New Mexico Philharmonic Program Book • 2018/19 Season • Volume 8 • No. 4

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VOLUME 8 / NO. 4

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2018/19 SEASON

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NMPHIL .

LETTER FROM THE

MUSIC DIRECTOR

TABLE OF CONTENTS PROGRAMS February 16, 2019 Program February 23, 2019 Program March 10, 2019 Program March 16, 2019 Program Program Notes

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ARTISTS Matthew Greer Amy Greer Shea Perry Michael Hix Chancel Choir of St. John’s United Methodist Church Grant Cooper Olga Kern Antonio Chen Guang David Felberg Robbie Rodriguez Kira Petersen Christopher Bornet Natalie Harris New Mexico Ballet Company Roberto Minczuk

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

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Midway through my second season as the Music Director of the New Mexico Philharmonic, I have to say that the excitement of making music with these amazing musicians is still going strong.

I am grateful for every musical moment I spend with them on stage, and we do it all to give you, our wonderful audience, the highest-quality live musical experience possible. We selected great pieces for our programs this season, and in addition, we are celebrating the 100-year birth anniversary of one of the greatest musicians ever, Leonard Bernstein.

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. I invite you to come and hear the remaining concerts of the season, which are all blockbusters. Music by Rachmaninoff with Olga Kern, the amazing Verdi Requiem, Vivaldi’s The Four Seasons with Rachel Barton Pine, all coupled with one of my favorite symphonies—Bruckner’s 7th.

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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2018/19 Season / Volume 8 / No. 4

Roberto Minczuk Music Director

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

CONCERT PROGRAM .

Baroque, Beauty, & Grace

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Saturday, February 16, 2019, 6:00 p.m.

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Matthew Greer conductor Amy Greer piano Shea Perry soprano Michael Hix baritone Chancel Choir of St. John’s United Methodist Church

Orchestral Suite No.1 in C Major, BWV 1066 I. Ouverture II. Courante III. Gavotte IV. Forlane V. Menuet VI. Bourrée VII. Passepied

St. John’s United Methodist Church

Johann Sebastian Bach (1685–1750)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Meredith Foundation Additional support by: St. John’s United Methodist Church

Piano Concerto in D Major, Hob. XVIII:11 Franz Joseph Haydn I. Vivace (1732–1809) II. Un poco adagio III. Rondo all’Ungarese Amy Greer piano

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

Requiem, Op. 48 I. Introit et Kyrie II. Offertory III. Sanctus IV. Pie Jesu V. Agnus Dei VI. Libera me VII. In Paradisum

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Gabriel Fauré (1845–1924)

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CONCERT PROGRAM .

Olga Kern: Rachmaninoff 3 Saturday, February 23, 2019, 6:00 p.m.

Grant Cooper conductor Olga Kern piano

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Popejoy Hall

Romanian Rhapsody No. 2 in D Major, Op. 11 George Enescu (1881–1955)

Symphony No. 1 Colin Martin I. Moderato-Allegro (b. 1993) II. Mambo III. Andante espressivo IV. Allegro con spirit – Vivace Commissioned by the New Mexico Philharmonic.

World premiere.

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MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: The Schmidt-Nowara family, in memory of Christopher Schmidt-Nowara Sonya Priestly & Art Gardenswartz

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

Piano Concerto No. 3 in d minor, Op. 30 Sergei Rachmaninoff I. Allegro ma non tanto (1873–1943) II. Intermezzo: Adagio III. Finale: Alla breve Olga Kern piano

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Saturday March 2, 2019, 5:30 p.m.

Las Puertas Event Center

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CONCERT PROGRAM .

Beethoven & Schumann

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Sunday, March 10, 2019, 3:00 p.m.

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Roberto Minczuk Music Director Antonio Chen Guang piano

Piano Concerto No. 3 in c minor, Op. 37 I. Allegro con brio II. Largo III. Rondo. Allegro.

National Hispanic Cultural Center

Ludwig van Beethoven (1770–1827)

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

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

Symphony No. 3 in E-flat Major, Op. 97, “Rhenish” I. Lebhaft II. Scherzo: Sehr mäßig III. Nicht schnell IV. Feierlich V. Lebhaft

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Robert Schumann (1810–1856)

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CONCERT PROGRAM .

Phantom of the Opera Ballet

Saturday, March 16, 2019, 2:00 p.m. & 6:00 p.m.

David Felberg conductor Robbie Rodriguez “Phantom” Kira Petersen “Christine” Christopher Bornet “Raoul” Natalie Harris NMBC Artistic Director and Choreographer New Mexico Ballet Company

Phantom of the Opera Ballet ACT I

Scene 1: Scene 2: Scene 3: Scene 4: Scene 5: Scene 6:

Theater in Paris: Final Rehearsal Opening Night Mysterious Encounter Letters from the Phantom Failing to Comply Rooftop Vows

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Popejoy Hall

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation Additional support for the 6 p.m. performance is provided by: Sandia Laboratory Federal Credit Union

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

ACT II

Scene 7: Masquerade Scene 8: Circus of Oddity Scene 9: Moment of Need Scene 10: Phantom’s New Production Scene 11: Point of No Return

Performed to the music of J.S. Bach, Tchaikovsky, Smetana, Handel, Gounod, Rota, Khachaturian, Wagner, and Jaurena.

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

Sunday, February 24, 2019, 4 p.m.

Olga Kern piano Hosted by Drs. Kelly and Lee Caperton at their sleek, contemporary North Albuquerque Acres home.

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PROGRAM NOTES .

Program Notes Charles Greenwell

Johann Sebastian Bach

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

Orchestral Suite No. 1 in C Major, BWV 1066 Scored for 2 oboes, bassoon, and strings.

Approximately 21 minutes.

Sad though it is to contemplate, a very large part of Bach’s music is lost, and we will probably never know exactly how large.

Perhaps two-fifths of his cantatas have disappeared, but a much larger percentage of purely instrumental music is lost, simply because there was no institutional means of organizing and preserving it. Scores and parts were given to performers or passed on to others, and as a result, we have to assume Bach’s surviving orchestral works—the Brandenburg Concertos, the four orchestral suites, and more than 20 solo concertos— represent just the tip of the iceberg. When Bach died in the summer of 1750, he was mourned as one of the greatest organists and keyboard players of his time, but his compositions were relatively unknown.

When he died, his manuscripts were divided among his sons, and many of them were lost. When the big Bach revival began in the mid-1800s, only a small fraction of his works was recovered.

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

… this Hungarian Rondo outdoes its predecessors in its flamboyant exoticism and delicious humor. popular Brandenburg Concertos, surviving manuscripts of the Suites contain no scores in Bach’s handwriting, only a few orchestral parts, and no mention of the works has been found in documents of the time, either by Bach or any of his contemporaries.

The suite had its origin in the early 16th century, when composers turned to printed collections of dance music in order to satisfy their employers’ enormous demands for new music to be used at court balls and other entertainments. At the time, the dances were grouped by type, and the musicians would assemble suites according to what was required and the available musical forces.

By Bach’s time, most of the dances found in the earlier suites had gone out of fashion, and the suite had moved from the ballroom and banquet hall to the concert room. In so doing, the group of dance movements was now preceded by a lengthy and grandiose Ouverture, patterned after opera overtures by the great French baroque master JeanBaptiste Lully. In Bach’s hands, the opening movements were so extensive and of such musical substance that they became the most important part of the suite.

The orchestral suites, at least in their original form, date mostly from Bach’s residency at the court of Prince Leopold of Anhalt-Cöthen, where he served from 1717 to 1723, and which was probably the happiest period in his life. Leopold was well-read, liberally educated, and very knowledgeable about music. He recognized and appreciated Bach’s remarkable abilities, and gave him relatively free rein to create as he felt inclined to do. As a result, Bach could devote himself to writing secular instrumental music, but while three of the four suites appear to have originated in Cöthen, we know them only in versions he revised around 1730 for the Leipzig Collegium Musicum, a civic orchestra composed of professional musicians and university students, which Bach directed from 1729. The numbering of the four suites is purely arbitrary, and the works have been

traditionally viewed as a collection in spite of the fact that they were definitely not composed as such. Moreover, the present C-Major Suite is the only one of the four that has survived in what we can surmise is its original version. ●

Franz Joseph Haydn

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

Piano Concerto in D Major, Hob. XVIII: 11

Scored for solo piano, 2 oboes, 2 horns, and strings.

Approximately 18 minutes.

Haydn was a classic example of a self-made man. Life threw him entirely on his own resources, and with steadfast determination he worked his way up from very humble circumstances to become one of the most celebrated artists of his time and one of the greatest composers in history. What helped him achieve this was an eternal optimism that allowed him to be at peace with himself and the world. He was also one of the most prolific, astonishingly fertile, and inventive composers who ever lived, and one of the most highly skilled craftsman in all of music. As far as we can tell, he wrote 106 symphonies, 70 string quartets (a genre that he essentially created), 60 piano sonatas, dozens of piano trios, 25 operas, about a dozen masses, four oratorios (of which, The Creation is one of the supreme achievements), a great number of songs, and hundreds of smaller works. He enlarged, extended, and reshaped virtually every genre in which he worked. 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. His lifetime corresponded to the period when the pianoforte superseded the harpsichord as the pre-eminent keyboard instrument. Some scholars believe that his earliest keyboard concertos were written continued on 12

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PROGRAM NOTES . continued from 11 for the organ, but by the time he wrote this concerto in the early 1780s, he clearly had the piano in mind. Most of his early keyboard concertos were conceived more as chamber music than full-blown orchestral works.

There is a good deal of mystery surrounding the origins of this concerto, as its manuscript has not survived, and for some reason Haydn failed to enter it in the personal catalogue he maintained from 1766.

When Haydn offered the concerto as “new” to an English publisher in 1787, he was startled to discover that pirated editions had already appeared there. It went on to become Haydn’s most popular concerto during his lifetime, thanks to its sparkling keyboard writing and general sense of energy, and by the time he died in 1809, it had been produced by eight publishing companies in five different countries! It has remained his most popular keyboard concerto down the present day. It is surely the finale that has been responsible for its undying popularity, something that Haydn apparently realized right from the time he wrote it. He had hinted at a gypsy style in several earlier works, but this Hungarian Rondo outdoes its predecessors in its flamboyant exoticism and delicious humor. The main tune has been identified as a dance from Bosnia or Croatia, and right from the moment the tune is repeated in the “wrong” key of e minor, the music becomes increasingly delirious. ●

Gabriel Fauré

Born May 12, 1845, in Pamiers, France Died November 4, 1924, in Paris, France

Requiem, Op. 48

Scored for soprano and baritone solos, chorus, 2 flutes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, harp, organ, and strings.

Approximately 38 minutes.

Fauré was a French Romantic composer, organist, pianist, and teacher, and one of the great composers of his generation whose musical style greatly influenced many 20th-century composers. Among other things, he singlehandedly brought French chamber music to a level where it could stand alongside the German tradition, and was central to the tradition of French art song. As a choirmaster and organist, Fauré constantly sought to create a new kind of church music, and along the way he helped to establish a distinctive French style that set the stage for the development of the Impressionist style

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2018/19 Season / Volume 8 / No. 4

“His voice seems to interpose itself between heaven and earth, unusually perceptive, quietly fervent, sometimes grave and sad, but never menacing or dramatic …”

—Nadia Boulanger

of Debussy and Ravel. His best-known and most popular works were generally written in the early part of his career, but many of his most highly regarded works come from his later years, written in a more harmonically and melodically advanced style. He became very successful in his middle age, holding for many years an important church organist position in Paris, and eventually becoming director of the famous Paris Conservatory when he was 60. He held that post for 15 years until deafness forced him to retire.

His last years were spent peacefully and quietly, surrounded and supported by a close family and a small circle of faithful students.

Through his abilities and tenacity, he brought French music into the 20th century, in the process influencing a generation of young composers and even generations beyond that. His beautiful Requiem can be seen as the product of a great French tradition, in which many first-rate musicians held posts as organists and church conductors, among them Charpentier, Couperin, Rameau, Gounod, Franck, Saint-Saëns, Widor, Delibes, d’Indy, Pierné, and of course, Fauré.

Describing himself as basically an agnostic, this lack of religious conviction did not prevent him from holding a number of fine posts as a church musician, and during the last one, at the prestigious Madeleine in Paris, he became tired of playing other composers’ music, and decided to write something on his own. Fauré also thought on a smaller and more intimate scale than many of his contemporaries, so there are none of the massive outsized statements of a Wagner or a Berlioz, and in their place are subtle gradations in dynamics, color, and harmony to achieve the effects that he wanted.

His style was melodic, delicate, elegant, harmonically adventurous, with a strength uniquely his own.

The Requiem was the only major sacred work he wrote, initially beginning work on it in 1887 and finishing it just eight days before the first performance in January of the following year at the Madeleine in Paris where he was an organist. Fauré’s work has an important place among settings of the Requiem Mass because of its understated craftsmanship that contrasts markedly with the more theatrical settings of Mozart, Berlioz, and Verdi. The deep spirituality that pervades his setting cannot easily be expressed, but the legendary French teacher Nadia Boulanger once summed it up by saying, “His voice seems to interpose itself between heaven and earth, unusually perceptive, quietly fervent, sometimes grave and sad, but never menacing or dramatic … To have combined charity with beauty, hope, and love, is this not the most beautiful manner of participating in the work of the Church?”

This beloved Requiem has a most complicated history, and it evolved gradually from pieces written separately, taking shape gradually over a period of almost 30 years. In 1877, he composed a Libera me (Deliver me) for baritone and organ. This is not part of the Requiem Mass, but of the Burial Service that takes place directly after the Requiem.

Then, in 1887, he began writing what he called a “Little Requiem” consisting of five sections selected from the Catholic Mass for the Dead: the Introit and Kyrie, Sanctus, and Agnus Dei, adding a separate Pie Jesu and the antiphon In Paradisum. These could be performed liturgically with the addition of the missing texts in the form of chant or spoken word. It was originally conceived for a boy soprano, his own church choir, and a small orchestra, the accompaniment written for organ, colored and amplified by the other instruments: timpani, solo violin, violas,

PROGRAM NOTES .

cellos, and double basses. He directed the first performance for a funeral service at the Madeleine in January of 1888, saying at the time that “… my Requiem is dominated from beginning to end by a very human feeling of faith in eternal rest … I see death as a happy deliverance, and aspiration toward happiness above, rather than as a painful experience.” Curiously, this first version is the only one with surviving manuscripts, with the exception of the beautiful Pie Jesu, whose manuscript is lost, and is known only from the final published version of 1900. The Requiem was performed at the Madeleine for the next 10 years, and during that time Fauré added two more movements, the Offertory and the earlier Libera me. It is likely that some of the orchestration changes were made for this expanded version, which was first performed in 1893: He added horn and trumpet parts to the earlier manuscript, and violins were added to the In Paradisum.

The published version of 1900 was actually the third version of the work, and was first performed in July of that year at the Paris World Exposition. Shortly thereafter, vocal and orchestral scores were published, on which all but one of the subsequent editions have been based. It is still not clear how and why the work was expanded for publication, but it is possible that the publisher felt that the new version would be more viable.

Again, the manuscript for this version is lost, leaving the publication itself as the only evidence of the revised work. Because of this, it is impossible to determine whether certain parts were added for the expanded 1983 version or the 1900 published version, and impossible to know what parts Fauré might have written since there are no manuscripts for either version in existence! Because Fauré at the time was burdened with teaching and administrative work at the Conservatory, it is also possible that he gave the task of rescoring the Requiem to Jean Roger-Ducasse,

one of his favorite pupils, but whether or not he actually supervised that work or even approved it when it was done is anybody’s guess. The distinguished English composer and conductor John Rutter—whose edition of the Requiem is being used at this performance—is of the opinion that the 1900 publication is remarkably inaccurate and full of mistakes, not just of notes but of string bowings, dynamic markings, and the like, which the meticulous Fauré would surely not have created himself, and that a full orchestral accompaniment is quite foreign to Fauré’s original concept. So, Rutter has opted for the 1893 version as the basis for this performing edition. Of the many settings there are of the Requiem Mass, this lovely one by Fauré is probably the most universally beloved, and its gentle and unassuming eloquence and understatement certainly have contributed to its great appeal. Performed at the composer’s memorial service in 1924, it stands as one of his greatest achievements, which is to say, one of the finest works in all of French music. ●

George Enescu

Born August 19, 1881, in Liveni-Virnav, Romania Died May 4, 1955, in Paris, France

Romanian Rhapsody No. 2 in D, Op. 11

Scored for 3 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings.

Approximately 11 minutes.

Enescu was the most important musician Romania has yet produced, as well as one of the most active and versatile musicians of his era. He was a violin prodigy who was trained at the Vienna Conservatory where Brahms’s influence was particularly strong, and then went on to have a successful international career as a performer, and

“… I see death as a happy deliverance, and aspiration toward happiness above, rather than as a painful experience.”

—Gabriel Fauré

“He will remain for me the absoluteness through which I judge all others …”

—Jascha Heifetz

contributed greatly to concert life and musical culture in Romania. After Vienna, he went on to study in Paris where he was influenced strongly by French masters and culture, there having been a strong linguistic connection between Romania and France. He was a brilliant and unique violinist as well as a great violin teacher who managed to integrate the French violin tradition with that of central Europe, his sound and interpretive mastery differing greatly from those of the Russian tradition and the German tradition. In spite of this, Enescu considered himself primarily a composer, but sadly, most of his music is neglected today outside of Romania. This was due mainly to modesty with regard to his own compositions, and his great dislike of self-promotion. Only the two Romanian Rhapsodies keep his name alive in the world’s concert halls. His music is one of the last flowerings of the Romantic age, and is tinged with suggestions of Romanian folk music.

Pablo Casals once called Enescu “the greatest musical phenomenon since Mozart,” and his most famous violin pupil Jascha Heifetz said, “He will remain for me the absoluteness through which I judge all others, and was the most extraordinary human being, the greatest musician, and the most formative influence I ever experienced.” In short, George Enescu— violinist, pianist, composer, conductor, and teacher—was one of the most prodigiously gifted musicians of the 20th century.

Among the influences on his compositions from Romanian folk music was lautareasca, the complex and improvisational music of professional bands of Romani musicians who played a combination of strings, winds, zither, bagpipe, and accordion. The two Romanian Rhapsodies were influenced by the modal inflections and shifting tonality of continued on 14

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PROGRAM NOTES . continued from 13 this unique folk music. These two popular works were composed in Paris between 1901 and 1902, and premiered in a concert that took place in Bucharest in February of 1903.

Both are modeled on the earlier Hungarian Rhapsodies of Franz Liszt, although, unlike Liszt, they use more tunes and make little attempt at structural integration. The Second Rhapsody was played first, and in his concerts Enescu maintained this order of performance throughout his life. This Rhapsody (which is not performed nearly as often as the First) is basically inward and reflective, and unlike the First, its essential character is not dance but song. It is based on a popular 19th-century ballad entitled “On a Dark Rock, in an Old Castle,” and after an initial development section is joined by parts of two other folk songs entitled “Sirba of the Fireman,” and “Ayee, I’m Being Devoured by a Wolf!” (For the record, Enescu talked frequently about writing a Third Rhapsody, but it never happened.) ●

Colin Martin

Born February 23, 1993, in Albuquerque, New Mexico

Symphony No. 1

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Approximately 24 minutes.

When he was a boy, Martin’s family took him to hear concerts by what was then the New Mexico Symphony Orchestra throughout high school, and among other works, Mussorgsky’s Pictures at an Exhibition was a major catalyst in arousing his interest in music. He graduated from the Albuquerque Academy in 2011, and along the way studied piano with Maribeth Gunning and percussion with Douglas Cardwell. He received a BA in music from Middlebury College in Vermont in 2015, and an MM in composition from the San Francisco Conservatory of Music in 2018. He has premiered some of his piano pieces at the Southwest Piano Festival in Albuquerque, and has had performances of his music at San Francisco’s Center for New Music, the Bard College Conductors’ Institute Summer Festival, the San Francisco Conservatory of Music, and Middlebury College’s Mahaney Center for the Arts. His compositions include works for orchestra, string quartet, solo instruments, chorus, art songs, and chamber music. In his own words, Martin says that he tries “to blend Romantic melodies and expressive worlds with 20th-

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“I write down on paper the music I hear within me, as naturally as possible … ” —Sergei Rachmaninoff

century harmonies and rhythms,” and that his music is “generally quite tonal and accessible.” In March of 2018, the NMPhil asked him to compose a work in honor of Leonard Bernstein’s centennial (2018), and he responded with this symphony based on a number of Bernstein’s ideas.

About the symphony, Martin has written, “The opening of the first movement is a tribute to On the Waterfront, in that it starts with a solo instrument (timpani, in this case) going into a full percussion groove. The opening motif in the timpani is the same as the opening flourish of the Overture to Candide. (I wrote this opening timpani solo with Douglas Cardwell, NMPhil principal timpanist and my former teacher, in mind.) The second movement is my take on the mambo, the Cuban dance style used so brilliantly in West Side Story. The third movement is an exploration of the full possibilities of the melodic tritone, which Bernstein used so beautifully in “Maria.” The last movement’s main melody is an inversion of “Oh, Happy We” from Candide, and then the first three movements are all echoed during the close of the symphony.” ●

Sergei Rachmaninoff

Born April 1, 1873, in Semyonovo, Russia Died March 28, 1943, in Beverly Hills, California

Piano Concerto No. 3 in d minor, Op. 30

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings.

Approximately 38 minutes.

He is primarily remembered today as a composer of dark, rich, brooding music, but Rachmaninoff was also one of the greatest piano virtuosos who ever lived, and was in his day regarded as a first-rate conductor, particularly in the field of opera. He was one of the last great representatives of musical Romanticism, and early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers were blended into

what became a unique and personal idiom, featuring a striking gift for melody and harmony, an ingenious use of form, and a mastery of brilliant orchestration second to none. People who were lucky enough to have heard him perform remember him as a patrician pianist possessed of an indescribable technical perfection and an amazing poetic lyricism. Although he lived during an era that began when nationalist Russian music was becoming world famous, and that encompassed the prominence of composers such as Strauss, Schoenberg, and Stravinsky, along with French Impressionism and American jazz, Rachmaninoff remained untouched by contemporaneous musical trends and experimentation. His music was certainly conservative, particularly by standards of the first part of the 20th century, but in his later years his style grew more subtle and inventive, more lean in its texture, with more dissonance than before, and with more angular rhythms. The composer himself had this to say about his creative process: “In my own compositions, no conscious effort has been made to be original, or Romantic, or Nationalistic, or anything else. I write down on paper the music I hear within me, as naturally as possible … I have never, to the best of my knowledge, imitated anyone. What I try to do when writing down my music is to make it say simply and directly that which is in my heart when I am composing.”

Along with a whole host of preludes, études-tableaux, and other short piano pieces, he wrote four magnificent piano concertos, the first three of which are a permanent part of the great Romantic piano repertoire. Following the historic October Revolution of 1917, Rachmaninoff left Russia—never to return—and settled in the U.S. where he eventually became an American citizen. There followed a period of almost total creative silence that was broken by the writing of the original version of the Fourth Piano Concerto in 1926. From then until his death, he wrote only a handful of works, but all of them are on a large scale.

PROGRAM NOTES .

The Third Piano Concerto is arguably the finest of the four; it is also the longest but the most tightly constructed. It was written in the summer of 1909 in the peaceful setting of his family’s country estate as a showcase for Rachmaninoff’s talents during his first tour of America that began in October of that year. Contemporary with this work are his First Piano Sonata and the tone poem The Isle of the Dead. Initially, he was hesitant to accept the American tour offer, but finally agreed only because he hoped that the fees he was promised would allow him to realize his dream of buying an automobile!

The premiere of the Piano Concerto No. 3 was given in New York in November with Walter Damrosch conducting the Symphony Society of New York. In December, Rachmaninoff played the work again in New York, this time with the New York Philharmonic conducted by Gustav Mahler, for whom Rachmaninoff had nothing but the highest praise. Recalling the first rehearsals, Rachmaninoff later wrote, “At that time Mahler was the only conductor whom I considered worthy to be classed with [Artur] Nikisch. He devoted himself to the concerto until the accompaniment, which is rather complicated, had been practiced to perfection. According to Mahler, every detail of the score was important—an attitude all too rare among conductors.” Following this, he performed the work with the Boston Symphony Orchestra, making such a magnificent impression that he was asked to become the orchestra’s music director, an offer he declined. This imposing work, which is one of the most brilliant, difficult, and demanding works in the entire concerto repertoire, was a great success with audiences all across the country, and still stands as a touchstone for pianists everywhere with regard to technical and musical ability.

Initially, the work was feared by many

“… there was something magical about [Beethoven’s] playing.”

—Carl Czerny

pianists, and the great Josef Hofmann, to whom the work is dedicated, never played the work in public. The wonderful American pianist Gary Graffman once said he was sorry he never learned the concerto as a student when he was “still too young to know fear.” Rachmaninoff always said this was his favorite among his piano concertos, because, in his words, “ … my Second is so uncomfortable to play.” It was not until the 1930s that the Third became popular, and that was primarily due to the strong advocacy of Vladimir Horowitz. There has always been a small controversy regarding the opening theme of the first movement. More than one writer has pointed out a similarity between it and a traditional Russian monastic chant, but the composer steadfastly denied any connection with either church or folk music sources. Nevertheless, considering Rachmaninoff’s lifelong connection with music of the Russian Orthodox liturgy, it is certainly possible that there may have been an unconscious influence. When asked about the theme, he answered: “It simply wrote itself.” ●

Ludwig van Beethoven

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

Piano Concerto No. 3 in c minor, Op. 37

Scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Approximately 33 minutes.

It was as a pianist that the young Beethoven first came to prominence in Vienna.

Audiences accustomed to the elegant and refined playing of virtuosos such as Mozart and Clementi were stunned by the elemental force of Beethoven’s power at the keyboard, but there was more than just brute strength.

Audiences were often moved to tears by the eloquence and beauty and originality in his playing, and in pianist-composer Carl Czerny’s words, “there was something magical about his playing.” His power at the piano was variously described as individual, capricious, dramatic, and sensitive, with unusual and vivid mood changes as well as astonishing and unexpected shifts of tempo.

The Vienna at the turn of the 19th century was an era of political, social, and artistic revolution, with major developments in the processes of composition, performance practice, and instrument building. During his lifetime, Beethoven was very familiar with the latest kinds of pianos available

not only in Vienna, but also London and Paris. Compared with the modern piano, these instruments were lighter and more transparent in sound, and had quite distinct tonal ranges due to the kind of strings that were used, as well as hammer size and hammer coverings. Beethoven had come to Vienna from his native German city of Bonn in 1792, initially to study with Haydn, who was then the most eminent living composer.

Even though the lessons with Haydn would prove unsatisfactory, Beethoven still greatly admired and respected the older master’s works as symphonic models, and generally adhered to Classical structures in his early symphonies and concertos. However, when it came to melodies, rhythmic patterns, and phrasing, it was Mozart whom Beethoven held most dear.

Ideas for what would become this c-minor Piano Concerto began to appear in his sketchbooks as early as 1796, but he did not begin setting to work in earnest on the piece until the fall of 1799. The first movement was materially complete by April of 1800, but he then set the project aside and did not return to it again until early 1802. That effort went nowhere, and he seems to have finally finished the concerto in early 1803. Earlier, in April of 1800, Beethoven undertook his first benefit concert in Vienna with works

by Mozart and Haydn alongside some of his own creations, including the premiere of the First Symphony. He had wanted to include this concerto on the concert, but by then he had only completed the first movement and a detailed sketch of the second. It was not until an all-Beethoven concert in April of 1803 that the Third Concerto was performed, along with his oratorio Christ on the Mount of Olives and a repeat of the First Symphony—a concert that held well over two hours of music. That concert on April 5 must have strained the energies and patience of all who took part. The final rehearsal, that began at 8:00 a.m. on the day of the concert, is described thus by Beethoven’s pupil Ferdinand Ries: “It was a terrible rehearsal, and at half-past two everybody was exhausted and more or less dissatisfied.

One of Beethoven’s royal patrons, Prince Lichnowsky, who had been at the rehearsal from the beginning, sent out for large baskets of buttered bread, cold meats, and wine. He warmly invited all in attendance to help themselves … with the result that the initial warm atmosphere was restored.”

After tempers had calmed down, Lichnowsky convinced the musicians to continue with continued on 16

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PROGRAM NOTES . continued from 15 the rehearsal, which lasted almost to the beginning of the concert itself. Beethoven served as conductor and soloist for the entire program, which, according to reviews, did not meet with the complete satisfaction of the public. If these reviews were accurate, an explanation might be found in the account of the performance from another of Beethoven’s pupils, Ignaz von Seyfried: “In the playing of the concerto movements he asked me to turn pages for him, but—heaven help me!—that was easier said than done. I saw almost nothing but empty leaves, and the most on one page or the other were a few scribbled Egyptian hieroglyphs [sic] written as clues for him, wholly unintelligible to me.

He played almost all of the solo part from memory, since, as was so often the case, he had not had time to put it all down on paper.”

The concerto was generally well received, although the listeners were in for a great shock when the lovely slow—very slow— movement unfolded in the key of E Major—a great distance from the work’s home key of c minor! Needless to add, the big cadenza in the first movement was improvised at the premiere, but several years later he wrote out the cadenza in order to preserve its character and momentum, at a time when encroaching deafness seriously compromised his public appearances at the keyboard. ●

Robert Schumann

Born June 8, 1810, in Zwickau, Germany Died July 29, 1856, in Endenich, Germany

Symphony No. 3 in E-flat Major, Op. 97, “Rhenish”

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 32 minutes.

There is ample justification for considering Schumann as the epitome of German Romanticism in the realm of music. In spirit and temperament, he stood closer than any other composer to the Romantic poets, and it is in Schumann that poetic, subjective Romanticism finds its leading musical exponent. This magnificent symphony is nothing less than a musical evocation of German life in the Rhineland. The Rhine River has played a formative part in German life and art, and appears to have had a symbolic as well as a geographical meaning for the German people. Schumann loved the river dearly, and he put all his love

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The “Rhenish” Symphony was received with mixed reviews, “ranging from praise without qualification to bewilderment.” and affection, both for it and its historic associations, into this symphony, and the work as a whole captures Schumann’s response to the Rhineland at its most euphoric. Early in 1850, Ferdinand Hiller relinquished his post as municipal conductor in Düsseldorf to take up a similar position in Cologne, and before leaving, he strongly suggested that Schumann be named his successor. The Schumanns had lived in Dresden since 1844, and had long since found life there to be not to their liking, and so, after much deliberation they accepted the new post and arrived in the Rhineland city in early September along with their seven children. Hiller and the board of directors welcomed them warmly, and there followed a banquet, a ball, and a concert of Schumann’s music in their honor. There were initial misgivings, as the last time the family had relocated—from Leipzig to Dresden in 1844—the strain on Robert had been so great that a major physical and psychological breakdown occurred from which he never completely recovered. This time, in the elation created by their friendly new surroundings, Schumann was initially enthusiastic about the new situation and enjoyed an interval of health and serenity in which he set to work with renewed purpose. At the time, Düsseldorf was one of continental Europe’s leading industrial centers, and at the beginning at least, the cultural community was excited about their new music director. It can be said, however, that the shy and retiring man was really miscast in his role of organizer and administrator of the musical aspects of the community. Nevertheless, his first rehearsals allayed any fears he might have had, and he was very pleased with the ability, discipline, and responsiveness of the musicians who had learned their lessons well from Mendelssohn and then Hiller. Although his relations with the musical community later deteriorated greatly, at the beginning all was calm and happy. This period was further brightened

by visits from Franz Liszt, and by the handsome and gifted Johannes Brahms.

Sadly, this pleasant atmosphere did not last very long. Great and inspired composer though Schumann was, he was never a good conductor, and his inadequacies in this regard slowly lost him the respect of the musicians he was dealing with. Moreover, he was increasingly plagued by mental lapses that were an outgrowth of the deepening mental illness that would tragically end his life some six years later. The Düsseldorf governors conspired to ease him out of his position, and in the fall of 1853 he resigned.

This vicious cycle of pressure and stress eventually took a severe toll on his physical and mental condition, and in early 1854, now in the grips of hallucinations and delusions, the confused and troubled Schumann jumped from a bridge into the Rhine. Mercifully, some nearby boatmen rescued him from drowning, and at his own request was placed in a sanatorium near the city of Bonn. In July of 1856, after a mysterious but brief period of remission, he died just a few weeks after his 46th birthday.

In November of 1850, Robert and Clara went to Cologne to be present at the ceremonies when Archbishop von Geissel was elevated to the rank of Cardinal in that city’s magnificent cathedral. To German romanticists, particularly of the 19th century, this cathedral was a symbol of medieval grandeur and dignity, and it was this ceremony that appears to have inspired the additional (fourth) movement of the symphony. When the symphony was premiered in Düsseldorf under Schumann’s direction in February of 1851, this movement was marked “in the character of an accompaniment to a solemn ceremony,” but when the work was published, Schumann omitted this title and simply marked the movement Feierlich (Solemn). That premiere was received with mixed reviews, “ranging from praise without qualification to bewilderment.” It was reported, however,

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PROGRAM NOTES .

that members of the audience applauded between every movement, particularly at the end of the work when the orchestra joined them in congratulating Schumann by cheering and shouting “hurrah!” The performance was such a success that it was repeated in March, and once again Clara was able to comment on “the audience’s real enthusiasm” at the end of the performance.

Whatever the case, the “Rhenish” Symphony was the last large symphonic work that Schumann was able to write, and it marked the high point of one of the happiest periods in his life. ●

Phantom of the Opera Ballet Synopsis We begin our story in an exquisite theater in Paris; the year is 1914. The premiere ballet company is rehearsing its production of Swan Lake for its debut the following evening.

As the new ownership is being introduced to the cast, Raoul de Chagny is invited to be the new patron of the ballet. Carlotta, the company’s prima donna, is asked to demonstrate an excerpt for the evening’s opening night, but things go terribly wrong and an understudy must be put in immediately. A shining protégé by the name of Christine is asked to step in and perform the lead role. Raoul instantly recognizes Christine from his childhood days and is determined to rekindle their connection.

Following her debut performance, Christine retreats to her dressing room, in which a mysterious figure, the Phantom, appears. She recognizes him as the enigmatic voice in the theater that has instructed her dancing over the years. He attempts to express his praise and romantic affection for her, although his advances are unreciprocated. After removing the Phantom’s mask out of curiosity, they are interrupted by Raoul, who is in search of Christine to express his love for her.

The Phantom sends letters to the managers and advises them to proceed with their next production, casting Christine in the lead role, or there will be consequences.

As Carlotta causes a dramatic scene, the managers reassure her that they will keep her in the spotlight. With Carlotta dancing the lead role that evening, they get a disturbing surprise from the Phantom who had warned them not to go against his will.

After the shocking end to the last production, Monsieur Richard, Madame Louise, and Madame Germaine host a grand Masquerade

The New Mexico Philharmonic

Gala in hopes of rebuilding their audience.

During the ornamental occasion, the Phantom interrupts and orders the company to perform his new production, Ballet de Tango, that he has choreographed. They must follow each of his demands or, once again, they will pay the consequences.

With the whole company being unsettled by the Phantom’s requests, they do as he says and begin rehearsals for the new ballet.

Raoul is concerned for the safety of his new bride-to-be and seeks answers from Madam Giry. She takes Raoul back in time to reveal the Phantom’s troubled history and paints a scene of his unfortunate upbringing.

Hoping to find solitude and reasoning, Christine visits her father’s gravesite. The Phantom follows her and attempts to lure her under his control again. Raoul arrives to rescue Christine from the Phantom’s trance and returns her to Madame Giry’s care. The Ballet de Tango premiere finally arrives, and the entire cast and crew are in high tension as they anticipate the Phantom’s malevolence.

With Raoul’s life at stake, Christine is faced with an ultimatum. How will she choose? ●

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ARTISTS .

Matthew Greer conductor Matthew Greer is Director of Music and Worship Ministries at St. John’s United Methodist Church in Albuquerque, where he directs several choirs and oversees a comprehensive music program. He also serves as Artistic Director for Quintessence: Choral Artists of the Southwest. At St. John’s, he founded the highly successful “Music at St. John’s” concert series, and “Thursday Evening Musicales,” an annual series of benefit concerts for Albuquerque Healthcare for the Homeless. In recent years, he has conducted performances of Mozart’s Requiem, Duruflé’s Requiem, Handel’s Messiah, and Karl Jenkins’s The Armed Man: A Mass for Peace. In addition, Greer has lectured on and conducted the music of Brahms, Bach, Copland, and Barber. In spring of 2012, he was among the recipients of Creative Albuquerque’s Bravos! Awards, honoring artistic innovation, entrepreneurship, and community impact. A native of Kansas City, Greer holds degrees in Music and Theology from Trinity University and Boston University. His teachers have included Ann Howard Jones, Daniel Moe, Jane Marshall, and Alice Parker. ●

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Amy Greer piano Amy Greer is an active performer, both as a soloist and in collaboration with singers and instrumentalists, and works regularly with the Santa Fe Symphony and the New Mexico Philharmonic. Recognized for her creative approach to traditional music lessons, she has maintained successful piano studios in New Mexico, Massachusetts, Texas, and Missouri and gives workshops for teachers that focus on the psychology of learning through a musician’s lens. A writer and frequent contributor to music journals, her articles and essays have appeared in American Music Teacher, Clavier Companion, Spiritus, and other publications.

With composer Dennis Alexander, she is the co-author of Repertoire by Rote published by Alfred Music, and she writes a blog about practicing at tenthousandstars.net. She holds a Master of Music in piano performance from the University of Missouri-Kansas City and a Master of Arts in educational psychology from the University of New Mexico. Amy keeps house and tends a garden for one man, two sweet cats, and three feisty betta fish. ●

Shea Perry soprano New to the Southwest, Shea Perry is an up-and-coming soprano studying voice performance at the University of New Mexico. She holds a dual Bachelor’s degree in Voice Performance and Music Education from The Hartt School of Music in West Hartford, Connecticut. Shea has performed several roles in operas, including Strauss’s Die Fledermaus, Kurt Weill’s Street Scene, and Offenbach‘s Orphée aux Enfers. Shea recently traveled to Germany to perform as a Dame in Mozart’s Die Zauberflöte with Lyric Opera Studio Weimar. She sang the part of Lauretta in Puccini’s Gianni Schicchi in April 2017 with UNM Opera Theater. Shea maintains a voice and piano studio at the New Mexico School of Music, and on Wednesdays and Sundays she can be found singing and teaching at St John’s United Methodist Church. ●

ARTISTS .

Michael Hix baritone Baritone Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” Dr. Hix’s career highlights include performances at Tanglewood Music Center, a solo appearance with the Boston Pops in “Bernstein on Broadway,” and his Carnegie Hall debut as the baritone soloist in Rutter’s Mass of the Children. Recent European appearances include solo performances at the International Haydn Festival in Vienna, Austria, and song recitals in Dresden and Leipzig, Germany. A frequently soughtafter concert soloist, his repertoire includes more than 45 oratorios, cantatas, and major concert works.

Highlights include bass aria soloist in Bach’s St. John Passion at the Arizona Bach Festival, a concert of Christoph Graupner cantatas with the Sebastians at New York City’s Trinity Lutheran, bass soloist in Mozart’s “Coronation” Mass, Handel’s Messiah, Bach’s Cantata 80 Ein feste Burg ist unser Gott, and Haydn’s Missa in tempore belli, “Paukenmesse” with the New Mexico Philharmonic, and a concert of 18th-century Latin American Colonial music with the Chicago Arts Orchestra. He will also appear with the Santa Fe Desert Chorale for their Winter Season and at the Dallas Choral Festival.

Dr. Hix holds a Bachelor of Music degree in music theory from Furman University, Master’s degrees in both voice and historical musicology from Florida State University, and a Doctorate of Music in Voice Performance from Florida State University.

Dr. Hix is an Assistant Professor of Vocal Studies at the University of New Mexico. ●

Chancel Choir of St. John’s United Methodist Church The 90-voice Chancel Choir of St. John’s United Methodist Church sings in worship each Sunday morning, and also has a proud tradition of performing major works of the sacred choral/orchestral repertoire. In recent years with the New Mexico Philharmonic, they have performed the Mozart Requiem, the Duruflé Requiem, the Schubert Mass in G, Haydn’s “Lord Nelson” Mass and “Little Organ” Mass, and the Beethoven Mass in C. The Chancel Choir has performed with soprano Adrienne Danrich and mezzosoprano Barbara Smith Conrad, and has premiered works by Taylor Scott David, Bradley Ellingboe, and K. Lee Scott. They are directed by Matthew Greer and accompanied

by Aina Olonade. ●

Grant Cooper conductor Grant Cooper served as Artistic Director and Conductor of the West Virginia Symphony Orchestra from 2001 to 2017, where he conducted almost 800 public performances.

He was formerly Resident Conductor of the Syracuse Symphony Orchestra for 10 seasons. He also serves as Artistic Director of the Bach and Beyond Festival, and for several summers led the Anchorage Festival of Music in Alaska. As a conductor, Mr. Cooper is noted for his affinity for the music of virtually every era.

Born in Wellington, New Zealand, his mother was a soloist with the New Zealand Opera Company; Cooper sang and acted in his first opera at age four. After completing his degree in Pure Mathematics at the University of Auckland, his performing career as a trumpeter took him to Beijing, London, and many major concert halls of the world. From 1976 to 1981, Mr. Cooper held a fellowship from the Queen Elizabeth II Arts Council for trumpet study with Bernard Adelstein and Gerard Schwarz in the United States, where he also held a fellowship at Tanglewood.

Mr. Cooper was guest conductor of the XIVth Commonwealth Games closing ceremonies, appearing with soloist Dame Kiri Te Kanawa. Mr. Cooper’s collaborations with artists such as Hilary Hahn, Midori, Elmar Oliviera, Barry Douglas, and Deborah Voigt have prompted critical praise for his skills as an accompanist.

Mr. Cooper has been a frequent guest conductor for many American symphonies, including Houston, Buffalo, Rochester, Spokane, Kansas City, Chautauqua, and the New Mexico Philharmonic. In recent seasons, he made his debut appearances as guest conductor with the Jacksonville, continued on 20

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ARTISTS . continued from 19 Elgin, and Wichita symphonies. A gifted opera conductor, his recent repertoire includes Così fan tutte, The Marriage of Figaro, The Barber of Seville, Tosca, La bohème, and Carmen. For several summers, Cooper has conducted the ballet season at Chautauqua Institution in New York, featuring Charlotte Ballet’s recreations of George Balanchine’s choreography. Recent international engagements have included the New Zealand Symphony Orchestra and the Malaysian Philharmonic.

As a composer, Cooper’s recent original music includes A Song of Longing, Though … , for Soprano and Orchestra and On the Appalachian Trail, a ballet, most recently heard in Albuquerque at a concert by the NMPhil in November 2018. Mr. Cooper’s original scores for two Charlie Chaplin films: The Immigrant and Easy Street, were premiered in March 2009 and have since been performed by several orchestras on their Pops and Coffee series.

Mr. Cooper is especially passionate about creating works designed to introduce young audiences to the orchestra, including such works as Rumpelstiltzkin for Narrator and Orchestra; Goldilocks and the Three Bears; Boyz in the Wood, for Coloratura Soprano and Rap Singer; and Song of the Wolf, for Folk Singer and Orchestra. His educational music is an eclectic blend of modern and established styles with interactive participation of the audience, a compositional style that reflects his belief that orchestral music is a living, vital, and relevant part of our society, able to be appreciated by all.

Cooper was awarded the National Symphony Orchestra Chamber Music Commission following competitive adjudication as part of the 2010 American Residency program of the NSO. His new work, Octagons, for Clarinet and String Quartet, was premiered at the Kennedy Center in Washington, D.C., in May of 2012.

Cooper’s dedication to serving the West Virginia arts community was recognized in the spring of 2012 when he received the Governor’s Award for Distinguished Service in the Arts and with Fairmont State University’s conferring the degree of Doctor of Letters in 2017.

Mr. Cooper has recorded for Delos International, Atoll, Ode, Mark, and Kiwi Pacific recordings. ●

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Olga Kern piano Russian-American pianist Olga Kern is now recognized as one of her generation’s great artists. With her vivid stage presence, passionately confident musicianship, and extraordinary technique, the striking pianist continues to captivate fans and critics alike. Olga Kern was born into a family of musicians with direct links to Tchaikovsky and Rachmaninoff and began studying piano at the age of five. She jumpstarted her US career with her historic Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas, as the first woman to do so in more than 30 years.

Steinway Artist and first-prize winner of the Rachmaninoff International Piano Competition at the age of 17, Ms. Kern is a laureate of many international competitions and tours throughout Russia, Europe, the United States, Japan, South Africa, and South Korea. In 2016, she served as Jury Chairman of both the seventh Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director.

Kern served as Artist in Residence to the San Antonio Symphony’s 2017/18 season, appearing in two subscription concerts as well as a solo recital. She will also perform with the Madison Symphony, Rochester Philharmonic, Copenhagen Philharmonic, Austin Symphony, New Mexico Philharmonic, Arizona Musicfest Orchestra, Colorado Symphony, and the Hawaii Symphony Orchestra. Ms. Kern will premiere her first American concerto, Barber’s Piano Concerto, with the Detroit Symphony Orchestra under the baton of Leonard Slatkin. She will give recitals at the University of Arizona; the Lied Center in Lincoln, Nebraska; the Sanibel

Music Festival in Sanibel, Florida; and abroad in Mainz and Turin. Additionally, Ms. Kern will perform in the Huntington Estate Music Festival with Musica Viva in Australia.

Highlights of the previous season include her Chinese debut with the National Youth Orchestra; concerts with the Pacific Symphony, Colorado Symphony, the State of Mexico Symphony Orchestra, Stuttgart Philharmonic, Tivoli Symphony Orchestra, and La Jolla Music Festival; and recitals in Santa Fe, New Haven, Scottsdale, and San Francisco. Ms. Kern opened the Baltimore Symphony’s 2015/2016 centennial season with Marin Alsop. Other season highlights included returns to the Royal Philharmonic with Pinchas Zukerman; Orchestre Philharmonique de Nice with Giancarlo Guerrero; a month-long tour of South Africa for concerts with the Cape and KwaZulu Natal Philharmonics; an Israeli tour with the Israel Symphony; solo recitals at Sarasota’s Van Wezel Hall, New York’s 92nd Street Y, and the University of Kansas’s Lied Center; and recitals with Renée Fleming in Carnegie Hall and Berkeley.

In recent seasons, Ms. Kern has performed with Tokyo’s NHK Symphony, Orchestre National de Lyon, Orquestra Sinfônica do Estado de São Paulo; the symphonies of Detroit (performing Tchaikovsky’s Piano Concertos 1, 2, and 3), Pittsburgh, Cincinnati, Nashville, Colorado, Madison, and Austin; and she has given recitals in New York, San Francisco, Seattle, and Louisville and alongside Renée Fleming and Kathleen Battle. Ms. Kern’s performance career has brought her to many of the world’s most important venues, including Carnegie Hall, Lincoln Center, the Great Hall of the Moscow Conservatory, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zurich, and the Châtelet in Paris.

Ms. Kern’s discography includes Harmonia Mundi recordings of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman (2003), her Grammy-nominated recording of Rachmaninoff’s Corelli Variations and other transcriptions (2004), a recital disc with works by Rachmaninoff and Balakirev (2005), Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit (2006), the Brahms Variations (2007), and a 2010 release of the Chopin Piano Sonatas Nos. 2 and 3 (2010). Most recently, SONY released its recording of Ms. Kern performing the Rachmaninoff Sonata for Cello and Piano with cellist Sol Gabetta. She was also featured

ARTISTS .

in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge, as well as Olga’s Journey, Musical Odyssey in St. Petersburg, and They Came to Play. In 2012, Olga and her brother, conductor and composer Vladimir Kern, cofounded the “Aspiration” Foundation whose objective is to provide financial and artistic assistance to musicians throughout the world.

In 2017, Ms. Kern was gratified to receive the Ellis Island Medal of Honor, joining other honorees including Rosa Parks, Buzz Aldrin, Coretta Scott King, and Supreme Court Justice Sandra Day O’Connor. This commendation recognizes Americans who “embody the spirit of America in their salute to tolerance, brotherhood, diversity, and patriotism.” ●

Antonio Chen Guang piano Winner of the first Olga Kern International Piano Competition, the Scriabin Prize, and the Rome Prize, together with numerous other internationally renowned competitions, Antonio Chen Guang combines his extraordinary technical capacity with a profound and mature musical sensibility and an exceptional onstage charisma. Numerous concert associations of Europe, America, and Asia have hosted him both in recitals and with orchestras performing programs ranging from William Byrd to Ligeti to modern-day composers.

He has performed in the Shanghai Oriental Center, Shenzhen Concert Hall, Beijing Concert Hall, Sala Verdi of Milan Conservatory, Teatro Verdi of Florence and Pisa, Teatro la Fenice of Venice, Auditorium della Conciliazione at Rome, Teatro del

Fuoco of Foggia, Teatro Goldoni of Livorno, Kawai Concert Hall at Krefeld, Historische Stadthalle Wuppertal, Stadthalle of Muhlheim, PaderHalle of Paderborn, Stadtpark Schützenhof of Herford, Konzerthalle of Bad Salzuflen, Palau de la Musica of Barcelona, Royal Concertgebouw of Amsterdam, Theater of Zwolle, Slovak Philharmonic Hall in Bratislava, Lincoln Center and Alice Tully Hall of New York, Davis Hall of Fairbanks, and the National Music Center of Canada, among others.

Antonio Chen Guang was born into a family of musicians in the province of Hubei, China. At the age of 11, he moved to Beijing to study in the Central Conservatory. In 2012, he received his pre-College Diploma at The Juilliard School of New York. In 2015, he received the Diploma at the Accademia Internazionale Pianistica di Imola, where he studied with Maestro Ashkenazy as the youngest graduate in the Academy’s history.

He is now continuing his studies at the Academy with Leonid Margarius. Among his other teachers are Zhu Lianping, Zhao Pingguo, Matti Raekallio, Enrica Ciccarelli, and Paul Badura-Skoda, to name a few. ●

David Felberg conductor Praised by The Santa Fe New Mexican for his “fluid phrases; rich, focused tone; rhythmic precision; and spot-on intonation,” Albuquerque native, violinist, and conductor David Felberg is Associate Concertmaster of the New Mexico Philharmonic. He also serves as Artistic Director and cofounder of Chatter Sunday, Chatter 20-21, and Chatter Cabaret. He is concertmaster of the Santa Fe Symphony and Music Director of the Albuquerque Philharmonic. He also

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

Robbie Rodriguez “Phantom” Robbie Rodriguez is an Albuquerque native and began dancing at age four. For 16 years, he trained with Elite Dance Company and became an instructor and choreographer for many of the studio’s original productions.

Throughout his career, Robbie has trained on scholarship with State Street Ballet and Joffrey Ballet School in NYC. He has been a guest choreographer and judge for Cathy Roe Productions and Showbiz National Talent and appeared in Seth MacFarlane’s A Million Ways to Die in the West. He is a UNM graduate and currently co-coaches the school’s dance team. Robbie has been with NMBC for seven years and has had the privilege of originating the roles of Tybalt in Romeo and Juliet, Crassus in Spartacus, Jack in Alice in Wonderland, the Cowardly Lion in The Wizard of Oz, and most recently, Aladdin in Aladdin continued on 22

The New Mexico Philharmonic

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ARTISTS . continued from 21 and the Magic Lamp. Robbie is also a rehearsal coach and the Marketing and Operations Director for NMBC. ●

Kira Petersen “Christine” Kira Petersen grew up in Minnesota where she studied multiple styles of dance with Lakeville City Ballet. She then trained on scholarship with the Joffrey Ballet School Trainee Program in New York City. During that time, she worked with critically acclaimed dancers and choreographers from around the world. She was a founding member of the Joffrey Ballet School Performance Company, where she performed soloist roles choreographed by Daniel Ulbricht of New York City Ballet, Matthew Prescott of Morphoses, Julie Bour of Ballet Preljocaj, and Davis Robertson of Joffrey Ballet. Kira has guested with Twin Cities Ballet and Metropolitan Ballet in lead roles such as Fairy Godmother in Frederick Ashton’s Cinderella and Lead Harlot in Kenneth MacMillan’s Romeo & Juliet. She also worked with renowned choreographer Karole Armitage in On the Nature of Things performed at The Museum of Natural History in New York City and in the American premiere of The Witches of Venice with Opera Saratoga. Kira previously danced with the New Mexico Ballet Company for their 20122015 seasons and was thrilled to rejoin the company in the 2017 season. ●

Christopher Bornet “Raoul” Christopher Bornet grew up in Santa Fe, New Mexico. He started studying ballet at age 10 with Aspen Santa Fe Ballet under the direction of Gisela Genschow and Sheila Rozann. Christopher trained on scholarship at numerous schools across the country, including Pacific Northwest Ballet, Boston Ballet, San Francisco Ballet, and University of North Carolina School of the Arts. He has performed lead roles in various ballets such as Beauty and the Beast, Alice in Wonderland, Swan Lake, Sleeping Beauty, and The Nutcracker. Christopher has also been performing and teaching for Ballet Repertory Theatre since 2014. In addition, he has worked in sales, finance, and hospitality and holds a Bachelor’s degree in communications from UNM. This is his first season with NMBC. ●

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2018/19 Season / Volume 8 / No. 4

Natalie Harris NMBC Artistic Director & Choreographer Natalie Harris first fell in love with the art of ballet at the New Mexico Ballet Company’s production of The Nutcracker. She began her training locally with Lana Kroth, Suzanne Johnston, Wendy Rubin, and Jolie Sutton-Simballa. In 2007, she accepted an apprenticeship with Ballet Quad Cities in Rock Island, Illinois. While there, she danced lead roles in The Nutcracker and Coppélia.

After a year, Ms. Harris was offered a full scholarship with the Joffrey Ballet School in New York City. There, she trained with Davis Robertson, Brian McSween, Francesca Corkel, Era Jouravlev, Nicole Duffy, and guest teachers such as Desmond Richardson, Maria Kowroski, Daniel Ulbricht, Africa Guzman, and more. While in New York, she had the opportunity to perform as a guest artist with Urban Ballet Theatre in their production of Nutcracker in the Lower.

Ms. Harris continued her training with the Joffrey Ballet School and was appointed Company Manager of the first Joffrey Concert Group company tour. After her time in New York, she returned home to New Mexico and started teaching at local schools, as well as coaching and choreographing for NMBC. This is her fourth season as NMBC’s Artistic Director. Along with putting on the production of The Nutcracker ballet, Ms. Harris has choreographed full-length Alice in Wonderland, The Wizard of Oz, and Aladdin and the Magic Lamp ballets. She is excited to present NMBC’s premiere production of the Phantom of the Opera ballet. ●

New Mexico Ballet Company In 1972, Suzanne and Sidney Johnston formed the New Mexico Ballet Company.

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

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.

ARTISTS .

Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires.

A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s US tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco.

Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival.

Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone award of excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic The New Mexico Philharmonic

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 prizewinner 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. ●

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THANK YOU .

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

Bank of Albuquerque bankofalbuquerque.com

Bernalillo County bernco.gov

Century Bank mycenturybank.com

GARDENSWARTZ REALTY City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

Gardenswartz Realty

Holmans USA holmans.com

Hunt Family Foundation huntfamilyfoundation.com

John Moore & Associates johnmoore.com

Keleher & McLeod keleher-law.com

Lexus of Albuquerque lexusofalbuquerque.com

Lockheed Martin lockheedmartin.com

Menicucci Insurance Agency mianm.com

Music Guild of New Mexico musicguildofnewmexico.org

New Mexico Arts nmarts.org

New Mexico Gas Company nmgco.com

Olga Kern International Piano Competition olgakerncompetition.org

PNM pnm.com

RBC Wealth Management rbcwealthmanagement.com

Sandia Foundation sandiafoundation.org

Sandia Laboratory Federal Credit Union slfcu.org

Sandia National Laboratories sandia.gov

Scalo Northern Italian Grill scalonobhill.com

Starline Printing starlineprinting.com

SWGA, P.C. southwestgi.com

United Way of Central New Mexico uwcnm.org

Urban Enhancement Trust Fund cabq.gov/uetf

U.S. Bank usbank.com

The Verdes Foundation verdesfoundation.org

Wells Fargo wellsfargo.com

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2018/19 Season / Volume 8 / No. 4

BOARD OF DIRECTORS Maureen Baca President Anthony Trujillo Vice President

New Mexico Philharmonic

David Peterson Secretary

The Musicians

FIRST VIOLIN Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Sarah Tasker Assistant Concertmaster Gabriela Da Silva Fogo ++ Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Anthony Templeton • Carol Swift •• Julanie Lee Michael Shu Donna Bacon Eric Sewell ++ 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 Thomas Domme JP Espinoza Anne McKinney Jeffrey Romero Rachael Speegle Al Stotts Marian Tanau Michael Wallace Sherri Wells ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Roland Gerencer, MD Larry Lubar 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 Joan Olkowski Design & Marketing

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

The New Mexico Philharmonic

Lori Newman Editor Sara Tutland Ensemble Visits Coordinator

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LEGACY SOCIETY

GIVING FOR THE FUTURE Insurance Agency

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 Sally A. Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Eugenia & Charles Eberle Bob & Jean Gough Peter Gregory Ruth B. Haas Howard A. Jenkins Walter & Allene Kleweno

Dr. & Mrs. Larry Lubar Thomas J. Mahler Cynthia Phillips & Thomas Martin George Richmond Eugene Rinchik Terrance Sloan Jeanne & Sid Steinberg Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman 1/19/2019

●

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

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 & the 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 1/19/2019

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MATCH THE

NMPHIL .

MAGNIFICENCE Just as your NMPhil musicians work to take their playing to the next level, we as donors and sponsors must, and are beginning to, take our giving to the next level.

Three years ago, we launched the Fabulous Fifth: Match the Magnificence campaign, a five-year effort to both celebrate your New Mexico Philharmonic's fifthanniversary season and to begin a fiveyear effort to gradually expand income to $2,500,000: to keep pace with increased costs, to pay the musicians and staff more appropriate wages, and to move off the financial knife edge that is your NMPhil’s reality. We are asking you today to continue this campaign with us.

Your NMPhil is well into our 8th season of excellent concerts with exemplary fiscal and business responsibility and meaningful community involvement— leading to the NMPhil being recognized

by Quality New Mexico and receiving the Road Runner Award, a first in New Mexico for any arts organization.

We are delighted and blessed to have Roberto Minczuk as our Music Director, as he continues to take the orchestra to a higher level of achievement. Our programming continues to receive outstanding audience approval, and combined with our Student Sound Card, it is bringing more than 3,000 new audience members into the concert hall, many falling in love with the orchestra.

In the last three years, the “Match” has raised more than $100,000 each year. In these same years, foundation grants and other donated income declined, making it very clear we cannot rely on others to take care of your NMPhil. Thanks to your generosity and our staff’s fiscal responsibility, we have been able to achieve our goal of carefully increasing the budget to achieve our goals mentioned above.

This season, we are seeing a continued positive change in donated support, primarily from you. Your NMPhil, this amazing community’s cultural treasure, makes Albuquerque and New Mexico a great place to work and live. Just as your musicians work to take their playing to the next level, we as donors and sponsors must, and are beginning to, take our giving to the next level.

We have been able to gradually grow our balanced, debt-free budget from $2,000,000 to $2,3000,000 because of your support. Compared with national averages, we have more room to grow our donated income, as we continue to earn a very large part of our income through ticket sales. Every new donation, every increased donation, and every

KNOW THE

Our deepest thanks, Maureen Baca President, Board of Directors

Marian Tanau Executive Director

AVERAGE COST OF A CLASSICS CONCERT IN POPEJOY HALL

NUMBERS Here are a few financial facts all of us should know about our orchestra to inform our giving and support: 2018/19 NMPHIL PLANNED EXPENSES

2018/19 PROJECTED NMPHIL INCOME

$2,300,000 Total Income

$2,300,000 Total Income

$1,700,000 Concert Production

50% Earned (35% national average)

$200,000 Education Programs

50% Donated (65% national average)

The New Mexico Philharmonic

commitment to continue the journey with your NMPhil continues to create a bright future for your orchestra and helps us to move off the financial knife edge that has been our reality.

Our highly qualified musicians and staff earn very limited incomes and continue with us because of their commitment to the NMPhil, their love of the music, and the hope that we will continue toward a secure future. With your support, we can make this a reality.

NMPhil musicians

$50,000

Popejoy costs

$12,000

Guest artist/conductor

$8,500

Production staff

$7,000

Stage hands

$4,000

Advertising

$5,000

Music rental/royalties

$2,500

Program books

$2,000

Rehearsal space

$1,000 nmphil.org

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DONOR CIRCLES .

Donor Circles Thank You for Joining a Circle

BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation 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 Terri L. Moll, in honor of Dad 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

Albuquerque Community Foundation, The Ties Fund Paula & William Bradley Eugenia & Charles Eberle Foundation for Art & Music, Peggy Cavett-Walden & Prof.

Jefford Walden 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 Jan Mitchell, in memory of Gwendolyn D. Mitchell New Mexico Arts

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Bob & Bonnie Paine, in memory of Allyra Jameson & Ann Stinchcomb Scalo Northern Italian Grill, Steve Paternoster Sonya Priestly & Art Gardenswartz 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 Scott Obenshain 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 Scott Alexander The Baca Family, in memory of George H. Baca Thomas Bird & Brooke Tully Ronald Bronitsky, M.D., In honor of Anastasiya Naplekova, Hedwig Bronitsky, & Robert Alexander 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 Sharpf Virginia LeRoy Myra & Richard Lynch, in memory of Orval E. Jones Tyler M. Mason Bob & Susan McGuire Sara Mills & Scott Brown Ruth Mondlick

2018/19 Season / Volume 8 / No. 4

Moss-Adams LLP Ruth & Charles Needham David & Audrey Northrop Carol & Gary Overturf Sandra P. & Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson Jr. & Josephine A. & Angelo A.J. Asciolla Steve Ridlon, in memory of Casey Scott Robertson & Sons Violin Shop Jacquelyn Robins Ellen Ann Ryan Barbara & Heinz Schmitt Terrence Sloan Vernon & Susannah Smith Susan Spaven, in honor of Carla Lehmeier-Tatum 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 Linda & Carl Alongi 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 Patricia Broyles Michael & Cheryl Bustamante Dawn & Joseph Calek Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin John Crawford & Carolyn Quinn 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 A. Elizabeth Gordon 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 B. Miller & Margo J. McCormick Mark Moll Robert & Claudia Moraga Judy & Michael Muldawer New Mexico School of Music, Tatiana Vetrinskaya Gretchen & Tom Obenauf Jerald & Cindi Parker Stuart & Janice Paster Mike Provine Yukiko Raine Larry & Dorothy Rainosek Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Dick & Marythelma Ransom Kathryn & Chris Rhoads Joan Robins & Denise Wheeler, in memory of Sue & Mel Robins Jay Rodman & Wendy Wilkins Albert Seargeant Janet & Michael Sjulin Conrad & Marcella Stahly Paula M. Steinberg Conrad & Mary Strohacker 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 Carol Zulauf

CONCERTMASTER CIRCLE Donation of $500–$999

William & Ona Albert Albuquerque Community Foundation, Maisel/Goodman Charitable Endowment Fund John Ames Atkinson & Co., Clarke Cagle Richard & Linda Avery George Baca Joel & Sandra Baca Sally Bachofer Daniel Balik Bank of America Charitable Foundation Dorothy M. Barbo Hugh & Margaret Bell, in memory of Joan Allen Sheila & Bob Bickes Monica Boehmer, in memory of Leonie Boehmer Rod & Genelia Boenig Timothy Briggs Carolyn Rose Brown Suzanne Brown Sandra A. Buffett

Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers CarMax 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 Howard & Debra Friedman 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 Ulton & Jean Hodgin Ken & Winnie Hoeksema Kory I. Hoggan, CPA David & Bonnie Holten Noelle Holzworth John P. Johnson Thomas & Greta Keleher Suzanne Kelsey, in memory of Bill Sullivan 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 Mardell Morrow Lynne Mostoller & Kathryn McKnight Sharon Moynahan, in honor of Virginia Lawrence Edward & Nancy PressleyNaimark Elias Nasr Dick & Sharon Neuman Charles & Susan Palmer James & Linda Parker David Peterson Norlynn B. Price Dr. Mark Rainosek Christine & Jerry Rancier John & Faye Rogers Ruth Ronan Richard & Pamela Salmon Nancy Scheer Richard & Eileen Simpson Gary Singer Philip Stanton Wes & Marilyn Steiner Sarah Stevens-Miles Charles & Flossie Stillwell Martha Strauss, in memory of Richard Strauss Sturges-Draper Family Charitable Fund Duffy & Jean Ann Swan Laurence Titman Coleman Travelstead & Brookes McIntyre Gehron & Michelle Treme

DONOR CIRCLES .

Arthur & Sandra Vall-Spinosa Folkert Vandergaast Marianne Walck Patricia & Robert Weiler Carl G. & Janet V. Weis Jane & Scott Wilkinson Jeremy Wirths David & Evy Worledge Lei Yang Albert & Donna Zeman Michael & Jeanine Zenge

PRINCIPALS CIRCLE Donation of $125–$499

Wanda Adlesperger Dr. Fran A'Hern-Smith Carol & James Alexander Gerald Alldredge Jo Anne Altrichter & Robin Tawney Roger Ames Jerry & Jo Marie Anderson 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 & Nancy Bassett Fred L. Beavers Edie Beck Kristi Bemis-Standoli Helen Benoist Peter Bernstein & Debbie Erfer, in memory of Stan & Lea Bernstein Blissful Spirits, Inc. Waldemar Boehmer, in memory of Leonie D. Boehmer 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 Ann Carson Robert E. & Shirley Case Richard Chapman & Jan Biella Olinda Chavez R. Martin Chavez Wayne & Elaine Chew Judith & Thomas Christopher Susan Clark Virginia Clark Jane & Kenneth Cole James Connell David Corcoran 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 Martha Egan 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 Rona Fisher Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming Denise Fligner & Terry Edwards Flying Star Inc. J. Arthur Freed Joseph Freedman & Susan Timmons Charles & Judith Gibbon Kenneth Gillen Richard & Anne Gonzales Yvonne Gorbett Peter Gregory Justin M. & Blanche G. Griffin Stanley & Sara Griffith Sharon Gross Mina Jane Grothey Kirk & Jan Gulledge Kenneth Guthrie & Doni Lazar Bennett A. Hammer Janet & William Harrington Joan Harris Rosalie & Leon Heller Douglas & Joyce Hilchie Dr. David Hilson & Eileen Grevey-Hillson Fred Hindel John Homko Thomas & Mary Ann Horan Carolyn & Hal Hudson Susan Hudson Janet & Vincent Humann Patrick & Elois Hurley Dal & Pat Jensen Sandra & Michael Jerome Robert & Mary Julyan Carol Kaemper John Kahrs 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 Jennifer C. Kruger Woody & Nandini Kuehn Karen Kupper William & Margie Lang Rebecca Lee & Daniel Rader William J. Lock Julianne Lockwood Katherine Logan

Dwayne & Marjorie Longenbaugh Bruce & Leslie Loughridge Frank & Judy Love Ruth Luckasson & Dr. Larry Davis Robert Lynn Joanne E. Magalis Robert & Linda Malseed John & Brynn Marchiando Jeffrey Marr Salvatore T. Martino Joseph McCanna III Sallie McCarthy Jon McCorkell & Dianne Cress Brian & Jane McDonald Eugene McGuire Albert & Linda McNiel Donald McQuarie Bernard & Mary Metzgar Phyllis Metzler Bruce & Jill Miller Jim Mills & Peggy Sanchez Mills Christine & Russell Mink Deborah & Louis Moench James B. & Mary Ann Moreno Jim & Penny Morris Paula Mortensen Albert Narath, in memory of Orval Jones Elizabeth & Daniel Neal Betsy Nichols Donald & Carol Norton Ben & Mary Lee Nurry Suzanne Oakdale & David Dinwoodie Rebecca Okun Wendy & Ray Orley Joyce & Pierce Ostrander Howard Paul Ole Peloso Judith Pentz Calla Ann Pepmueller Stephen Perls Richard Perry Judi Pitch PNM Resources Dan & Billie Pyzel Therese Quinn T. D. Raymond Robert Reinke Tim Renk 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 Richard & Susan Seligman Norman Segel Daniel & Barbara Shapiro Archbishop Michael Sheehan Frederick & Susan Sherman Ronald & Lisa Shibata Ronald & Claudia Short, in memory of Susie Kubie R.J. & Katherine Simonson Walt & Beth Simpson 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, in honor of Joan Zucker Daphne 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 Lawrence Wells Margaret Wente Jeffrey West Kay & Tad 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

FRIENDS OF THE PHILHARMONIC Donation of $25–$124

David & Elizabeth Adams Natalie Adolphi & Andrew McDowell Kelly Aldridge 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 David & Judith Bennahum Debra & Kirk Benton Mark Berger Barry Berkson Dorothy & Melbourne Bernstein Judith Binder Ruth Bitsui Christine Blaser & Constantine Stewart 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 Blue Sky Properties, Inc Susan Bonnell Henry Botts Joan Bowden Tim & Jackie Bowen J.M. Bowers & B.J. Fisher Marilyn Bowman Sue Bradigan-Trujillo & Theodoro Trujillo Charles Brandt Carolyn Brown Allan & Barbara Brumer Tomas & Karin Butchart Roxanne & John Carpenter Edward Cazzola Joseph Cella Barbara & Roscoe Champion Kyle Champion, in honor of Barbara & Roscoe Champion 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

continued on 30 The New Mexico Philharmonic

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DONOR CIRCLES . continued from 29 Veronica Dorato Paula Dorris-Osborn & Larry Osborn Sheila Doucette Martin J. Doviak Gale Doyel & Gary Moore, in memory of Clare Dryer Michael & Jana Druxman D. Ted Eastlund Reverend Suzanne & Bill Ebel Helene Eckrich Kurt & Carolyn Ehlert Roger C. Entringer Helen & Richard Erb David & Regan Eyerman B.J. & R.L. Fairbanks Philippa M. FalknerSchwendimann John & Jo Margaret Farris Peggy Favour Ann Fegan Ella J. Fenoglio Mary Filosi Robert & Diane Fleming Rabbi Arthur Flicker 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 Lawrence Jay Gibel, MD David Goldheim Theresa Goldman Lois Gonzales Janice K. Goodman Mr. & Mrs. Thomas Grace Alfred & Patricia Green Erna Sue Greening Charles Gregory Friends of Marian & Larry Greher Richard & Suzanne Guilford Charles or Betsy Gunter Fletcher Hahn Michael Hall Bhanu Joy Harrison Joan & Fred Hart M.L. Hartig Gloria B. Hawk Rossanna & William Hays Patricia Henning Robert & Sara Henning Florence Hernandez 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

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Connie & Terry Johnson, in memory of Clare Dreyer Eldon Johnson Nancy Johnson, in memory of Betty Vortman 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 Phil Krehbiel Deborah Krichels Hareendra & Sanjani Kulasinghe Nick & Susan Landers Molly Lannon Wes & Dawn Leach Mary E. Lebeck Daniel Lee Douglas LeGrand Don & Susan Lentz Robert Lindeman & Judith Brown Carl Litsinger Daniel & Linda Lopez Jessica Lopez Carol Lovato Betty Louise Lovering Ching Lu Suzanne Lubar & Marcos Gonzales Frank Maher Bruce F. Malott Jim Manning Joan March Shila Marek Jim & Helen Marquez Maria Teresa Marquez Anna Marshall Walton & Ruth Marshall Willa H. Martin Andrew Mason, in honor of Jean Mason Alice Matvichuk Janet Matwivoff Michael Mauldin Marina De Vos Mauney David & Jennifer Mayschak 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 David & Barbara Menicucci 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

2018/19 Season / Volume 8 / No. 4

Shirley Morrison & Cornelis Klein Baker H. Morrow & Joann Strathman Evelyn Morrow John Morrow & Harriette Monroe Karen E. Mosier Cheryl Mugleston, in memory of Clare Dreyer Brian Mulrey James & Beth Nance, thanks to Steve & Maureen Baca New Mexico Japanese American Citizens League Elizabeth Norden Candace & Frank Norris David & Marilyn Novak Jennifer Nuanez Richard & Marian Nygren Marilyn Jean O’Hara Ruth Okeefe H. George Oltman Jr. Margaret Guinan Orona Ricardo Ortega Joseph & Barbara Oser Daniel O'Shea Mary Ann Osley Carolyn D. Parrish Mark Parshall Deborah Peacock & Nathan Zorn Brian Pendley Maria Pereyra Elizabeth Perkett Phil & Maggie Peterson Lang Ha Pham & Hy Tran 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 Matthew Roberts Shelley Roberts & Dewey Moore Michael Robertson Gerald & Gloria Robinson Joseph Roesch Lisa D. Romero Edward Rose Christopher Rosol Harvey & Laurie Ruskin Robert Sabatini Glen & Beverly Salas Mary Ann Sampson Esperanza Sanchez Roger Schluntz Donald & Nancy Schmierbach David A. Schnitzer Stephen Schoderbek Travis Scholten Mark Sedam Margaret Seeley Claude M. Senninger Lois Sharp Arthur & Colleen M. Sheinberg Joe Shepherd Beverly Simmons

Diane & Matthew Sloves Carl & Marilyn Smith Lillian Snyder Gwyneth & Tracy Sprouls David Stalla Bill Stanton Stan & Marilyn Stark, in honor of judge James Parker's 30 years on the bench Charlie & Alexandera Steen Elizabeth C. Stevens Herb Strasberg James & Judy Sutherlin Georgann Taylor Ruth M. Thelander Corinne Thevenet, in memory of Dick Kavet Roy & Enid Tidwell Julie Tierney John Tischhauser Margaret Ann Todd Dr. Steven Tolber & Louise Campbell-Tolber John Tondl Dean & Bonita Tooley Samuel D. Tonsend, in memory of Paul Moffitt Ronald Trellue Karen & John Trever Jorge Tristani J.T. Vaughn Jean Villamarin John Vittal & Deborah Ham Hilda A. Volkin, in memory of Howard C. 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 Maria Wood Valerie & Marc Woodward Walter Wrightson John Wronosky & Lynn Asbury Judith A. Yandoh Kari Young Kenneth & Barbara Zaslow Rebecca Zerger Linda R. Zipp Vita Zodin Andrew A. Zucker 1/19/2019

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THE VIEW FROM THE FLOOR SEATS...

AMAZING

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