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VOLUME 8 / NO. 1

2018/19 SEASON




TABLE OF CONTENTS PROGRAMS September 22, 2018 Program September 30, 2018 Program October 6, 2018 Program October 13, 2018 Program Program Notes

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ARTISTS Brent Havens conductor Roberto Minczuk Music Director Coro Lux Bradley Ellingboe director Hannah Stephens soprano Awadagin Pratt piano Yoonshin Song violin

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YOUR NMPHIL Letter from the Music Director Musical Fiestas Sound Card Student Membership Letter from the Board of Directors & Executive Director Donor Circles Thank You Legacy Society Orchestra Board of Directors, Advisory Board, Staff Sponsors Upcoming Concerts THE NEW MEXICO PHILHARMONIC OFFICES

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I am so excited to be starting my second season as the Music Director for the New Mexico Philharmonic and to make music with these amazing musicians. We selected great pieces to be included in our concerts this year, and in addition, we are celebrating the 100-year birth anniversary of one of the greatest musicians ever, Leonard Bernstein. I invite you to come and hear these chosen works of Bernstein that will be presented in small increments throughout the season. In his honor, we commissioned a born-and-raised Albuquerque composer, Colin Martin, to write a piece celebrating Bernstein. We will feature Martin’s work on February 23, 2019. I am also very excited to share with you that the New Mexico Philharmonic and I will perform for the first time at the Balloon Fiesta Glow on October 7, 2018. The music is fantastic and you will love it! I want to close by thanking you for being such an amazing and supportive audience. We love playing for you! Enjoy every minute of music! Sincerely, Roberto Minczuk Music Director

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


Interested in placing an ad in the NMPhil program book? Contact Christine Rancier: (505) 323-4343 /

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. ● 2

2018/19 Season / Volume 8 / No. 1


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.

Friday, October 5, 2018 6:30 p.m. Awadagin Pratt piano Roz Hurley will host at her Sandia Heights art- and antique-filled home with views that inspired artist Wilson Hurley. Sunday, November 4, 2018 4 p.m. Peter Soave bandoneon Hosted by Laurie and Rogan Thompson at their beautiful High Desert home. Sunday, January 20, 2019 4 p.m. Anastasiya Naplekova piano Performance hosted at the North Valley arts-and-crafts-inspired home of Dr. Ron Bronitsky. Sunday, February 24, 2019 4 p.m. Olga Kern piano Hosted by Drs. Kelly and Lee Caperton at their sleek, contemporary North Albuquerque Acres home. Sunday, April 14, 2019 4 p.m. Rachel Barton Pine violin Rachael Speegle and her husband Eric will host at their Tuscan-designed home in Primrose Pointe. RESERVED SEATS

(505) 323-4343


Sound Card


ACCESS THE ENTIRE SEASON! Your card gives you access to at least 20 concerts with your NMPhil during the 2018/19 season.



PER SEASON VALID 9/2018— 8/2019

Unlimited Concerts

Reserve one ticket to any Classical, Afternoon Classics, Rock & Pops, Neighborhood, or Zoo concert.

Access to the Best Seats

Reserve tickets to the best available seats. From the balcony to the main floor, the choice is yours.

Bring a Friend Free

Bring a friend for free to the following concerts: • Classical at Popejoy: 11/3/18; 12/8/18 • Afternoon Classics: 1/13/19; 3/10/19 • Pops at Popejoy: 11/17/18; 3/30/19 • Zoo Concert—Memorial Weekend Concert: 5/25/19

TO PURCHASE OR FOR MORE INFORMATION Call (505) 323-4343 Online In Person 3035 Menaul Blvd NE Suite No. 2 Albuquerque, NM 87107



BOARD PRESIDENT & EXECUTIVE DIRECTOR Welcome to your NMPhil’s 8th season—our second season with Maestro Roberto Minczuk – which will be full of exciting programming. Your orchestra will continue to perform at our traditional venues of Popejoy Hall and the National Hispanic Cultural Center, and this season, Simms Auditorium at Albuquerque Academy will host part of the Afternoon Classics concerts. Beyond the concert hall, your NMPhil is doing a first – being part of the Albuquerque Balloon Fiesta performing at the Balloon Glow on October 7. Your NMPhil continues to be the backbone of New Mexico’s performing arts, creating culture that makes Albuquerque and New Mexico a great place to live, to do business, and to attract and keep the talent that ensures the vitality and future of our community. As we ended our 7th season, we once again surveyed you, our audience, and again received strong endorsements for our concerts and programs: 97 percent artistic excellence and 97 percent overall satisfaction for four years in a row, an amazing achievement for any business. You contributed more than $114,460 to the third year of our five-year campaign, Match the Magnificence, to gradually grow the NMPhil’s income. We are also honored to be the recipients of Quality New Mexico’s Road Runner Award. Such a prestigious recognition gives us confidence in our business practices and allows us to continue on the road to excellence. While we carry no recurring debt, financial support continues to be a challenge. We are exploring new and expanded sources in grants and sponsorships to ensure a bright future for your orchestra. We have successfully begun a new way for music lovers and supporters to invest in the NMPhil – the New Mexico Philharmonic Foundation. The Foundation, a 501(c)(3), is in place with its own independent board led by Dr. Thomas Martin and has received its first gifts. More information is available by calling Christine Rancier at 505-323-4343 ext. 3. We deeply appreciate your partnership by investing in your NMPhil through subscriptions, ticket purchases, and donations. And our sponsors appreciate your patronage, which enables them to thrive and in turn support us. As we continue to need to raise half of NMPhil’s budget from donations and philanthropy, we know we can count on you, just as you can count on outstanding concerts and exceptional artistry from your New Mexico Philharmonic. Your musicians, staff, board, and guild are deeply grateful as we continue to create a healthy future.

Maureen Baca President Board of Directors

The 2018/19Philharmonic Season / Volume 8 / No. 1 4 New Mexico

Marian Tanau Executive Director


The Music of Queen: A Rock Symphony Saturday, September 22, 2018, 8:00 p.m.



Brent Havens conductor, arranger Brody Dolyniuk vocals/guitar Dan Clemens bass/background vocals Powell Randolph drums/background vocals George Cintron guitar/background vocals Justin Avery keyboards/background vocals

Popejoy Hall

Performed by your NMPhil and amped up with a fabulous rock band, glittering light show, and top-notch vocals, Queen’s distinct sound is captured in its entirety. With spot-on inflections and virtuosic playing, you’ll experience the wall of sound that made Freddie and Queen world famous. There will never be another Freddie Mercury—but simply shut your eyes and you’re going to get something very close! ●

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

Selections shall be announced from the stage.

Insurance Agency

Locally owned and operated 2116 Vista Oeste NW, Bldg. 5, Albuquerque, NM 87120 Phone: 505 923 9925 Fax: 505 883 2827

The New Mexico Philharmonic





Up & Away

Sunday, October 7, 2018, 8:00 p.m. Balloon Fiesta Park 5000 Balloon Fiesta Pkwy NE, Albuquerque, NM 87113 Celebrate the 2018 Albuquerque International Balloon Fiesta with your NMPhil! Fabulous fireworks and pyrotechnics coupled with selections from celebratory stunners such as Tchaikovsky’s 1812 Overture, Wagner’s “Ride of the Valkyries,” Beethoven’s Fifth Symphony, and the “Imperial March” from Star Wars will punctuate this joyous Sunday evening of music for all ages at New Mexico’s premier event. Come fly (musically, that is) with us! ADVANCE TICKETS

(505) 925-5858

Up &Away


Bountiful Bach


Sunday, September 30, 2018, 3:00 p.m.


Roberto Minczuk Music Director Hannah Stephens soprano Coro Lux/Bradley Ellingboe director

Orchestral Suite No. 3 in D Major, BWV 1068 I. Ouverture II. Air III. Gavotte IV. Bourrée V. Gigue

Cantata No. 51, Jauchzet Gott in allen Landen, BWV 51 I. Jauchzet Gott in allen Landen (Exult in God in Every Land) II. Wir beten zu dem Tempel an (We Pray at Your Temple) III. Höchster, mache deine Güte (Highest, Renew Your Goodness) IV. Sei Lob und Preis mit Ehren (Glory and Praise With Honor) V. Alleluja (Alleluia) Hannah Stephens soprano

National Hispanic Cultural Center

Johann Sebastian Bach (1685–1750)

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



Wachet auf, ruft uns die Stimme, BWV 140 Bach I. Wachet auf, ruft uns die Stimme (Awake, We Are Called by the Voice [of the Watchmen]) II. Er kommt (He Comes) III. Wann kommst du, mein Heil? (When Are You Coming, My Salvation?) IV. Zion hört die Wächter singen (Zion Hears the Watchmen Singing) V. So geh herein zu mir (Then Come in to Me) VI. Mein Freund ist mein! (My Friend Is Mine!) VII. Gloria sei dir gesungen (Let Gloria Be Sung to You)

The New Mexico Philharmonic


Now accepting applications for the 2019-2020 school year In-session Open House Wednesday, October 3 9:00-11:00 a.m.

Sunday Open House Sunday, November 11 2:00-4:00 p.m.


Challenging Education

See for yourself how Bosque School can benefit your child.



Sunday, Oct. 7, 2018; 2pm

4000 Bosque School Rd NW Albuquerque

(505) 898-6388


Awadagin Plays Grieg


Saturday, October 6, 2018, 8:00 p.m.


Roberto Minczuk Music Director Awadagin Pratt piano

Popejoy Hall

“The Star-Spangled Banner” John Stafford Smith (1750–1836)

Overture to Candide Leonard Bernstein (1918–1990)

Piano Concerto in a minor I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato—Quasi presto—Andante maestoso

Edvard Grieg (1843–1907)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Computing Center Inc.

PRE-CONCERT TALK Sponsored by: Menicucci Insurance Co.


Awadagin Pratt piano


Symphonic Dances from West Side Story

Pines of Rome I. I pini di Villa Borghese (The Pines of Villa Borghese) II. Pini presso una catacomba (Pines Near a Catacomb) III. I pini del Gianicolo (The Pines of the Janiculum) IV. I pini della Via Appia (The Pines of the Appian Way)

The New Mexico Philharmonic


Ottorino Respighi (1879–1936)




“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


(505) 323-4343


The Greatest Young Genius


Saturday, October 13, 2018, 3:00 p.m.


Roberto Minczuk Music Director Yoonshin Song violin

Simms Center for the Performing Arts, Albuquerque Academy

Overture to The Impresario (Der Schauspieldirektor), K. 486 Wolfgang Amadeus Mozart (1756–1791)

Violin Concerto No. 3 in G Major, K. 216 I. Allegro II. Adagio III. Rondeau. Allegro. Yoonshin Song violin



Symphony No. 1 in E-flat Major, K. 16 I. Molto allegro II. Andante III. Presto


Symphony No. 35 in D Major, K. 385, “Haffner” I. Allegro con spirit II. Andante III. Menuetto IV. Presto


The New Mexico Philharmonic



Program Notes

In an era when Baroque ideals were being pushed aside, Bach’s contrapuntal mastery was unaffected, and has served as a model for succeeding generations.

Charles Greenwell

Johann Sebastian Bach

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

Orchestral Suite No. 3 in D Major, BWV 1068

Scored for 2 oboes, 3 trumpets, timpani, and strings. Approximately 20 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. When he died, 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 his 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 really meant by it. These 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. 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 of the time, either by Bach or any of his contemporaries. Exact information about the Suites’ composition is almost nonexistent, but modern scholars think that some, if not all, of the Suites were written in Leipzig, where Bach served as cantor of the famous St. Thomas School from 1723 until just before his death. The suite had its origin in the early 16th century, when composers turned to printed collections of dance music in order to


2018/19 Season / Volume 8 / No. 1

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. In so doing, the group of dance movements was now preceded by a lengthy and grandiose Ouverture, patterned after opera overtures by the great French baroque master JeanBaptiste Lully. In Bach’s hands, the opening movements were so extensive and of such musical substance that they became the most important part of the suite. ●


Cantata No. 51, Jauchzet Gott in allen Landen, BWV 51 Scored for soprano solo, trumpet, and strings. Approximately 19 minutes.

Centuries after being composed, Bach’s sacred music continues to inspire audiences the world over. In Lutheran schools from the Reformation until well after Bach’s death, music was considered one of the most important arts, one which was intended to move student and listener alike toward a stronger faith. In those days, all boys were enrolled in singing classes and many even earned a living by singing chorales around the towns in which they lived. In 1722, Bach was appointed to the prestigious positions of Kapellmeister (Director of Music) of the city of Leipzig and Kantor of the renowned Thomas School, and remained there for the rest of his life, his duties revolving around

Sunday and feast-day services at the city’s two main churches. He composed a great deal of sacred music during his early years in Leipzig, including several cantata cycles, the Magnificat, and the St. John and St. Matthew Passions. At the time, he was most famous as a virtuoso organist (with an apparently mind-boggling pedal technique), an organ teacher, and an expert in organ construction and design. It was only from 1726, when he began to publish his keyboard and organ music, that his fame as a composer started to spread. From 1729 onward, however, his interest in composing church music declined seriously, as the bulk of his sacred works from that time on—including the b minor Mass and the Christmas Oratorio— consist mainly of arrangements of earlier pieces. Nevertheless, even though his creative output was frequently hindered by external forces from his employers, which created circumstances that were less than satisfactory, his works explored new areas of form, inspiration and technical demands, and in an era when Baroque ideals were being pushed aside for new and “enlightened” concepts, his contrapuntal mastery was unaffected, and has served as a model for succeeding generations of musicians, creating in the process many of the works that are now considered to be among his greatest. His solo cantatas, of which this brilliant work is an outstanding example, were significant for having the vocal part blended into the instrumental sound world, and, as opposed to the work of a predominantly melodic or operatic composer, sharing the importance with the instrumental parts. The original reasons for this cantata’s composition are somewhat obscure, and while the partially autograph instrumental parts seem to indicate a performance in September of 1730, the score shows that all but the two final movements were probably


adapted from an earlier composition, and that it might have been intended for New Year’s Day or other celebrations in the ecclesiastical year. This cantata is most famous for its virtuoso soprano part, but what is very appealing is the concise nature of the work and the remarkable variety achieved in its five movements. One rather amusing sidelight to the cantata is the speculation about who the soloist was at the first performance, with possibilities ranging from a boy soprano at the Thomas School to one of Bach’s wives to a celebrated castrato at the court in Dresden, where Bach had gone to see one of his composer sons! The first two sections, including the jubilant opening aria, highlight striking images of Bach’s wonderful melodic inspiration and alarmingly quick harmonic modulations, but it is in the third section where a deep commitment to his faith breaks out with a great sense of urgency. The fourth movement is a remarkable fantasy on a well-known chorale melody of the day, and the cantata concludes with a lively fugal treatment of the word Alleluia, including frequent imitative passages between the soprano and the trumpet. ●


Wachet auf, ruft uns die Stimme, BWV 140

Scored for soprano, tenor, and bass soloists and SATB choir, 2 oboes, bassoon, horn, strings, and basso continuo. Approximately 31 minutes.

This beautiful chorale melody, usually translated as “Awake, the voice calls to us,” is from Bach’s Cantata No. 140, with the same name. Known also as “Sleepers, Wake,” it is from what is probably the best-known of all his chorale cantatas, and certainly one of his most mature and heartfelt. It was composed

in Leipzig for the 27th Sunday after Trinity and first performed there in November of 1731. This cantata was also one of the first to be published and was apparently one of the few to be performed with any regularity in the years following Bach’s death. His cantatas can be viewed as miniature theology lessons, in that the scripture of the day is presented, Bach then offers his own commentary through arias, duets, and recitatives, and finally the main concept of the work is beautifully summarized in a short but moving chorale. This cantata was based on a three-stanza hymn from 1599 called Wachet auf by Philipp Nicolai (1556–1608) that covers the prescribed reading for the 27th Sunday after Trinity, based on the First Epistle to the Thessalonians (about preparing for the day of the Lord) and on the Gospel of St. Matthew (the parable of the 10 virgins). Now, a performance on the 27th Sunday after Trinity should normally occur immediately before Advent, the four-week period anticipating Christmas. However, this particular feast is a rare occurrence, since it can only happen when the preceding Easter comes early in the year, and this means that, in Bach’s Leipzig years, it only happened in 1731 and 1742. The other unusual thing about this cantata is that the chorale text comprises only three stanzas, so Bach used them for the outer and center movements, and used free verse by an unknown author for the intervening ones. Philipp Nicolai was a German Lutheran pastor, poet, and composer, best known as a hymnodist. In 1596, he became minister of the church in Unna in Westphalia, and in 1601 was elected chief pastor of St. Katherine’s Church in Hamburg. In addition to writing the Wachet auf hymn, he also wrote another one with the title Wie schon leuchtet die Morgenstern (How Beautiful Shines the

Bernstein’s Candide went through an astonishing number of changes […] Having survived all of these permutations, it has emerged as one of the finest creations of its kind. The New Mexico Philharmonic

Morning Star), widely referred to as the King and Queen of Chorales. Nicolai is sometimes regarded as the last example of the so-called Meistersinger tradition, in which words, text, melody, and music all come from the same person. There is quite a fascinating story connected with the Wachet auf hymn. In the late 16th century, a terrible plague spread through parts of Europe, including the town of Unna in Germany, where Nicolai was the pastor, and some 1300 residents of the town died during the outbreak. Nicolai became very ill and thought he was going to die as well, but when he miraculously recovered he wrote these two aforementioned hymns in gratitude. As a result, they have achieved a kind of immortality, not the least part of which is from Bach having also used the Wie schon hymn as part of his cantata now known as No. 1. ●

Leonard Bernstein

Born August 25, 1918, in Lawrence, MA Died October 14, 1990, in New York

Overture to Candide

Scored for 3 flutes, piccolo, 4 clarinets, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Approximately 5 minutes.

Many overtures have survived the works they were written for and have gone on to become independent concert pieces: think of the overtures by Mozart or Rossini or Verdi or Weber. In this category belongs the present work that has become one of the most popular and frequently performed curtain raisers from the 20th century. This opera or operetta or musical comedy or theater piece or whatever you want to call it is based on the famous 18th-century novel Candide, or Optimism by the French writer Francois-Marie Arouet (1694–1778), who adopted the pen name of Voltaire. Following in the literary footsteps of Jonathon Swift’s Gulliver’s Travels, Candide is a masterpiece of satire and sarcasm and trenchant humor, and it is likely that Voltaire used the Swift novel as a source of inspiration. In spite of the persistent legend (now known to be false) that Voltaire wrote this work in just three days, no one is quite certain exactly when it was written, but it was published in 1759, and it is thought that he began the novel in 1757 or 1758. Space limitations do not permit any kind of detailed description of the plot, but suffice it to say here that it concerns continued on 14


PROGRAM NOTES . continued from 13 the worldly travels and the awakening of a young man named Candide who goes from living a very sheltered and idyllic lifestyle through a series of adventures that bring about a slow and painful disillusionment as he observes and experiences many hardships in his life, and that ultimately cause him to seriously rethink his general optimistic outlook. Perhaps the book’s strongest point is the rejection of the idea, very popular in Voltaire’s day, that if there is a Creator, then he is the Greatest of All Possible Creators, and the world he created is therefore the Best of All Possible Worlds. Or, in the words of Alexander Pope, “Whatever is, is right.” What Voltaire also does is to debunk the notion, again very popular in his day, that all misery and misfortune and struggle are actually hallmarks of a greater good that we cannot possibly comprehend. What Candide finally gets from all of this is a realistic notion of how the world is, and how we all go about perceiving it. Although much of the novel is pure fiction, there are elements based on historical fact, such as the disastrous earthquake in Lisbon, Portugal, in 1755. From its original production on Broadway in 1956 (a flop by those standards) through the 1999 Royal National Theater production and even beyond, Bernstein’s Candide went through an astonishing number of changes, rewrites, reworkings, and alternate versions. Having survived all of these permutations, it has emerged as one of the finest creations of its kind, and it can now take its place as a theater piece that is about as effervescent and entertaining as one can get. To paraphrase one of the ideas from the original, it may not be the Best of All Possible Stage Works, but it is mighty fine nevertheless. ●

Edvard Grieg

Born June 15, 1843, in Bergen Norway Died September 4, 1907, in Bergen, Norway

Piano Concerto in a minor

Scored for piano solo, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 30 minutes.

To this day, Grieg is the finest composer that Norway has produced, and one must always keep in mind that his life and career took place during Norway’s struggle for freedom


2018/19 Season / Volume 8 / No. 1

from Sweden. The first half of the 18th century was a time of poverty in Norway, and it was some time before it could assert itself among the Scandinavian countries. Grieg was born in Bergen, a city cut off from the rest of the country by mountains and fjords. Since the Middle Ages, the city had been a fishing and trading port, and Grieg’s family had lived in the town ever since his great-grandfather emigrated there from Scotland. Grieg always loved Bergen and was inspired by the town, its countryside, and its cultural life. He was also inspired by Norwegian folk music, some of which he recorded and transcribed, and in this type of ethnic research, he predated Vaughan Williams, Bartók, Kodály, and others by several years, and inspired many early 20th-century composers. His genius for melody and harmonic color dictated that he was at his best in smaller forms such as piano pieces and songs, and was often described as the Chopin of the North. Debussy once described his music as “pink bon-bons stuffed with snow,” but readily acknowledged that Grieg was a fine conductor who drew excellent performances from the orchestras he worked with, and was in addition a firstrate concert pianist who often performed his own solo works and this magnificent concerto. Unfortunately, his health was too weak to be able to make a career as a concert pianist, but he always yearned for that life and was particularly envious of Franz Liszt. In fact, when he heard both of Liszt’s piano concertos early in his life, it was this experience that made him decide to write one of his own. His early life was something of a struggle, and in the 1860s he worked very hard to support himself and his family as a choir and orchestra conductor, a teacher and a performer. He was successful in these efforts, but it took time before he won the recognition of the public and other musicians as a composer. As a young man he attended the Leipzig Conservatory, at the time the most prestigious music school in Europe, and even though he graduated with high marks, he felt the need to write music that was distinctively Norwegian and different from the prevalent Germanic trends. At the time, he had become close friends with the young Norwegian composer Rikard Nordraak who worked Norwegian folk idioms into his own music. When Nordraak died tragically from tuberculosis when he was just 23, Grieg made it his lifelong work to carry on Nordraak’s nationalistic inspirations.

In the 1860s, Grieg began to find new ways to incorporate his early Germanic influences into a style with his new-found interest in Norwegian folklore and native idioms, as Nordraak had started. In so doing, he was to change his musical outlook profoundly and permanently. So it was that the Piano Concerto in a minor would become the first full expression of his newly awakened sense of national pride, one which would demonstrate a unique dedication to the spirit of Norway’s folk music. The work was written by the 24-year-old Grieg in 1868 in Denmark, where he had gone to benefit from the climate, and was premiered in Copenhagen in April of the following year with its dedicatee, Edmund Neupert, as soloist. It is said that Grieg himself—being an excellent pianist— was originally the intended soloist, but he was unable to do so due to commitments with an orchestra in the Norwegian capitol (then Christiania, now Oslo). His contemporaries found the concerto strikingly original and compelling, among them Tchaikovsky and Franz Liszt. The concerto thus became Grieg’s largest independent work, marking the culmination of his early period when he was in effect forcing his natural lyrical gifts into the essentially foreign structure of large traditional forms. One of the great strengths of the concerto is the wealth of beautiful themes, which, having been written soon after Nordraak’s death, sound somewhat Norwegian/Scandinavian, although no folk music is ever quoted. The concerto is horizontal rather than vertical, ornamental rather than architectural, and is essentially a panorama of lovely melodies with a great deal of structural manipulation. Throughout, the piano predominates, rarely yielding the spotlight to the orchestra. Even after the concerto’s publication in 1872, Grieg was not completely satisfied, revising the work at least seven times, mostly in subtle changes in the orchestration and performance markings, but ultimately resulting in over 300 changes to the original. Just three weeks before died, he made a few changes in the original instrumentation, adding a piccolo, two additional horns, and changing the tuba to a third trombone. This beloved concerto has a special niche in history as the first piano concerto ever recorded, featuring the eminent German pianist Wilhelm Backhaus as soloist, but due to the restrictions of early 78-rpm recording, it was heavily abridged and ran a mere six minutes! ●



Symphonic Dances from West Side Story

Scored for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, Eb clarinet, bass clarinet, 3 bassoons, contrabassoon, alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, an enormous percussion section, harp, celesta, piano, and strings. Approximately 22 minutes.

Leonard Bernstein was an extraordinary musical genius who excelled at everything he touched, in this case as a performer, composer, conductor, and teacher, in addition to having the ability to make other people excited about music. When the whole concept of writing a “serious” musical came up, he was without question the right man for the job. Many other classical composers had used elements of jazz in their work, and some popular composers (Gershwin chief among them) in effect upgraded their music for the concert hall. None of them, however, was as comfortable in both worlds as Bernstein, and certainly as a composer, West Side Story is his definitive masterpiece. Shortly before he died, he said to a colleague, “I don’t feel happy that people will remember me because of West Side Story, even though I love the piece. I would rather people remembered me for my serious compositions.” One can understand how he felt, but it was a curious statement from a man who helped break down the barriers between popular and serious art music. This landmark musical was written from autumn 1955 into the summer of 1957, and in early 1961 he assembled parts of the score into the Symphonic Dances, overseeing the orchestration that was handled by Sid Ramin and Irwin Kostal. The musical was first performed in August of 1957 at the National Theatre in Washington, D.C., and the Symphonic Dances were premiered by the New York Philharmonic under Lukas Foss’s direction in February of 1961. The musical is, of course, an adaptation of Shakespeare’s Romeo and Juliet, and has become one of the most frequently performed of all American musicals. It ran initially for 732 performances and probably would have won the 1958 Tony Award had it not been for the more accessible show The Music Man. As early as 1949, Bernstein and two close colleagues (choreographer Jerome Robbins and playwright Arthur Laurents)

“… even though I love [West Side Story] … I would rather people remembered me for my serious compositions.” —Leonard Bernstein

came up with the idea of creating a musical version of Romeo and Juliet set in modern New York and dealing with the tensions and conflicts of rival social groups. The initial version, curiously, was titled East Side Story, and dealt with the doomed love affair between a Jewish girl and a Catholic boy set in New York’s Lower East Side. After a long hiatus due to other projects by all three of the collaborators, it was changed to reflect the more up-to-date social issue of street gangs and their interactions, and the new title was born. Much of Bernstein’s music was written at about the same time as his Candide, with considerable crosspollination between the two scores. In 1955, the young composer Stephen Sondheim was brought on board to provide lyrics to the songs; Harold Prince got involved as producer, and all the elements were in place. After two years of production problems, disagreements, rewriting, and struggles to get financing, the show finally opened for a tryout in D.C. on August 19, 1957, with a remarkable number of government officials in attendance. The audiences were instantly gripped by the innovations of Robbins’s explosive choreography, Laurents’s ingenious reworking of Shakespeare, and Bernstein’s thrilling and memorable score—in short, it was a hit! When it reached Broadway the following month, it ran for almost two years, then went on a national tour, and eventually returned to Broadway in 1960 for another 253 performances. In 1961, it was released as a feature film, garnering 10 Oscars (including Best Picture) and a special award for Robbins’s choreography. In 1961, Bernstein extracted nine sections of the score into what he called Symphonic Dances, created for a gala fundraising concert for the New York Philharmonic’s pension fund on the evening before Valentine’s Day. This was a celebration not only of his involvement with the orchestra, but also the fact that he

had just signed a new contract that would ensure his presence with the orchestra for another seven years. In the interest of efficiency, Sid Ramin and Irwin Kostal, who had just completed the orchestration of the film version, were called in to assist with the orchestration of the Dances. Nine episodes from the score were selected, but for this concert version not placed in their original dramatic sequence. The summary of the nine sequences is as follows: Prologue. The growing rivalry between two teenage gangs, the Jets and the Sharks. Somewhere. In a visionary dance sequence, the two gangs are united in friendship. Scherzo. In the same dream, they break through the city walls and suddenly find themselves in a world of space, air, and sun. Mambo. Reality again; a competitive dance between the two gangs. Cha-Cha. The star-crossed lovers see each other for the first time and dance together. Meeting Scene. Music accompanies their first spoken words. “Cool” Fugue. An elaborate dance sequence in which the Jets practice controlling their hostility. Rumble. Climactic gang battle during which the two gang leaders are killed. Finale. Love music develops into a processional, which recalls, in tragic reality, the vision of “Somewhere.” ●

Ottorino Respighi

Born July 9, 1879, in Bologna, Italy Died April 18, 1936, in Rome Italy

Pines of Rome

Scored for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 4 trombones, timpani, percussion, harp, celesta, piano, organ, nightingale recording, and strings. Approximately 23 minutes.

In 1830, the Russian composer Mikhail Glinka (1804–1857, often referred to as the continued on 16

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PROGRAM NOTES . continued from 15 Father of Russian Music) went to Milan, Italy, to absorb the musical culture of the day and brought back to Russia elements of the bel canto (beautiful singing) style of vocal composition, a new kind of lyricism that would influence the writing of opera in Russia for most of the next 100 years. In 1900, Respighi reversed the situation, traveling to Russia where he was to spend the next two years playing viola in the Imperial Theatre Orchestra and studying composition and orchestration with the great and influential Nikolai Rimsky-Korsakov. From this tenure, Respighi was able to put into his compositions a good deal of Rimsky’s kaleidoscopic sense of color and sonority and his amazing capacity for descriptive instrumentation. Respighi thus became one of the most imaginative masters of orchestration in the first half of the 20th century, while at the same time adhering to his late-Romantic roots with very little influence from the revolutionary changes and experimentation that were going on in European music at that time. To many observers during this time Italian music meant opera, with such greats as Rossini, Verdi, and Puccini leading the way. Although Respighi did write operas, he became the first Italian composer of the period who achieved popularity, fame, and considerable financial rewards from writing purely orchestral works, the most famous of which, Fountains of Rome, Pines of Rome, and Roman Festivals are emblematic of the colorful, powerful style that won him worldwide popularity. In this regard, one of the man’s hallmarks was an ability to go what many people consider “over the top” in his use of orchestral color and power: consider the endings of Pines of Rome and Roman Festivals as prime examples. One other thing that set Respighi apart from his fellow countrymen was a great love of early Italian music, and to this end he set about trying to revive Italy’s musical heritage by, among other things, transcribing and arranging music of the 17th and 18th centuries. This spilled over into his compositions, among them the delightful works for chamber orchestra such as The Birds and the three suites of Ancient Airs and Dances. In 1913, Respighi settled in Rome, was appointed Professor of Composition at the prestigious Accademia di Santa Cecilia, and began a lifelong love/hate affair with The Eternal City. When he died, he was given a state funeral attended by Italy’s foremost musicians, the King and Premier Mussolini. In 1920, Respighi began writing down 16

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“The century-old trees that dominate so characteristically the Roman landscape become testimony for the principal events in Roman life.” —Ottorino Respighi

some ancient children’s songs that his wife used to sing and hum around their house. Imagine her surprise when some of these songs turned up in the first movement of Pines, the second work in the Roman trilogy. It was written in 1923, and once again it was the Augusteo in Rome that housed its premiere the following year. Again, to quote Respighi, “While in Fountains of Rome the composer sought to reproduce by means of tone an impression of nature, in Pines of Rome he uses nature as a point of departure, to recall memories and visions. The centuryold trees that dominate so characteristically the Roman landscape become testimony for the principal events in Roman life.” Pines was a huge success at its premiere, and performances all over the world followed rapidly. This is still the most popular and often-performed work of the trilogy, and contains in the third section something that was a remarkable innovation in its day: the use of a recording of the song of a nightingale as a part of the orchestral fabric. ●

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

Overture to The Impresario (Der Schauspieldirektor), K. 486 Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 5 minutes.

In early January of 1786, while he was working on The Marriage of Figaro, Mozart received a commission from the Holy Roman Emperor Joseph II to write a singspiel (a play with music) that would be performed in February at a special and elaborate reception honoring the Governor-General of the

Austrian Netherlands. This was all part of the Emperor’s plans to make German-language operas as common and well-liked as those in Italian. Following the festivities, there was to be a musical competition for which two composers would write works: one a singspiel, and the other an Italian-style opera. The rival composer in this instance was none other than Antonio Salieri, whose comic opera First the Music, Then the Words would be the other half of the competition. This extravaganza would take place at the famous Schonbrunn palace in Vienna, where the Orangerie (a kind of greenhouse or conservatory) was one of the few green places in Vienna at that time of the year. The banquet was to have the finest food for the 80 guests, the decorations in the Orangerie would include exotic flowers, blossoms, and fruits, and while the guests were dining they would be serenaded by a wind band playing excerpts from another Salieri opera, La grotta di Trofonio. This commission came at a very busy and creative period in Mozart’s life, and his feelings about the whole affair were mixed. On the one hand, writing operas was his highest goal, with the idea that one day he might even take over Salieri’s position as court composer, and this opportunity to compose something for the Emperor was very appealing. On the other hand, he had just finished writing two piano concertos, was in the process of writing two more for his Lenten programs in Vienna, along with several other major works, and was up to his ears with preparations for The Marriage of Figaro, which was to receive its premiere in Vienna on May 1. Nevertheless, he deemed this opportunity to be so important that he briefly interrupted work on Figaro to compose the musical portions of The Impresario, which consisted of an overture, two soprano arias, a trio, and an ensemble finale—all completed between January 18 and February 3. These numbers were


surrounded by a lot of spoken dialogue, which was the typical plan for a singspiel at the time. To write the libretto, Mozart enlisted the help of the writer Johann Gottlieb Stephanie the Younger, with whom he had worked earlier to great success on the opera The Abduction from the Seraglio. Mozart described the one-act opera as “a comedy with music” and “a parody on the vanity of singers,” and is a farcical behindthe-scenes look at an opera production in which the title character has just founded a new company and finds himself dealing with rival diva sopranos and every complication imaginable. So, it was that on the afternoon of February 7, 1786, the two “competing” operas were performed on two stages that had been constructed at opposite ends of the Orangerie, and were then performed on three subsequent occasions at a wellknown theater in Vienna. The overture to this dramatic cream-puff is much more grandiose than might be expected for such a work, and its short five minutes are filled with remarkable energy, effervescence, and wit. Not surprisingly, it bears considerable resemblance to the overture to The Marriage of Figaro, the two scores having been written contemporaneously. ●


Violin Concerto No. 3 in G Major, K. 216 Scored for solo violin, 2 flutes, 2 oboes, 2 horns, and strings. Approximately 24 minutes.

Mozart’s star as a composer is so firmly seated in the musical firmament that it has tended to overshadow the fact that he was one of the finest pianists of his day, and that has greatly overshadowed the fact that he was also a fine violinist who, had

he gotten really serious about practicing, could probably have become one of the best violinists of his day. He began playing the violin when he was six, made his formal concert debut playing a concerto when he was seven, and continued to play the instrument more-or-less seriously until he was 24, when he suddenly stopped playing it altogether. What has always been frustrating in this regard is that, given the great amount of information about his life, the amount of writing about his violin playing is remarkably sparse. What we do know about all of this is that his relationship with the violin was inextricably tied up with the uneasy relationship with his father Leopold, who was himself a very good violinist, but even more important, one of the great violin teachers of his time. Young Wolfgang grew up at a time when a significant social order was coming to an end, that being the servantmaster relationship between musicians and employers, and that was soon to be replaced by one in which independent musicians— Beethoven for example—could earn a living composing and performing essentially as freelance artists. As is well known, Mozart’s relationship with his long-time employer, the Archbishop of Salzburg, was always uncomfortable—even distasteful—and at one point it became so strained that he simply left the court and his hometown, thereby ending servitude as a way of life. It was also at this time that he broke away from his father’s rather stifling influence, and as if to emphasize this dual break with the past, he stopped playing the violin. Now, just how good a violinist was Mozart? In 1777, father Leopold, himself a fine violinist, respected composer, and influential teacher, wrote to his son, “You have no idea how well you play the violin. If only you would do yourself justice by practicing and playing with boldness, spirit, and fire, you could be one

“If only you would do yourself justice by practicing and playing with boldness, spirit, and fire, you could be one of the finest violinists in Europe.” —Leopold Mozart

of the finest violinists in Europe.” Whatever the case, at age 13 the young Mozart became second concertmaster of the Salzburg Court Orchestra to Michael Haydn (Franz Joseph’s younger brother) and stayed in that position, frequently leading the orchestra and playing solos, until Brunetti took over the position in 1777. For many years, it was thought that Mozart had written all five of his authenticated violin concertos in the astonishingly short period of 9 months in 1775, when he was 19 years old, still in the Archbishop’s employ, and acting as concertmaster of the Salzburg court orchestra. Modern research has determined, however, that the first of the concertos was actually written some two years earlier. This leaves the last four as having been composed in a seven-month period, still a remarkable achievement by any standard. There were two main reasons for this burst of activity. First, he was either obligated or inspired to produce works for special occasions during his long and problematic stay at the Salzburg court, and second, he was able to experiment with some of the new compositional techniques he had learned during trips to Italy and Vienna in 1773. Moreover, he seems to have genuinely enjoyed playing the violin at this time, for he concertized as a soloist not just in Salzburg, but in several cities in Germany and in Paris. In addition, concerted music for violin was very popular then in Salzburg and elsewhere. We know for sure that Mozart played all or most of his violin concertos himself, but what we still do not know is for whom or for what occasions they were written. Because they were all written at home and at great speed, there is no correspondence of any kind about the premieres. It has been suggested that he wrote the works for one Antonio Brunetti, a member of the Salzburg orchestra, but this seems unlikely as he was not at all liked by the Mozart family, and furthermore was not appointed concertmaster of the orchestra until 1776. Even within the short span during which the last four concertos were written, there is a remarkable increase in stylistic maturity, and the jump in the level of inspiration between the second and third concertos is dramatic indeed. Nevertheless, the present concerto demonstrates Mozart’s precocious ability to deal elegantly with matters of form and sonority and balance, as well as bringing to the music a number of delightful, and sometimes unexpected, details. ● continued on 18

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PROGRAM NOTES . continued from 17


Symphony No. 1 in E-Flat Major, K. 16 Scored for 2 oboes, 2 horns, and strings. Approximately 13 minutes.

This first symphonic effort was written by Mozart at the age of eight, when he was already famous throughout Europe as a wunderkind (a prodigy, one who achieves great things at an early age) performer, but had composed very little music. Mozart’s legendary status stems mainly from the idea of a mere lad, who, in his father’s words, “knew in his eighth year what one would normally expect from a man of forty,” so it is compelling to view his youthful efforts as stepping stones on the road to toward a more mature and fully realized means of expression. During the second half of the 18th century, the symphony, which had derived in part from the earlier three-part Italian overture, began to assume an ever-greater importance, and its most common instrumentation (pairs of oboes and horns along with a four-part string section) perfectly suited the resources available in ruling families and the nobility. Mozart’s first attempts at writing a symphony came during the extended and very productive concert tour between June 1763 and November 1766. Of these, the first were written during the family’s stay in London. In April of 1764 Leopold Mozart, his wife, and two children left Paris for London. After a very uncomfortable channel crossing, the family found lodgings in Soho, and Wolfgang and his sister soon played at court to the delight of King George III and Queen Charlotte. In the fall of that year, Leopold came down with a serious chest cold, and because of this the children were not permitted to make any noise or play any music. It was during this enforced period of quietude that Mozart wrote this first symphony with the prescribed orchestral instruments, his sister sitting beside him and copying the parts as he wrote, and it certainly is an auspicious arrival on the musical scene for the eight-year-old prodigy. It appears to have been given its first performance at a theatre in the Haymarket district of London in February of 1765, and already shows how well the young lad was able to assimilate and recreate all of the styles he had come in contact with. Among these were German, British, French, and Italian traditions, as


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well as the influence of Johann Christian Bach, based on the close association of the two composers during the London visit. The first movement is a lively sonata form, with statement, development, and recapitulation of themes; the second is in the relative key of c minor, focusing mainly on tone color rather than any melodic ideas, but with lovely parts for the horns; and the finale is fast and clever, making great use of contrasts between soft and loud passages, and between parts played only by the violins and the full ensemble. ●


Symphony No. 35 in D Major, K. 385, “Haffner”

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 20 minutes.

In June 1781, Mozart left the service of the autocratic and domineering PrinceArchbishop of Salzburg to begin a career as a composer, performer, and teacher in Vienna, which was then the center of the musical world. In so doing, he entered a new chapter in his life, one fresh with seemingly unlimited possibilities, and this splendid symphony can be looked on as a transitional work and a kind of bridge from his Salzburg years to those first years in Vienna. It was designed originally as party music for Salzburg, and then transformed into a stunning symphony for the Austrian capitol. In 1776, Mozart had been commissioned to write a serenade for the daughter of a wealthy merchant named Sigmund Haffner. The Haffners were among Salzburg’s wealthiest, most prominent, and most distinguished families, Sigmund the Elder being a very successful wholesaler and a former mayor of the city. Mozart and Sigmund the Younger were born in the same year, and although they were childhood friends, their families moved in very different circles. The elder Sigmund had died in 1772, but the two families remained in close contact. So, it was that in July of 1776, young Sigmund asked Mozart to provide the music for the wedding of his sister, Maria Elizabeth. Mozart responded with a grand multi-movement orchestral work that was performed on the eve of the wedding, and has become known as the Haffner Serenade, K. 250, and which became so successful that when young Sigmund was elevated to a position of nobility, he naturally asked

Mozart to write music for the occasion. The request actually came from Mozart’s father in mid-July of 1782, but at the time Mozart was so overwhelmed with projects, or as he put it, “up to my eyeballs in work,” plus dealing with his proposed marriage to Constanze Weber, that he had no spare time to deal with the new commission. Nevertheless, because Sigmund was a dear friend, he worked on the music when he could and sent it piecemeal to his father back in Salzburg, but it seems likely that he did not actually complete the work before Sigmund’s ennoblement on July 28. It appears to have been completed just before his wedding on August 4, although there is no record of when the work was finally performed, and as far as one can tell, this was actually a new serenade, quite a different work from the original that was presented four years earlier. It was a very celebratory work and was in D Major, one of the few keys in which the trumpets of the time could easily play. Whatever the case, after sending the music to his father, Mozart seems to have forgotten about the work—at least for a time. In December, Mozart decided to include music from the new serenade at a concert in Vienna the following March, so he wrote to his father and asked him to send the score back to him. When he saw the score again, he was astonished at its quality, especially considering in what a short time it had been composed, and so he decided to turn it into a new symphony: He omitted three of the original movements and gave the work a fuller sound by adding pairs of flutes and clarinets to the outer movements. The concert, devoted entirely to his music, was given during Lent on March 23, at a time when theater and opera performances were suspended. It was a very long concert, but what will startle modern audiences is how the program was constructed. It began with the first three movements of the symphony, then followed an aria from Idomeneo, the Piano Concerto No. 13, a concert aria, two movements from earlier serenades, the Piano Concerto No. 5 (with a new finale), an aria from Lucio Silla, a fugue improvised at the piano because the Emperor was present, two sets of piano variations, another concert aria, and finally, the last movement of the new symphony! A newspaper account the next day mentions that the exceptionally large crowd—including the Emperor—stayed right to the end of the concert, and gave Mozart an unprecedented amount of vigorous and enthusiastic applause. ●


Music of Whitney Houston, the Music of The Rolling Stones, the Music of U2, the Music of Journey, the Music of David Bowie, and the Music of Prince. Havens also premiered a full orchestral show for Lou Gramm, the voice of Foreigner, with Lou singing out front. ●

Brent Havens conductor Berklee-trained arranger/conductor Brent Havens has written music for orchestras, feature films, and virtually every kind of television. His TV work includes movies for networks such as ABC, CBS, and ABC Family Channel Network; commercials; sports music for networks such as ESPN; and even cartoons. Havens has also worked with the Doobie Brothers and the Milwaukee Symphony, arranging and conducting the combined group for Harley Davidson’s 100th Anniversary Birthday Party Finale attended by more than 150,000 fans. He has worked with some of the world’s greatest orchestras, including the Royal Philharmonic in London, the Cincinnati Symphony Orchestra, the Minnesota Orchestra, the Pittsburgh Symphony, the Indianapolis Symphony Orchestra, the Houston Symphony, the Atlanta Symphony, the Baltimore Symphony, the Dallas Symphony, the Fort Worth Symphony, the Nashville Symphony, the Buffalo Philharmonic, and countless others. Havens has conducted the Malaysian Philharmonic the past four years with the Music of Michael Jackson, Led Zeppelin, Queen, and U2 shows. Havens recently completed the score for the film Quo Vadis, a Premier Pictures remake of the 1956 gladiator film. In 2013, he worked with the Baltimore Symphony and the NFL’s Baltimore Ravens to arrange and produce the music for the Thanksgiving Day halftime show between the Ravens and Pittsburgh Steelers, adapting both classical music and rock songs into a single four-minute show. Havens is Arranger/ Guest Conductor for all of the symphonic rock programs, including the Music of Led Zeppelin, the Music of Pink Floyd, the Music of Queen, the Music of Michael Jackson, the

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’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; 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 continued on 20

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ARTISTS . continued from 19 Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prize-winner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album. Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. In 2017, Minczuk received the Medal of Commander of Arts and Culture from the Brazilian Government. 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. ●

Coro Lux Coro Lux (“Chorus of Light”) is a nonprofit organization dedicated to the preparation and performance of great choral music for the enrichment and delight of our audiences and ourselves, and to propagating love of the choral art in the next generation of singers. ●


2018/19 Season / Volume 8 / No. 1

Bradley Ellingboe director Bradley Ellingboe has led a wide-ranging career in the world of singing, including accomplishments as a choral conductor, soloist, composer, scholar, and teacher. As a choral conductor, he has led festival choruses in 35 states and 14 countries. He made his operatic conducting debut in December 2011, leading the world premiere of Stephen Paulus’s opera Shoes for the Santo Niño, in a joint production by the Santa Fe Opera and the University of New Mexico. As a bassbaritone soloist, he has sung under such conductors as Robert Shaw, Helmuth Rilling, and Sir David Willcocks. Ellingboe has more than 140 pieces of music in print, including the Requiem for chorus and orchestra, which has been performed more than 300 times in this country and Europe, and his newest work, Star Song, which had its New York debut (Lincoln Center) in May of 2014 and its European debut in July of that year. For his scholarly work in making the songs of Edvard Grieg more accessible to the English-speaking public, he was knighted by the King of Norway in 1994. As a teacher, the University of New Mexico Alumni Association named him Faculty of the Year in 2008. Bradley Ellingboe retired in 2015 after serving on the faculty of the University of New Mexico for 30 years, where he was Director of Choral Activities, Professor of Music, and Regents Lecturer. During his three decades at UNM, he also served at various times as Chairman of the Department of Music and Coordinator of Vocal Studies. He is a graduate of Saint Olaf College and the Eastman School of Music and has done further study at the Aspen Music Festival, the Bach Aria Festival, the University of Oslo, and the Vatican. Ellingboe has won annual awards for his choral compositions from ASCAP – the American Society of Composers, Arrangers, and Publishers – since 2000. His choral music is widely sung and is published by Oxford, G. Schirmer, Augsburg, Walton, GIA, Hal Leonard, Mark Foster, Choristers Guild, Alliance, Concordia, Selah, and particularly the Neil A. Kjos Music Company, for whom he edits two series of choral octavos. In 2017, he became Acquisitions Editor for National Music Publishing. His music has been performed and recorded by such groups as the Santa Fe Desert Chorale, Philip Brunelle’s VocalEssence, the Saint Olaf Choir, the Harvard Glee Club, Craig Hella Johnson’s Conspirare, and the choirs of the University of Michigan and Luther College, among many others.

He has prepared choirs for such luminaries as Dave Brubeck, Moses Hogan, Alice Parker, Morten Lauridsen, René Clausen, and Robert Ray. At the request of composer Libby Larsen, the UNM Women’s Chorus, Las Cantantes, recorded all of Larsen’s music for treble chorus. He was guest conductor of the Santa Fe Desert Chorale in a series of concerts in December 2011. ●

Hannah Stephens soprano Lyric coloratura soprano Hannah Stephens resides in Albuquerque, New Mexico, and performs worldwide. After her debut of Poppea in Handel’s Agrippina with West Edge Opera, critic Victor Cordell for ForAllEvents wrote, “Hannah Stephens’s soprano is light and bright as Poppea. The opera is replete with challenging coloratura and staccato passages for which her voice is particularly effective.” Miss Stephens performed a stunning Mahler’s Fourth Symphony with the New Mexico Philharmonic in 2017. Another recent success was her touching and heartfelt performance of Gorecki’s Symphony of Sorrowful Songs with the Albuquerque Philharmonic Orchestra. Some past highlights of her operatic career include the roles of the Queen of the Night, Musetta, and Gilda. Miss Stephens enjoys the challenge of contemporary music and is working with several composers on new works. She has sung with West Bay Opera, Pocket Opera, and Spreckels Performing Arts Center. Hannah’s successes in concert include Strauss’s Vier letzte Lieder, Schoenberg’s String Quartet No. 2, and Villa-Lobos’s Bachianas Brasileiras.  Other highlights of her operatic career were the role of Nella (Gianni Schicchi)


with the Jacobs School of Music at Indiana University, Zerlina (Don Giovanni), and Susanna (Le nozze di Figaro), which she performed in Weimar, Germany. Miss Stephens was selected by the opera department of the Jacobs School to sing both Königen der Nacht arias from Mozart’s Die Zauberflöte for public concert. She performed the U.S. premiere of Lorenzo Palomo’s Mi jardín solitario. Born in the United Kingdom, Miss Stephens is a dual citizen and received her Master’s degree in vocal performance from Indiana University, studying with Carlos Montan, and her Bachelor’s degree from the University of New Mexico, studying with Marilyn Tyler. ●

Awadagin Pratt piano Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras. Born in Pittsburgh, Awadagin Pratt began studying piano at the age of six. Three years later, having moved to Normal, Illinois, with his family, he also began studying violin. At the age of 16, he entered the University of Illinois where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music, where he became the first student in the school’s history to receive diplomas in three performance areas—piano, violin, and conducting. In recognition of this achievement and for his work in the field of classical music, Mr. Pratt recently received the Distinguished Alumni Award from Johns Hopkins. Recent and upcoming appearances include recital engagements at the New Jersey

Performing Arts Center in Newark and in Baltimore, La Jolla, Los Angeles, and at Duke University, as well as appearances with the orchestras of Cincinnati, Indianapolis, Seattle, Colorado, Portland (ME), Utah, Richmond, Grand Rapids, Winston-Salem, Springfield (IL), and Mobile. He played a recital in Carnegie Hall for the Naumburg Foundation in November 2010 and appeared at the 2012 Ravinia Festival in a duo recital with Zuill Bailey. A great favorite on college and university performing arts series, and a strong advocate of music education, Awadagin Pratt participates in numerous residency and outreach activities wherever he appears; these activities may include master classes, children’s recitals, play/talk demonstrations, and question/answer sessions for students of all ages. Awadagin Pratt has been the subject of numerous articles in the national press, including Newsweek, People Magazine, and New York Newsday. He was named one of the 50 Leaders of Tomorrow in Ebony Magazine’s special 50th anniversary issue and has been featured on National Public Radio’s Performance Today and St. Paul’s Sunday Morning and Weekend Edition. On television, Mr. Pratt has performed on the Today Show, Good Morning America, and Sesame Street; was profiled on CBS Sunday Morning; and was one of the featured soloists on PBS’s “Live from the Kennedy Center—A Salute to Slava.” In November 2009, Mr. Pratt was one of four artists selected to perform at a White House classical music event that included student workshops hosted by first lady Michelle Obama and performing in concert for guests including President Obama. He has performed two other times at the White House, both at the invitation of President and Mrs. Clinton. Mr. Pratt’s recordings for Angel/EMI include A Long Way from Normal, an allBeethoven sonata CD, Live from South Africa, Transformations, and an all-Bach disc with the St. Lawrence String Quartet. His most recent recordings are the Brahms sonatas for cello and piano with Zuill Bailey for Telarc and a recording of the music of Judith Lang Zaimont with the Harlem Quartet for Navona Record. Mr. Pratt is currently professor of piano and chairman of the piano department at the College Conservatory of Music at the University of Cincinnati. He is also the Artistic Director of the World Piano Competition in Cincinnati as well as the

Artistic Director of the Art of the Piano Festival at CCM. ●

Yoonshin Song violin Acclaimed as “a wonderfully talented violinist … whose sound and technique go well beyond her years,” Yoonshin Song was born in South Korea where she began her musical studies at age five. Making her solo debut with the Seoul Philharmonic at age 11, she has since built a successful performing career throughout Korea, the United States, and Europe. Yoonshin earned many prestigious prizes throughout her career. Some highlights include top prize awards in international violin competitions such as the Wieniawski (Poland), Lipizer (Italy), Henry Marteau (Germany), and first prize at the Stradivarius International Competition in the U.S. In her native South Korea, Song has won virtually all the major national competitions. In addition, Yoonshin has received the David G. Whitecomb Foundation Award and the Korean Minister of Culture Award. Since giving her debut recital after winning the Jeunesses Musicales Competition in 1999, she has been sought after as a recitalist performing throughout Korea, the United States, and Europe to great acclaim. As a soloist, she has performed with many orchestras around the world, including the Detroit Symphony, Houston Symphony, Utah Symphony, P. Constantinescu Philharmonic Orchestra, Bayreuth Festival Orchestra, Seoul Philharmonic Orchestra, KBS Philharmonic Orchestra, and the Korean Baroque Chamber Orchestra. Yoonshin has participated both as a soloist and as a chamber musician in numerous continued on 24

The New Mexico Philharmonic



Donor Circles Thank You for Joining a Circle

BENEFACTOR CIRCLE Donation of $50,000 + Lee Blaugrund City of Albuquerque

BEETHOVEN CIRCLE Donation of $25,000– $49,999 George & Sibilla Boerigter Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean The Meredith Foundation

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

Anonymous Bernalillo County Commission E. Blaugrund Family Fund Deborah Borders Holmans USA, LLC, Anthony D. Trujillo 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 U.S. Bank Foundation Dr. Dean Yannias

BRAHMS CIRCLE Donation of $5000–$9999

Anonymous Paula & William Bradley Eugenia & Charles Eberle Art Gardenswartz Keith Gilbert Hancock Family Foundation Robert & Elisa Hufnagel Hunt Family Foundation Chris & Karen Jones Henry & Judith Lackner Harry & Elizabeth Linneman Dr. & Mrs. Larry Lubar Menicucci Insurance Agency New Mexico Arts New Mexico Gas Company Bob & Bonnie Paine, in memory of Allyra Jameson & Ann Stinchcomb Sandia Foundation, Hugh & Helen Woodward Fund Scalo Northern Italian Grill, Steve Paternoster Melissa & Al Stotts Richard VanDongen The Verdes Foundation Wells Fargo

CHOPIN CIRCLE Donation of $3500–$4999 William E. Cates Bob & Fran Fosnaugh


Eiichi Fukushima & Alice Hannon Cynthia & Thomas Gaiser Tanner & David Gay Keleher & McLeod Tina Kilroy Marc Powell Sandia Laboratory Federal Credit Union, Robert Chavez Southwest Gastroenterology Associates Marian & Jennifer Tanau Lance Woodworth

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 Madeleine Grigg-Damberger & Stan Damberger Chavonne Harroun Stuart Harroun Jonathan & Ellin Hewes The Hubbard Broadcasting Foundation Christopher Kwapich Virginia Lawrence, in memory of Jean Sharp Virginia LeRoy, in memory of Jack LeRoy Myra & Richard Lynch, in memory of Orval E. Jones Tyler M. Mason Bob & Susan McGuire Sara Mills & Scott Brown Ruth Mondlick Moss-Adams LLP Ruth & Charles Needham David & Audrey Northrop George & Mary Novotny Scott Obenshain, in memory of Toots Obenshain Carol & Gary Overturf Sandra P. & Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson Jr. & Josephine A. & Angelo A.J. Asciolla Steve Ridlon, in memory of Casey Scott Robertson & Sons Violin Shop Jacquelyn Robins Ellen Ann Ryan Barbara & Heinz Schmitt Terrence Sloan Vernon & Susannah Smith Betsey Swan & Christopher Calder Kathleen & David Waymire Dr. & Mrs. Albert Westwood William A. Wiley & Diane Chalmers Wiley Drs. Bronwyn Wilson & Kurt Nolte

BACH CIRCLE Donation of $1000–$1932

Leah Albers & Thomas Roberts

2018/19 Season / Volume 8 / No. 1

Albuquerque Community Foundation Anonymous Anonymous Christopher Apblett Peggy Atencio & Don Degasperi Edward & Leslie Atler Toni Baca Wendy & Mark Baca Bank of Albuquerque Ellen Bayard & Jim O’Neill Gay & Stan Betzer Craig Billings Nancy & Cliff Blaugrund Steve Boerigter Ann Boland Robert Bower & Kathryn Fry Ronald Bronitsky, M.D. Michael & Cheryl Bustamante Dawn & Joseph Calek Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin John Crawford Nance Crow & Bill Sullivan Krys & Phil Custer Philip & Linda Custer Marjorie Cypress & Philip Jameson William Dake, in honor of Rihini & Jason McKee David & Ellen Evans Nim & Sue Evatt Ron Friederich Helen Fuller GE Foundation Ann Gebhart Dennis & Opal Lee Gill Barbara & Berto Gorham Elene & Robert Gusch Harris Hartz Stephen & Aida Ramos Heath Dr. Carlton Holte & Sheryl Guterl Martha Hoyt Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Henry Kelly Mr. & Mrs. Kleweno Stephanie & Kenneth Kuzio Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Linda S. Marshall Kathy & John Matter Edel & Thomas Mayer Foundation Jackie & C. Everett McGehee Ina S. Miller Ranne Miller Mark Moll Robert & Claudia Moraga Judy & Michael Muldawer New Mexico School of Music, Tatiana Vetrinskaya Jerald & Cindi Parker Yukiko Raine Larry & Dorothy Rainosek Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Stuart & Janice Paster Joan Robins & Denise Wheeler in memory of Sue & Mel Robbins Jay Rodman & Wendy Wilkins Albert Seargeant Conrad & Marcella Stahly Miller Stratvert P.A., Ranne Miller PK Strong, in memory of Clare Dreyer Margaret Vining

Betty & Luke Vortman Endowment Barbara & Eugene Wasylenki Bill & Janislee Wiese, in honor of Joan Allen Linda Wolcott Dolly Yoder

CONCERTMASTER CIRCLE Donation of $500–$999

William & Ona Albert John Ames Atkinson & Co., Clarke Cagle Richard & Linda Avery George Baca Joel & Sandra Baca Sally Bachofer Daniel Balik Dorothy M. Barbo Hugh & Margaret Bell, in memory of Joan Allen Sheila & Bob Bickes Deborah Blank Rod & Genelia Boenig Carolyn Rose Brown Suzanne Brown Sandra A. Buffett Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Camille Carstens Edith Cherry & Jim See Betty Chowning Paul & Linda Cochran Thomas & Martha Domme Gale Doyel & Gary Moore Patricia & Leonard Duda Marie Evanoff Yolanda Garcia Laurence Golden Drs. Robert & Maria Goldstein Jean & Bob Gough Grief Resource Center David Hafermann Ron & Nancy Halbgewachs Janet Harris Margaret Harvey & Mark Kilburn John & Diane Hawley Ken & Winnie Hoeksema Kory I. Hoggan, CPA David & Bonnie Holten Noelle Holzworth John P. Johnson Thomas & Greta Keleher Guido C. Kemp Jeffery & Jane Lawrence Rita Leard William & Jennifer Maguire Judith Matteucci Roger & Kathleen McClellan Karen McKinnon John & Kathleen Mezoff Martha Miller Robert Milne & Ann DeHart, in memory of Clare Dreyer Jan Mitchell Lynne Mostoller & Kathryn McKnight Edward & Nancy Naimark Dick & Sharon Neuman David Peterson Dr. Mark Rainosek Christine & Jerry Rancier Donald Rigali John & Faye Rogers Ruth Ronan Richard & Pamela Salmon Nancy Scheer Richard Simpson

Janet & Michael Sjulin Sarah Stevens-Miles Charles & Flossie Stillwell Martha Strauss, in memory of Richard Strauss Duffy & Jean Ann Swan Laurence Titman Coleman Travelstead & Brookes McIntyre Arthur & Sandra Vall-Spinosa Marianne Walck Patricia & Robert Weiler Judy Basen Weinreb & Peter Weinreb Carl G. & Janet V. Weis Jane & Scott Wilkinson David & Evy Worledge Albert & Donna Zeman Michael & Jeanine Zenge

PRINCIPALS CIRCLE Donation of $125–$499

Wanda Adlesperger Dr. Fran A’Hern-Smith Carol & James Alexander Gerald Alldredge Linda & Carl Alongi Jo Anne Altrichter & Robin Tawney Anderson Organizing Systems Cathy Anderson Anonymous Anonymous Robert J. & Marilyn R. Antinone Judith & Otto Appenzeller Janice J. Arrott Mary E. Baca Paul M. Baca Thomas J. & Helen K. Baca Diane & Douglas Brehmer Bailey Genevieve Baker Jan Bandrofchak & Cleveland Sharp Julian & Margaret Bartlett Steve Bassett Helen Benoist Ann & James Bresson James & Elizabeth Brown Terry Brownell & Alpha Russell Elaine Burgess Gordon Cagle Lee Calderwood Carol Callaway James Carroll Edwin & Deborah Case Shirley & Ed Case Richard Chapman & Jan Biella R. Martin Chavez Wayne & Elaine Chew Judith & Thomas Christopher Jane & Kenneth Cole James Connell Bob Crain Georgianne B. Cristo Stephen & Stefani Czuchlewski William Davidson Hubert Davis Herbert & Diane Denish Jerry & Susan Dickinson Fran DiMarco Raymond & Anne Doberneck Thomas & Elizabeth Dodson Jeff & Karen Duray Harvey & Jill Eastman in memory of Jerry Lynn Greenberg Kathleen Economy Michael Edenburn Mary Lou Edward


Richard & Mildred Elrick Robert & Dolores Engstrom Stephanie Eras & Robert Hammerstein Jackie Ericksen Jan Erickson Jeffrey & Laura Erway Harry Ettinger David & Frankie Ewing Winifred & Pelayo Fernandez The Financial Maestro, LLC, Joann MacKenzie Howard & Deonne Finkelstein Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming J. Arthur Freed Richard & Anne Gonzales Yvonne Gorbett A. Elizabeth Gordon Peter Gregory Justin M. & Blanche G. Griffin Stanley Griffith Sharon Gross Mina Jane Grothey Bennett A. Hammer Janet & William Harrington Joan Harris Rosalie & Leon Heller David & Eileen Hillson Fred Hindel Carolyn & Hal Hudson Susan Hudson Janet & Vincent Humann Patrick & Elois Hurley al & Pat Jensen Sandra & Michael Jerome Robert & Mary Julyan Carol Kaemper Summers & Norty Kalishman Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Ann King Elizabeth King Marlin Kipp Helen Knoll Asja Kornfeld, MD & Mario Kornfeld, MD Woody & Nandini Kuehn Karen Kupper Rebecca Lee & Daniel Rader William J. Lock Dwayne & Marjorie Longenbaugh Bruce & Lesle Loughridge Frank & Judy Love Robert Lynn Joanne E. Magalis Robert & Linda Malseed John & Brynn Marchiando Joseph McCanna III Sallie McCarthy Eugene McGuire Albert & Linda McNiel Donald McQuarie Bernard & Mary Metzgar Phyllis Metzler Bruce & Jill Miller Christine & Russell Mink James B. & Mary Ann Moreno James & Margaret Morris Mardell Morrow Elizabeth & Daniel Neal Donald & Carol Norton Ben & Mary Lee Nurry Suzanne Oakdale & David Dinwoodie Rebecca Okun Joyce & Pierce Ostrander

Howard Paul Ole Peloso Calla Ann Pepmueller Stephen Perls Richard Perry Judi Pitch Henry Pocock Dan & Billie Pyzel Therese Quinn Robert Reinke Lee A. Reynis & David W. Stryker John Reynolds George & Sheila Richmond 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 Catalin Roman Kletus & Lois Rood Carole Ross John Ross & Jane McGuigan Nancy Ruggles, in memory of Clare Dreyer Janet Saiers Salazar, Sullivan, & Jasionowski Evelyn E. & Gerhard L. Salinger Oscar & Janet Sander Scott & Margaret Sanders Christine Sauer Warren & Rosemary Saur Dewey Schade John & Karen Schlue Laura Scholfield Howard & Marian Schreyer Kathleen & Wallace Schulz Norman Segel Daniel & Barbara Shapiro Archbishop Michael Sheehan Frederick & Susan Sherman, in memory of Joan Allen Ronald & Lisa Shibata Ronald & Claudia Short, in memory of Susie Kubie R.J. & Katherine Simonson Walt & Beth Simpson Gary Singer Katharine Sisk 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 Laurence Tackman Suzanne Taichert, in memory of Robert D. Taichert David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thompson Nina & Gary Thayer David Ther Jeffrey Thomsen Marit Tully & Andy Thomas

Cynthia & William Warren Alfred Watts & Jan Armstrong Michael & Louisa Weinrib Margaret Wente Jeffrey West Mary K. West Marybeth White Helen M. Whitesides Ellen Whitman Walter Wolf Jae Won-Lee Don & Dot Wortman Stanley Yager Mae S. Yee & Eric Brock Diana Zavitz, in honor of Pat & Ray Harwick Carol Zulauf


Natalie Adolphi & Andrew McDowell Richard & Sandra Allen Gerald & Permelia Allgood Steven & Lindi Anderson Judy Andrews Emil Ardelean Ana Baca David Baca Ehren D. Baca Jackie Baca & Ken Genco Megan Baldridge A. Robert Balow Reid Bandeen Joyce Barefoot Sarah Barlow Graham Bartlett Harold & Patricia Baskin Susan Beard Fred L. Beavers Edie Beck David & Judith Bennahum Debra & Kirk Benton Mark Berger Barry Berkson Dorothy & Melbourne Bernstein Judith Binder Ruth Bitsui Ann Blaugrund & William Redak Jr., in memory of Clare Dreyer Bronnie Blaugrund, in memory of Clare Dreyer Cliff & Nancy Blaugrund, to commemorate the honorable James Parker’s 80th birthday and his 30 years on the bench Suzanne & Thomas Blazier Dusty & Gay Blech Susan Bonnell Henry Botts Joan Bowden Tim & Jackie Bowen J.M. Bowers & B.J. Fisher Marilyn Bowman Sue Bradigan-Trujillo & Theodoro Trujillo Carolyn Brown Allan & Barbara Brumer Tomas & Karin Butchart Roxanne & John Carpenter Ann Carson Edward Cazzola Joseph Cella Barbara & Roscoe Champion Olinda Chavez, in memory of Clare Dreyer Jo-Ann Chen, in memory of Clare Dreyer Kathy & Lance Chilton

Stephen & Judy Chreist, in memory of Clare Dreyer Jay & Carole Christensen, in memory of Clare Dreyer James & Joan Cole Randall & Valerie Cole Lloyd Colson III Lawrence Compton Marcia Congdon Patrick Conroy Linda Copeland Alexis & Hovey Corbin Andrew & Susan Core John & Mary Covan Ralph Cover Edward Curtis & Alfred Papillon Rosalie D’Angelo Henry Daise III Nancy Deas Drina & Doug Denham Winnie Devore Patricia Dolan Darryl Domonkos Stephen R. Donaldson Carl & Joanne Donsbach Veronica Dorato Sheila Doucette Martin J. Doviak Gale Doyel & Gary Moore, in memory of Clare Dryer Michael & Jana Druxman D. Ted Eastlund Helene Eckrich Kurt & Carolyn Ehlert Roger C. Entringer Helen & Richard Erb David & Regan Eyerman B.J. & R.L. Fairbanks John & Jo Margaret Farris Ann & Howard Fegan Helen Feinberg Ella J. Fenoglio Mary Filosi Robert & Diane Fleming Denise Fligner Cheryl & William Foote, in honor of Susan Patrick & Don Partridge Beverly Forman & Walter Forman, MD Ms. Libby Foster, in memory of Clare Dreyer Guy Frederick & Michelle Morton Joseph Freedman Martin & Ursula Frick Mary Day Gauer Kenneth Gillen David Goldheim Theresa Goldman Lois Gonzales Janice K. Goodman Mr. & Mrs. Thomas Grace Charles Gregory Richard & Suzanne Guilford Kenneth Guthrie Fletcher Hahn Michael Hall Bhanu Joy Harrison Joan & Fred Hart M.L. Hartig Rossanna & William Hays Patricia Henning Robert & Sara Henning Florence Hernandez Mary Herring Douglas & Joyce Hilchie Donna Hill Pamelia S. Hilty Susan & Glenn Hinchcliffe

Beate Hitzler Toppin Hodge Nancy Hoffman Kiernan Holliday Bernhard E. Holzapfel Constance & James Houle Judy & Sam Honegger, in memory of Clare Dreyer Elizabeth Hoobler Nancy Kay Horton Charles Hunter Claudia Isaac, in the name of Teresa Marquez Jerry & Diane Janicke Gwenellen Janov Connie & Terry Johnson, in memory of Clare Dreyer Eldon Johnson Ruth Johnson Anne & Lawrence Jones Peggy Jones Margaret Keller Allen Kenyon Gerald F. Kiuttu Barbara Kleinfeld, in memory of Clare Dreyer Gerald Knorovsky Herbert & Shelley Koffler, in memory of Clare Dreyer Philip Kolehmainen & Vivian Waldron Katherine Kraus Deborah Krichels Jennifer C. Kruger Hareendra & Sanjani Kulasinghe Molly Lannon Wes & Dawn Leach Mary E. Lebeck Douglas LeGrand Don & Susan Lentz Carl Litsinger Carol Lovato Ching Lu Suzanne Lubar & Marcos Gonzales Bruce F. Malott Jim Manning Shila Marek Maria Teresa Marquez Jeffrey Marr Anna Marshall Walton & Ruth Marshall Willa H. Martin Andrew Mason, in honor of Jean Mason Alice Matvichuk Michael Mauldin Marina De Vos Mauney Jack & Victoria McCarthy Peter & Lois McCatharn Fred & Karin McDowell Virginia McGiboney David McGuire Anne McKinney Millie McMahon, in memory of Clare Dreyer Wayne & Patricia McNeely Judith W. Mead Sterrett & Lynette Metheny V.L. Mied Robert F. Miller Joan Moedl Dr. William Moffatt Steven & Beth Moise, in memory of Clare Dreyer Claude Morelli & Sharon Nepstad Letitia Morris Shirley Morrison & Cornelis Klein

continued on 24 The New Mexico Philharmonic


DONOR CIRCLES . continued from 23 Baker H. Morrow & Joann Strathman Evelyn Morrow Paula Mortensen Karen E. Mosier Cheryl Mugleston, in memory of Clare Dreyer Brian Mulrey James & Beth Nance, thanks to Steve & Maureen Baca New Mexico Japanese American Citizens League Elizabeth Norden Candace & Frank Norris David & Marilyn Novak Jennifer Nuanez Richard & Marian Nygren Marilyn Jean O’Hara Ruth Okeefe H. George Oltman Jr. Margaret Guinan Orona Ricardo Ortega Joseph & Barbara Oser Daniel O’Shea Carolyn D. Parrish Deborah Peacock & Nathan Zorn Brian Pendley Maria Pereyra Elizabeth Perkett Barbara Pierce Mr. & Mrs. Paul Pierce, in memory of Clare Dreyer The Power Path Inc. Judy & Orville Pratt Franklin J. Priebe III Regina & Daniel Puccetti Jane Rael Russell & Elizabeth Raskob David & Tracey Raymo Ray Reeder Patricia Renken Kathryn & Chris Rhoads Kay Richards Jacob & Nancy Rittenhouse Margaret E. Roberts Shelley Roberts Michael Robertson Joseph Roesch Edward Rose Christopher Rosol Harvey & Laurie Ruskin Robert Sabatini Glen & Beverly Salas Esperanza Sanchez Donald & Nancy Schmierbach David A. Schnitzer Stephen Schoderbek Mark Sedam Margaret Seeley Lois Sharp Arthur & Colleen M. Sheinberg Joe Shepherd Beverly Simmons Diane & Matthew Sloves Carl & Marilyn Smith Gwyneth & Tracy Sprouls David Stalla Stan & Marilyn Stark, in honor of judge James Parker’s 30 years on the bench

continued from 21 Charlie & Alexandera Steen James & Judy Sutherlin Georgann Taylor Ruth M. Thelander Julie Tierney John Tischhauser Margaret Ann Todd John Tondl Dean & Bonita Tooley Ronald Trellue Karen & John Trever Jorge Tristani J.T. Vaughn Jean Villamarin John Vittal & Deborah Ham Hilda A. Volkin Joanne Vye Marmion Walsh Maryann Wasiolek Dale A. & Jean M. Webster Wendy Weygandt, in memory of Joe Zoeckler Carol Whiddon Elizabeth White Leslie White Patricia White Katherine Whitman Sara Wilcoxon Robert Wilkins Phyllis Wilson David Winter & Abagail Stewart Dr. Helmut Wolf, in memory Mrs. M. Jane Wolf Alice Wolfsberg Valerie & Marc Woodward Walter Wrightson John Wronosky & Lynn Asbury Judith A. Yandoh Kari Young Kenneth & Barbara Zaslow Linda R. Zipp Vita Zodin Andrew A. Zucker 8/24/2018

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 Tim Keller & the City of Albuquerque Trudy Jones & the Albuquerque City Council Maggie Hart Stebbins & the Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Hakim Bellamy & the Albuquerque Cultural Services Department Mayling Armijo & Bernalillo Economic Development & Cultural Services Amanda Colburn & Bernalillo County Cultural Services Maryann Torrez & the Albuquerque BioPark Zoo


The Cognitive Behavioral Institute of Albuquerque St. John’s United Methodist Church

music festivals, including the Marlboro Music Festival, Verbier Music Festival, Deer Valley Music Festival, Great Lakes Chamber Music Festival, Aspen Music Festival, Perlman Music Program, Miyazaki Chamber Music Festival in Japan, and the Bayreuth Festival in Germany. Yoonshin earned her Master’s degree and Graduate Diploma under the tutelage of Donald Weilerstein at the New England Conservatory and completed the Artist Diploma and Professional Study programs at Manhattan School of Music, where she studied with Robert Mann and Glenn Dicterow. Since 2012, Yoonshin has been the concertmaster of the Detroit Symphony Orchestra and has enjoyed close collaborations with inspiring guest artists such as Gil Shaham, Joshua Bell, and Jamie Laredo among others. Yoonshin currently plays on a 1707 Vincenzo Rugeri violin on loan to her by a generous sponsor in Michigan. She teaches at the University of Michigan. ●

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Billy Brown Anne Eisfeller Rosemary Fessinger Chris Kershner Jim Key Jackie McGehee Brad Richards Brent Stevens 8/24/2018


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 Howard A. Jenkins Dr. & Mrs. Larry Lubar Thomas J. Mahler George Richmond Eugene Rinchik Jeanne & Sid Steinberg Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman 8/24/2018

● 24

2018/19 Season / Volume 8 / No. 1

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 Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Anthony Templeton • Carol Swift •• Julanie Lee Michael Shu Donna Bacon Gabriela Da Silva Fogo Roberta Branagan Sheila McLay Brad Richards Eric Sewell VIOLA Kimberly Fredenburgh •++ Allegra Askew Christine Rancier 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 ••• PICCOLO Sara Tutland OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Peña ••• CLARINET Marianne Shifrin • Lori Lovato •• Timothy Skinner E-FLAT CLARINET Lori Lovato

BASS CLARINET Timothy Skinner BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Nathan Ukens Katelyn Benedict ••• Allison Tutton Niels Galloway •••• TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Byron Herrington David Tall BASS TROMBONE David Tall TUBA Richard White • TIMPANI Douglas Cardwell • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Anne Eisfeller +

Kory Hoggan Treasurer Ruth Bitsui Michael Bustamante Thomas Domme Lisa Donald JP Espinoza Anne McKinney Barbara Rivers Jeffrey Romero Rachael Speegle Al Stotts David Tall Marian Tanau Michael Wallace ADVISORY BOARD

Thomas C. Bird Lee Blaugrund Clarke Cagle Robert Desiderio Roland Gerencer, MD Larry Lubar Steve Paternoster Heinz Schmitt William Wiley STAFF Marian Tanau Executive Director Roberto Minczuk Music Director Christine Rancier Executive Assistant & Media Relations Alexis Corbin Director of Education & Outreach Katelyn Benedict Personnel & Operations Manager Mancle Anderson Production Manager Danielle Frabutt Artistic Manager & Social Media Coordinator Allison Tutton Head Librarian Nancy Pressley-Naimark Office Manager

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

The New Mexico Philharmonic

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



Sponsors & Grants Sound Applause

Albuquerque Community Foundation

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.

Bank of Albuquerque

Bernalillo County

Century Bank


Computing Center Inc.

D’Addario Foundation

Gardenswartz Realty

Holmans USA

Hunt Family Foundation

John Moore & Associates

Keleher & McLeod

Lexus of Albuquerque

Lockheed Martin

Menicucci Insurance Agency

Music Guild of New Mexico

New Mexico Arts

New Mexico Gas Company

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2018/19 Season / Volume 8 / No. 1

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The New Mexico Philharmonic / 2018/19 Season /


To the finer things in life - congratulations on your 8th season, New Mexico Philharmonic

The 2018


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New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 1  

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 1 •

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 1  

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 1 •

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