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VOLUME 8 / NO. 3

2018/19 SEASON

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NMPHIL .

LETTER FROM THE

MUSIC DIRECTOR

TABLE OF CONTENTS PROGRAMS December 15, 2018 Program December 16, 2018 Program December 22, 2018 Program January 13, 2019 Program January 19, 2019 Program Program Notes

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ARTISTS Roberto Minczuk David Felberg Coro Lux Oratorio Society Bradley Ellingboe Faith Lutheran Church Chancel Choir Helen Bielejec Jason Altieri Delphia Rio Rancho High School Concert Choir Becky Talbott Manzano Day School Chorus Penny Voss Albuquerque Youth Symphony Sayra Siverson Anastasiya Naplekova Sarah Nickerson

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

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

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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. 3

Roberto Minczuk Music Director

In 2017, Grammy® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history. ●


CONCERT PROGRAM .

Handel’s Messiah

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Saturday, December 15, 2018, 7:30 p.m. Sunday, December 16, 2018, 3:00 p.m. David Felberg conductor Kathryn Anderson soprano Rebecca Brunette soprano Rebecca Jackson soprano Shelly Ley soprano Krista Vrapi soprano Kristen Hutchinson mezzo-soprano Kim Kraut mezzo-soprano

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Jonathan Davidson tenor Alfredo Beltran bass Joe Mitchell bass Coro Lux Oratorio Society/ Bradley Ellingboe director Faith Lutheran Church Chancel Choir/ Helen Bielejec director

Immanuel Presbyterian Church

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Faith Lutheran Church

George Frideric Handel (1685–1759)

Messiah PART I

PART II

Overture, Instrumental Comfort ye my people, Tenor (Davidson) Every valley shall be exalted, Tenor (Davidson) And the glory of the Lord, Chorus Behold, a virgin shall conceive, Alto (Kraut) O thou that tellest good tidings, Alto (Kraut) & Chorus For behold, darkness shall cover the earth, Bass (Mitchell) The people that walked in darkness, Bass (Mitchell) For unto us a Child is born, Chorus Pastoral Symphony (Pifa), Instrumental There were shepherds abiding in the field, Soprano (Vrapi) And lo, the angel of the Lord came upon them, Soprano (Vrapi) And the angel said unto them, Soprano (Vrapi) And suddenly there was with the angel, Soprano (Vrapi) Glory to God, Chorus Rejoice greatly, O daughter of Zion, Soprano (Anderson) Then shall the eyes of the blind be opened, Soprano (Jackson) He shall feed His flock like a shepherd, Alto & Soprano (Hutchinson/Jackson) His yoke is easy, Chorus

Behold the Lamb of God, Chorus He was despised, Alto (Kraut) Surely He hath borne our griefs, Chorus And with His stripes we are healed, Chorus All we like sheep have gone astray, Chorus All they that see Him, (Tenor) Davidson He trusted in God, Chorus Thy rebuke has broken His heart, Soprano (Ley) Behold, and see, Soprano (Ley) He was cut off, Soprano (Ley) But Thou didst not leave His soul in Hell, Soprano (Ley) Thou art go up on high, Soprano (Brunette) The Lord gave the word, Chorus Their sound is gone out into all lands, Chorus Why do the nations so furiously rage? Bass (Mitchell) He that dwelleth in Heaven, Tenor (Davidson) Thou shalt break them, Tenor (Davidson) Hallelujah, Chorus

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Meredith Foundation Additional support by: Faith Lutheran Church

PART III

I know that my Redeemer liveth, Soprano (Brunette) Since by man came death, Chorus Behold, I tell you a mystery, Bass (Beltran) The trumpet shall sound, Bass (Beltran) Worthy is the Lamb—Amen, Chorus

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

The New Mexico Philharmonic

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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, 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.



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 or 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.

RESERVED SEATS

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PLAN A WISE GIVING STRATEGY

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CONCERT PROGRAM .

Holiday Pops

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Saturday, December 22, 2018, 6:00 p.m.

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Jason Altieri conductor Delphia singer Rio Rancho High School Concert Choir/Becky Talbott director Manzano Day School Chorus/Penny Voss director Albuquerque Youth Symphony/Sayra Siverson director “The Bells of Christmas”

Popejoy Hall

arr. Bob Krogstad

“The Christmas Song”

Mel Tormé/Robert Wells arr. Mark Hayes

“We Need a Little Christmas”

Jerry Herman arr. Mark Hayes

“All I Want for Christmas Is You”

Mariah Carey/Walter Afanasieff arr. Anthony Bisbano

“Merry Christmas, Darling”

Richard Carpenter/Frank Pooler arr. Delphia

The Holly and the Ivy: Fantasy on Christmas

A Christmas Festival Festival of Carols 

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Bernalillo County Additional support by: John Moore & Associates, Inc.

Malcolm Arnold arr. Christopher Palmer Leroy Anderson arr. Douglas Wagner

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

“Wexford Carol” Brazilian Sleigh Bells 

Irish Traditional Carol arr. Mack Wilberg Percy Faith arr. Lee Norris

Sleigh Ride

Frederick Delius

“Sleigh Ride”

Leroy Anderson

“Santa Claus Is Coming to Town” “The Prayer”  A Holly and Jolly Sing-Along 

The New Mexico Philharmonic

John Frederick Coots/ Haven Gillespie arr. Bill Holcombe Josh Groban arr. Anthony Bisbano arr. James M. Stephenson

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CONCERT PROGRAM .

Handel & Haydn

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Sunday, January 13, 2019, 3:00 p.m.

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Roberto Minczuk Music Director Sarah Nickerson mezzo-soprano

Simms Center for the Performing Arts, Albuquerque Academy

Orchestral Selections from Messiah George Frideric Handel Overture (1685–1759) But who may abide O Thou that tellest good tidings to Zion Hallelujah

“Air” from Water Music

Handel

“Lascia ch’io pianga” from Rinaldo

Handel

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

Sarah Nickerson mezzo-soprano

Concerto Grosso Op. 6, No. 5 in D Major, HWV 323 I. Larghetto e staccato II. Allegro III. Presto IV. Largo V. Allegro VI. Menuet

Handel

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

Symphony No. 45 in f-sharp minor, “Farewell” I. Allegro assai II. Adagio III. Menuet e Trio IV. Finale: Presto–Adagio

The New Mexico Philharmonic

Franz Joseph Haydn (1732–1809)

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Now accepting applications for the 2019-2020 school year

AN OPEN HOUSE

Challenging Education

See for yourself how Bosque School can benefit your child.

FOR OPEN MINDS

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


CONCERT PROGRAM .

Mozart Times Three

Saturday, January 19, 2019, 6:00 p.m. / 5 p.m. Pre-Concert Talk Roberto Minczuk Music Director Anastasiya Naplekova piano

Overture to The Abduction From the Seraglio

Piano Concerto No. 20 in d minor, K. 466 I. Allegro II. Romanze III. Rondo: Allegro assai

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Popejoy Hall

Wolfgang Amadeus Mozart (1756–1791)

Mozart

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation Additional support by: The Honorable & Mrs. James Parker

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

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

Symphony No. 40 in g minor, K. 550 I. Molto allegro II. Andante III. Menuetto. Allegretto–Trio IV. Finale. Allegro assai

The New Mexico Philharmonic

Mozart

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J A Y N E S C O R P. C O M

OUR MOST VALUABLE WORK INCLUDES THE TRUST WE HAVE BUILT


PROGRAM NOTES .

Program Notes Charles Greenwell

George Frideric Handel

Born February 23, 1685, in Halle, Germany Died April 14, 1759, in London, England

Messiah (1741)

Scored for 2 oboes, 2 bassoons, 2 trumpets, timpani, continuo, strings, SATB soloists, and chorus. Approximately 120 minutes.

The oratorio, one of the great Baroque vocal forms, came from the religious play-withmusic of the Counter-Reformation and took its name from the Italian word for a place of worship. The first oratorios were actually sacred operas, and were produced as such. Then, around the middle of the 17th century, the oratorio gradually did away with theatrical trappings and developed its own personality as a large-scale work for solo voices, chorus, and orchestra, usually—but not always—based on a biblical story. These new productions were usually performed in a church or hall without scenery, costumes, or acting, and what action there was developed with the use of a narrator and a series of recitatives, arias, duets, trios, and choruses, with the role of the chorus being quite prominent. Typical of this form are the oratorios of Handel, probably the finest composer of this popular vocal form. Handel came from the middle class and went on to make his career in England, where the middle class first achieved its strength. As he turned from standard opera to oratorio, he became part of an enormous social change, and in so doing, became one of the founders of a new culture and a creator of our modern mass public. He had very keen instincts and was able to understand the needs of his adopted country, and he produced oratorios that were steeped in the settings of the Old Testament, making them perfectly suited to the tastes of England’s middle class. He

“Not from me—but from Heaven— comes all.” —George Frideric Handel

achieved this in part by making the chorus— in other words, the people—the center of the drama. Like Bach and other great Baroque masters, Handel’s rhythms were strong and unswerving, and he favored the direct language of diatonic harmony as opposed to Bach’s more ingenious idiom, which at times became highly chromatic. Handel’s melodies unfold in great majestic arches and reveal a depth of feeling that sets him apart from most of his contemporaries. Having grown up in the theatrical world, he was able to make use of tone color for a variety of moods and dramatic expression. Handel first came to England when he was 25 and already celebrated throughout Europe as an outstanding composer of Italian-style opera. His main reason for going to England was to repeat his successes as an opera composer, and he was able to achieve this—for a time. After 25 years of triumphs in this realm, two forces did him in: the inevitable changes in public taste and the rivalries and jealousies that have always been a part of theatrical life. As a result, his final season of opera in London in 1741 was such a disaster that he began to think seriously about returning to Germany. Fate intervened, however, when Charles Jennens, his English literary collaborator, seriously worried about losing this supremely gifted composer, gave Handel the libretto of a new oratorio called simply Messiah. Jennens hoped it would inspire the man to new heights, and specifically designed the work to be presented during Holy Week, when theaters would be closed, thus assuring a full house for some kind of benefit performance. Jennens was correct: Handel thought the new libretto was inspired and could be used as part of a new venture that had come his way. He had recently been invited to Dublin to give a series of oratorio concerts and realized immediately that Messiah, performed as a benefit concert for charity, would be the perfect way to conclude the season. Handel began work on the new score in late August of 1741, and in a phenomenal burst of virtually nonstop energy, finished the entire score, orchestration and all, in the amazing space of just 24 days! He set out for Ireland in early November and arrived in Dublin on November 18. The trip across the water proved to be a revitalizing experience, and in spite of the hard work that the new oratorio season would require, it was almost like a holiday, away from the financial, artistic, and personal problems that he had been dealing with in London.

In addition, when he came to Dublin he was greeted with the kind of adulation that had greeted his arrival in London some 30 years previously, and once again he was idolized, fussed over, feted wherever he went, and in general, treated like some kind of royalty. The music-loving people of Ireland had in Dublin several musical societies that were unusual in that they were all organized for charitable purposes. This was largely due to the terrible social conditions in the country, compared with the poor people of London and the inmates of its prisons and hospitals who were relatively well off. The citizens of Dublin, appalled by the miserable conditions in their prisons and hospitals, wanted to do everything they could to alleviate this wretched state of affairs, and so they raised money for humanitarian purposes by sponsoring public concerts. There was then a new Music Hall in the city that was built on order from the Charitable Music Society and their guiding light, a wealthy and influential music publisher named William Neale. He was also the secretary of Dublin’s Charities Commission, and he not only had a commanding position in all that was to follow, but in all likelihood had a hand in the invitation that brought Handel to Dublin and resulted in the production of Messiah. On March 27, 1742, the Dublin Journal printed an announcement for a new benefit concert, stating that it would take place at the Music Hall on April 12, at which time would be performed “… Mr. Handel’s new Grand Oratorio, called Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some concertos on the Organ by Mr. Handel.” As it turned out, the concert did not take place until April 13, but there was a public rehearsal on April 9, about which the Journal had written: “Yesterday Mr. Handel’s new Grand Sacred Oratorio called Messiah was rehearsed … and was performed so well that it gave universal satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard … .” In that article and again on the day of the performance there were requests to the audience that ladies come without hoops in their dresses and that gentlemen come without their swords, so that the greatest number of people could be squeezed into the hall. At the formal premiere, this resulted in an audience of 700 pressed into a space designed to hold 600, but nobody seems to have been upset in the slightest. The premiere was an unqualified continued on 12

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PROGRAM NOTES . continued from 11 triumph, and the press notices outdid themselves in praising the work and its performance, with particular praise being given to the fact that everyone performed gratis, thereby helping to raise over 400 pounds for the advertised charities. Because of its great success, Handel was asked to repeat the work at his last Dublin concert, and so began the career of one of the most popular, beloved, and frequently performed works in the whole history of music. Messiah was given its first performance in London in March of 1743, but it was not at all the great success it had been in Dublin. It is possible that Handel anticipated certain objections to the work, as he advertised it as “a New Sacred Oratorio” without mentioning its title, but he was certainly unprepared for the hostility it received in some quarters. There were many who were greatly upset that the Scriptures formed the basis for what was presented as secular entertainment and were very vocal in objecting to its having been presented in a theatre with several famous singers as soloists. Even librettist Jennens, after hearing the work for the first time, said that he was dissatisfied with what he called “some weak parts” in the score. As a result of this, Messiah was rarely performed in London in the mid–1740s, while at the same time it was being performed regularly in Dublin. In 1749, things made a dramatic turnaround, and once again the prime force was a connection with charity. Handel had always been known as a kind and generous man, and at the time he had become interested in the recently created Foundling Hospital for young orphans and children in dire need. In May of 1749, he proposed a concert for the hospital’s benefit, and ultimately was appointed a governor of the establishment. On May 27, the concert was given in the newly built chapel, and it was a great success. The hospital received a considerable sum of money from the concert, and that sum was further increased by a very generous gift from the King. The following year, Handel put together a new season of oratorio, and Messiah played a prominent role. It was given at the Foundling Hospital on May 1, 1750, and the chapel was so packed with eager listeners that the work had to be repeated on May 15. These were successes on the scale of the Dublin premiere, and marked the beginning of the oratorio’s great popularity in London and elsewhere.

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In the years to come, Handel made it a tradition to include Messiah in his oratorio seasons during Lent, and also performed it every year at the Foundling Hospital. (Incidentally, although the Foundation still exists and thrives in London, the chapel in which Handel played, and to which he left a score and parts to Messiah in his will in order that the performances might continue, was declared unsafe and demolished in 1926. It was the last remaining building in London in which he had promoted concerts.) He continued to conduct performances of Messiah right up until his death, and in fact in March of 1759 gave three performances at Covent Garden. The annual Foundling Hospital performance was scheduled for May 3, but before the rehearsals could begin Handel was taken seriously ill. After a week of steady deterioration, he finally succumbed on April 14, 1759—the day after Good

“the finest Composition of Musick that was ever heard” —Dublin Journal

.

Friday. He had asked to be given a private burial in Westminster Abbey, but because he was so famous and beloved a figure, he was accorded a very public ceremony on the occasion of his internment on April 20. Of all the memorial statues in the Abbey, his is one of the most striking and memorable: In his right hand is a sheet of music containing the opening bars of the great aria from Messiah, “I know that my Redeemer liveth.” After the first London performance, Handel said to a friend, “My Lord, I should be sorry if I only entertained them. I wished to make them better.” He clearly intended the oratorio to mean something special to his audiences because it meant something

special to him. At a Messiah performance in 1759 on the occasion of his 74th birthday, Handel responded to the very enthusiastic applause by saying, “Not from me—but from Heaven—comes all.” ●

Handel

At the beginning of the 18th century, England was a center of intense musical activity: The public concerts and subscription series, begun in the previous century, now provided a means for musicians to make a comfortable living away from the church and the aristocracy. In so doing, many of them made a good deal of money and were able to climb the social ladder and mingle with the upper classes. At the time, there was a great deal of music being composed, some of it reflecting earlier models, while some was influenced by continental styles. In addition, there was a sizeable increase in the number of foreign musicians coming to England; some stayed only a short time, while others spent most of their lives creating new music for eager audiences. In London, the activities were so competitive that many of these foreigners were forced to seek a living in the provinces or simply return home. Nevertheless, there were a number of well-known composers who were able to make quite a name for themselves in and around London. Of these, one had a far greater impact than any other, and became so closely identified with British music that his German origins were almost forgotten. That man, of course, was George Frideric Handel. Later on, no less a figure than Beethoven referred to Handel as “… the master of us all … the greatest composer that ever lived. I would gladly uncover my head and kneel before his tomb.” Haydn and Mozart shared this opinion, and while Beethoven knew and studied and admired Bach, what he found so compelling in Handel was a direct simplicity of expression that carried tremendous emotional power. Handel was first and foremost a man of the theater, who knew how to inspire audiences and keep them coming back for more. Moreover, it could be said that it was Handel—not Mozart and not Beethoven—who was the first to break the shackles of noble or ecclesiastical patronage under which all previous composers (and many subsequent) worked. ●


PROGRAM NOTES .

Handel

“Air” from Water Music (1717) Scored for 2 oboes, 2 horns, strings, and continuo. Approximately 4 minutes.

What today is called Water Music is really a collection of different works whose sources are copies and early prints, and that may have been compiled over as long as 20 years. We can never really know for sure because all of the original manuscripts are lost. There are accounts of three royal excursions on the Thames river in London for which Handel appears to have provided music: 1715, 1717, and 1736, but no clear correlation can be made between these three occasions and the three suites that comprise the work as it has come down to us. What we do know is this: King George I and a large gathering of English nobility boarded open barges on the Thames one day in the summer of 1717 at around 8:00 p.m. at Whitehall, then sailed up the river to Chelsea where they had supper and stayed until around 3:00 a.m. The party then returned and got back to St. James Palace at about 4:30 a.m. By all accounts, Handel’s music was a big hit, and was played at least three times during the trip. Again, we don’t know if the music was conceived in the form of the three familiar suites, but there clearly was a master plan in the music’s organization and execution. He may have used some older pieces when he put the entertainment together, but most of it was new, particularly the movements involving brass instruments. The use of horns here was a major innovation: They had never been used previously in any English composition, and they were ideal for outdoor performance, especially in combination with trumpets. This music was extremely popular in its day,

and was played in taverns and aristocratic halls, in public gardens and private town houses, and was arranged for all sorts of instrumental ensembles. In short, the music took England by storm. ●

Handel

“Lascia ch’io pianga” from Rinaldo (1711) Scored for solo soprano, strings, and continuo. Approximately 4 minutes.

The opera Rinaldo was composed and premiered in London in 1711, becoming the first Italian-language opera written specifically for the London stage. The dramatic, free-wheeling and barely credible fairy-tale story of love, war, sorcery, and redemption during the First Crusade, is loosely based on Torquato Tasso’s Gerusalemme liberata (Jerusalem Delivered), and its staging involved many original and vivid stage effects, among them mermaids, aerial machines, fire-snorting dragons, spectacular transformations, and in one scene—believe it or not—a flock of live sparrows! Handel wrote the opera very quickly, borrowing and adapting music from operas and other works written during his long stay in Italy. Rinaldo is considered one of his greatest operas, consisting of a string of showstoppers, of which this aria is the most famous and popular. It was the most frequently performed opera during Handel’s lifetime, with numerous productions through 1731. After that, however, it curiously fell out of favor and was not performed again for more than 200 years. The first modern production was in 1954 in Handel’s hometown of Halle, Germany, and following a successful run at the Metropolitan Opera in New York in 1984 (the first-ever production

“[Handel is] the master of us all … the greatest composer that ever lived. I would gladly uncover my head and kneel before his tomb.” —Ludwig van Beethoven

of a Handel opera at the Met), it is now performed around the world with increasing frequency. This beautiful and poignant melody was first used as a sarabande in Handel’s 1705 opera Almira, then used (with different words) as an aria in his 1701 oratorio The Triumph of Time and Truth. Finally in 1711, it found its ultimate setting as the aria sung in an enchanted forest by the abducted character Almirena. The words, in translation, repeated several times, are “Let me weep over my cruel fate, and that I dream of freedom.” ●

Handel

Concerto Grosso in D Major, Op. 6, No. 5 (1739) Scored for strings. Approximately 16 minutes.

Handel wrote a great deal of orchestral music, most of which is still popular in England. Water Music and the Royal Fireworks Music are probably the best known, but many of his 40plus concertos are to be found in his operas and oratorios as well as the remarkable number of overtures, sinfonias, and music for the ballet. Handel was a supremely practical composer, and when he had to produce new music on very short notice, he had no qualms about using suitable material from existing works, borrowed mostly from himself but also from other composers. The Twelve Grand Concertos, Op. 6, were written in a 30-day period in the fall of 1739, a feat that rivals the creation of Messiah in a few weeks’ time in 1741. They are generally ranked as the greatest achievements in the genre of the Baroque concerto grosso, on a par with Bach’s six Brandenburg Concertos. However, Bach used an amazingly different instrumentation for each of his concertos, whereas Handel used just the same string orchestra for each of his. In addition, Bach modeled his concertos on the three-movement format created by Vivaldi, but Handel used the more flexible format of Corelli’s concertos, and this was no accident, as Handel knew and worked with Corelli during his five-year stay in Italy. Within this scheme, Handel incorporated the full gamut of his compositional styles, including trio sonatas, operatic arias, French overtures, Italian sinfonias, fugues, themes and variations, and a variety of dance forms, using largely new material. The present work begins with a French Overture, in which continued on 14

The New Mexico Philharmonic

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PROGRAM NOTES . continued from 13 the sharply rhythmic introduction leads to a fast fugue, a reworking by Handel of the overture for his Ode on St. Cecelia’s Day. A lively fast movement is followed by a short slow movement, and the concerto ends with a stately Minuet. ●

Franz Joseph Haydn

Born March 31, 1732, in Rohrau, Austria Died May 31, 1809, in Vienna, Austria

Symphony No. 45 in f-sharp minor, “Farewell” (1772)

Scored for 2 oboes, bassoon, 2 horns, and strings. Approximately 25 minutes.

More than two centuries after his death, Haydn’s output still amazes for its quantity, quality, and diversity. He was one of the most prolific and astonishingly fertile and inventive composers who ever lived. Had he written just his 100-plus symphonies, it would be extraordinary enough, but in addition he also composed about 70 string quartets (a form that he virtually invented), 60 piano sonatas, dozens of piano trios, 25 operas, a dozen or so masses, several motets, four oratorios (one of which, The Creation, stands at the summit of all choral works), a great number of songs, concertos for various instruments, and hundreds of smaller works. If Haydn’s life was comparatively uneventful, his vast output is notable for the delights and surprises that are found everywhere, including an irrepressible sense of good humor. Every genre in which he worked he enlarged, extended, and reshaped, and the symphonies in particular are a remarkable example of his development of a particular form, being marked by deep feeling, drama, elegance, and wit. Haydn is often referred to as “the father of the symphony,” but a more accurate title might be “stepfather,” since he was preceded by a number of other composers who wrote symphonies. What the man did was to expand the symphony’s structure and increase its profundity, in the process changing the form from diversion to drama. One of the amazing things about his output is that, taken on their own terms, his first symphonies are almost as fine as his last. Haydn was the greatest single force in the development of the symphony, primarily because of his remarkable ability to see in the form its inherent possibilities for development and expansion. Haydn came

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Haydn is often referred to as “the father of the symphony.” relatively late to the symphony, and before he composed his first one he had written numerous harpsichord sonatas, harpsichord and organ concertos, divertimentos for all kinds and combinations of instruments, two masses, an amazing number of other sacred choral works, and even one opera. Just as remarkable as his output was his creative life span. When he was ten, Handel composed Messiah. When he was 18, J.S. Bach died. When he was 68, Beethoven wrote his first symphony. In 1761, Haydn entered the service of the noble Hungarian Esterhazy family at the court of Eisenstadt in Austria, and embarked on the longest and most productive period of private service at a single court enjoyed by any major composer of the 18th century, remaining there for almost 30 years. Haydn was in charge of the musical forces at the court, which initially included an orchestra of 15 musicians and a group of singers, and was expected to produce two concerts a week, a Sunday Mass, and whatever additional music might be in order. In addition to composing, he was also required to conduct the performances, train and supervise the musical personnel, and keep the instruments in good condition. After the move to Esterhaza, the orchestra was increased to about 25 musicians, and there were now occasional opera performances and daily chamber music sessions as well. Given all of this, it is no wonder that Haydn’s productivity and originality were quite remarkable. By 1770, he had written some 40 symphonies, a good deal of chamber music, several concertos, some operas, keyboard music, and his first masses. Although he tried to keep up with current musical developments, his isolation at Esterhaza contributed greatly to his originality, and many of the works written at this time are characterized by novelty, an extraordinary variety, and many unexpected twists and turns. Symphony No. 45 is one of the best-known of the Esterhaza symphonies, mainly because of the famous circumstances surrounding its composition. As usual, in the summer of 1772, the Prince and his court moved to the palace, but this time he decreed that no

wives or families of the musicians were to join them, the only exceptions being Haydn, two principal singers, and concertmaster Luigi Tomasini. With the arrival of autumn, it became apparent that the Prince had no intention of returning to Eisenstadt any time soon, so the restless musicians appealed to Haydn to do something about the situation. His solution was an artistic one, the present Symphony in f-sharp minor, that, incidentally, is the only symphony in the 18th century known to have been written in this rare key. The first three movements proceeded normally, and the last movement even began as a typically fast Presto. However, after a short pause there comes what is in effect another movement, a slow Adagio in 3/8 time. What happened next was truly extraordinary: As the music progressed, one by one, the musicians stopped playing, blew out the candles on their music stands, took their instruments and left the stage until, at the end in virtual darkness, only Haydn and Tomasini were left. The Prince, in good humor, got the message and was reported to have said, “If they are all going, we must go as well.” The next day the whole court returned to Eisenstadt. It was not until 100 years later that this amazing work received the nickname “Farewell,” but it would be difficult to imagine a more fitting title for the work. ●

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

Overture to The Abduction From the Seraglio (1782)

Scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion, and strings. Approximately 5 minutes.

When he was 24, Mozart finally freed himself from the grips of his tyrannical employer, Archbishop Colloredo of Salzburg, and set as his goal the winning of the Viennese public by writing a Grand Opera in German that would rival any Italian opera. This was The Abduction From the Seraglio that was a triumph from its first performance in


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Vienna in July of 1782, and became Mozart’s most popular work during his tragically short life. The singspiel traveled all over Germany before going on to one great success after another in Europe. Right from the brilliant and unusual overture, audiences were swept away by a wonderfully rich orchestration that heralded the beginning of a new musical era. Mozart even took a keen interest in shaping the libretto, and insisted on various changes for dramatic and musical effects. What finally emerged was a colorful comedy about the antics of a master and his servant who have to rescue their wives from the harem of one Pasha Selim following a shipwreck. At the time, much of Western Europe was fascinated with various aspects of Turkish culture, and in his musical setting, Mozart combined the subtleties of Turkish military bands— infantry units called Janissaries—with new conventions of the German singspiel. This was a form that can be translated as “a play with singing,” sometimes called a play with music or an opera with a lot of spoken dialogue, which in France was later called opera comique, later still in Vienna called an operetta, and in 20th-century America became the musical comedy. In this setting there are no recitatives, and the action is mostly carried forward by the spoken dialogue. What was then called “Turkish music” refers to a unique instrumental color, usually involving piccolo, cymbals, bass drum, and triangle. Haydn called for this in his “Military” Symphony (No. 100), Beethoven used it at the end of the Ninth Symphony, and elsewhere, Mozart put it into one of his sets of German Dances. The company that commissioned the opera was the National Singspiel, a pet project of the Austrian Emperor Joseph II, who had created the company to perform works in German instead of Italian, Italian opera having been wildly popular in Vienna at the time. This project was eventually abandoned as a failure, but along the way it delivered some successful works, of which Mozart’s opera became the outstanding example. Financially, it was a huge success: The first two

performances alone brought in 1200 florins, about three times what Mozart’s yearly salary had been back in Salzburg. Even though the opera raised Mozart’s standing as a composer with the general public, it unfortunately did not bring him the wealth he had hoped for: Past his initial fee, he made no profits from the many subsequent performances. Today you will hear the usual concert ending for the overture, which was created by a composer named Johann Andre (1741–1799), with Mozart’s approval. In the opera itself, the overture gradually slows down and softens and leads directly into the first act and the first aria, which is reminiscent of the middle section of the overture. ●

Mozart

Piano Concerto No. 20 in d minor, K. 466 (1785)

Scored for solo piano, flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 28 minutes.

In the 18th century, the solo concerto had become an important vehicle for composer-performers, a form of music that had developed from the work of J.S. Bach through his sons Carl Philipp Emanuel and Johann Christian into a workable synthesis of solo and orchestral performance. From his childhood, Mozart was closely associated with the piano, both as performer and composer. When he was only four, he had already demonstrated his remarkable abilities at the keyboard, and just three years later he embarked on an extended concert tour of Europe, at which time he garnered astonished praise from members of the nobility and professional musicians. Mozart wrote his first numbered piano concertos in 1767, but they were in effect arrangements derived from other composers, and then a few years later he created further arrangements from J.C. Bach. In Salzburg

“… a miracle of productivity, the high point of his instrumental composition.” —Alfred Einstein

as an adolescent, Mozart wrote six original concertos, and the remaining 17 were all written in Vienna, mainly for his own use in the subscription concerts that he organized during the last 10 years of his life. During the years 1784–1786, he produced what biographer Alfred Einstein referred to as “… a miracle of productivity, the high point of his instrumental composition.” In that astonishingly short period of time, he produced his six Haydn string quartets, the Prague Symphony, the opera The Marriage of Figaro, and 12 piano concertos, six of which date from 1784 alone. If one considers the extraordinarily high quality of these works, there is ample justification for considering this feat the greatest outpouring of genius in music history. In no other composer is so much sublime music concentrated in the area of the piano concerto as Mozart, and indeed, no other composer wrote nearly as many. The piano concerto was the medium in which he most consistently excelled, and in which he most successfully combined the elements of virtuosity and profundity, and it may also be said that he perfected the form, in the process giving us the first truly great piano concertos in history. The second half of the 18th century also brought a great change in keyboard instruments, as the harpsichord was gradually being phased out by the fortepiano (later pianoforte), an instrument capable of dynamic contrasts that were impossible on the older instrument. The instruments Mozart had at his disposal in Vienna were products of the finest craftsmen and had a lighter touch than our modern pianos, with action and leatherpadded hammers that made for a greater delicacy of articulation. This concerto is considered to be one of the greatest in the repertoire, a masterpiece of form and structure, and a work of such surpassing beauty and drama that it has retained its popularity for well over 200 years. Praised from the outset and singled out as unusually interesting among all of Mozart’s works, it was the only one of his piano concertos that gained a large following in the 19th century, mainly because listeners could hear murmurings of the Romantic era and of Beethoven, who so admired the work that it was one of the few concertos written by other composers that he regularly performed. Moreover, in 1809 he wrote cadenzas for the work that have never been surpassed. The particular appeal of this continued on 16

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PROGRAM NOTES . continued from 15 concerto stems from it being only one of two written by Mozart in a minor key, and from being the most dark, dramatic, and impassioned, helping to cement him as a harbinger of the coming era of Romantic music. The key of d minor was significant in Mozart’s output, and was used infrequently by him almost always in association with dark foreboding or threatening fate, and to express oppression, struggle, conflict, or danger. In no other instrumental work did he create such a range of contrast between movements, or between different sections of the same movement, nor did he use such unremitting intensity, violent outbursts, or such a wide-ranging keyboard part. Unlike the nine previous concertos, he never wrote out cadenzas for the d minor, mainly because preparations for the February 11, 1785, premiere were so rushed that the copyists were still working on the parts as the audience was arriving! Because most concerts of the time featured new works, and as this was part of a subscription series in which Mozart introduced his music to wealthy patrons, it is probable that he never again played this concerto, but simply moved on to perform other concertos in subsequent concerts. Whatever the case, there was one member of the audience on this occasion who was greatly impressed: that was Joseph Haydn, the most respected musician of the time, who on the following day proclaimed Mozart to be the greatest composer known to him. ●

Mozart

Symphony No. 40 in g minor, K. 550 (1788)

Scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. Approximately 30 minutes.

The three extraordinary last symphonies that stand at the pinnacle of Mozart’s achievement in the form were written in roughly six weeks’ time in the summer of 1788, shortly after supervising the first Viennese production of Don Giovanni. For many years it was believed that they were composed for no specific occasion, that they were intended as a trilogy, and that they were never performed during Mozart’s lifetime, but we are now reasonably certain that these assumptions are false or at best misleading. First of all, Mozart rarely wrote a major work without some specific purpose in mind, and there are instances where a commission or an

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There is a passage of extraordinary dissonance and disruption in which Mozart uses every note of the chromatic scale except G (the key note of the symphony). opportunity for performance or publication fell through, and the work in question was simply left unfinished. In this light, it would be very surprising if the man wrote three such major works without some clear goal in sight. It is certainly possible that he was attempting to attract new audiences with ambitious new works to replace the piano concertos that had formerly been the focal point of his subscription concerts. He also might have felt that if the Viennese public had grown tired of his piano concertos, perhaps new symphonies would draw them back again. Mozart had scheduled a series of three “Concerts in the Casino” in a newly constructed casino in the Spiegelgasse for the summer of 1788 in Vienna for which all or some of these works may have been intended. Mozart even sent a pair of tickets for this series to his good friend Michael Puchberg, but apparently, due to lack of public support, only one of these concerts actually took place, marking the last time that Mozart ever put on a public concert in the Austrian capital. In that same year, Mozart was attempting to organize a set of concerts in London, where a fine composer could make more money than anywhere else, and for which some major symphonies would be indispensable. The enthusiastic reception accorded Haydn by the British concertgoing public would certainly have made Mozart consider this, particularly due to his precarious financial condition at the time. When that venture came to naught, it is possible that Mozart used all or some of the symphonies on a tour of Germany he made the following year. In addition, there was an all-Mozart concert given in Leipzig in May of 1789 that included two symphonies—more than likely one or two of the last trilogy. Documentation on most of these concerts is nonexistent, so we can never know for

sure exactly what was played and when. We do know, however, that in Vienna in April of 1791 Antonio Salieri conducted a large orchestra for the annual benefit concert of the Society of Musicians, and on that concert was played “a grand symphony by Herr Mozart,” and a few posters of this concert have survived. The fact that the Stadler brothers, the clarinet-playing friends and colleagues of Mozart, were in that orchestra leads one to surmise that the symphony that was played was either No. 39 or the second version of No. 40. Again, the mere fact that No. 40 exists in two versions indicates that the work was performed somewhere, otherwise why would the very practical Mozart have gone to the trouble of adding the clarinet parts and rewriting the flute and oboe parts? In addition, in a recently discovered letter from July of 1802 by a musician named Johann Wenzel written to a publisher in Leipzig, Wenzel mentions a performance of the g minor Symphony in Vienna at the home of Baron Gottfried van Swieten as being so bad that Mozart had to leave the room. On several occasions between the composition of the symphony and Mozart’s death, concerts were given featuring an unidentified Mozart symphony for which copies of the programs have survived, including April of 1789 in Dresden as part of Mozart’s Berlin sojourn; May of that year in Leipzig as part of the same trip; and October of 1790 in Frankfurt. As to the triptych idea, if this implies they were meant to be performed together, it’s a nonstarter: Concerts at the time rarely included more than two symphonies, and frequently a single symphony was split into two installments, half on the first part of a concert, and the other half on the last part. When all of this information is supplemented by the existence of contemporaneous sets of manuscript


NEW MEXICO PHILHARMONIC UPCOMING CONCERTS

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parts for these works, it seems clear that these great symphonies could not have gone unperformed during the composer’s last years. As to why these masterpieces were composed, it is also possible that Mozart wrote them simply because of an inner compulsion to create something remarkable without regard to the demands of a patron or the public. We will never know for sure. Many modern listeners tend to regard the key of a work as almost irrelevant, but composers of the Baroque and Classical eras felt that certain keys possessed specific emotive qualities. Minor keys in particular were replete with emotional significance, mostly of a tragic nature, and very few symphonies in this period were written in minor keys. For Mozart, the key of g minor was that of extreme pathos, and he used it sparingly for some of his most heartwrenching music, including the turbulent so-called “Little g minor” Symphony, written when he was 17. The last movement is perhaps the most original in the symphony, seeking to vehemently answer the questions posed by the first movement. Its mood, like the first, is one of anger, accentuated by sudden strong contrasts of soft and loud, and contains some of the fiercest and most fiery writing Mozart ever composed, traveling through remote harmonic regions with both stable and unstable harmony. At the beginning of the development section there is a passage of extraordinary dissonance and disruption in which Mozart uses every note of the chromatic scale except G (the key note of the symphony), and in so doing seems prophetically to almost anticipate the serial music of the 20th century. The symphony is then brilliantly driven to its conclusion with the seemingly boundless energy that underscores so much of this astonishing work.

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ARTISTS .

Roberto Minczuk Music Director In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history. Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’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 18

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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. ●

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


ARTISTS .

David Felberg is Associate Concertmaster of the New Mexico Philharmonic. He also serves as Artistic Director and cofounder of Chatter Sunday, Chatter 20–21, and Chatter Cabaret. He is concertmaster of the Santa Fe Symphony and Music Director of the Albuquerque Philharmonic. He also teaches contemporary music at the University of New Mexico. His robust conducting career has included conducting the New Mexico Symphony Orchestra, New Mexico Philharmonic, Santa Fe Symphony, and many performances of contemporary music with Chatter. David performs throughout the Southwest as concert soloist, recitalist, and chamber musician. He made his New York debut in Merkin Hall in 2005. He received a Bachelor of Arts in history from the University of Arizona and a Master of Music in conducting from the University of New Mexico. He has taken advanced string quartet studies at the University of Colorado with the Takács Quartet and was awarded a fellowship to attend the American Academy of Conducting at the Aspen Music Festival. David plays an 1829 J.B. Vuillaume violin. ●

Coro Lux Oratorio Society Coro Lux is a community chorus, based in Albuquerque and founded in the fall of 2015. Under Artistic Director Bradley Ellingboe, the chorus has grown in size and scope. Coro Lux is now an auditioned ensemble, consisting of the larger Oratorio Society and the smaller Chamber Chorus. The Oratorio Society, with 60-75 members, presents major choral works, often with orchestra. The Chamber Chorus is an ensemble of 24-28 members that presents a variety of smaller works in various locations around Albuquerque. Each ensemble presents

two concert programs each season. Coro Lux has performed in Santa Fe with the Chicago Arts Orchestra, invited high school singers to join them in performing Lauridsen’s Lux Aeterna, offered two concerts at the lovely Casa Rondeña, presented the live radio drama It’s a Wonderful Life, and had a triumphant presentation of the previously mentioned Lauridsen in Carnegie Hall. The 2018/2019 season revolves around a theme of The Better Angels of Our Nature, much needed in our world today. Coro Lux joins the New Mexico Philharmonic for two concerts in the fall: The Chamber Chorus singing Bach’s Cantata #140 (Wachet auf), and the Oratorio Society giving two performances of Handel’s Messiah. The Chamber Chorus also presents Rossini’s Petite Messe Solennelle at St. Paul Lutheran Church. Coro Lux has participated in musical events far from Albuquerque, including the Carnegie Hall performance in 2016, and the Great and Grand American Choral Series in Italy in the summer of 2018. In 2017, Coro Lux became the “Ensemble in Residence” at St. Paul Lutheran Church in Albuquerque. As such, our rehearsals and many of our performances are held there. We are proud to be associated with the oldest Lutheran congregation in the state of New Mexico, founded in 1891, and long a leader in worship and the arts in our community. ●

Bradley Ellingboe director Bradley Ellingboe has led a wide-ranging career in the world of singing, including accomplishments as a choral conductor, soloist, composer, scholar, and teacher. As a choral conductor, he has led festival choruses in 35 states and 14 countries. He made his operatic conducting debut in December 2011, leading the world premiere of Stephen Paulus’s opera Shoes for the Santo Niño, in a joint production by the Santa Fe Opera and the University of New Mexico. As a bassbaritone soloist, he has sung under such conductors as Robert Shaw, Helmuth Rilling, and Sir David Willcocks. Ellingboe has more than 140 pieces of music in print, including the Requiem for chorus and orchestra, which has been performed more than 300 times in this country and Europe, and his newest work, Star Song, which had its New York debut (Lincoln Center) in May of 2014 and its European debut in July of that year. For his scholarly work in making the songs of Edvard Grieg more accessible to the English-speaking

public, he was knighted by the King of Norway in 1994. As a teacher, the University of New Mexico Alumni Association named him Faculty of the Year in 2008. Bradley Ellingboe retired in 2015 after serving on the faculty of the University of New Mexico for 30 years, where he was Director of Choral Activities, Professor of Music, and Regents Lecturer. During his three decades at UNM, he also served at various times as Chairman of the Department of Music and Coordinator of Vocal Studies. He is a graduate of Saint Olaf College and the Eastman School of Music and has done further study at the Aspen Music Festival, the Bach Aria Festival, the University of Oslo, and the Vatican. Ellingboe has won annual awards for his choral compositions from ASCAP—the American Society of Composers, Arrangers, and Publishers—since 2000. His choral music is widely sung and is published by Oxford, G. Schirmer, Augsburg, Walton, GIA, Hal Leonard, Mark Foster, Choristers Guild, Alliance, Concordia, Selah, and particularly the Neil A. Kjos Music Company, for whom he edits two series of choral octavos. In 2017, he became Acquisitions Editor for National Music Publishing. His music has been performed and recorded by such groups as the Santa Fe Desert Chorale, Philip Brunelle’s VocalEssence, the Saint Olaf Choir, the Harvard Glee Club, Craig Hella Johnson’s Conspirare, and the choirs of the University of Michigan and Luther College, among many others. He has prepared choirs for such luminaries as Dave Brubeck, Moses Hogan, Alice Parker, Morten Lauridsen, René Clausen, and Robert Ray. At the request of composer Libby Larsen, the UNM Women’s Chorus, Las Cantantes, recorded all of Larsen’s music for treble chorus. He was guest conductor of the Santa Fe Desert Chorale in a series of concerts in December 2011. ●

Faith Lutheran Church Chancel Choir Music ministry is the mission of those who work at giving and growing through the spiritual gift of music. Our worship embraces both traditional and contemporary music styles. Fun and fellowship are by-products of the musical and spiritual growth we experience in and through God’s love. From Renaissance to Gospel style, the Chancel Choir provides worshipful music weekly and for special celebration services. The Chancel continued on 20

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ARTISTS . continued from 19 Choir sings at the 8:00 a.m. and 9:30 a.m. services of worship. ●

Helen Bielejec director Helen moved to Albuquerque in 2002 and has been on staff at Faith Lutheran Church since 2003. She directs the Chancel Choir, the children’s choir, and small groups. Outside of church, Helen keeps herself busy with the activities of her three children. ●

Jason Altieri conductor Dr. Jason Altieri is the current Music Director of the Atlanta Pops Orchestra and Associate Conductor for the Reno Philharmonic. Dr. Altieri is also a strong advocate for young musicians through his position as Director of Orchestras at the University of Nevada and with guest conducting engagements with youth orchestras all over the United States. In addition, Jason enjoys regular conducting engagements with the Hollywood Concert Orchestra, an ensemble which he has led on several tours throughout the United States, China, and Japan since 2006. His extensive touring has seen him conducting in most of the major performance venues in the United States and Asia including The People’s Hall in Beijing, China, and Suntory Hall in Tokyo, Japan. In addition to his extensive touring and as a result of his tireless work with young musicians, Dr. Altieri was invited as a guest conductor for the Los Angeles Orchestra Festival held in Walt Disney Hall on June 24th, 2011. He also served as the orchestra director for the International Double Reed Society Conference in July of 2012. A native of Georgia, Jason Altieri grew up in a musical family with both parents being members of the Atlanta Symphony Orchestra. High school was completed at the Dekalb Center for the Performing Arts and his education continued at the University of Georgia, where he received a Bachelor’s degree in music education. While pursuing advanced degrees in conducting from Michigan State University, Jason not only served as Assistant Conductor for the orchestra program but was also the conductor of the opera theatre program and was fortunate to have additional studies with Neeme Jarvi of the Detroit Symphony Orchestra and Gustav Meier of the Peabody Conservatory. Dr. Altieri currently resides in Reno, Nevada. ●

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Delphia singer Delphia’s return to the stage is an inspirational story that has been a decade in the making. Before graduating high school, she auditioned for the likes of Quincy Jones and Clive Davis, performed a monologue in Broadway’s Chicago, and found herself a semi-finalist on AOL’s Breakers competition. Turning down a scholarship to Berklee College of Music, the then guitar-toting singer/songwriter chose rather to focus on her craft after placing 20 songs on ABC’s All My Children, an opportunity that helped win her producer and music director a Daytime Emmy for Music Direction. Five years later, her performances included CBGB in New York, South by Southwest in Austin, the Wildhorse Saloon in Nashville, and Citizen’s Bank Park in Philadelphia. Melody Gardot and Amos Lee opened for her; she opened for Leon Russell and Wishbone Ash. Her career ended, however, in a single night. An attack by a fan-stalker began a downward spiral of musical silence that was fueled by overly prescribed medications. Since recovering and returning to music in 2016, Delphia has found a new voice, a soulful style, and an outlet to help others that have suffered through similar trauma through her nonprofit, Survivor Stories, Inc. She is a recipient of the WESTAF/National Endowment for the Arts IMTour Scholarship program and is slated to record with fourtime Grammy Award-winning jazz producer Larry Klein (Herbie Hancock, Joni Mitchell) in 2019. She arranges for and performs with her soul-based ensemble, affectionately known as Delphia and her Deltones, and will be performing at the KiMo Theatre on December 29, 2018. ●

Rio Rancho High School Concert Choir When the Rio Rancho High School Concert Choir takes the stage, it is much more than a concert—it is an event. Presenting music from different time periods and genres, while maintaining appropriate performance practices and enthusiasm for the repertoire, is their specialty. Since the inception of Rio Rancho High School in 1997, the choir has grown and developed under the baton of several fine directors into a program that is recognized for its quality and dynamic performances. Members of the Concert Choir regularly receive Superior with Honors ratings at Solo and Ensemble Festival and are consistently well represented in the New Mexico All-State Choirs. The choir has received Superior ratings at the annual NMMEA Central District VI Music Performance Assessments, including three perfect scores in March of 2014. The choir is currently under the direction of Mrs. Becky Talbott. ●

Becky Talbott director Becky began her music studies with piano at an early age. She studied choral conducting with John Clark and piano with Rita Angel at the University of New Mexico, receiving a Bachelor’s degree in music education with distinction in December 1984. She then received her Master’s degree in music education in May 2002. She has taught all levels and grades and had an extensive private studio for many years as well. Becky is currently in her sixth year as Director of Choral Activities at Rio Rancho High School in Rio Rancho, New Mexico, which currently boasts over 130 students participating in five choirs (Mixed Choir, Women’s Choir, Advanced Women’s Ensemble, Concert Choir, and the Ramifications). Becky is also the


ARTISTS .

Vocal Director for the school’s musicals and adjudicates festivals throughout New Mexico. The Rio Rancho Concert Choir is the NMMEA All-State Honor Choir for 2015. ●

Manzano Day School Chorus The Manzano Day School Chorus is part of the music curriculum for our fourth and fifth grade students. Not only do students experience being part of a chorus, but they also have general music instruction focusing on singing, playing, moving, creating, and reading music. The Manzano Day School Chorus performs a concert mid-year and a full musical in the spring. The New Mexico Philharmonic invites the Manzano Day School Chorus to sing for many of their Holiday Pops concerts, and the chorus travels to hospitals and senior centers to sing as part of their service learning. Music has been an integral part of education at Manzano Day School since its founding in 1938. We are thrilled to continue this musical tradition. Manzano Day School is an independent, pre-kindergarten through fifth-grade elementary school located near Old Town in Albuquerque, New Mexico. In 1942, Manzano Day School moved from the Huning Castle to its present location. Generations of families have cherished the history and warm atmosphere of Manzano Day School. Students learn core curriculum through innovative methods in small classes. In addition to the core curriculum, all students receive instruction in music, art, physical education, Spanish, and technology. ●

Penny Voss director Penny Voss is an active music educator with diverse experience and a strong track record of teaching music literacy to children of all ages. Voss is currently teaching Upper School Music at Manzano Day School, where she has the privilege to teach general music classes and choir to all of the students in grades three through five. Prior to this appointment, Voss directed middle and high school choral programs in the Moriarty-Edgewood School District where her ensembles received superior ratings. She and her ensembles were invited to participate in prestigious choral performances at Lincoln Center that were sponsored by Distinguished Concerts International New York. Sought after as an adjudicator and clinician for a variety of choral music events across the state of New Mexico, Voss serves as an active advocate for the importance of quality music education for all children. Voss holds degrees from Walla Walla College and the University of New Mexico. In addition, Voss is a Certified Kodaly Specialist and works closely with the New Mexico Kodaly Institute. Inspiring young people to become lifelong singers is a passion that Voss hopes to instill in her students of all ages. ●

Albuquerque Youth Symphony The Albuquerque Youth Symphony provides students with a high-quality music education, instills an emotional connection with and lifelong passion for music, fosters a diverse community of musicians, and offers outstanding symphonic performance opportunities for students to share their musical gifts with the community. ●

Sayra Siverson director Sayra Siverson is a nationally known conductor and music educator who has spent more than 25 years dedicated to the pursuit of her craft and sharing the joy of musical excellence with young musicians. Ms. Siverson has served as guest conductor, adjudicator, and clinician for many local and national music festivals and camps, including Northern Arizona University’s Curry Summer Music Festival, Brevard Music Center, ISAS Arts Festival, Grand Opera Theater, Minnesota SEC Honor Orchestra, Albuquerque Philharmonic, and multiple All-State orchestras throughout the United States.

Former conductor of the Albuquerque Youth Symphony Program’s Youth Orchestra, Junior Orchestra, and Junior Band, Ms. Siverson has been conducting with AYSP since 1998 and currently serves as Artistic Director and conductor of the Youth Symphony. She actively promotes the education and performance of new music by successfully partnering with living composers on commissions and performances of new works, including composers such as Jeremy Hegg, Tim Janis, Mark O’Connor, Miho Sasaki, Michael Schelle, and Dana Wilson. Additionally, Ms. Siverson taught public and private school music for 16 successful years. Ms. Siverson’s youth orchestras have performed at events in concert halls across the United States, including the New Mexico All-State Music Festival, the American String Teachers Association national conference, and the League of American Orchestras “Meet the Composer” program. An advocate of volunteering and collaborating with local organizations, her students have performed alongside the New Mexico Philharmonic, New Mexico Symphonic Chorus, Opera Southwest, and with Hey Mozart! New Mexico. Recently, Augustana University (SD) honored her with the Horizon Award that recognizes alumni who have demonstrated outstanding vocational achievement and have provided faithful service to their community. ●

Anastasiya Naplekova piano Ukrainian-born pianist Anastasiya Naplekova has a unique voice in the world of music, performing with “effortless virtuosity” (Cincinnati Enquirer) and delivering the most challenging works of continued on 22

The New Mexico Philharmonic

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ARTISTS . continued from 21 the piano repertoire with “strongly personal performance” (The Miami Herald). Winner of the Rudolf Firkusny International Piano Competition in Prague, she has recently received her doctoral degree in piano performance and pedagogy from the University of Miami, Frost School of Music, studying under the distinguished tutorage of Professor Santiago Rodriguez. Among Ms. Naplekova’s achievements include prizes at the 2014 Hilton Head International Piano Competition, the 6th International Ignacy Paderewski Piano Competition in  Poland, the International Piano Competition in memory of Vladimir Horowitz in Ukraine, the Wideman Piano Competition in Louisiana, Second Prize at the International Piano Competition Her Royal Highness Princess Lalla Meryem in Morocco, and most recently, the Third Prize at the Olga Kern International Piano Competition in Albuquerque, New Mexico. An international performer, Ms. Naplekova has participated in music festivals such as the Paris International Summer Sessions organized by Foundation Bell’Arte, Beethoven Master Classes with Menahem Pressler in Boston, and CCM Prague International Piano Institute. She has also appeared in solo recitals throughout Ukraine, Russia, Czech Republic, France, Portugal, and the U.S. She has been a soloist with multiple orchestras, including the National Symphony Orchestra of Ukraine, Crimea State Symphony Orchestra, and the Frost Symphony Orchestra under the baton of Leon Fleisher as the opening performance for the 2012 Festival Miami concert series. Ms. Naplekova received her BM and MM in piano performance from Kharkov State University of Arts studying under Professor Nataliya Melnikova. She continued her study at the University of Florida with Professor Kevin Sharpe, where she received her second MM in piano performance. Ms. Naplekova has played in master classes with Ian Hobson, Robert Roux, Steven Hough, Eugene and Elizabeth Pridonoff, and Phillip Entremont. Ms. Naplekova is also the recipient of special grants from the Ministry of Culture of Ukraine and the President of Ukraine. ●

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2018/19 Season / Volume 8 / No. 3

SPONSOR A MUSICIAN

WE INVITE YOU TO ENGAGE MORE DEEPLY WITH THE ORCHESTRA AND ITS MUSICIANS. Sarah Nickerson mezzo-soprano Mezzo-soprano Sarah Nickerson is a Santa Fe-based artist active in oratorio, chamber music, choral work, and musical theatre. Sarah has performed as a soloist and chorister with the Santa Fe Desert Chorale, Kinnara Ensemble, and Chatter of Albuquerque. As a soloist, Sarah’s performances include Vivaldi’s Gloria, the role of the Sorceress in Purcell’s Dido and Aeneas, and Duruflé’s Requiem with the Santa Fe Symphony and Haydn’s Mass in C Major with the New Mexico Philharmonic. In addition to her life as a singer, she is also a First Degree Black Belt Nia instructor at StudioNia Santa Fe. ●

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

(505) 323-4343


BOARD OF DIRECTORS Maureen Baca President Anthony Trujillo Vice President

New Mexico Philharmonic

David Peterson Secretary

The Musicians

FIRST VIOLIN Krzysztof Zimowski Concertmaister 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 Eric Sewell ++ Roberta Branagan Sheila McLay Brad Richards Juliana Huestis ++ 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 Anne McKinney 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 Garcia Artistic Manager & Social Media Coordinator Allison Tutton Head Librarian Nancy Pressley-Naimark Office Manager Mary Montaño Grants Manager

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

The New Mexico Philharmonic

Joan Olkowski Design & Marketing Lori Newman Editor Sara Tutland Ensemble Visits Coordinator

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DONOR CIRCLES .

Donor Circles Thank You for Joining a Circle

BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation Anonymous 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 Mary Herring 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 New Mexico Gas Company 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 Foundation for Art & Music, Peggy Cavett-Walden & Prof. Jefford Walden 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 Bob & Bonnie Paine, in memory of Allyra Jameson & Ann Stinchcomb

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Scalo Northern Italian Grill, Steve Paternoster 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

Albuquerque Involved 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 Bonnie & Hank Kelly 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

2018/19 Season / Volume 8 / No. 3

Steve Ridlon, in memory of Casey Scott Robertson & Sons Violin Shop Jacquelyn Robins Ellen Ann Ryan Barbara & Heinz Schmitt Terrence Sloan Vernon & Susannah Smith Betsey Swan & Christopher Calder Kathleen & David Waymire Dr. & Mrs. Albert Westwood William A. Wiley & Diane Chalmers Wiley Drs. Bronwyn Wilson & Kurt Nolte

BACH CIRCLE Donation of $1000–$1932

Leah Albers & Thomas Roberts 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 Deborah Blank 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 Rohini & 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 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 Gretchen & Tom Obenauf 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 Judy Basen Weinreb & Peter Weinreb 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 Rod & Genelia Boenig Carolyn Rose Brown Suzanne Brown Sandra A. Buffett Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Camille Carstens Edwin & Deborah Case Edith Cherry & Jim See Betty Chowning Paul & Linda Cochran Mark & Susan Conradi Thomas & Martha Domme Gale Doyel & Gary Moore Patricia & Leonard Duda Mary Lou Edward 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 Sharon Moynahan, in memory of Virginia Lawrence Edward & Nancy Naimark Elias Nasr 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 Philip Stanton 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 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


DONOR CIRCLES .

Blissful Spirits, Inc. Ann & James Bresson James & Elizabeth Brown Terry Brownell & Alpha Russell Elaine Burgess Thomas Gordon Cagle Lee Calderwood Carol Callaway Dante & Judith Cantrill Paty Carreon James Carroll Robert E. & Shirley 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 Richard & Mildred Elrick Robert & Dolores Engstrom Stephanie Eras & Robert Hammerstein Jackie Ericksen Jan Erickson Jeffrey & Laura Erway Harry Ettinger David & Frankie Ewing Helen Feinberg Winifred & Pelayo Fernandez The Financial Maestro, LLC, Joann MacKenzie Howard & Deonne Finkelstein Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming Flying Star Inc. J. Arthur Freed Joseph Freedman & Susan Timmons 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 Kirk Gulledge Stephen Gunn Kenneth Guthrie & Doni Lazar 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 William & Margie Lang Rebecca Lee & Daniel Rader William J. Lock Dwayne & Marjorie Longenbaugh Bruce & Leslie Loughridge Frank & Judy Love 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 Albert Narath, in memory of Orval Jones 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 Kevin & Judy Taira David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thompson Nina & Gary Thayer David Ther Jeffrey Thomsen Rogan Thompson Marit Tully & Andy Thomas Alfred Watts & Jan Armstrong Michael & Louisa Weinrib Margaret Wente Jeffrey West Mary K. West Marybeth White Helen M. Whitesides Ellen Whitman Kathryn Wissel 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

Austin-Healey Roadrunner Club, in memory of William N. Sullivan 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 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 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 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 Fletcher Hahn Michael Hall Bhanu Joy Harrison Joan & Fred Hart M.L. Hartig Rossanna & William Hays Patricia Henning Robert & Sara Henning Florence Hernandez 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

continued on 26 The New Mexico Philharmonic

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DONOR CIRCLES . continued from 25 Ruth Johnson Anne & Lawrence Jones Peggy Jones Margaret Keller Allen Kenyon Gerald F. Kiuttu Barbara Kleinfeld, in memory of Clare Dreyer Gerald Knorovsky Herbert & Shelley Koffler, in memory of Clare Dreyer Philip Kolehmainen & Vivian Waldron Katherine Kraus Deborah Krichels Jennifer C. Kruger Hareendra & Sanjani Kulasinghe Nick & Susan Landers Molly Lannon Wes & Dawn Leach Mary E. Lebeck Douglas LeGrand Don & Susan Lentz Carl Litsinger Carol Lovato Betty Louise Lovering 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 Barb McBee, in memory of William N. Sullivan 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

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James & Beth Nance, thanks to Steve & Maureen Baca New Mexico Japanese American Citizens League Elizabeth Norden Candace & Frank Norris David & Marilyn Novak Jennifer Nuanez Richard & Marian Nygren Marilyn Jean O’Hara Ruth Okeefe H. George Oltman Jr. Margaret Guinan Orona Ricardo Ortega Joseph & Barbara Oser Daniel O’Shea 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

2018/19 Season / Volume 8 / No. 3

Charlie & Alexandera Steen Herb Strasberg James & Judy Sutherlin Georgann Taylor Ruth M. Thelander Roy & Enid Tidwell Julie Tierney John Tischhauser Margaret Ann Todd John Tondl Samuel D. Tonsend, in memory of Paul Moffitt Dean & Bonita Tooley Ronald Trellue Karen & John Trever Jorge Tristani J.T. Vaughn Jean Villamarin John Vittal & Deborah Ham Hilda A. Volkin Joanne Vye Marmion Walsh Robert Walston Cynthia & William Warren 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 11/25/2018

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 Ruth B. Haas 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 11/17/2018

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 11/17/2018


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

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Sandia Laboratory Federal Credit Union slfcu.org

Sandia National Laboratories sandia.gov

Scalo Northern Italian Grill scalonobhill.com

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New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 3  

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 3 • nmphil.org

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 3  

New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 3 • nmphil.org

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