores for film and the theatre, and although he had little exposure to contemporary trends in Western music, he frequently was bringing new techniques into his music. He first came to wide notice in Eastern Europe by taking first place in the All-Union Young Composers’ Competition in 1960 for two choral works, a cantata for children’s chorus and orchestra entitled Our Garden, and an oratorio entitled The World’s Stride. Around this time, he began to experiment with serial techniques, and in 1960 produced a work called Nekrolog that was the first 12-tone piece written in Estonia. He also was developing a kind of collage technique in which he used quotations from the music of other composers. In 1968, he produced Credo, a major work for piano, chorus, and orchestra, but because of its religious text it was banned in the Soviet Union, and this effectively stopped his explorations of serialism and the use of collage.

Feeling that he had come to a creative dead end, during the following eight years, Pärt wrote mostly film scores but began a long and intensive study of Gregorian chant, sacred choral works of the Medieval and Renaissance eras, and Orthodox liturgical music. It was at this time that he converted continued on 14

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Program Notes . continued from 13 to the Russian Orthodox religion. The music that he began to produce after this hiatus was radically different than anything he had written previously. It used an innovative style that he referred to as “tintinnabuli,” that is, imitating the sound of bells. About this new direction he stated, “I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements, with one voice or two voices. I build with primitive materials: with the triad, with one specific tonality. The three notes of a triad are like bells to me, and that is why I call it tintinnabulation.” In 1977, he wrote three works in this new style that are among his most admired creations, namely Fratres, Tabula rasa, and the present Cantus.

Pärt also has said that this music is similar to light being refracted through a prism, in that the music may give each listener a slightly different experience. A style that was once characterized by harsh, even violent, dissonance was completely changed, and the new controlled dissonance comes about through diatonic means, either through close interplay between two or three voices or the use of carefully constructed tone clusters.

These new dissonances are not meant to be upsetting, but nevertheless convey a sense of human suffering that runs through many of Part’s compositions. Once again, however, his music ran afoul of the political authorities, and in 1980 he and his family moved to Vienna, finally settling in West Berlin. He has received numerous honors and awards, among them election to the American Academy of Arts and Letters and winning the Leonie Sonning Music Prize, being described at the time as “one of the most original voices of our time.”

“[Pärt] just seemed to shake his sleeves and notes would fall out.”

—Tallinn Music Conservatory, 1957

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“… He wrote music. He wrote lots of it, reams and reams of it. I don’t really know when he had the time to do it.”

— Benjamin Britten

This short but very expressive work was written in 1977, and as such is one of the earliest examples of his “tintinnabuli” style.

It was composed as an elegy to mourn the death in December of 1976 of the distinguished English composer Benjamin Britten, a composer whom Pärt greatly admired for possessing a kind of purity that he had always been seeking, and whom he viewed as a kindred spirit. Even though the Cantus is basically a secular work, it is nevertheless a meditation on death and how we all relate to it. The work begins and ends with silences that are actually written into the music and form a framework that can be experienced as a spiritual dimension. Each string part, with the exception of the viola part, is divided into two groups, one playing the notes of a pure a-minor scale, the other playing only the three notes of an a-minor chord. This second group, according to the composer, represents the subjective world of sin and suffering, while the first group represents the objective world of forgiveness.

Why did Britten’s death touch Pärt so deeply? In his words, “During this time I was obviously at a point where I could recognize the magnitude of such a loss. Inexplicable feelings of guilt arose in me, for I had just discovered Britten for myself. Just before his death I had begun to appreciate the unusual purity of his music, and for a long time I wanted to meet Britten personally, but now it would not be possible.” ●

Benjamin Britten

Born November 22, 1913, in Lowestoft, England Died December 4, 1976, in Aldeburgh, England

Simple Symphony for String Orchestra, Op. 4 Scored for string orchestra. Approx. 18 minutes.

After the death of Henry Purcell in 1695, English music went through a remarkable dry

spell for almost 200 years with no significant composers until Edward Elgar in the late 19th century. He was the first in a long line of English composers that continues to the present day, and of those, few have been more esteemed than Benjamin Britten. He is the one composer after Elgar who has secured a place in the repertory with a wideranging output, and although his music is always accessible, he had great admiration for modernist composers such as Stravinsky, Schoenberg, and Berg. When he was 20, Britten went about recasting some piano and song melodies from his preteen years into a four-movement work for string orchestra, and such was the young lad’s precociousness that even these early works could provide a great deal of material for this work. In his own words, this symphony is “based entirely on material from works which the composer wrote between the ages of nine and twelve.”

The work has an irresistible youthful appeal with an array of ideas that retain a semblance of innocence, despite having been combined later on in a relatively sophisticated manner.

Moreover, the string writing is so idiomatic and of such technical ease that even nonprofessional ensembles can handle it with confidence. As he reworked the original materials, the music emerged not so much as that of a child composer, but rather as a mature composer’s desire to rekindle the spirit of his early days.

The symphony was written between December of 1933 and February of 1934, and is dedicated to his childhood viola teacher, Audrey Alston, who introduced him to Frank Bridge, the English composer, violist, and conductor. Bridge was to become a major influence on the young Britten, and his enlightened attitude and quest for perfection would forever mark Britten’s musical makeup. In the notes to his 1956 recording of the work, Britten wrote, in part, “Once upon a time there was a prep-school boy who was

Program Notes . called Britten … He was quite an ordinary little boy … but there was one thing curious about him: He wrote music. He wrote lots of it, reams and reams of it. I don’t really know when he had the time to do it.” Later in life he would go on to write more individual, more ambitious, and more complex music, but few works of his are more frequently performed than this marvelously expressive and lucidly scored little symphony. ●

Bedrich Smetana

Born March 2, 1824, in Litomysl, Bohemia (now the Czech Republic) Died May 12, 1884, in Prague, Czech Republic

Vltava (The Moldau)

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Approx. 12 minutes.

Smetana was a Czech composer, pianist, and conductor who pioneered a musical style that became linked to his country’s desire for independent statehood, and he was one of the first composers to integrate folk-based material into his compositions. Because of this, he is generally regarded as the father of Czech music, and indeed, he gave his beloved Bohemia a major role in his two most famous works, the orchestral suite My Fatherland (containing the ever-popular symphonic poem The Moldau), and the opera The Bartered Bride. In sum, he was probably the first of the great 19th-century nationalist composers.

Naturally gifted as a pianist, he gave his first recital at age six, and after conventional schooling he moved to Prague, where he continued his studies and barely earned a living as a piano teacher. He failed in an attempt to begin a concert career, and failed in an attempt to start his own music school. To make matters worse, three of his four young daughters died between 1854 and 1856. He then moved to Gothenburg, Sweden, where he was moderately successful

as a teacher and choirmaster, and he finally achieved recognition when he was appointed Music Director of that city’s symphony orchestra, where one of his 20th-century successors was former DSO Music Director Neeme Järvi.

In the early 1860s, a new liberal political climate in Bohemia allowed Smetana to return permanently to Prague, where he became the leading figure in the new genre of Czech opera. In 1866, his first two operas were premiered at the new Provisional Theatre, the second of which—The Bartered Bride—achieved enormous popularity. He was then appointed Principal Conductor of the Theatre, but over the years he faced growing opposition to his progressive ideas, which not only interfered with his composing but added to some health problems he was having, and in early 1874 he resigned his position. By the end of that year he became completely deaf, having arisen one morning in late October to discover that he could not hear anything in either ear, which of course meant that he could no longer play the piano.

The sudden onset of this condition threw him into a deep depression which, combined with sheer physical exhaustion, gradually affected his mental capacities, and he died in an asylum some ten years later. However, what is truly remarkable about this final decade was his phenomenal productivity in which he composed three operas and the great My Fatherland cycle, as well as quite a number of songs, choruses, chamber works, and piano pieces. What got him through those ten years was a happy disposition, an endlessly brave optimism, and an unquenchable faith in the future of his country. So, like Beethoven, Smetana continued to compose and actually wrote some of his best-known music when his hearing had completely left him. Typical of its time, Smetana’s music is full of beautiful melodies and gorgeous harmonies, giving it direct appeal to the listener, and his creation of a national music, which was

“The work describes the course of the Vltava, starting from two small springs […] and eventually [flowing into] the North Sea.” — Bedrich Smetana

carried on by Dvořák and Janáček and others, gives him a significant place in the Romantic movement of the 19th century.

Between 1874 and 1879 Smetana composed a set of symphonic poems that he collectively called Ma vlast, or My Fatherland.

Even though the cycle is often performed as a unit, the six pieces were conceived as individual works and had their own separate premieres between 1875 and 1880. In these works, Smetana combined the form of the symphonic poem as it originated with Franz Liszt with the ideals of nationalistic music that were popular in the late 19th century.

Each poem depicts some aspect of the countryside, history or legends of the area once known as Bohemia. The second work in the cycle is the famous and ever-popular Vltava, the Czech name for the river known in German as the Moldau, the preferred title of the work because Smetana was a Germanspeaking Czech. In fact, this glorious work is one of the most widely performed symphonic poems ever written. As he was writing the work, he was plagued by a series of severe headaches, symptomatic of the condition that would cause him to go completely deaf in the fall of 1874. The Moldau is the principal river of what is now the Czech Republic, rising in the hills in the south and flowing north through Prague to join with the Elbe.

The idea for the work had been forming in Smetana’s mind for at least seven years before he started to work on it, and this probably accounts for the fact that he was able to complete the score in just three weeks.

The inspiration first came to him during a country holiday in 1867, when he visited the place where two small streams combine to create the larger stream that eventually broadens out and becomes the great Moldau.

The work vividly imagines actual sites along the river, and it is certainly no coincidence that Smetana had visited these several times over the years, including an exhilarating boat ride through the churning waters of the St. John Rapids in 1870. There is a sense of narrative in the work that follows the course of the river from its source in the mountains until it majestically flows through Prague, but it can be appreciated just as music without any reference to this description. In a paraphrase of the composer’s own words: The work describes the course of the Vltava, starting from two small springs to the unification of both streams into a single current, the course of the river through woods and meadows, through landscapes where a continued on 16

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Program Notes . continued from 15 wedding is celebrated, the round dance of mermaids in the moonlight, and past castles, palaces, and ruins atop nearby rocks. The river swirls into the St. John Rapids, then it widens and flows toward Prague, past Vysehrad [the High Castle, which is also the name of the cycle’s first movement], then majestically vanishes into the distance, flowing into the Elbe and eventually the North Sea. There is a resemblance between the principal theme of Vltava and Hatikvah, the national anthem of Israel, and this has led some to suggest that both came from the same source, but this is not the case, nor is it true that the theme was taken from a Czech folk song. Rather, it really became one after Smetana’s melody became so popular and so beloved. ●

Sergei Prokofiev

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

Violin Concerto No. 1 in D Major, Op. 19

Scored for solo violin, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, tuba, timpani, percussion (tambourine & snare drum), harp, and strings. Approx. 22 minutes.

Prokofiev was one of the most remarkably gifted musicians of the 20th century, not only as a composer, but also as a pianist and conductor—and a first-rate chess player.

Of all 20th-century Russian composers, he was uniquely and remarkably diverse, and, with the single exception of Stravinsky, his career encompassed a wider range of locales, attitudes, and influences than any of his

“… its mixture of fairytale naiveté and daring savagery in layout and texture.”

— Joseph Szigeti

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“… if you have a great pianist like Horowitz accompanying you, you don’t need an orchestra!”

— Nathan Milstein

contemporaries. He was acclaimed in his lifetime as a pianist of exceptional virtuosity and power and as a fine conductor, yet he allowed both of these talents to lapse, and left only two recordings of his amazing capabilities as a performer, particularly of his own music. From the beginning of his career his output was closely tied up with his piano playing: At the age of five, he began to write short works for the keyboard that were transcribed by his mother, and the following year he started writing down his own creations. It was only in the latter part of his life, after his return to Soviet Russia from many years in the West, that the piano began to play a lesser role in his work.

Prokofiev wrote just two violin concertos, but they occupy key positions in his output, having been written on either side of his years in the West.

Despite the tumultuous events leading up to the abdication of Tsar Nicholas II and ultimately the famed October Revolution, the year 1917 was Prokofiev’s most productive year. In spite of having to deal with such things as strikes, marches in opposition to war, the mutiny of the entire Black Sea fleet, terrible food shortages in most of the major cities, Lenin becoming Chairman of the Council of People’s Commissars, and an armistice having been signed with Germany, Prokofiev turned out, among other things, the First Violin Concerto, the famous Classical Symphony (his first), the Third and Fourth Piano Sonatas, the Visions fugitives for piano, a cantata on Chaldean texts, and a substantial amount of work on the Third Piano Concerto. Two years previously, he had started work on a concertino for violin and orchestra, but put it aside to concentrate on his opera The Gambler. The new violin concerto was finished in the summer of 1917, but he left for an extended stay in the US shortly thereafter, and as a result the concerto was not given its premiere until October of 1923 in Paris, where Prokofiev had recently moved.

The first performance of the work in Russia was given just three days after the Paris premiere, with two extraordinarily gifted 19-year-olds doing the honors: Nathan Milstein and Vladimir Horowitz, Horowitz playing a piano reduction of the orchestral score. As Milstein recalled in his memoirs, “… if you have a great pianist like Horowitz accompanying you, you don’t need an orchestra!”

The Paris premiere was not a success for a number of reasons, the most critical being the difficulty of finding a suitable soloist. When the concerto was finished in 1917, the plan was for the wonderful Polish violinist Pawel Kochanski to give the first performance, but by 1923 he and the composer had fallen out of touch. Milstein was in Russia and could not leave, and a number of other prominent violinists refused to have anything to do with what they derogatorily called “that music.” So the task fell to one Marcel Darrieux, a fine violinist who was the concertmaster of Serge Koussevitsky’s Paris orchestra, but who did not possess the kind of bravura technique and personality to put the new concerto across. Still, at that first performance in October of 1923, Darrieux gave a very good account of the piece, and Prokofiev was pleased, if not totally satisfied. However, there was another mitigating factor in this concert. Parisian audiences at the time, particularly those who came to the Koussevitsky concerts, were hungry for modern music, especially if there was some shock value involved, and this concert also featured the first Paris performance of Igor Stravinsky’s Octet for Winds, conducted by the composer. The new, spiky sounds of the Octet decidedly overshadowed the more traditional-sounding and lyrical Prokofiev concerto, which came off second-best in the minds of most of the audience. In any case, the following year the concerto was taken up by the great Hungarian violinist Joseph Szigeti, who played it at a festival of

Program Notes . modern music in Prague (with Fritz Reiner conducting) and then took it to most of the main musical centers of Europe. He was the first to play the concerto with orchestra in Russia, and because his identification with the work was so strong, he badgered executives of Columbia Records to allow him to make the first recording of the work in 1935 in London with Sir Thomas Beecham conducting, a performance that has stood the test of time as one of the finest of all recorded versions.

The concerto is something of a departure from the traditional fast-slow-fast pattern, being replaced here by a scheme that is essentially slow-fast-slow. When Szigeti first looked at the work, he was fascinated by what he deemed “… its mixture of fairytale naiveté and daring savagery in layout and texture.” The outer movements are quite lyrical and gentle and even dreamy, with glowing orchestral textures, whereas the middle movement, a fast scherzo, is amusingly unpredictable, energetic, and brilliant. As the concerto comes to an end, the opening melody of the first movement returns along with fragments of the third movement, and the work evaporates into a dreamy and peaceful conclusion. ●

Piotr Ilyich Tchaikovsky

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

Romeo and Juliet (Overture—Fantasy)

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Approx. 19 minutes.

Shakespeare’s moving drama of the starcrossed lovers Romeo and Juliet has been a potent source of inspiration down through the centuries for writers, artists, composers, and film makers alike. The idea for putting the story into symphonic terms was given to Tchaikovsky by Mily Balakirev (1837– 1910), a Russian composer, conductor, and teacher who is perhaps best remembered for having been the influential center of the group of composers known popularly as “The Five” (the other four being RimskyKorsakov, Mussorgsky, Borodin, and Cui).

Balakirev, who was essentially the founding father of Russian nationalism, recognized the extraordinary potential in the young Tchaikovsky, and his discerning and helpful

hand was just the sort of validation that Tchaikovsky needed at the time. Balakirev gave his younger colleague a detailed program for the work (even including musical suggestions) in 1869, and Tchaikovsky related to the subject matter immediately and earnestly. He struggled with the initial version of the piece for several months, and it was given its premiere in Moscow the following year, but not at all successfully.

The first version is a masterpiece in its own right (and has even been recorded), but it was not until the final version that Tchaikovsky was completely satisfied. Some of the intense emotion and sweeping lyricism of the work may have been the result of the composer’s despair over having been rejected two years previously by the only woman he ever was truly in love with, a Belgian opera singer named Désirée Artôt. Whatever the case, Tchaikovsky was quite dissatisfied with this first version and continued to work on it sporadically for the next ten years. While in Switzerland in the summer of 1870, he fundamentally revised the work and outlined the changes in a letter to Balakirev when he returned to Moscow that September, but Balakirev was not entirely satisfied with this version and asked Tchaikovsky to make further revisions to the score. He did so, and this second version was performed in St. Petersburg in February of 1872, but again was not a success. Tchaikovsky left the work alone for several years, and in August of 1880 he finally came up with a satisfactory version that was premiered that September, published the following year, and is now rightly regarded as one of his most inspired creations. The changes here were confined to the final 80 bars of the work, of which 34 were completely new. In 1884, the work was awarded a prize as one of the best works in Russian classical music, and Tchaikovsky received 500 rubles as part of the award.

The long and somber introduction is related to the character of Friar Laurence; next comes a fiery fast section representative of the conflict between the Montagues and the Capulets; then comes the beautiful love music of Romeo and Juliet. Later on, all of the principal themes are combined in masterful fashion, followed by music suggestive of a funeral procession, and this great tragedy comes to a conclusion with several strong chords and a final sustained note all thundered out by the full orchestra. In this intense and powerful work, Shakespeare’s tragedy and Tchaikovsky’s tortured personal life combine to produce

Tchaikovsky’s tortured personal life combined to produce the first true expression of his genius. the first true expression of his genius as a composer: a tautly constructed masterpiece that distills the Bard’s narrative down to its essentials in 20 minutes of music that is by turns thunderingly dramatic and intensely beautiful, careening between the tension of the rival Montague and Capulet houses and the heartbreaking tenderness of the protagonists’ love. ●

Piotr Ilyich Tchaikovsky

1812 Overture, Op. 49

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, optional brass band, and strings. Approx. 18 minutes.

In 1880, Tchaikovsky received a commission from Nikolai Rubinstein, director of the Moscow Conservatory of Music and the Moscow branch of the Russian Musical Society, for a festive work that could be used for one of three important occasions. In 1881, Tsar Alexander II would be celebrating the 25th anniversary of his accession to the throne, and the following year would see the opening of the All-Russia Arts and Industry Exhibition in Moscow and the consecration of the Cathedral of Christ the Savior, which was being built to commemorate the Battle of Borodino and the subsequent liberation of Moscow from Napoleon’s armies in 1812.

Tchaikovsky initially was not enthusiastic, but Rubinstein persisted, and finally got a promise from the composer for “ … a big solemn overture … very showy and noisy … ” for the Cathedral ceremony. continued on 18

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Program Notes . continued from 17 He began work on the new piece in October of 1880 and finished it in six weeks’ time.

The scoring was to be for a very large orchestra, a brass band, cannon, and church bells, and the work would be performed outdoors—a combination that actually had a precedent in 1789, when Giuseppe Sarti, Court Conductor to Catherine the Great, had written a Te Deum to celebrate the capture of Ochakov from the Turks, and which was performed by similar forces (including a chorus) in front of Catherine’s palace. For the 1812 event, the cannon were to be fired electrically from a set of switches on the conductor’s music stand, and at the climactic moment all of the bells of the Cathedral would peal along with hundreds of other bells in the nearby Kremlin towers. The event as planned would have been spectacular, but unfortunately it never took place. In March of 1881, the Tsar was assassinated by a group of fanatical terrorists, throwing the country into turmoil, confusion, and panic. As a result, all outdoor ceremonies were banned for some time, and the work finally received its premiere as part of the Exhibition festivities in August of 1882, but it was performed in a tent next to the unfinished cathedral, of course minus the special outdoor trappings. For the record, the cathedral was finally finished in May of 1883. In addition, Nikolai Rubinstein never got to hear the work performed, because he had died unexpectedly in Paris just a few days after the Tsar had been killed by the terrorist bombs.

The work makes use of three well-known patriotic tunes: the Russian hymns “God Preserve Thy People” and “God Preserve the Tsar,” and the French national anthem, “La Marseillaise.” While he was writing the overture, Tchaikovsky complained to his patroness Mme. Von Meck that the work would be “ … very loud and noisy, but without artistic merit, because I wrote it without warmth and love.” Nevertheless, the work

“… Never was anything more complete than the triumph of Mozart and his Marriage of Figaro.”

— Michael Kelly

made the composer’s estate exceptionally wealthy, as it went on to become one of the most frequently performed and recorded works in his entire catalog. One interesting sidelight: during the Communist era in Russia, the Tsar’s anthem melody was replaced by a chorus from Mikhail Glinka’s historical opera A Life for the Tsar in which the words proclaim “Glory, Glory to you, holy Russia!” and even musical scores of the overture published in Russia at the time contained this substitution. Fortunately, with the fall of the Soviet Union, the original musical content was restored. ●

W.A. Mozart

Born January 27, 1756, in Salzburg, Austria Died December 5, 1791, in Vienna, Austria

Overture to The Marriage of Figaro

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approx. 4 minutes.

The French watchmaker-turned-dramatist Pierre Beaumarchais (1732-99) wrote a trilogy of satirical, anti-establishment plays in which the central character is the barber Figaro. These plays were very barbed attacks on what Beaumarchais saw as a decadent aristocracy of the day—so barbed that Napoleon once referred to them as “the

“ … very loud and noisy, but without artistic merit, because I wrote it without warmth and love.”

— Piotr Ilyich Tchaikovsky

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revolution already in action.” The first of the plays, The Barber of Seville, was made into operas by Rossini and Paisiello; the second, The Marriage of Figaro, was made by Mozart into perhaps the most perfect comic opera ever written; and the third, entitled The Guilty Mother, was put into operatic form by Darius Milhaud in 1966.

In 1782, as Mozart was making a name for himself in Vienna, the director of the Imperial Court Theater invited him to write a new comic opera. The young genius was already in favor at the court of Emperor Joseph II, but faced stiff opposition from established composers, among them Antonio Salieri and Giovanni Paisiello. With an eye to greater fame and financial rewards, Mozart was influenced by the remarkable success of Paisiello’s Barber of Seville in 1783, based on Beaumarchais’s play of the same name. Performances of the sequel had been planned in Vienna, but the Emperor banned them after hearing from his sister, Marie Antoinette, about the trouble the play had caused in Paris. Accordingly, Imperial Court poet Lorenzo da Ponte, Mozart’s librettist, excised all of the political content of the play and translated the rest into Italian, the appropriate language for such an offering. In this form, the Emperor allowed the opera to be performed, and it was given its premiere in the Imperial Court Theater in May of 1786.

Mozart’s offering is social satire to be sure, but it is equally a sparkling comedy of manners, for which Mozart wrote one of his freshest and most appealing scores, and the result was a witty yet profound tale of love, betrayal, and forgiveness. Although a number of anti-Mozart factions in the audience tried to sabotage the premiere, the Irish tenor Michael Kelly, who sang the roles of Don Basilio and Don Curzio in that premiere, later wrote, “At the end of the opera, I thought the audience would never have done applauding … Never was anything more complete than the triumph of Mozart and

Program Notes . his Marriage of Figaro.” Although the total of nine performances was nothing like his later success with The Magic Flute, the applause on the first night resulted in five numbers being encored, and a week later the number rose to seven. It is worth noting that originally, there was a slow middle section to the overture with a melancholy oboe solo, but Mozart wisely took it out and kept the swirling high spirits intact. ●

J.S. Bach

Born March 21, 1685, in Eisenach, Germany Died July 28, 1750, in Leipzig, Germany

Concerto for Two Violins in d minor, BWV 1043 Scored for 2 solo violins, strings, and continuo.

Approx. 18 minutes.

This extraordinary masterpiece is one of Bach’s most famous compositions and is considered to be among the finest examples of the work of the late Baroque period.

Among other features, it is characterized by a remarkably subtle and expressive relationship between the two soloists, and is often referred to as a double concerto.

Even today, exactly when this work was composed is not clear, but most modern scholarship has dated it from after 1730, when Bach was not only the Cantor of the St. Thomas Church in Leipzig and as such was in charge of liturgical music in three of the city’s Lutheran churches, but also director of the Leipzig Collegium Musicum, which played Friday night concerts in a well-known coffee house before there was such a thing as a concert hall. Members of the Collegium Musicum included university students and professional musicians, and their weekly concerts contributed greatly to the city’s musical culture. Sadly, the autograph score of the concerto is lost, and with the exception of three parts of the original set, all the remaining parts of the set have never been located. The work has come down to us not in a full score, but in a set of manuscript parts

that were written out jointly by Bach, his son Carl Philipp Emmanuel, one of his sons-inlaw, and one of his students.

At one time it was thought that the work had been composed during Bach’s tenure in the service of the Prince of Anhalt-Cothen (1717–1723), but stylistic considerations show that it is most likely an example of Bach’s late Baroque output, created during his final years in Leipzig, in which there exists a new maturity of style and a highly sophisticated working out of each movement.

The term “double concerto” is not entirely appropriate here, as it is in fact a group concerto in which Bach has fashioned an equal-voiced congregation of all of the parts involved, and it was designated in the aforementioned manuscript parts as “concerto a 6,” that is, a concerto with six equal voices. By the time Bach composed this concerto he had long been familiar with Antonio Vivaldi’s influential works in the same medium, and 11 arrangements he made of Vivaldi concertos show his great fascination with the Italian master. The present work shows Vivaldi’s influence in the brisk rhythms and outgoing character of the outer movements and in much of the solo writing, but the counterpoint is unmistakably Bach. All three of the concerto’s movements are forms of fugues, which comes naturally from having one soloist constantly repeating what the other does. In lesser hands this might become tiresome, but Bach created outer movements of great energy and resourcefulness, and a middle movement of sublime beauty. In fact, this middle movement is one of the most poignantly beautiful pieces ever written, with the soloists soaring above the simple accompaniment and making no attempt to converse with it. All in all, when this great work was first performed, it must have created quite a stir in Bach’s musical circles.

The two soloists are equal partners in this work, often sharing their musical material in close alteration. The first and last movements are typical examples of what is

The Eighth turned out to be [Beethoven’s] most delightful, cheerful, light-hearted, and even humorous symphony.

called ritornello form, which simply means a movement based on alternations of solo passages and ones for the full ensemble.

After the extraordinary beauty of the middle movement almost anything would seem to be an intrusion, but Bach’s genius calls in the sense of urgency and drama from the first movement, here used in a dance-like movement of remarkable exuberance in which each successive contrasting passage exploits the two soloists’ bravura capabilities with increasing intensity. ●

Ludwig van Beethoven

Born December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna, Austria

Symphony No. 8 in F Major, Op. 93

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

On three occasions, Beethoven sketched a pair of symphonies concurrently or presented them together on a program. The Second Symphony (1801–1802) was premiered in a concert that included the First Symphony, allowing the audience to compare their similarities and differences. The Fifth and Sixth Symphonies were premiered together in 1808, and the Seventh and Eighth were presented together in 1814. Before he finished the Seventh Symphony, he was already working on the Eighth, which was completed in the fall of 1812, and which he completed with unusual ease and speed. It would appear that he enjoyed the challenge of working on two dissimilar works at the same time.

These two symphonies were written during a critical period in Beethoven’s life.

At the time, sanitary conditions in Vienna were terrible, and summers were actually a dangerous time to be in the city, so he usually went out into the country where he could also be closer to nature, which he loved so much. The new symphony was completed in Linz, where he had gone to visit his younger brother Johann. He was in poor health at the time, and despite some very trying circumstances, the Eighth turned out to be his most delightful, cheerful, light-hearted, and even humorous symphony. This is quite amazing when you consider that most of the work was written during a period of intense family problems, as Beethoven had gone to Linz to meddle in the affairs of his brother, who recently had his pretty young continued on 20

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Program Notes . continued from 19 housekeeper move in with him. Beethoven was rather puritanical about such matters— perhaps in this case even a little jealous— and went so far as to get a police order to force the lady out of the house. Before this could happen, however, Johann actually married the woman, but this whole situation provoked a very nasty confrontation between the two brothers.

The premiere of the Seventh Symphony in December of 1813 was part of one of the most successful concerts in Beethoven’s life, and when the new symphony was to be premiered just two months after that, he unwisely programmed it between repeats of the Seventh Symphony and Wellington’s Victory. The concert took place in February of 1814 at a famous concert hall in Vienna, at a time when Beethoven was becoming increasingly deaf, but insisted on conducting the new symphony anyway. According to reports of the concert, the players in the orchestra basically ignored his undisciplined time-beating, and instead followed the concertmaster. The orchestra used at this

premiere was unusually large, with 36 violins, 14 violas, 12 cellos, and 17 (!) double basses, plus two contrabassoons in the wind section. This monster ensemble was likely necessary to do full justice to the very popular Wellington’s Victory, also called the “Battle Symphony.”

Where the Seventh Symphony is an expansive powerhouse with a lot in common with the mighty “Eroica” Symphony, the Eighth is a much more compressed work— almost neo-classical in its design, and it is the only one of the symphonies that does not bear a dedication. Like the Seventh, the Eighth does not have a proper slow movement; instead the slow movement is replaced by an Allegretto almost mechanical in its unfolding, something like the tick-tock of a metronome. Because of this, it has often been claimed that the second movement is a version of a canon that Beethoven wrote in 1812 in honor of Johann Nepomuk Maelzel, the man who invented the metronome.

This is unlikely, as Maelzel did not produce his first metronome until after the Eighth

MARK YOUR CALENDARS

THE NMPHIL’S MUSIC & ARTS FESTIVAL 2018

DISCOVERING ABUNDANCE APRIL 13–25, 2018

FEATURED PARTNERS INCLUDE FUSION, Chatter, Outpost Performance Space, UNM Honors College, Santa Fe Opera, and more to be announced.

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Symphony was written. Robert Schumann once referred to Beethoven’s Fourth Symphony as “a slender Grecian maiden between two Nordic giants,” and this Eighth Symphony is shorter, lighter, and more goodhumored than either the dynamic Seventh or the monumental Ninth. Given its relatively small scale, one of the most remarkable things about this symphony is how Beethoven was able to be more structurally radical than in his other larger symphonies, and one example is the unprecedented Allegretto scherzando in place of an adagio or other conventional slow movement. This was an enormous leap of musical imagination, and the whole symphony displays rhythmic and harmonic invention taking the place of any kind of expressive intensity. In short, the Eighth Symphony is one of the greatest examples of sophisticated humor in music, of a kind that is on par with the character of Falstaff in Shakespeare’s Henry IV plays or in Cervantes’s Don Quixote. ●

Artists .

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

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

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

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 100 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

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 continued on 22

The New Mexico Philharmonic

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Artists . continued from 21 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.

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was awarded the Dean’s Prize for the outstanding member of the graduating class. He also studied with Ralph Gomberg and Laurence Thorstenberg at Boston University, where he earned his BM. The Cape Times has referred to Dr. Vigneau as “a consummate instrumentalist, who brings to the task technical facility, abundant musicality, and a keen intellect.” ●

Kevin Vigneau oboe Principal Oboe of the New Mexico Philharmonic, Dr. Kevin Vigneau is also Professor of Oboe at UNM and has enjoyed an international career as an orchestral player, soloist, teacher, and chamber musician.

Principal Oboe of the Cape Town Symphony Orchestra (South Africa) from 1986–1990 and Principal Oboe of the Orquestra Metropolitana de Lisboa (Lisbon, Portugal) from 1993–1996, he has been a member of the Santa Fe Opera Orchestra, the Opera Company of Boston Orchestra, the New Haven Symphony, and a fellow at the Berkshire Music Festival.

Mr. Vigneau has performed as a chamber musician with Music from Angel Fire, the Banff Festival, the South African Broadcasting Society, the Mistral Wind Quintet, the Cassat Quartet, the Kandinsky Trio, and the Maia String Quartet. As a recitalist and soloist, he has performed in Rio de Janeiro, Lisbon, at Octoboefest in Iowa, at International Double Reed Society Conferences in Chicago and Phoenix, in Amsterdam, Johannesburg, Cape Town, the Azores, Taiwan, Canada, and at many colleges and universities throughout the United States.

His solo CD, Oboe on the Edge: Modern Masterworks for Oboe, was released in 2008 on Centaur Records. He has also recorded the Richard Strauss Oboe Concerto with the Orquestra Metropolitana de Lisboa for EMI Classics, the Hidas Oboe Concerto with the UNM Wind Symphony on the Summit label, and 20th century wind quintets with the New Mexico Winds for Centaur.

Dr. Vigneau holds a Doctor of Musical Arts from Yale University (1998) where he studied with Ronald Roseman and

Artists .

Kimberly Fredenburgh viola Kimberly Fredenburgh is Associate Professor of Viola at the University of New Mexico, where she teaches private viola students, classes in orchestral audition preparation, and chamber music ensembles. Ms. Fredenburgh served as assistant principal viola of the New Mexico Symphony Orchestra for ten years. She is currently the assistant principal viola of the New Mexico Philharmonic. She performs regularly with the Santa Fe Opera Orchestra and appears as principal viola with the Santa Fe Pro Musica Orchestra. For seven years, she was the associate principal viola of the Phoenix Symphony Orchestra and also taught on the faculty of Arizona State University.

Ms. Fredenburgh was a principal violist with the New World Symphony (Miami, FL), under Michael Tilson Thomas and has appeared in Carnegie Hall with Sir Georg Solti conducting. She has been featured as a concerto soloist with orchestras such as the Phoenix Symphony Orchestra, Sinfonica de Sergipe (Brazil), the New Mexico Philharmonic, and the New Mexico Symphony Orchestra. She has taught master classes and performed in recitals across the US as well as in Brazil, Mexico, Canada, Portugal, Spain, Italy, and Monaco. Ms. Fredenburgh has delivered pedagogical papers at several National ASTA conferences and also performed in recitals at the 2008 International Viola Congress and as part of the Primrose International Viola Competition. ●

The New Mexico Philharmonic

Karen Gomyo violin Born in Tokyo and having grown up in Montréal and New York, violinist Karen Gomyo has recently made Berlin her home.

A musician of the highest calibre, the Chicago Tribune praised her as “ … a first-rate artist of real musical command, vitality, brilliance, and intensity … .”

In Europe, Karen has most recently performed with the City of Birmingham Symphony Orchestra, Bamberg Symphony, Danish National Symphony, Orchestre Symphonique de Radio France, Residentie Orkest, Stuttgart Radio Symphony, Vienna Chamber Orchestra, and WDR Rundfunk Sinfonieorchester in Cologne.

Already strongly established in North America, Karen regularly performs with orchestras such as the Cleveland Orchestra, Dallas Symphony, Detroit Symphony, Houston Symphony, National Arts Centre Orchestra Ottawa (NACO), National Symphony in Washington, New York Philharmonic, Philadelphia Orchestra, and the San Francisco Symphony, among others.

Highlights of the 2017/18 season will include a recital at the Sydney Opera House, a tour with Edo de Waart and the New Zealand Symphony, followed by performances with WASO Perth and the Tasmanian Symphony. Karen will make her debut with the Kristiansand Symfoniorkester and will also return to the St. Louis Symphony, NACO, and the symphony orchestras of Milwaukee, Montreal, Cincinnati, Detroit, and Indianapolis, among others. Karen also performs in chamber music at the Louisiana Museum in Denmark, as part of her annual visit on their series.

Strongly committed to contemporary works, Karen performed the North American premiere of Matthias Pintscher’s Concerto

No. 2, Mar’eh with the composer conducting the National Symphony Orchestra; Peteris Vasks’s Vox Amoris with the Lapland Chamber Orchestra conducted by John Storgårds; and has collaborated in chamber music compositions with Jörg Widmann, Olli Mustonen, and Sofia Gubaidulina.

Karen has had the privilege of working with such conductors as Sir Andrew Davis, Jaap van Zweden, Leonard Slatkin, Neeme Järvi, David Robertson, David Zinman, Yannick Nézet-Séguin, Louis Langrée, Karina Canellakis, Thomas Dausgaard, James Gaffigan, Pinchas Zukerman, Mirga Gražinyte-Tyla, Hannu Lintu, Vasily Petrenko, Jakub Hruša, Cristian Macaleru, Thomas Søndergård, and Mark Wigglesworth.

In recital and chamber music, Karen has performed in festivals throughout the USA and Europe. She recently toured with the Australian Chamber Orchestra and fellow guest artist, the mezzo-soprano Susan Graham. Her chamber music collaborators have included the late Heinrich Schiff, Christian Poltéra, Alisa Weilerstein, Leif Ove Andsnes, Olli Mustonen, Kathryn Stott, Christian Ihle Hadland, Antoine Tamestit, Isabelle Van Keulen, and Lawrence Power. In 2018, she will appear at the Seattle Chamber Festival and the Australian Festival of Chamber Music in Townsville, Australia.

Karen is deeply interested in the Nuevo Tango music of Astor Piazzolla and performs with Piazzolla’s longtime pianist and tango legend Pablo Ziegler and his partners Hector del Curto (bandoneón), Claudio Ragazzi (electric guitar), and Pedro Giraudo (double bass). She also performs regularly with the Finnish guitarist Ismo Eskelinen, with whom she has appeared at the Dresden and Mainz Festivals in Germany and in recitals in Helsinki and New York.

NHK Japan recently produced a documentary film about Antonio Stradivarius called The Mysteries of the Supreme Violin, in which Karen is violinist, host, and narrator that was broadcast worldwide on NHK WORLD. Karen plays on the “Aurora, ex-Foulis” Stradivarius violin of 1703 that was bought for her exclusive use by a private sponsor. ●

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Artists .

Patrick Kavanaugh conductor For over three decades, Patrick Kavanaugh has conducted orchestras throughout the United States, Asia, and Europe. He has been the Artistic Director of the MasterWorks Festival (New York and Indiana) for the past twenty years, regularly conducting the MasterWorks Philharmonic. Furthermore, every year since 2002 he had conducted orchestras for the many MasterWorks Festivals produced abroad, in such places as China, England, and Honduras. From 2004 to 2013, he also served as the Conductor and Music Director of the Symphony of the Lakes in Winona Lake, Indiana. In addition to conducting many premieres of his own works, he has appeared as a conductor at the Kennedy Center Concert Hall, Constitution Hall, the Center for the Arts—and in 1993 became the first American conductor invited to conduct an opera at Moscow’s Bolshoi Theatre.

Dr. Kavanaugh presently serves as the Director of Music for the First United Methodist Church (Albuquerque, New Mexico), the Artistic Director of the Kaemper Music Series, and the co-director of the Soli Deo Gloria Music Ministry. Past positions have included the Dean of the Grace College School of Music, the Director of the Washington branch of the National Association of Composers, the classical music reviewer for Audio Magazine, the Director of Music for the Patrick Henry College, and the Minister of Music at the Church of the Good Shepherd, the Christian Assembly Center, and the King’s Chapel. For three years, he was appointed to music panels of the National Endowment for the Arts. Kavanaugh has lectured extensively at many universities, churches, the National Portrait Gallery, the

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White House, and the State Department, and has appeared on many music and talk shows of both radio and TV. Patrick Kavanaugh is the author of many books, including Music of the Great Composers (Zondervan), Raising Musical Kids (Vine Books), The Spiritual Lives of the Great Composers (Zondervan), The Music of Angels; A Listener’s Guide to Sacred Music, from Chant to Christian Rock (Loyola Press), Worship—A Way of Life (Chosen Books), Spiritual Moments with the Great Composers (Zondervan), You Are Talented! (Chosen Books), and Devotions from the World of Music (Cook Publications).

He also has written many articles for such magazines as the National Review, Focus on the Family, and Charisma.

His musical education includes a Doctor of Musical Arts and a Master of Music (both from the University of Maryland, where he was awarded a full graduate fellowship for three years), and a Bachelor of Music from the CUA School of Music. He has also done extensive post-doctoral work in conducting, musicology, music theory, and microtonality.

His principal teachers have included Earle Brown, Conrad Bernier, Mark Wilson, and Lloyd Geisler. At the university level, he has taught composition, music theory, music history and literature, counterpoint, orchestration, and electronic music.

As a composer, Kavanaugh currently has eighteen compositions published by Carl Fischer, Inc., and licensed by Broadcast Music, Inc. (BMI). Kavanaugh has composed in a wide variety of genre, from orchestral to chamber music and from opera to electronic music. The great majority of his compositions use extensive forms of microtonality, and he specializes in writing music for 19 tones per octave and 31 tones per octave. Reviews and/ or articles concerning his original works and premieres, have appeared in many national magazines (Music Journal, Christianity Today, etc.) and major newspapers (Washington Post, New York Times, Washington Times, etc.).

He resides near Sandia Park, New Mexico, with his wife, Barbara, a cellist. They have four grown children. ●

Sarah Tasker violin Sarah Tasker has been busily involved in the Albuquerque music community since arriving here in 2008. She has played with the New Mexico Philharmonic, Santa Fe Symphony, Santa Fe Opera, Santa Fe Pro Musica, Opera Southwest, San Juan Symphony, Albuquerque Chamber Soloists, and The Figueroa Music and Arts Project.

Mentors instrumental in shaping her musicianship were Camilla Wicks from the San Francisco Conservatory, William Preucil and Linda Cerone at the Cleveland Institute of Music, where she received her Bachelor’s degree, and Masao Kawasaki at The Juilliard School, where she was a awarded a Master’s degree in violin performance. She has taken her seat in international orchestral performances in several cities in Western Europe, England, China, and Japan. While a member of the Cleveland Institute Intensive Quartet program, her foursome was chosen to study and perform with the Tokyo String Quartet. Ms. Tasker has received honors in competitions throughout the United States and Europe and has performed many times as soloist with the Utah Symphony. In addition to playing, she enjoys teaching and trying to keep up with her three energetic children! ●

BOARD OF DIRECTORS Maureen Baca President Anthony Trujillo Vice President

New Mexico Philharmonic

David Peterson Secretary

The Musicians

FIRST VIOLIN Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Sarah Tasker Assistant Concertmaster Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay + Bradford Richards ++ Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Anthony Templeton • Carol Swift •• Julanie Lee Justin Pollak Michael Shu Donna Bacon Gabriela Da Silva Fogo Roberta Branagan Sheila McLay Eric Sewell ++ Elizabeth Young + Juliana Huestis ++ VIOLA Margaret Dyer Harris • Kimberly Fredenburgh •• Allegra Askew Christine Rancier Sigrid Karlstrom + Laura Steiner ++ 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 Oswald Backus V Frank Murry FLUTE Valerie Potter • Sara Tutland Jiyoun Hur •••

BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Nathan Ukens Katelyn Benedict ••• Allison Tutton Niels Galloway •••• TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Richard Harris • Byron Herrington David Tall BASS TROMBONE David Tall

PICCOLO Sara Tutland

TUBA Richard White •

OBOE Kevin Vigneau • Amanda Talley

TIMPANI Douglas Cardwell •

ENGLISH HORN Melissa Peña ••• CLARINET Marianne Shifrin • Lori Lovato •• Timothy Skinner

Kory Hoggan Treasurer Ruth Bitsui Michael Bustamante Thomas Domme Roland Gerencer, MD Emily Cornelius David W. Peterson Nancy Pressley-Naimark Barbara Rivers Jeffrey Romero Chris Schroeder Al Stotts David Tall Marian Tanau 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

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

Roberto Minczuk Music Director

HARP Anne Eisfeller •

Alexis Corbin Director of Education & Outreach/ Co-Personnel & Operations Manager

E-FLAT CLARINET Lori Lovato BASS CLARINET Timothy Skinner

Chris Rancier Executive Assistant & Media Relations

Katelyn Benedict Co-Personnel & Operations Manager Mancle Anderson Production Manager Danielle Frabutt Artistic Manager & Social Media Coordinator Allison Tutton Head Librarian Jacob Rensink Office Manager

Principal • Assistant Principal •• Associate Principal ••• Assistant •••• Leave + One-year position ++

The New Mexico Philharmonic

BOARD OF THE FUTURE Erin Gandara Chris Schroeder Calisa Griffin Stephen Segura Cailyn Kilcup

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

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Donor Circles .

Donor Circles

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

BEETHOVEN CIRCLE Donation of $25,000– $49,999

The Computing Center Inc., Maureen & Stephen Baca Howard A. Jenkins Living Trust The Meredith Foundation

MOZART CIRCLE Donation of $10,000– $24,999

Anonymous Bernalillo County Commission E. Blaugrund Family Fund George & Sibilla Boerigter Deborah Borders 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

BRAHMS CIRCLE Donation of $5000–$9999

Anonymous Katherine & Michael Castro The Cognitive Behavioral Institute of Albuquerque Bob & Greta Dean Eugenia & Charles Eberle Art Gardenswartz Keith Gilbert Hancock Family Foundation Hunt Family Foundation Chris & Karen Jones Henry & Judith Lackner Harry & Elizabeth Linneman Erika Blume Love Dr. & Mrs. Larry Lubar Lockheed Martin/Sandia National Laboratories Menicucci Insurance Agency New Mexico Arts New Mexico Gas Company Bob & Bonnie Paine S B 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 Richard VanDongen Wells Fargo Dr. Dean Yannias

CHOPIN CIRCLE Donation of $3500–$4999

Anonymous Paula & William Bradley William E. Cates Bob & Fran Fosnaugh Eiichi Fukushima & Alice Hannon Cynthia & Thomas Gaiser Tanner & David Gay Keleher & McLeod Marc Powell Barbara & Heinz Schmitt Southwest Gastroenterology Associates Marian & Jennifer Tanau

GRACE THOMPSON CIRCLE Donation of $1933–$3499

Thomas Bird & Brooke Tully Jonathan Miles Campbell Century Bank David & Mary Colton Richard & Margaret Cronin D’Addario Foundation Suzanne S. DuBroff, in memory of Warren DuBroff Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Gertrude Frishmuth Roland Gerencer, MD Mary & Sam Goldman Madeleine Grigg-Damberger & Stan Damberger Mary Herring Jonathan & Ellin Hewes The Hubbard Broadcasting Foundation Robert & Elisa Hufnagel Virginia LeRoy, in memory of Jack LeRoy Myra & Richard Lynch, in memory of Orval E. Jones Bob & Susan McGuire Sara Mills & Scott Brown Moss-Adams LLP Ruth & Charles Needham George & Mary Novotny Scott Obenshain, in memory of Toots Obenshain Sandra P. & Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson Jr. & Josephine A. & “A.J. Asciolla” 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 A. Wiley & Diane Chalmers Wiley Drs. Bronwyn Wilson & Kurt Nolte Lance Woodworth

BACH CIRCLE Donation of $1000–$1932

Leah Albers & Thomas Roberts Anonymous Anonymous Margaret Atencio & Don Degasperi Bank of Albuquerque Ellen Bayard & Jim O’Neill Gay & Stan Betzer Craig Billings Nancy & Cliff Blaugrund Ann Boland Robert Bower & Kathryn Fry Ronald Bronitsky, M.D. Pat Broyles Michael & Cheryl Bustamante Dawn & Joseph Calek John Crawford Nance Crow & Bill Sullivan Krys & Phil Custer Philip & Linda Custer Marjorie Cypress & Philip Jameson David & Ellen Evans GE Foundation Ann Gebhart Dennis & Opal Lee Gill Claudia & Leonard Goodell, in memory of Brandon Lynn Crotty Barbara & Berto Gorham Roger Hammond & Katherine Green Hammond Stuart Harroun Harris Hartz Martha Hoyt Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Henry Kelly Stephanie & Kenneth Kuzio Virginia Lawrence, in memory of Jean Sharp Linda S. Marshall Jean & William Mason Tyler M. Mason Kathy & John Matter Edel & Thomas Mayer Foundation Joan McDougall Jackie & C. Everett McGehee Ina S. Miller Mark Moll Robert & Claudia Moraga Judy & Michael Muldawer Carol & Gary Overturf Jerald & Cindi Parker Matthew Puariea Carolyn Quinn & John Crawford Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Dick Ransom & Marythelma Brainard Gregory Shields Susan Spaven Conrad & Marcella Stahly Miller Stratvert P.A., Ranne Miller PK Strong Jane & Doug Swift Fund for Art & Education Lynett & David Tempest Vanguard Charitable Margaret Vining 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 John Ames Atkinson & Co., Clarke Cagle Richard & Linda Avery 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 Sandra A. Buffett Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Camille Carstens Edith Cherry & Jim See Betty Chowning Beth Clark, in celebration of Matt Puariea Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Thomas & Martha Domme Gale Doyel & Gary Moore Patricia & Leonard Duda Jeffrey & Laura Erway Marie Evanoff David Ferrance Fifty ‘n Fit, Inc., George & Pat Fraser Chuck & Judy Gibbon Laurence Golden Jean & Bob Gough Grief Resource Center Dr. Kirk & Janet Gulledge David Hafermann Ron & Nancy Halbgewachs Steve Hamm & Mary Kurkjian Kory I. Hoggan, CPA Noelle Holzworth Ira & Sheri Karmiol Bonnie & Hank Kelly Marlin Kipp Rita Leard Judith Matteucci Roger & Kathleen McClellan John & Kathleen Mezoff Martha Miller Jan Mitchell Deborah & Louis Moench Lynne Mostoller & Kathryn McKnight Dick & Sharon Neuman David & Audrey Northrop Stuart & Janice Paster David Peterson Mike Provine Dr. Mark Rainosek Ken & Diane Reese Donald Rigali John & Faye Rogers Jeffrey Romero Ruth Ronan Nancy Scheer Howard & Marian Schreyer Stephen Segura Frederick & Susan Sherman, in memory of Joan Allen Janet & Michael Sjulin Charles & Flossie Stillwell Hannah Strangebye Martha Strauss, in memory of Richard Strauss Betsey Swan & Christopher Calder

Larry Titman Richard Vivian, in memory of Zanier Vivian Marianne Walck Patricia & Robert Weiler Carl G. & Janet V. Weis Bill & Janislee Wiese, in honor of Joan Allen Jane & Scott Wilkinson Dr. Helmut Wolf, in memory Mrs. M. Jane Wolf David & Evy Worledge Vince & Anne Yegge Michael & Jeanine Zenge Zia Trust

PRINCIPALS CIRCLE Donation of $125–$499

Wanda Adlesperger Dr. Fran A’Hern-Smith Carol & Mike Alexander Gerald Alldredge Linda & Carl Alongi Jo Marie & Jerry Anderson Anderson Organizing Systems Anonymous Anonymous Anonymous, in honor of Adrianna Belen Gatt Robert J. & Marilyn R. Antinone 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 Sarah Barlow Sheila Barnes Elinore M. Barrett Steve Bassett William Bechtold Helen Benoist Dr. David & Sheila Bogost Susan Brake Ann & James Bresson Marcia Bumkens Elaine Burgess Gordon Cagle Lee Calderwood Jonathan Campbell Dante & Judith Cantrill James Carroll Christopher & Maureen Carusona Edwin & Deborah Case Robert Case Shirley & Ed Case M. David Chacon Don & Tina Chan R. Martin Chavez Wayne & Elaine Chew Judith & Thomas Christopher Jane & Kenneth Cole James Connell Bob Crain John & Sarah Curro Stephen & Stefani Czuchlewski Herbert & Diane Denish Jerry & Susan Dickinson Fran DiMarco Raymond & Anne Doberneck Thomas & Elizabeth Dodson Carl & Joanne Donsbach Ernest & Betty Dorko Janice Dosch Gale Doyel & Gary Moore, in honor of Sibilla & George Boerigter

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Donor Circles . continued from 27 Jeff & Karen Duray Reverend Suzanne Ebel Mary Lou Edward Paul & Catherine Eichel Eleanor D. Eisfeller Carol & John Ellis Robert & Dolores Engstrom Roger C. Entringer Stephanie Eras & Robert Hammerstein Harry Ettinger David & Frankie Ewing Helen Feinberg Winifred & Pelayo Fernandez The Financial Maestro, LLC, Joann MacKenzie Howard & Deonne Finkelstein Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming J. Arthur Freed Paul Getz Drs. Robert & Maria Goldstein Yvonne Gorbett A. Elizabeth Gordon Justin M. & Blanche G. Griffin Stanley Griffith Sharon Gross Mina Jane Grothey Bennett A. Hammer Janet Harris Joan Harris Margaret Harvey & Mark Kilburn 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 Anne & Lawrence Jones Robert & Mary Julyan Carol Kaemper Summers & Norty Kalishman Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Thomas & Greta Keleher Ann King Noel & Meredith Kopald Asja Kornfeld, MD & Mario Kornfeld, MD Susie Kubié Woody & Nandini Kuehn Karen Kupper Rebecca Lee & Daniel Rader William J. Lock Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Frank & Judy Love Betty Lovering Robert Lynn Robert & Linda Malseed Avigael Mann John & Brynn Marchiando Carolyn Martinez Andrew Mason, in honor of Jean Mason Linda Mayo Joseph McCanna III Jack & Victoria McCarthy Sallie McCarthy

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Ronald & Barbara McCarty Jon McCorkell & Diane Cress Albert & Linda McNiel Bernard & Mary Metzgar Phyllis Metzler Bruce & Jill Miller Christine & Russell Mink Dr. William Moffatt James B. & Mary Ann Moreno James & Margaret Morris Shirley Morrison & Cornelis Klein Mardell Morrow Lynn Mostoller & Kathryn McKnight Sharon Moynahan Brian Mulrey Edward & Nancy Naimark New Mexico School of Music, Tatiana Vetrinskaya Donald & Carol Norton Ben & Mary Lee Nurry Suzanne Oakdale & David Dinwoodie Rebecca Okun Joyce & Pierce Ostrander Calla Ann Pepmueller Stephen Perls Richard Perry Judi Pitch Dan & Billie Pyzel Therese Quinn Robert Reinke Lee A. Reynis & David W. Stryker Deborah L. Ridley Deborah Ridley & Richard S. Nenoff Erika Rimson & David Bernstein Joan Robins & Denise Wheeler Gwenn Robinson, MD & Dwight Burney III, MD Erica Roesch Justin Roesch Kletus & Lois Rood Janet Saiers Salazar, Sullivan, & Jasionowski Evelyn E. & Gerhard L. Salinger Scott & Margaret Sanders Christine Sauer Warren & Rosemary Saur Dewey Schade John & Karen Schlue Laura Scholfield Kathleen & Wallace Schulz Norman Segel Daniel & Barbara Shapiro 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 Frederick Snoy Steven & Keri Sobolik Marilyn & Stanley Stark Jennifer Starr Patricia & Luis Stelzner Daphne Stevens Elizabeth C. Stevens Maria & Mark Stevens John & Patricia Stover Carmen & Lawrence Straus

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Laurence Tackman Suzanne Taichert, in memory of Robert D. Taichert David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thompson Nina & Gary Thayer David Ther Marit Tully & Andy Thomas Cynthia & William Warren Alfred Watts & Jan Armstrong Marie Weingardt Margaret Wente Jeffrey West Kay West Marybeth White Trudy & Robert White Helen Whitesides Ellen Whitman Phyllis Wilson Walter Wolf Marian Wolff Jae Won-Lee Don & Dot Wortman 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 Natalie Adolphi & Andrew McDowell Carol Allen Judith Anderson Ben Andres Emil Ardelean David Baca Jackie Baca & Ken Genco Diane & Douglas Brehmer Bailey A. Robert Balow Jan Bandrofchak & Cleveland Sharp Joyce Barefoot Graham Bartlett Joanne Bartlett Julian & Margaret Bartlett Donna Bauer, in memory of Susie Kubie Susan Beard Fred L. Beavers Edie Beck David & Judith Bennahum Debra & Kirk Benton Mark Berger Barry Berkson Dorothy & Melbourne Bernstein Jerome & Susan Bernstein Ann Blaugrund & William Redak Jr. Cliff & Nancy Blaugrund, in memory of Andrew Lackner Cliff & Nancy Blaugrund, in memory of Paul Matteucci Cliff & Nancy Blaugrund, to commemorate the honorable James Parker’s 80th birthday and his 30 years on the bench Dusty & Gay Blech Henry Botts Joan Bowden J.M. Bowers & B.J. Fisher Sue Bradigan-Trujillo & Theodoro Trujillo

Charles Brandt, in memory of Jennifer K. Brandt Marilyn Bromberg Gloria Brosius, in memory of John Cory Carolyn Brown Carolyn Rose Brown Robert & Suzanne Busch Glo Cantwell Roxanne & John Carpenter Joseph Cella Barbara & Roscoe Champion Robert & Olinda Chavez Jean Cheek Jo-Ann Chen Kathy & Lance Chilton Stephen & Judy Chreist Jay & Carole Christensen Wendy Cieslak, in memory of Richard Strauss Barry Clark Virginia Clark Francine Cogen James & Joan Cole Randall & Valerie Cole 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 Henry Daise III Barbara David William Davidson David del Castillo Winnie Devore Patricia Dolan Darryl Domonkos Stephen R. Donaldson Veronica Dorato Sheila Doucette Martin J. Doviak Dr. James & Julie Drennan Michael & Jana Druxman Sondra Eastham, in memory of Dr. Andrew Lackner D. Ted Eastlund Joy Eaton, in memory of C.J. Eaton Lestern Einhorn Jeannine Encinas, Alicia & Roland Fletcher, in memory of Chela Hatch Helen & Richard Erb Irma Espat, in memory of Celia Hatch Cheryl Everett David & Regan Eyerman John & Jo Margaret Farris Ann & Howard Fegan Leonard & Arlette Felberg Helene K. Fellen Ella J. Fenoglio Mary Filosi Rona Fisher Stephen Fisher Robert & Diane Fleming Denise Fligner Cheryl & William Foote, in honor of Susan Patrick & Don Partridge Beverly Forman & Walter Forman, MD Ms. Libby Foster

Joseph Freedman Martin & Ursula Frick Ron Friederich Cynthia Fry Patricia Gallacher, in memory of Susie Kubie Yolanda Garcia Mary Day Gauer T. David & Ilse Gay, in memory of Susie Kubie Paula Getz Rosalind Gibel Kenneth Gillen Global Organization for EPA & DHA Omega-3s, in memory of Susan Kubie David Goldheim Theresa Goldman Lois Gonzales Maria & Ira Goodkin, in memory of Susan Kubie Mr. & Mrs. Thomas Grace Erna Sue Greening Charles Gregory Richard & Suzanne Guilford Carl & Nancy Guist Herman Haase Linda Lalita Habib Michael Hall Bhanu Joy Harrison Joan & Fred Hart M.L. Hartig John & Madeline Harvey E. R. Haskin Rossanna & William Hays Rogene Henderson Patricia Henning Robert & Sara Henning Duane & Yongtae Henry Douglas & Joyce Hilchie Pamelia S. Hilty Nancy Hoffman Diane & Joe Holdridge Tom & Linda Holley Kiernan Holliday Theresa Homisak Judy & Sam Honegger Suzanne Hood Tom & Vinita Hopkins Helen & Stanley Hordes Stephanie Horoschak & Paul Helman Timothy Howard Olivia Jaramillo Connie & Terry Johnson Eldon Johnson Judy & Scott Jones Peggy Jones Paul Karavas Margaret Keller Sue Kil Gerald F. Kiuttu Barbara Kleinfeld Gerald Knorovsky Herbert & Shelley Koffler Philip Kolehmainen & Vivian Waldron Katherine Kraus Phil Krehbiel Deborah Krichels Roger & Marcia Brumit Kropf, in memory of Richard Strauss Jennifer C. Kruger Janice Langdale Molly Lannon Mary E. Lebeck Don & Susan Lentz Madeleine Lewis Byron & Tania Lindsey Carl Litsinger

Donor Circles .

Joel Lorimer Carol Lovato Kenneth Luedeke Audrey Macdonald William Majorossy Bruce F. Malott Jim Manning Fred & Joan March Maria Teresa Marquez Jeffrey Marr Anna Marshall Marita Marshall Walton & Ruth Marshall Willa H. Martin Michael Mauldin Marina De Vos Mauney Peter & Lois McCatharn John & Carolyn McCloskey Mary Kay McCulloch Brian McDonald Virginia McGiboney David McGuire Millie McMahon Paul & Cynthia McNaull Sterrett & Lynette Metheny Patricia Meyer Sandra Lee Meyer V.L. Mied Kathleen Miller Robert F. Miller John & Mary Mims Steven & Beth Moise Kenneth Moorhead Claude Morelli Shirley Morrison Baker H. Morrow & Joann Strathman John Morrow & Harriette Monroe Ted & Mary Morse Karen E. Mosier Bruce & Carolyn Muggenburg Cheryl Mugleston Bruce & Ruth Nelson New Mexico Japanese American Citizens League Betsy Nichols & Steve Holmes Elizabeth Norden Jennifer Nuanez Richard & Marian Nygren Marilyn Jean O’Hara Ruth Okeefe Gloria & Greg Olson, in memory of Celia Hatch H. George Oltman Jr. Wendy & Ray Orley Ricardo Ortega Daniel O’Shea Pete & Anita Palmer, in memory of Richard Strauss Carolyn D. Parrish Howard Paul Deborah Peacock & Nathan Zorn Brian Pendley Oswaldo & Victoria Pereira Sergio & Isabelle Hornbuckle Perez, in memory of Chela Hatch Phil & Maggie Peterson

Lang Ha Pham Barbara Pierce The Power Path INC Franklin J. Priebe III Regina & Daniel Puccetti Jane Rael Russell & Elizabeth Raskob Ray Reeder Patricia Renken Kerry Renshaw Kathryn & Chris Rhoads Judith Ribble & Clark Bussey Barbara & Herbert Richter Dr. Eugene M. Rinchik Jacob & Nancy Rittenhouse Margaret E. Roberts Matthew Robertson Gerald & Gloria Robinson Diane & William Rueler Harvey & Laurie Ruskin Robert Sabatini Glen & Beverly Salas Esperanza Sanchez Donald & Nancy Schmierbach David A. Schnitzer Stephen Schoderbek Roland & Justine Scott Mark Sedam Arthur & Colleen M. Sheinberg Beverly Simmons Marion & Andy Simon Marsha & Don Simonson Diane & Matthew Sloves Carl & Marilyn Smith Katherine Smith, in memory of Craig Smith Gwyneth & Tracy Sprouls David Stalla Bill Stanton Stan & Marilyn Stark, in honor of judge James Parker’s 30 years on the bench Charlie & Alexandera Steen Geny Stein Alice Stephens & Robert Bruegger, in memory of Celia Hatch Judge Jonathan Sutin William Swift Ruth M. Thelander Betty Tichich & Fred Bunch Julie Tierney Margaret Ann Todd Valerie Tomberlin Jacqueline Tommelein John Tondl Dean & Bonita Tooley Karen & John Trever Jorge Tristani Stephen Turner Ross Van Dussen John Vittal & Deborah Ham Marmion Walsh

The New Mexico Philharmonic

Dale A. & Jean M. Webster Wendy Weygandt, in memory of Joe Zoeckler Carol Whiddon Leslie White Katherine Whitman Robert Wilkins Keith & Jane Wilkinson David Winter & Abagail Stewart Kathryn Wissel & Robert Goodkind Alice Wolfsberg Daniel & Jane Wright Judith A. Yandoh Kari Young Diana Zavitz, in honor of Pat & Ray Harwick Linda R. Zipp Vita Zodin 1/10/2018

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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 The Cognitive Behavioral Institute of Albuquerque 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 Brad Richards Brent Stevens 1/10/2018

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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 1/10/2018

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nmphil.org

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Thank You .

Sponsors & Grants Sound Applause

Albuquerque Community Foundation albuquerquefoundation.org

Bank of Albuquerque bankofalbuquerque.com

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.

Bernalillo County bernco.gov

Century Bank mycenturybank.com

GARDENSWARTZ REALTY City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

Gardenswartz Realty

Holmans USA holmans.com

Hunt Family Foundation huntfamilyfoundation.com

John Moore & Associates johnmoore.com

Keleher & McLeod keleher-law.com

Lexus of Albuquerque lexusofalbuquerque.com

Lockheed Martin lockheedmartin.com

New Mexico Arts nmarts.org

New Mexico Gas Company nmgco.com

RBC Wealth Management rbcwealthmanagement.com

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

Urban Enhancement Trust Fund cabq.gov/uetf

U.S. Bank usbank.com

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The Verdes Foundation verdesfoundation.org

2017/18 Season / Volume 7 / No. 4

Menicucci Insurance Agency mianm.com

Olga Kern International Piano Competition olgakerncompetition.org

Wells Fargo wellsfargo.com

Music Guild of New Mexico musicguildofnewmexico.org

PNM pnm.com

SUPPORT YOUR NMPHIL Interested in becoming a sponsor of the NMPhil?

Call Today! (505) 323-4343.

UPCOMING CONCERTS Popejoy Classics MAR

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HAIL, BRITTANIA! The New Mexico Philharmonic

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The 2018

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Proud sponsor of

New Mexico Natural History Museum

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