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VOLUME 8 / NO. 2

2018/19 SEASON

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NMPHIL .

LETTER FROM THE

MUSIC DIRECTOR

TABLE OF CONTENTS PROGRAMS November 3, 2018 Program November 17, 2018 Program December 8, 2018 Program Program Notes

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ARTISTS Roberto Minczuk Peter Soave Catalina Cuervo Grant Cooper Carlos Menchaca Madison Olguin Eva Garlez & Pablo Rodriguez New Mexico Ballet Company The Young Musician Initiative Coleman Academy of Irish Dance Enchantment Awards Singers Jennifer Frautschi

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YOUR NMPHIL Letter from the Music Director Musical Fiestas Strategies for Wise Giving Sound Card Student Membership Orchestra Board of Directors, Advisory Board, Staff Donor Circles Thank You Legacy Society Sponsors Upcoming Concerts

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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. This season will be 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

THE NEW MEXICO PHILHARMONIC OFFICES

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

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

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2018/19 Season / Volume 8 / No. 2

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. ●


NEW MEXICO PHILHARMONIC MEET THE ARTISTS

Musical Fiestas

Join us for fundraising events at private homes that feature our guest artists in an intimate performance setting, which includes dinner and wine. This is a chance to meet the guest artists in person.

Sunday, 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 nmphil.org

STRATEGIES FOR

WISE GIVING There are many ways to support the New Mexico Philharmonic. We thank our members, donors, volunteers, sponsors, and advertisers for their loyalty and enthusiasm and their help in ensuring the future of symphonic music in New Mexico for years to come. Looking to make smart donations? Based on presentations by professional financial advisors, here are some strategies for giving wisely, following recent changes in the tax law. The advisors identified five strategies that make great sense. Here they are in brief:

Give cash.

Whether you itemize deductions on not, it still works well.

Give appreciated assets.

This helps you avoid capital gains taxes, will give you a potentially more significant deduction if you itemize, and can reduce concentrated positions in a single company.

Bunch giving.

Give double your normal amount every other year to maximize deductions.

Qualified Charitable Distribution/ Required Minimum Distribution. If you are required to take an IRA distribution, don’t need the cash, and don’t want the increased taxes, have the distribution sent directly to a qualified charity.

High-Income Years.

If you are going to have high-income years (for any number of reasons), accelerate your deductions, avoid capital gains, and spread out gifts through a Donor-Advised Fund. Be proactive! Consult your own financial advisor to help you implement any of these. Please consider applying one or more of these strategies for your extra giving to the NMPhil.

PLAN A WISE GIVING STRATEGY

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THE NEW MEXICO BALLET COMPANY PRESENTS

2 WEEKENDS ONLY • POPEJOY HALL

Tickets Only $11-$50

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NEW MEXICO SYMPHONIC

CHORUS

Roger Melone, Music Director

ALL IS CALM, ALL IS BRIGHT Zimmermann • Psalmkonzert • Grüber • Silent Night • Bernstein • Chichester Psalms

Sunday, December 9, 2018 • 3 p.m. First United Methodist Church

CINCO D E M AY O Diemer • Three Madrigals • Mendelssohn, Fanny • Gartenlieder • Ramírez • Misa Criolla

Sunday, May 5, 2019 • 3 p.m. First United Methodist Church

NMSChorus.org • 800.838.3006 The New Mexico Philharmonic


CONCERT PROGRAM .

Spanish Flame: Piazzolla & Falla

Saturday, November 3, 2018, 6 p.m. / 5 p.m. Pre-Concert Talk Roberto Minczuk Music Director Peter Soave bandoneón  Catalina Cuervo soprano

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Popejoy Hall

Slava! A Political Overture for Orchestra

Bandoneón Concerto, “Aconcagua” I. Allegro marcato II. Moderato III. Presto

Adios Nonino

Leonard Bernstein (1918–1990) Astor Piazzolla (1921–1992)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Dr. Cynthia Phillips & Dr. Thomas Martin Additional support by: Dr. Larry & Marcia Lubar

Piazzolla

PRE-CONCERT TALK Hosted by: Brent Stevens Sponsored by: Menicucci Insurance Agency

Peter Soave bandoneón

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

The Three-Cornered Hat

Manuel de Falla (1876–1946)

ACT I

Introducción (Introduction) La Tarde (Afternoon) Danza de la molinera (Fandango) (Dance of the Miller’s Wife) Las uvas (The Grapes) ACT II

Danza de los vecinos (Seguidillas) (Dance of the Neighbors) Danza del molinero (Farruca) (Dance of the Miller) Danza del corregidor (Dance of the Magistrate) Danza final (Jota) (Final Dance) Catalina Cuervo soprano

The New Mexico Philharmonic

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NMPHIL

Sound Card

STUDENT MEMBERSHIP

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

Unlimited Concerts

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PER SEASON VALID 9/2018— 8/2019

Access to the Best Seats

Bring a Friend Free

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

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Saturday, March 16, 2019, 2 & 6 p.m. The New Mexico Ballet Company joins your NMPhil in this tale of outcasts, love, and the power of obsession. The exiled Phantom hides a romantic heart and a sensitive soul. Driven by hopeless love, he becomes a specter in a sinister world of his own creation. Fantastic choreography, lush costumes, and an eerie mix of light and shadows perfectly create a world where a love triangle reveals an unforgettable story in music and dance. Conducted by David Felberg. Popejoy Hall / 203 Cornell Dr NE / Albuquerque, NM 87106 ADVANCE TICKETS

(505) 925-5858 nmphil.org


CONCERT PROGRAM .

A World of Dance & Song

NOV

Saturday, November 17, 2018, 6 p.m. Grant Cooper conductor Carlos Menchaca flamenco dance Madison Olguin flamenco dancer Eva Garlez tango dancer Pablo Rodriguez tango dancer Coleman Academy of Irish Dance Enchantment Awards Singers The Young Musician Initiative Chamber Ensemble & Chorus

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New Mexico Ballet Company Dancers / Amadeus Hernandez, Amanda Rohr, Chris Bornet, Kelly Ruggiero, Kira Petersen, Natalia Harris, Robbie Rodriguez, Sarita Cavazos, Tracy Ritter-Golson Choreographers / Edward R Truitt, Jaclyn Younger, Kelly Ruggiero, Natalie Harris

Phantom of the Opera

Popejoy Hall

Webber arr. Custer

Ritual Fire Dance

Falla Cooper

Tango Blanc Selections from Pippin

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

Schwartz arr. Daczynski Saint-Saëns

Danse Bacchanale

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

“Somewhere” Lord of the Dance Russian Sailors’ Dance

Bernstein choral arr. Huff/orchestra arr. Longfield Hardiman arr. Moore Glière

Tango Rouge

Cooper

On the Appalachian Trail

Cooper

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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.


CONCERT PROGRAM .

Liberty, Love, & The Firebird

Saturday, December 8, 2018, 6 p.m. / 5 p.m. Pre-Concert Talk Roberto Minczuk Music Director Jennifer Frautschi violin

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Popejoy Hall

Variations on Wake Up, Romanian!

George Enescu/Cornel Țăranu (1881–1995)/(b. 1934)

Serenade (after Plato’s Symposium) I. Phaedrus: Pausanias II. Aristophanes III. Eryximachus, the doctor IV. Agathon V. Socrates: Alcibiades

Leonard Bernstein (1918–1990)

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

PRE-CONCERT TALK Hosted by: Brent Stevens Sponsored by: Menicucci Insurance Agency

Jennifer Frautschi violin

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

Prelude to the Afternoon of a Faun Claude Debussy (1862–1918)

Suite from The Firebird (1919) I. Introduction–The Firebird and its dance–The Firebird’s variation II. The Princesses’ Khorovod (Rondo, round dance) III. Infernal dance of King Kashchei IV. Berceuse (Lullaby) V. Finale

The New Mexico Philharmonic

Igor Stravinsky (1882–1971)

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AN OPEN HOUSE

Challenging Education

WE INVITE YOU TO ENGAGE MORE DEEPLY WITH THE ORCHESTRA AND ITS MUSICIANS.

See for yourself how Bosque School can benefit your child.

FOR OPEN MINDS

SPONSOR A MUSICIAN George & Sibilla Boerigter CONCERTMASTER SPONSOR

B O S Q U E I N F O R M AT I O N N I G H T Thursday, Jan. 17, 2019; 6:30 pm 4000 Bosque School Rd NW Albuquerque (505) 898-6388

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

SPONSOR TODAY

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PROGRAM NOTES .

Program Notes Charles Greenwell

Leonard Bernstein

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

Slava! A Political Overture for Orchestra

Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 3 saxophones, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, piano, electric guitar, and strings. Approximately 5 minutes.

Leonard Bernstein met cellist/conductor Mstislav Rostropovich during a State Department-sponsored tour to Russia with the New York Philharmonic in 1959, and from that meeting developed a long and productive friendship. This short but vibrant work was dedicated to Rostropovich and represents something of an inside joke between the two musicians. The work was written in 1977 when the famous Russian had just assumed the post of music director of the National Symphony Orchestra in Washington, D.C. Early in that first season, he asked Bernstein to provide three works for a concert, and from that request came Three Meditations from Mass, Songfest, and the present work that was finished so close to the concert date that it had to be listed as an insert into the program book. The premiere took place on October 11 of that year. “Slava” is a common nickname for any Russian man whose name contains the syllable “slav,” and Rostropovich was known by this to his friends, family, and colleagues. The word “slava” also means “glory” in Russian. Slava! is meant to evoke the energy of old-school electioneering and of candidates inspiring crowds with optimistic speeches from starspangled platforms. The overture’s two main themes are taken from 1600 Pennsylvania Avenue, Bernstein’s last original Broadway score that was a failure, running for only seven performances. Midway into the work, a prerecorded tape of political speeches plays over an orchestral vamp. Near the end of the work, the two themes are combined with a quotation from the Coronation Scene of Mussorgsky’s opera Boris Godunov, in which the chorus sings the Russian word “slava.” In Bernstein’s Slava! the word is chanted by members of the orchestra. In this way, of course, Bernstein is paying an extra four-bar homage to his dear friend and colleague. ●

“Slava” also means “glory” in Russian. [It] is meant to evoke […] inspiring crowds with optimistic speeches from star-spangled platforms. In Bernstein’s Slava! the word is chanted by members of the orchestra. Astor Piazzolla

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

Bandoneón Concerto, “Aconcagua”

Scored for solo bandoneón (or accordion), percussion, harp, piano, and strings. Approximately 22 minutes.

Adios Nonino

Scored for solo bandoneón, flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, timpani, xylophone, güiro, bass drum, harp, piano, and strings Approximately 9 minutes.

Astor Pantaleon Piazzolla was an Argentine composer, arranger, and virtuoso on the bandoneón, an Argentine type of accordion that has buttons instead of keys. His works changed the traditional tango into a new style called nuevo tango (new tango) that incorporated elements of jazz and classical music. Although in our time, his name has become virtually synonymous with the tango, Piazzolla certainly did not create the dance, but elevated it to new heights and in the process placed it firmly in both the dance halls and concert halls of the world. In this regard he was able, through the force and compelling qualities of his works, to transform a very popular idiom into a new and sophisticated form of music. Although he was imbued with the folk elements of his native Argentina and other Latin-American cultures, he was able to study with the legendary Nadia Boulanger in Paris, whose influence can be heard in the unusual harmonies and rhythms in his tangos and other works. By the time Piazzolla got to it, the tango already had been filtered through

European, African, and Cuban influences, and had arisen in the slums of Buenos Aires in the late 19th century. The dance itself is characterized by almost violent movements along with abrupt rhythmic and dynamic contrasts, and the sung tango lyrics are emotional, sentimental, and often very dark and negative. Piazzolla eventually became so enamored of the tango that he destroyed almost all of his early compositions and devoted the rest of his life to writing works with that rhythm as their basis. He developed this process to a point where it is often difficult to recognize the dance in his most complex and sophisticated works. Until comparatively recently, his music was not widely known outside of South America, but now his works are very popular and played all over the world. This Bandoneón Concerto was commissioned by the Banco de la Provincia de Buenos Aires, and was first performed in December of 1979 in that city with Piazzolla as the soloist. After his death in 1992, his agent and publisher gave the work the nickname of “Aconcagua,” the name of the highest peak in the Andes Mountains, and by inference, the highest peak of Piazzolla’s entire output. The accompanying ensemble excludes winds and brass, which serves to intensify the presence of the soloist. It is in the three movements of a classical concerto and is based on the milonga, a ballroom dance and forerunner of the tango, which originated in the Rio de la Plata region of Argentina and Uruguay, and evolved from a fusion of the Cuban habanera, the polka, and the Brazilian macumba. There are elements of the tango all through the concerto: a melancholy alternation between major and minor, very extreme and disjointed continued on 12

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PROGRAM NOTES . continued from 11 articulation, expressive solo lines, and a pensive way of subtly changing the tempo. The first movement begins with strong, syncopated rhythms that blend into a lyrical middle section featuring two cadenzas for the soloist. The middle movement is slow and dreamy and builds to a passionate climax. After beginning in a whirlwind of fast, exciting music, the finale—like the first movement—slows down into a reflective section, then builds to a shattering climax over very strong and heavy rhythms. In 1959, Piazzolla was on a tour of Central America when he received the news that his father had died from injuries sustained in a bicycle accident in his hometown of Mar de Plata. This news, coupled with the failure of the tour, economic problems, and homesickness, put Piazzolla into a severe depression. Returning to his temporary home in New York in October, he wrote this lovely and touching work as a tribute to and celebration of his father’s life. “Nonino” was the affectionate name that Piazzolla used for his father, and this was based on an earlier tango called Nonino that he had composed five years earlier in Paris. Adios Nonino, with its strong sense of nostalgia, has since become one of the composer’s most popular and frequently performed works. ●

Manuel de Falla

Born November 23, 1876, in Cadiz, Spain Died November 14, 1946, in Alta Gracia, Argentina

The Three-Cornered Hat

Scored for 2 flutes, piccolo, 2 flutes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano, celesta, and strings. Approximately 38 minutes.

Falla is by general acclaim the greatest Spanish composer of the 20th century, and along with his contemporaries Albeniz and Granados, was one of the first Spanish composers in almost 300 years to win international acclaim. His music was greatly influenced by Debussy and Ravel (who in turn were both fascinated by all things Spanish), but at its core was strongly tied to Spanish folk music, and so completely did he absorb the character and spirit of that music that his own themes can sound like folk originals. What he created was entirely new, but not revolutionary, and his oftenastonishing originality came from an emphasis on substance over technique. Because of this, his music has shown both remarkable durability and a high ranking in public esteem.

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As a teenager, Manuel de Falla y Matheu wanted to become a writer, but by the time he was 20, music became his consuming passion. His early piano studies gave him a solid grounding, and he advanced rapidly through academic instruction, graduating from the Madrid Conservatory in 1899 with a first prize in piano and a thorough education in harmony, counterpoint, and composition. He then tried unsuccessfully to make a living by composing serious music and playing the piano, and turned instead to writing zarzuelas, the regional Spanish equivalent of operettas. He composed six, but only one ever reached the stage, and this did not advance his career. Then in 1905, he won a major prize for his first real opera, La vida breve (Life Is Short), but when plans to produce it came to naught, he realized that Spain was simply too far out of the musical mainstream, and so two years

one of Falla’s finest and most successful works later he moved to Paris, where he would remain for the next seven years. Working closely with Dukas, Debussy, and Ravel, he refined his impressionistic leanings without sacrificing the Spanish element that was his real inspiration. He produced more stage works rich in Spanish flavor, among them El amor brujo (Love the Sorcerer) in 1915, and then the following year came his first major symphonic work for piano and orchestra entitled Nights in the Gardens of Spain. While World War I was in progress, Falla wrote a pantomime ballet called El Corregidor y la molinera (The Magistrate and the Miller’s Wife), based on a novella by the Spanish writer Pedro de Alarcon (1833–1891) called El sombrero de tres picos (The Three-Cornered Hat). The work was scored for a small chamber orchestra and was first performed in Madrid in 1917. The famous Russian impresario Sergei Diaghilev was in town at the time and was so captivated by the work

that he attended several performances. He then asked Falla to expand the pantomime into a full-length ballet for his eight-year-old Ballets Russes de Monte Carlo, feeling that it would become a perfect vehicle for his company. This required a good deal of work on Falla’s part in creating some entirely new numbers and expanding the orchestration to full symphonic proportions. The ballet was originally scheduled for 1917, but had to be postponed until the war had ended. When it finally was premiered in London in 1919, it was an extraordinary event, with Picasso as the designer of the sets and costumes and choreography by Leonide Massine, who wound up taking over the role of the miller, which, by all accounts, he danced brilliantly. Diaghilev wanted Falla to conduct the production, but after one rehearsal he realized he was not up to the task, and so the responsibility for the musical direction went to the fine Swiss conductor Ernest Ansermet, who had been working with the dance troupe since 1915. The warmth, color, and Spanish flavor of Falla’s music made the ballet one of his finest and most successful works, and it became the last big international success of Diaghilev’s company. Within a few months of its premiere, the ballet had earned the status of a classic, worthy of taking its place in the ballet repertory alongside such great works as Petrushka and Daphnis and Chloe. The story is about a lecherous Corregidor (a provincial Spanish governor who wears a three-cornered hat as an emblem of his office) who has a local miller arrested so he can flirt with his lovely wife. The oafish but persistent official is thwarted at every turn, even mistakenly arrested by his own constables, and gets his well-deserved comeuppance at the end by being tossed in a blanket amidst general merriment. ●

George Enescu (Cornel Țăranu) Born August 19, 1881, in Liveni-Virnav (now George Enescu), Romania Died May 4, 1955, in Paris, France

Variations on Wake Up, Romanian!

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, and strings Approximately 8 minutes.

Since the end of World War II, many of the leading composers of Eastern Europe have become part of the standard concert


PROGRAM NOTES .

repertory, but people such as Szymanowski, Bartók, and Janáček, despite the relative popularity of their works, are still identified with their national backgrounds. There are as well two composers from that part of Europe who have suffered undue neglect because their music does not easily fit into a nationalist framework, and they are the Hungarian Ernst von Dohnanyi and the Romanian George Enescu. Both were prodigies, Dohnanyi as a pianist and Enescu as a violinist, and both were trained at the Vienna Conservatory where Brahms’s influence was particularly strong. Moreover, both went on to have successful international careers as performers and both contributed greatly to concert life and musical culture in their respective countries. Enescu, however, went on to study in Paris, where he was influenced strongly by French masters and culture, there having been a strong linguistic connection between Romania and France. He was a brilliant and unique violinist as well as a great violin teacher who managed to integrate the French violin tradition with that of central Europe, his sound and interpretive mastery differing greatly from those of the Russian tradition and the German tradition. In spite of this, Enescu considered himself primarily a composer, but sadly, most of his music is neglected today outside of Romania. This is ironic, because his compositions cannot be classified as specifically Romanian in style, but rather as a unique combination of the traditions that he absorbed, namely French, German, and Romanian. He was also a fine conductor who made his American debut in January of 1923 with the Philadelphia Orchestra, and in

1936 was strongly considered as a possible replacement for Arturo Toscanini with the New York Philharmonic. Pablo Casals once called Enescu “the greatest musical phenomenon since Mozart,” and his most famous violin pupil Jascha Heifetz said, “He will remain for me the absoluteness through which I judge all others, and was the most extraordinary human being, the greatest musician, and the most formative influence I ever experienced.” In short, George Enescu— violinist, pianist, composer, conductor, and teacher—was one of the most prodigiously gifted musicians of the 20th century. The work on which this set of variations is based is now considered the national anthem of Romania. It was written and published during the 1848 revolution, initially with the name An Echo. It was first sung in June of that year, and was immediately accepted as the revolutionary anthem with its name changed to Wake Up, Romanian! Since that time, this song that holds a powerful message of liberty and patriotism has been sung during all major Romanian conflicts, including the 1989 anti-Ceausist revolution. Following that revolution, it officially became the country’s national anthem, replacing the communist-era anthem “Three Colors.” Ever since the time of its composition, the song has endured as a patriotic favorite and has been used during various historical events, among them Romania’s declaration of independence from the Ottoman Empire during the Russo-Turkish War (1877-78), and during World War I. The song was heard constantly on the radio following the state coup of August 1944, when Romania switched allegiance, turning against Nazi

“He will remain for me the absoluteness through which I judge all others, and was the most extraordinary human being, the greatest musician, and the most formative influence I ever experienced.” —Jascha Heifetz

Germany and joining the Allies during the global conflict. When the communists seized power in December 1947, this and other patriotic songs were outlawed because of their connection with the previous regime. Ceausescu’s government permitted the song to be sung and played in public, but it was not officially recognized as the country’s national anthem. This work appears to be the creation of Cornel Țăranu, a distinguished Romanian composer, conductor, and teacher, born in 1934. It is taken from part of Enescu’s Romanian Suite, an early but unfinished work, written in Paris in December of 1896, which Țăranu found in manuscript in the George Enescu National Museum a number of years ago. The Museum is located in the Cantacuzino Palace in Bucharest, one of the most beautiful of the historic buildings in the Romanian capitol. In professor Țăranu’s words, “This is an unfinished project, with the exception of the first part. I complemented it with two variations from a previous version, thus restoring the musical score of the current National Anthem in George Enescu’s vision.” ●

Leonard Bernstein

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

Serenade (after Plato’s Symposium)

Scored for solo violin, timpani, percussion, harp, and strings. Approximately 31 minutes.

In June of 1951, just after the death of Serge Koussevitsky, Bernstein was commissioned by the Koussevitsky Music Foundation to write an orchestral work in whatever form he deemed appropriate. He had been reading Plato earlier that year, but did not begin to compose the work— which he originally called a concerto—until 1953, and when exactly he decided to base it on The Symposium is unclear. The work was given its premiere in Venice, Italy, in September of 1954 with Isaac Stern as soloist and the composer conducting the Israel Philharmonic. The Symposium is a philosophical tract by the Greek writer Plato, dating from the end of the 4th century B.C. It is about the origins, nature, and purpose of love, and is considered to be the basis of the concept of Platonic love. In it, love is examined from many aspects by a group of men attending a symposium (literally, a drinking party), during which continued on 14

The New Mexico Philharmonic

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PROGRAM NOTES . continued from 13 each man is required to give a speech in praise of Love (Eros in Greek). Near the end of the gathering, Socrates states that the highest purpose of love is to make men lovers of wisdom. Throughout his life, Bernstein was concerned with understanding and strengthening the emotional ties that connect us, and once said, “I feel, love, need, and respect people above all else … I believe in man’s unconscious, the deep spring from which comes his power to communicate and love.” He also described this work, in a set of notes written just after the score was completed, as follows: “There is no literal program for this Serenade. The music, like Plato’s dialogue, is a series of related statements in praise of love. The relatedness of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements of the preceding one.” There are seven participants in the original, but Bernstein has telescoped this somewhat by portraying two of them together in the first and last movements, and has provided the listener with this guide to their contents, here slightly abbreviated and paraphrased. I. Phaedrus; Pausanias. Phaedrus begins the symposium with a lyrical oration in praise of Eros, the god of Love. Pausanias continues by describing the duality of the lover as compared with the beloved. II. Aristophanes. Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime storyteller, invoking the fairy-tale mythology of love. The atmosphere is one of quiet charm. III. Erixymathus. The physician speaks of bodily harmony as a scientific model for the workings of love patterns. This is an extremely short scherzo, born of a blend of mystery and humor. IV. Agathon. Perhaps the most moving and famous speech of the dialogue, Agathon’s words in high praise of love embrace all aspects of love’s powers, charms, and functions. This is a simple three-part song. V. Socrates; Alcibiades. Love as a demon is Socrates’s image for the profundity of love, and his seniority adds to the feeling of sobriety in an otherwise pleasant and friendly after-dinner discussion. The famous interruption by Alcibiades and his band of drunken revelers ushers in the final fast section that ranges from agitation through jig-like dance music to joyful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic 14

2018/19 Season / Volume 8 / No. 2

“I feel, love, need, and respect people above all else … I believe in man’s unconscious, the deep spring from which comes his power to communicate and love.” —Leonard Bernstein

Greek party music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party. ●

Claude Debussy

Born August 22, 1862, in St. Germain-en-Laye, France Died March 25, 1918, in Paris, France

Prelude to the Afternoon of a Faun

Scored for 3 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, percussion, 2 harps, and strings. Approximately 10 minutes.

Debussy, like Beethoven and Wagner before him and Stravinsky after him, was one of a handful of composers who single-handedly changed the direction of Western music. In the case of Debussy, this was accomplished with a 10-minute piece of music called Prelude to the Afternoon of a Faun. This, the first of his significant works for orchestra, was composed between 1892 and 1894, and first performed in Paris as 1894 was drawing to a close. The composer was 32 at the time, and the impact it had on the world of music was enormous: nothing even remotely like it had existed before, and the unaccompanied flute that begins the work simply blew away decades of German Romanticism and the heavy and turgid accumulations that had grown around it. The way in which Debussy handled the musical materials was strikingly new: Themes are stated without development, sometimes blending into other themes or simply vanishing; the phrases are neither symmetrical nor ever exactly the same; the harmonic structure is constantly changing; and the tonality is ambiguous throughout. Nevertheless, the work is utterly coherent and convincing on its own terms. The work was inspired by the pastoral eclogue entitled The Afternoon of a Faun by the French

poet Stephane Mallarmé, was originally conceived as a three-part work with the titles Prelude, Interludes, and Final Paraphrase for The Afternoon of a Faun, and it is possible that the original idea was for the music to be an accompaniment to a reading of the poem. Whatever the case, only the Prelude was ever developed, and Debussy let it stand on its own as a work in which the languorous and atmospheric character of the poetry was fully reflected. The poem is virtually impossible to translate, but it essentially concerns a faun—half man, half goat—and his erotic dreams or memories (he cannot tell which) of a hot summer day and a group of seductive nymphs. In 1912, the work received perhaps its ultimate expression when it was used as the basis of a sensational and scandalous ballet by Sergei Diaghilev’s Ballets Russes in Paris, in which the character of the faun was danced in extraordinarily suggestive form by the legendary Vaslav Nijinsky. ●

Igor Stravinsky

Born June 17, 1882, in Oranienbaum, Russia Died April 6, 1971, in New York, NY

Suite from The Firebird (1919) Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, piano/ celesta, and strings. Approximately 22 minutes.

Even before he died in 1971, Stravinsky was already being referred to by his peers as the greatest composer of the 20th century. No other composer of his day was as prolific as he was, nor could anyone else claim to have had so many works in the international repertoire. His stature was particularly high in the field of the ballet, forging as he did a unique and unforgettable legacy first with Sergei Diaghilev and then with George Balanchine. As Balanchine so beautifully


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put it after the composer’s death, “After Stravinsky, we are not the same as before him. In the ballet, it is not enough to see shapes, you must also hear sounds, and Stravinsky helped to shape ballet as it is today.” It is also true to say that the whole course of music in the 20th century would not have been the same without Diaghilev’s artistic genius and uncanny ability to discern potential greatness in all areas of the arts, and the extraordinary Russian impresario’s judgment was never more acute than with Stravinsky. In 1908, Diaghilev attended a concert in St. Petersburg that included an orchestral work entitled Fireworks by the then unknown 26-year-old Stravinsky. Diaghilev was tremendously impressed not just with the colorful sonorities in the work but also with its inherent balletic possibilities, and on the spot asked the young man to help orchestrate some pieces for the 1909 season of the Ballets Russes in Paris. The success of this venture led in rapid succession to The Firebird, Petrushka, and The Rite of Spring, the three ballets that catapulted Stravinsky into international fame just before World War I. The Firebird was written for the 1910 Paris season of Diaghilev’s Ballet Russes, and was based on Russian folk tales about the magical, glowing bird that can be both a blessing and a curse to its owner. When it was premiered in June of that year it was an instant hit with both audiences and critics, and marked the first of the Ballets Russes productions to have an all-original score written for it. At one of the final rehearsals, Diaghilev was standing with Tamara Karsavina, the original Firebird, and as Stravinsky entered the orchestra pit, he said to her, “Mark him well. He is a man on the eve of celebrity.” Strange though it may seem, Stravinsky

was actually not Diaghilev’s first choice to write the music for this new ballet. Among the original candidates were Alexander Tcherepnin, Anatoly Lyadov, and Alexander Glazunov, but when all of them turned down the commission, Diaghilev turned to his young protégé. The Firebird legend had been discussed as a possible ballet subject in 1909 by Diaghilev and his staff, and Mikhail Fokine, who was to create the choreography and dance the role of Prince Ivan, created a scenario that combined several Russian fairy tales, including an unrelated one about an evil sorcerer named Kashchei the Immortal. The Firebird was the last work Stravinsky wrote before leaving Russia, and the last that was created and nurtured entirely within the Russian tradition. Stravinsky dedicated the score to his teacher and dear friend Nikolai Rimsky-Korsakov, whose musical influence can be felt in the brilliance and striking colors of the orchestration. In any case, the 28-yearold Stravinsky showed astonishing mastery of the orchestra, handling what he later referred to as a “wastefully large” orchestra with uncommon skill. Because of this, at the first rehearsals Stravinsky had to explain the music to the bewildered musicians, and the unfamiliar sonorities were so new and unexpected that they challenged the dancers right to the limit, many of them missing their entrances until they got accustomed to the unusual sounds. The story of The Firebird deals with the interaction of humans with two supernatural beings, the magic Firebird, who is like a good fairy, and the evil sorcerer Kashchei, a vicious ogre who can only be killed by destroying his soul and who is held in a casket in the form of an egg. The young prince Ivan wanders into Kashchei’s realm in pursuit of the Firebird. When he captures her, she begs to be released

“After Stravinsky, we are not the same as before him. In the ballet, it is not enough to see shapes, you must also hear sounds, and Stravinsky helped to shape ballet as it is today.”

and gives him one of her feathers whose magic will protect him from harm. He next meets 13 princesses, all under Kashchei’s evil spell, and falls in love with one of them. When he tries to follow them into the magic garden, a great carillon sounds an alarm and he is captured. As Kashchei tries to turn Ivan to stone, the prince brings out the magic feather and the Firebird appears. She dances a lullaby that puts the evil one to sleep, and then reveals the secret of his immortality. Ivan opens the casket and smashes the egg, and Kashchei dies. The captive princesses are freed from their spell, and, as the ballet comes to its triumphant conclusion, Ivan and his beloved princess are married. ●

The “Somewhere” Project

El Sistema USA is organizing a collaborative video project with Member programs nationwide who are performing the “Somewhere” repertoire gifted to El Sistema USA by Jamie Bernstein.

A Message from Jamie Bernstein: August 25, 2018, is the 100th birthday commemoration of my father, the composer and conductor Leonard Bernstein. In honor of his lifelong devotion to sharing the joy of music with young people, and to continue my own enthusiastic support of youth ensembles for social change in the U.S., I’ve cooked up a birthday present to my dad, which is also a present to our country’s young musicians, and their audiences. In collaboration with El Sistema USA, the Leonard Bernstein Office and Hal Leonard developed a special arrangement of the song “Somewhere” from my father’s beloved musical, West Side Story — offered at no cost to every Sistema-inspired youth ensemble and chorus across the country. The upwardreaching intervals in this anthemic song, combined with Stephen Sondheim’s stirring lyrics, together express our deepest longing for a world in which all its peoples live together in harmony, safety, and peace. No song could be more appropriate for El Sistema-inspired ensembles, with their passion for social justice. With all my best wishes to our young musicians across the country. ●

—George Balanchine

The New Mexico Philharmonic

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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 16

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Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s US tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco. Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival. Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone award of excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin Grammy in 2004 and was nominated for an American Grammy in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin, and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prize-winner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album.

Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin 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. ●

Peter Soave bandoneón Recognized worldwide as the foremost master of the bandoneón and concert accordion, Peter Soave has established himself as the leading soloist of his generation. The hallmark


ARTISTS .

of his performances is his unique combination of commanding stage presence and the excitement of his vibrant virtuosity. Of Italian descent, Peter Soave’s earliest memories are of music played on an accordion. By age three, he was certain of his life’s work. He began music studies at five, and quickly gravitated toward classical music. At 16, he entered international competitions and swept first place four times, confirming his reputation as a virtuoso of the highest order—winning Grand Prix in Neu Isenberg, West Germany; Klingenthal Wettbewerb in East Germany; Coupe Mondiale in Folkstone, England; and the Trophée Mondiale in Arrezano, Italy. In 1987, Peter Soave was the inaugural recipient of “Voce d’Oro,” the international award honoring those who have given prominence to the accordion in the world of modern music. Deeply inspired by the music of Argentinean composer Astor Piazzolla, Mr. Soave’s impassioned musicianship motivated him to include the characteristic bandoneón in his performances. Mr. Soave’s engagements include performances as a soloist and with orchestras and chamber ensembles throughout North and South America, Asia, the Middle East, Europe, and Russia. He has appeared with the San Francisco Symphony, the Hollywood Bowl Orchestra, the Detroit Symphony, Phoenix Symphony, Brooklyn Philharmonic, Zagreb Philharmonic, Windsor Symphony, Flint Symphony, San Salvador Philharmonic, Belgrade Philharmonic, Lubbock Symphony, Bellevue Philharmonic, Walla Walla Symphony, Orquesta Sinfónica de Puerto Rico, Williamsport Symphony, Orquesta Sinfónica Gran Mariscal de Ayacucho, and The Zagreb Soloists. Mr. Soave collaborated with conductors such as James Levine, Neeme Jarvi, Thomas Wilkins, Robert Spano, Leone Mageira, Hermann Michael, Duilio Dobrin, and Guillermo Figueroa. For the only North America appearance in 1999 of the “Three Tenors,” Soave performed as the featured bandoneónist. He has also appeared on ABC’s Good Morning America. In 2007, Soave premiered Astor Piazzolla’s oratorio El Pueblo Joven, written for symphony orchestra, voice recitative, soprano, bandoneón, choir, and percussion, with the Radio Romania Chamber Orchestra, Romania. Mr. Soave has had numerous compositions written for him by Venezuela’s foremost composer Aldemaro Romero. Among the works: Piazzollana-Homage à Piazzolla for

bandoneón and full orchestra; Suite de Castelfidardo for bandoneón and string orchestra; Soavecito for accordion and string orchestra; and Tango Furioso for bandoneón and string quartet. Romero’s Five Paleontological Mysteries, for accordion and string quartet, received its American premiere in Detroit in February 2008 and its European premiere in Italy in July 2008. Mr. Soave’s discography includes a solo album Pride and Passion, Five Tango Sensations with The Rucner String Quartet, a double CD Undertango 2, and Peter Soave & Symphony Orchestra, featuring the music of Astor Piazzolla and Carmine Coppola. His recording awards include the Detroit Music Award for Best Classical Recording in 2001 and Best Classical Instrumentalist in 2003. Eager to harmonize nature and music, Soave founded the Peter Soave Music Academy (petersoavemusicacademy.com) in the Dolomite Mountains in Italy in 2010, welcoming music lovers to convene and share. Mr. Soave plays a “Mythos #002” concert accordion and an “Adrian #001” bandoneón, made by Pigini in Italy. ●

Cincinnati Opera for their 2017 season. This opera gave her a huge following in the Michigan and Cincinnati and both ended with sold-out shows and triumphant reviews, one even calling Frida the best opera of the 2015 season. As a result, Catalina was named one of the five most successful Colombian sopranos in the opera world by the Ministry of Culture of Colombia.  2017 was the year of Manuel de Falla for Ms. Cuervo: Last May, she made her symphonic debut with the Detroit Symphony Orchestra in The Three-Cornered Hat, and she debuted El amor brujo with the New Mexico Philharmonic, the Atlanta Symphony, and the San Louis Symphony. Ms. Cuervo was a finalist at the Neue Stimmen International Singing Competition in Germany and won the graduate division of the Chicago area for the Classical Singer Competition as well as being a finalist in New York for the same.  Besides singing, Catalina Cuervo is also a model and a flamenco, tango, and belly dancer.  ●

Catalina Cuervo soprano Known as the “Fiery Soprano,” Colombianborn Catalina Cuervo holds the distinction of having performed the most productions of Piazzolla’s María de Buenos Aires. She has performed the role of María for numerous prestigious companies, including Florida Grand Opera, the Atlanta Opera, Cincinnati Opera, and Syracuse Opera to name a few. Ms. Cuervo made her debut in Detroit with much success as Frida Kahlo in the revival of the opera Frida with Michigan Opera Theater in 2015 and then with

Grant Cooper conductor Grant Cooper, Artistic Director and Conductor of the West Virginia Symphony Orchestra, was named to the position in March 2001 and officially began his duties as the ninth conductor in the WVSO’s history on July 1, 2001. From 1997–2007, Mr. Cooper served as Resident Conductor of the Syracuse Symphony, where he gave over 600 performances with that orchestra, appearing to critical acclaim on all the major series. Mr. Cooper is also Artistic Director of the Bach and Beyond Festival in Fredonia, New York. continued on 18

The New Mexico Philharmonic

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ARTISTS . continued from 17 Mr. Cooper was born in Wellington, New Zealand, the son of a professional opera singer. He sang and acted in his first opera at age four and studied piano and music theory prior to college. After completing his degree in Pure Mathematics at the University of Auckland, his performing career took him to many of the major concert halls of the world, from Beijing to London. Following a performance at the Henry A. Wood Promenade Concerts at the Royal Albert Hall under conductor Claudio Abbado, Mr. Cooper was invited by Maestro Abbado to join the orchestra of La Scala as solo trumpet. Instead, Mr. Cooper accepted a fellowship from the Queen Elizabeth II Arts Council for study with Bernard Adelstein and Gerard Schwarz in the United States. This, in turn, led to performances at New York’s Carnegie Hall and at Tanglewood under Arthur Fiedler, where he also performed as principal trumpet under conductors Leonard Bernstein, Seiji Ozawa, and Sir Neville Marriner. Mr. Cooper was guest conductor of the XIVth Commonwealth Games closing ceremonies, appearing with Dame Kiri Te Kanawa as soloist. In Europe, his engagement as guest conductor for the Mozart Wochen of the Heidelberger Schlossfestspiele prompted high critical praise. His appearances with the West Virginia Symphony Orchestra have generated considerable enthusiasm and acclaim across the whole gamut of programs, showing his deep affinity for repertoire of enormous stylistic range. Mr. Cooper’s collaborations with artists such as Hilary Hahn, Midori, Elmar Oliviera, and Deborah Voigt have, similarly, prompted critical praise for his skills as an accompanist. In their March 2009 Pops Concerts, the WVSO premiered Mr. Cooper’s original scores for two Charlie Chaplin films: The Immigrant and Easy Street. Mr. Cooper’s original concert work for soprano and orchestra entitled A Song of Longing, Though..., with poetry by Tom Beal, was premiered by the orchestra in April 2007 and was performed by the Chautauqua Symphony in 2010. Cooper was awarded the National Symphony Orchestra Chamber Music Commission following competitive adjudication as part of the 2010 American Residency program of the NSO. His new work will be premiered at the Kennedy Center in Washington, D.C., in 2012. Mr. Cooper is especially passionate about creating works designed to introduce young audiences to the orchestra, including such works as Rumpelstiltzkin for Narrator and Orchestra, Goldilocks and the Three Bears, 18

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Boyz in the Wood for Coloratura Soprano and Rap Singer, and Song of the Wolf. His educational music is an eclectic blend of modern and established styles with interactive participation of the audience, a compositional style that reflects his belief that orchestral music is a living, vital, and relevant part of our society, able to be appreciated by all. Mr. Cooper has recorded for Delos International, Atoll, Ode, Mark, and Kiwi Pacific recordings. As a conductor, a CD devoted to the premier recordings of the string music of New Zealand composer Douglas Lilburn has been enthusiastically received. Recently, Mr. Cooper released Points in a Changing Circle, featuring himself as trumpet soloist in works by New Zealand composers and a CD featuring three of his own works recorded with the Cayuga Chamber Orchestra on a disc titled Boyz in the Wood. With this, Mr. Cooper has reached the milestone of having CD recordings of him as conductor, performer, and composer, all currently available in the catalogue. Mr. Cooper resides in Charleston with his wife, Margie, and daughters, Jessica and Rachel. ●

Carlos Menchaca flamenco dancer Carlos Menchaca began studying Mexican regional dance, ballet, and flamenco at age 10, primarily with his aunt, accomplished director and dancer Belinda Menchaca, at the Guadalupe Cultural Arts Center in San Antonio, Texas. In 2006, Menchaca moved to Albuquerque, New Mexico, to work with Yjastros: The American Flamenco Repertory Company and to study at the Conservatory of Flamenco Arts under the mentorship and

direction of Joaquin Encinias. Menchaca has studied with innumerable iconic flamenco artists but most recently, his professional engagements have included working with artists such as Pedro Córdoba, Alejandro Granados, Juan Ogalla, Soledad Barrio, Eugenio Iglesias, Emilio Florido, Manuel Gago, Domingo Ortega, Ivan Vargas, and many others. Currently, Menchaca teaches and choreographs for the Conservatory of Flamenco Arts and performs nationally and abroad with Yjastros, Soledad Barrio & Noche Flamenca, Flamenco Aparicio, and La Juerga Flamenco Ensemble, among other companies and collectives throughout the continent. ●

Madison Olguin flamenco dancer Born and raised in Albuquerque, New Mexico, Madison Olguin has studied at the National Institute of Flamenco for six years. A promising young talent, Madison has studied flamenco with the Encinias family, La Popi, Pedro Córdoba, Belen de la Quintana, Adrián Santana, Daniel Doña, Carlos Menchaca, and Kayla Lyall. Currently a senior at Tierra Adentro: The New Mexico School of Art, Academics, and Artesanía, Madison also studies dance at the University of New Mexico and academic classes at Central New Mexico Community College. ●


ARTISTS .

Eva Garlez tango dancer Pablo Rodriguez tango dancer Eva Garlez and Pablo Rodriguez are internationally recognized Argentine tango teachers and performers. Originally from Buenos Aires, Argentina, they have chosen Albuquerque as their home base since 2015, after traveling all over the world in recent years giving seminars and performances. Currently, they continue expanding tango all over the U.S., visiting tango communities and festivals, and sharing their knowledge and charisma. Pablo Rodriguez comes from a family with an extensive musical pedigree; Porteña traditional music is in Pablo’s blood. Because of his infatuation with the dance, Pablo began to seek expertise in recognized milongueros, developing his own personal style of dance and teaching. Eva Garlez’s love of dancing is transmitted as she teaches and performs. She has become an outstanding milonguera, having taught and performed with great milongueros. Her dance is elegant, intuitive, and personal, which enhances the beauty of the dance. They are members of CID (International Dance Council), which is an official partner of UNESCO, the United Nations Educational, Scientific, and Cultural Organization. They provide instruction for all levels of dancers at Bien Milonguero tango school in Albuquerque. bienmilonguero.com.    You can find more about Eva Garlez and Pablo Rodriguez at evaypablo.com. ●

New Mexico Ballet Company In 1972, Suzanne and Sidney Johnston formed the New Mexico Ballet Company. For the past 46 years, NMBC has supported the local arts community by providing the highest-quality productions to New Mexico stages. NMBC has attracted world-renowned guest artists, such as Mikhail Baryshnikov, Susan Jaffe, Natalia Krassovska, Philip Neal, and current stars of American Ballet Theatre and New York City Ballet, all while providing a means for young dancers to launch professional dance careers. Over the past two decades, NMBC was honored with the approval of the George Balanchine Trust and New York City Ballet to perform George Balanchine’s Serenade, Concerto Barocco, Valse Fantaisie, and Tchaikovsky Pas de Deux. Each year, NMBC champions arts in education for New Mexico school children through school shows at local theaters and on-site workshops and performances. These efforts, provide more than 8,400 New Mexico school children access to dance arts annually. ●

The Young Musician Initiative The Young Musician Initiative is the NMPhil’s signature youth outreach, and the first and only El Sistema USA program in the state of New Mexico. YMI imparts life skills and builds character through participation in musical ensembles. For information on how you can support our work, visit youngmusicianinitiative.com. ●

Coleman Academy of Irish Dance Coleman Academy of Irish Dance offers both traditional and contemporary Irish Dance in a family-friendly environment for ages four and up. Our students train for worldwide competition, performance, or just plain fun. Alongside Irish dance choreography, our teachers encourage and teach personal motivation and practice, memory, and motor skills, and overall strengthening to minimize injury.  For information on lessons or performance bookings, please contact irishdancenm@gmail.com or (505) 720-6979. ●

Enchantment Awards Singers The New Mexico High School Musical Theatre Awards, also known as the Enchantment Awards, recognize individual artistry in musical theatre performance and honor teachers and their schools’ commitment to performing arts education. The program presents these talented young continued on 20

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ARTISTS . continued from 19 performers with a unique opportunity to advance their education and careers in musical theatre, all while supporting the inclusion of musical theatre performance in our state’s high schools. The performers singing with us tonight represent award nominees from the past three years and give you an idea of the caliber of performers in our New Mexico high schools. ●

Jennifer Frautschi violin Two-time GRAMMY® nominee and Avery Fisher career grant recipient Jennifer Frautschi has garnered worldwide acclaim as an adventurous musician with a remarkably wide-ranging repertoire. As the Chicago Tribune noted, “Violinist Jennifer Frautschi is molding a career with smart interpretations of both warhorses and rarities.” Equally at home in the classic and contemporary repertoire, her recent seasons have featured innumerable performances and recordings of works ranging from Brahms and Schumann to Berg and Schoenberg. She has also had the privilege of premiering several new works composed for her by prominent composers of today. Ms. Frautschi has appeared as soloist with Pierre Boulez and the Los Angeles Philharmonic, Christoph Eschenbach and the Chicago Symphony Orchestra at the Ravinia Festival, and at Wigmore Hall and Lincoln Center’s Mostly Mozart Festival. Selected by Carnegie Hall for its Distinctive Debuts series, she made her New York recital debut in 2004. As part of the European Concert Hall Organization’s Rising Stars series, Ms. Frautschi also made debuts that year at 10 of Europe’s most celebrated concert venues, including the Salzburg Mozarteum, Vienna Konzerthaus, Amsterdam Concertgebouw,

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La Cité de la Musique in Paris, and Brussels’s Théâtre Royal de la Monnaie. She has also been heard in recital at the Ravinia Festival, La Jolla Chamber Music Society, Washington’s Phillips Collection, Boston’s Gardner Museum, Beijing’s Imperial Garden, Monnaie Opera in Brussels, La Chaux des Fonds in Switzerland, and San Miguel de Allende Festival in Mexico. Recent seasons include the world premiere of James Stephenson’s Violin Concerto, a piece written for her, with the Minnesota Orchestra and Osmo Vänskä; the Barber Violin Concerto with the orchestra of the Teatro di San Carlo Opera House in Naples, James Conlon conducting; and performances with the Eugene, Jacksonville, Milwaukee, and Utah Symphonies, and the Buffalo Philharmonic. She has also soloed with the Chamber Orchestra of Philadelphia, Kansas City Symphony, Louisville Orchestra, Orchestra of St. Luke’s, San Diego Symphony, and Seattle Symphony, and toured the United States with the Czech Symphony Orchestra. Ms. Frautschi performs regularly at the Caramoor Center for the Arts, where she has appeared annually since she was first invited by André Previn to play there as a “Rising Star” at the age of 18, during her freshman year at Harvard. As a chamber artist, she appears frequently at the Boston Chamber Music Society, Chamber Music Northwest (in Portland, OR), and the Santa Fe Chamber Music Festival. Formerly a member of Chamber Music Society of Lincoln Center Two, she has also appeared at the Charlottesville, La Jolla Summerfest, La Musica (Sarasota), Moab, Music@Menlo, Newport, Seattle, and Spoleto USA chamber music festivals, as well as at New York’s Metropolitan and Guggenheim Museums of Art, the 92nd Street Y, Philadelphia Chamber Music Society and Mainly Mozart in San Diego. Internationally, she has performed at the Cartagena International Music Festival in Columbia, the Spoleto Festival of the Two Worlds and Rome Chamber Music Festival in Italy, Pharo’s Trust in Cyprus, Kutna Hora Festival in the Czech Republic, St. Barth’s Music Festival in the French West Indies, and toured England with musicians from Prussia Cove, culminating in a concert in London’s Wigmore Hall. She has premiered important new works by Barbara White, Mason Bates, Oliver Knussen, Krzysztof Penderecki, Michael Hersch, and others, and has appeared at New York’s George Crumb Festival and Stefan Wolpe Centenary Concerts.

Her discography includes three widely praised CDs for Artek: an orchestral recording of the Prokofiev concerti with Gerard Schwarz and the Seattle Symphony, and highly acclaimed discs of music of Ravel and Stravinsky, and of 20th-century works for solo violin. She has also recorded several discs for Naxos, including the Stravinsky Violin Concerto with the Philharmonia Orchestra of London, conducted by the legendary Robert Craft, and two GRAMMY-nominated recordings with the Fred Sherry Quartet, of Schoenberg’s Concerto for String Quartet and Orchestra (nominated for “Best Instrumental Soloist Performance [with Orchestra]” in 2006) and the Schoenberg Third String Quartet (nominated for “Best Chamber Music Performance” in 2011). Her most recent releases are a recording of Romantic Horn Trios with hornist Eric Ruske and pianist Stephen Prutsman, and the Stravinsky Duo Concertant with pianist Jeremy Denk. With pianist John Blacklow, she will soon be featured on two releases by Albany Records: one disc devoted to the three sonatas of Robert Schumann, including the rarely performed posthumous sonata; the second an exploration of recent additions to the violin and piano repertoire by contemporary American composers Barbara White, Steven Mackey, and Stephen Hartke. Born in Pasadena, California, Ms. Frautschi began the violin at age three. She was a student of Robert Lipsett at the Colburn School for the Performing Arts in Los Angeles. She also attended Harvard, the New England Conservatory of Music, and The Juilliard School, where she studied with Robert Mann. She performs on a 1722 Antonio Stradivarius violin known as the “ex-Cadiz,” on generous loan to her from a private American foundation. ●


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 Gabriela Da Silva Fogo ++ 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 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 Michael Bustamante Thomas Domme JP Espinoza Jeffrey Romero Rachael Speegle Al Stotts 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 Mary Montaño Grants Manager Joan Olkowski Design & Marketing

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

The New Mexico Philharmonic

Lori Newman Editor Sara Tutland Ensemble Visits Coordinator

nmphil.org

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DONOR CIRCLES .

Donor Circles Thank You for Joining a Circle

BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation Lee Blaugrund City of Albuquerque Karen McKinnon

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

George & Sibilla Boerigter The Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Howard A. Jenkins 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 McCune Charitable Foundation John Moore & Associates, Inc. Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings The Honorable & Mrs. James A. Parker Cynthia Phillips & Thomas Martin Sandia Foundation, Hugh & Helen Woodward Fund Patricia & George Thomas, in memory of William Ambrose & Clarence Shaw 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 Scalo Northern Italian Grill, Steve Paternoster

22

The Schmidt-Nowara Family, in memory of Christopher Schmidt-Nowara Melissa & Al Stotts Richard VanDongen The Verdes Foundation Wells Fargo

CHOPIN CIRCLE Donation of $3500–$4999

Anonymous William E. Cates Bob & Fran Fosnaugh Eiichi Fukushima & Alice Hannon Cynthia & Thomas Gaiser Tanner & David Gay Jonathan & Ellin Hewes Keleher & McLeod Tina Kilroy George & Mary Novotny 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 David & Ellen Evans Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Gertrude Frishmuth Roland Gerencer, MD Madeleine Grigg-Damberger & Stan Damberger Chavonne Harroun Stuart Harroun 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 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

2018/19 Season / Volume 8 / No. 2

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 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. Patricia Broyles 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 Nim & Sue Evatt Ron Friederich Helen Fuller GE Foundation Ann Gebhart Dennis & Opal Lee Gill Howard & Janis Gogel Barbara & Berto Gorham Elene & Robert Gusch Steve Hamm & Mary Kurkjian Harris Hartz Stephen & Aida Ramos Heath Dr. Carlton Holte & Sheryl Guterl Martha Hoyt Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Henry Kelly Walter & Allene 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 Stuart & Janice Paster Yukiko Raine Larry & Dorothy Rainosek Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Joan Robins & Denise Wheeler in memory of Sue & Mel Robins Jay Rodman & Wendy Wilkins Albert Seargeant Conrad & Marcella Stahly Miller Stratvert P.A., Ranne Miller PK Strong, in memory of Clare Dreyer Jane & Doug Swift Fund for Art & Education 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 Marlin Kipp Jeffery & Jane Lawrence Rita Leard William & Jennifer Maguire Judith Matteucci Roger & Kathleen McClellan 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 Charles & Susan Palmer David Peterson Norlynn B. Price Dr. Mark Rainosek Christine & Jerry Rancier John & Faye Rogers Ruth Ronan Richard & Pamela Salmon Nancy Scheer Richard & Eileen 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 Folkert Vandergaast 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 Anonymous Anonymous Robert J. & Marilyn R. Antinone Judith & Otto Appenzeller Janice J. Arrott David Baca Mary E. Baca M S & L G 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 Blissful Spirits, Inc. Ann & James Bresson James & Elizabeth Brown


DONOR CIRCLES .

Terry Brownell & Alpha Russell Elaine Burgess Thomas 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 Flying Star Inc. J. Arthur Freed Charles & Judith Gibbon Richard & Anne Gonzales Yvonne Gorbett A. Elizabeth Gordon Peter Gregory Justin M. & Blanche G. Griffin Stanley Griffith Sharon Gross Mina Jane Grothey Stephen Gunn Bennett A. Hammer Janet & William Harrington Joan Harris Rosalie & Leon Heller David & Eileen Hillson Fred Hindel John Homko Carolyn & Hal Hudson Susan Hudson Janet & Vincent Humann Patrick & Elois Hurley Dal & 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

Helen Knoll Asja Kornfeld, MD & Mario Kornfeld, MD Woody & Nandini Kuehn Karen Kupper Rebecca Lee & Daniel Rader William J. Lock Dwayne & Marjorie Longenbaugh Bruce & Leslie Loughridge Frank & Judy Love Betty Louise Lovering Robert Lynn Joanne E. Magalis Robert & Linda Malseed John & Brynn Marchiando Joseph McCanna III Sallie McCarthy Brian & Jane McDonald 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 Paula Mortensen 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 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 Donald Rigali 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 Leigh Schultzberger 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 Karen Soutar 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

FRIENDS OF THE PHILHARMONIC Donation of $25–$124

Natalie Adolphi & Andrew McDowell Richard & Sandra Allen Gerald & Permelia Allgood Steven & Lindi Anderson Judy Andrews Emil Ardelean Ana 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 Paty Carreon Ann Carson Edward Cazzola Joseph Cella Barbara & Roscoe Champion Olinda Chavez, in memory of Beverly Rogoff 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 Sierra Corrin John & Mary Covan Ralph Cover Edward Curtis & Alfred Papillon Rosalie D’Angelo Henry Daise III Nancy Deas Drina & Doug Denham Kurt & Yvonne Deshayes Ronald Detry 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 Reverend Suzanne Ebel 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 Richard Francia 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 Derna Sue Greening Charles Gregory Friends of Marian & Larry Greher 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 Diane Holdridge Kiernan Holliday Bernhard E. Holzapfel Judy & Sam Honegger, in memory of Clare Dreyer Elizabeth Hoobler Nancy Kay Horton Constance & James Houle Charles Hunter Michael Hyde 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

continued on 24 The New Mexico Philharmonic

nmphil.org

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DONOR CIRCLES . continued from 23 Herbert & Shelley Koffler, in memory of Clare Dreyer Philip Kolehmainen & Vivian Waldron Katherine Kraus Deborah Krichels Jennifer C. Kruger Hareendra & Sanjani Kulasinghe Nick & Susan Landers 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 Kathleen Miller 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 Baker H. Morrow & Joann Strathman Evelyn Morrow John Morrow & Harriette Monroe 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.

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Margaret Guinan Orona Ricardo Ortega Joseph & Barbara Oser Daniel O’Shea Mary Ann Osley Carolyn D. Parrish Deborah Peacock & Nathan Zorn Brian Pendley Maria Pereyra Elizabeth Perkett Phil & Maggie Peterson Barbara Pierce Mr. & Mrs. Paul Pierce, in memory of Clare Dreyer Henry Pocock 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 Judith Ribble & Clark Bussey Kay Richards Jacob & Nancy Rittenhouse Margaret E. Roberts Shelley Roberts Michael Robertson Gerald & Gloria Robinson Joseph Roesch Lisa D. Romero 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 Bill Stanton Stan & Marilyn Stark, in honor of judge James Parker’s 30 years on the bench Charlie & Alexandera Steen James & Judy Sutherlin Georgann Taylor Ruth M. Thelander Roy & Enid Tidwell Julie Tierney John Tischhauser Margaret Ann Todd John Tondl Dean & Bonita Tooley Ronald Trellue Karen & John Trever Jorge Tristani J.T. Vaughn Jean Villamarin

2018/19 Season / Volume 8 / No. 2

John Vittal & Deborah Ham Hilda A. Volkin Joanne Vye Marmion Walsh Robert Walston 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 Amy & 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 10/20/2018

LEGACY SOCIETY

GIVING FOR THE FUTURE Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you. Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Nancy Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Bob & Jean Gough Peter Gregory Howard A. Jenkins Walter & Allene Kleweno Dr. & Mrs. Larry Lubar Thomas J. Mahler George Richmond Eugene Rinchik Jeanne & Sid Steinberg Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman 10/11/2018

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 & the Bernalillo County Special Projects Maryann Torrez & the Albuquerque BioPark Zoo

BUSINESS & ORGANIZATION APPRECIATION The Cognitive Behavioral Institute of Albuquerque St. John’s United Methodist Church

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Billy Brown Anne Eisfeller Rosemary Fessinger Chris Kershner Jim Key Jackie McGehee Brad Richards Brent Stevens 10/11/2018


Sponsors & Grants Sound Applause

Albuquerque Community Foundation albuquerquefoundation.org

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 bankofalbuquerque.com

Bernalillo County bernco.gov

THANK YOU .

Century Bank mycenturybank.com

GARDENSWARTZ REALTY City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

Gardenswartz Realty

Holmans USA holmans.com

Hunt Family Foundation huntfamilyfoundation.com

John Moore & Associates johnmoore.com

Keleher & McLeod keleher-law.com

Lexus of Albuquerque lexusofalbuquerque.com

Lockheed Martin lockheedmartin.com

Menicucci Insurance Agency mianm.com

Music Guild of New Mexico musicguildofnewmexico.org

New Mexico Arts nmarts.org

New Mexico Gas Company nmgco.com

Olga Kern International Piano Competition olgakerncompetition.org

PNM pnm.com

RBC Wealth Management rbcwealthmanagement.com

Sandia Foundation sandiafoundation.org

Sandia Laboratory Federal Credit Union slfcu.org

Sandia National Laboratories sandia.gov

Scalo Northern Italian Grill scalonobhill.com

SWGA, P.C. southwestgi.com

United Way of Central New Mexico uwcnm.org

Urban Enhancement Trust Fund cabq.gov/uetf

U.S. Bank usbank.com

The New Mexico Philharmonic

The Verdes Foundation verdesfoundation.org

Wells Fargo wellsfargo.com

SUPPORT YOUR NMPHIL Interested in becoming a sponsor of the NMPhil? Call Today! (505) 323-4343.

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Insurance Agency

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


NEW MEXICO PHILHARMONIC UPCOMING CONCERTS

The New Mexico Philharmonic

The New Mexico Philharmonic / 2018/19 Season / nmphil.org

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4821 Pan American Fwy., Albuquerque, NM 87109 | 505.341.1600 | lexusofalbuquerque.com

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New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 2  

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 2 • nmphil.org

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 2  

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 2 • nmphil.org

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