New Mexico Philharmonic Program Book • 2019/20 Season • Volume 9 • No. 2

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VOLUME 9 / NO. 2

2019/20 SEASON

nmphil.org

19/20 NMPHIL CONCERT SCHEDULE

2019/20 SEASON Saturday, November 2, 2019, 6:00 p.m.

Saturday, January 25, 2020, 6:00 p.m.

OLGA KERN INTERNATIONAL PIANO COMPETITION FINALS

FUNDRAISING SPECIAL

Stars of the Future

Saturday, November 9, 2019, 8:00 p.m.

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

Glorious Vivaldi!

Saturday, November 23, 2019, 6:00 p.m.

Magical Mendelssohn.

Beautiful Brahms.

Saturday, December 14, 2019, 7:30 p.m.

Sunday, December 15, 2019, 3:00 p.m.

Friday, December 20, 2019, 7:30 p.m.

Handel’s Messiah

Saturday, December 21, 2019, 6:00 p.m.

Holiday Pops!

Mozart & Beyond

Saturday, February 15, 2020, 6:00 p.m.

Elgar & Mahler 7

Saturday, February 22, 2020, 3:00 p.m.

Unforgettable Albinoni, Marcello, Boccherini, & Bach Saturday, February 29, 2020, 6:00 p.m.

Alice in Wonderland Ballet

Saturday, April 11, 2020, 6:00 p.m.

Only Olga Piano Supreme Sunday, April 19, 2020, 3:00 p.m.

Music From Within Our Midst Sunday, April 26, 2020, 3:00 p.m.

Musical Delights

Saturday, May 2, 2020, 6:00 p.m.

Carmina Burana

FUNDRAISING SPECIAL

Saturday, March 21, 2020, 6:00 p.m.

Song Plays Shostakovich Saturday, April 4, 2020, 6:00 p.m.

Star Wars to Superman: A Salute to John Williams

Sunday, January 12, 2020, 3:00 p.m.

Brass, Winds, & Bach’s Air

2019/20 Season

(505) 323-4343 nmphil.org

LETTER FROM THE

MUSIC DIRECTOR I could not wait to get back to Albuquerque after the summer hiatus to start my third season as Music Director and perform with the wonderful musicians of your NMPhiI. The season we created for you is full of amazing soloists and music that can only be fully appreciated with a live orchestra in the concert hall. I am so honored to lead the orchestra as it accompanies the Olga Kern International Piano Competition finalists on November 2. I hope that you will consider attending the competition that begins on October 28 and casting your vote for the Audience Prize. We are grateful for your amazing reception and warmth as an audience, and remember, we love playing for you!

Enjoy the music!

Sincerely, Roberto Minczuk Music Director

NMPHIL .

TABLE OF CONTENTS PROGRAMS November 2, 2019 Program November 9 & 10, 2019 Program November 23, 2019 Program December 14, 15, & 20, 2019 Program Program Notes

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ARTISTS Roberto Minczuk Christopher Confessore Sarah Tasker Gabriela Fogo Yasmeen Lookman Sharlotte Kramer Richard Lin David Felberg Sandia Presbyterian Church Choir Coro Lux Oratorio Society

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YOUR NMPHIL Letter from the Music Director Musical Fiestas Musician’s Corner Legacy Society Sound Card Student Membership Donor Stories Sponsor a Musician Orchestra Board of Directors, Advisory Board, Staff NMPhil Foundation NMPhil Guild Community Connection Donor Circles NMPhil Foundation Donors & Trustees Thank You Strategies for Wise Giving Sponsors

3 18 18 20 20 24 24 25 25 26 26 26 27 30 30 30 31

THE NEW MEXICO PHILHARMONIC OFFICES

3035 Menaul NE #2 / Albuquerque, NM 87107 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. ●

The New Mexico Philharmonic

CONNECT WITH US

facebook.com/nmphilharmonic twitter.com/nmphilharmonic nmphil.org ADVERTISE TODAY

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

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WE INVITE YOU TO JOIN US FOR THE SECOND TRIENNIAL

OLGA KERN INTERNATIONAL PIANO COMPETITION Preliminary Rounds

October 28–29, 2019 9 am–9 pm National Hispanic Cultural Center Free Admission

Semifinal Rounds

October 30-31, 2019 11 am–5:30 pm National Hispanic Cultural Center Admission $10/per day Reserve Tickets 505.724.4771

Final Round

WITH THE NEW MEXICO PHILHARMONIC

November 2, 2019 6 pm Popejoy Hall Admission $22-$75 Students $10 Available with Sound Card Reserve Tickets 505.925.5858 nmphil.org

Awards Ceremony & Winners’ Recital

November 3, 2019 3 pm Popejoy Hall Admission $25 Students $10 Reserve Tickets 505.925.5858

MORE INFORMATION

olgakerncompetition.org 505.814.5355

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2019/20 Season / Volume 9 / No. 2

CONCERT PROGRAM .

POPEJOY HALL CLASSICS

Stars of the Future: Olga Kern International Piano Competition Finals Saturday, November 2, 2019, 6:00 p.m.

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Popejoy Hall

Roberto Minczuk Music Director Repertoire & Performers: TBD

Presenting the finals of the second triennial Olga Kern International Piano Competition, originally conceived by Ms. Olga Kern—already recognized globally for its value and excellence.

The winners will be awarded more than $30,000 in cash prizes. The first-prize winner will benefit from concert engagements throughout the U.S. and Europe. And, you can vote for the Audience Award! Experience the four finalists in performance with your New Mexico Philharmonic! ●

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

Computing Center Inc., Maureen & Stephen Baca PRE-CONCERT TALK Hosted by:

Brent Stevens Sponsored by:

Menicucci Insurance Agency Classical 95.5 KHFM

The New Mexico Philharmonic

nmphil.org

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2O19 – 2O20 Season Challenging Education

NEW MEXICO SYMPHONIC

CHORUS

Roger Melone, Music Director

’Tis the Season

Monteverdi • Magnificat II (from Vespers of 1610) for Chorus, Organ, Cello and Bass Brown • Chanukah Suite for Chorus and Piano Cummings • Christmas Lullaby for Chorus and Piano Rutter • Gloria for Chorus, Brass, Percussion and Organ Sunday, Dec. 8, 2019 • 3 p.m.

Immanuel Presbyterian Church

Mozart and The Great Mass Mozart • Mass in C Minor, KV 427 with the New Mexico Philharmonic Sunday, March 8, 2020 • 3 p.m.

Immanuel Presbyterian Church

NMSCHORUS.ORG • 800-838-3006

CONCERT PROGRAM .

AFTERNOON CLASSICS & SPECIAL EVENING PERFORMANCE

Glorious Vivaldi

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Saturday, November 9, 2019, 8:00 p.m.

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

V. Sue Cleveland High School

Christopher Confessore conductor Sarah Tasker violin Gabriela Fogo violin Sharlotte Kramer soprano Yasmeen Lookman mezzo-soprano Coro Lux Oratorio Society Concerto Grosso in d minor, Op. 3, No. 11, RV 565 I. Allegro—Adagio e spiccato—Allegro II. Largo e spiccato III. Allegro

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Antonio Vivaldi (1678–1741)

Concerto Grosso in g minor, Op. 3, No. 2, RV 578 I. Adagio e spiccato II. Allegro III. Larghetto IV. Allegro

Vivaldi

Concerto for Two Violins in a minor, Op. 3, No. 8, RV 522 I. Allegro II. Larghetto e spiritoso III. Allegro Sarah Tasker violin Gabriela Fogo violin

Vivaldi

National Hispanic Cultural Center

MAKING A DIFFERENCE These performances are made possible in part By the generosity of:

The City of Rio Rancho (Nov 9) Albuquerque Community Foundation (Nov 10)

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

Gloria in D Major, RV 589 I. Gloria in excelsis Deo II. Et in terra pax III. Laudamus te IV. Gratias agimus tibi V. Propter magnam gloriam VI. Domine Deus VII. Domine, Fili unigenite VIII. Domine Deus, Agnus Dei IX. Qui tollis peccata mundi X. Qui sedes ad dexteram Patris XI. Quoniam tu solus sanctus XII. Cum Sancto Spiritu

The New Mexico Philharmonic

Vivaldi

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CONCERT PROGRAM .

POPEJOY HALL CLASSICS

Magical Mendelssohn. Beautiful Brahms.

Saturday, November 23, 2019, 6:00 p.m.

Roberto Minczuk Music Director Richard Lin violin

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Popejoy Hall

Overture to Oberon

Carl Maria von Weber (1786–1826)

Violin Concerto in e minor, Op. 64 Felix Mendelssohn I. Allegro molto appassionato (1809–1847) II. Andante III. Allegretto non troppo—Allegro molto vivace Richard Lin violin

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

Sandia Laboratory Federal Credit Union PRE-CONCERT TALK Hosted by:

Brent Stevens Sponsored by:

Menicucci Insurance Agency

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

Classical 95.5 KHFM

Symphony No. 4 in e minor, Op. 98 I. Allegro non troppo II. Andante moderato III. Allegro giocoso IV. Allegro energico e passionato

The New Mexico Philharmonic

Johannes Brahms (1833–1897)

nmphil.org

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CONCERT PROGRAM .

NEIGHBORHOOD CONCERT

Handel’s Messiah

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Saturday, December 14, 7:30 p.m.

Sunday, December 15, 3:00 p.m.

Friday, December 20, 2019, 7:30 p.m.

Immanuel Presbyterian Church

David Felberg conductor (Dec 14 & 15) Bradley Ellingboe conductor (Dec 20) Coro Lux Oratorio Society (Dec 14 & 15) Coro Lux Chamber Chorus (Dec 20) Sandia Presbyterian Church Choir (Dec 14 & 15)

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Sandia Presbyterian Church

Messiah

George Frideric Handel (1685–1759)

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PART I

PART II

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

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

V. Sue Cleveland High School

MAKING A DIFFERENCE These performances are made possible in part by the generosity of:

Sandia Presbyterian Church (Dec 15)

The City of Rio Rancho (Dec 20)

PART III

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

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

The New Mexico Philharmonic

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PROGRAM NOTES .

Program Notes Charles Greenwell

Antonio Vivaldi

Born March 4, 1678, in Venice, Italy Died July 28, 1741, in Vienna, Austria

Of the many composers who helped bring the Italian Baroque style to its zenith at the beginning of the 18th century, Vivaldi was probably the most creative. Just as with Bach, Vivaldi directed his energies to perfecting existing forms instead of inventing new ones, and in his music one finds a perfection of the 17th-century concerto and operatic forms. Through his extensive work in the genre, Vivaldi standardized some of the characteristics we associate with the concerto. For example, he regularly composed concertos with fast outer movements and a slower central movement, a structure that would become the norm for the entire Baroque period. The influence of Vivaldi’s style was so strong that even established composers in midcareer were obliged to modify their style to accommodate his. He and Alessandro Scarlatti were to be the last important Italian composers until Rossini and Verdi appeared.

Vivaldi was amazingly facile and prolific, and wrote more than 500 instrumental concertos, which created an exciting new musical language replete with simple but strong effects, powerful driving rhythms, bold melodic contours, unusual colors, and in the fast movements set new standards for solo virtuosity. (It is no accident that he was also one of the great violin virtuosos of his day.) His works not only changed form, procedure, and technique in all branches of music, but they contributed immeasurably to the development of thematic, harmonic, and formal thinking. In addition to all those concertos, Vivaldi wrote more than 40 operas and a substantial amount of choral music, a good deal of which is sadly lost. No brief description can do justice to the variety of form, scoring, and imaginative conception of his concertos, written for an astonishing variety of instruments. Moreover, modern investigations into his operas and oratorios have shown that he possessed a contrapuntal mastery on the level of Bach and Handel, and many scholars will state unequivocally that if you don’t know his major vocal works you have only an incomplete understanding of the man, and in his greatest works one is clearly in the presence of genius. ●

Concerto Grosso in d minor, Op. 3, No. 11, RV 565 Scored for strings and keyboard continuo.

Approximately 11 minutes.

Concerto Grosso in g minor, Op. 3, No. 2, RV 578

Scored for 2 solo violins, solo cello, strings, and keyboard continuo. Approximately 10 minutes.

Concerto for Two Violins in a minor, Op. 3, No. 8, RV 522 Scored for 2 solo violins, strings, and keyboard continuo. Approximately 9 minutes.

There is hardly any collection of music which has had such a profound influence on the history of music as the 12 Op. 3 concertos of Vivaldi, called L’Estro Armonico (Harmonic Fancy or Harmonic Inspiration), published in Amsterdam in 1711, which guaranteed it a wide circulation, that Dutch city at the time being the center of music publication in Europe. However, modern scholarship has determined that manuscript copies of these concertos had been available throughout Europe years before their publication, so it is next to impossible to determine when they were actually composed. The main reason these concertos attracted so much attention was that they marked the shift from the concerto grosso principle toward the solo concerto. The 12 concertos were divided into four groups of three, each consisting of one concerto for solo violin, one for two violins, and one for four violins. The four-violin concertos were still rooted in the concerto grosso practice, in which a small body of strings was heard in alternation, contrast, and combination with a larger group, but the concertos for one and two violins reflected the new concerto style which was copied everywhere in Europe, and influenced many composers, among them J.S. Bach. We now know that Vivaldi wrote a few concertos specifically for this set, while the others had been composed earlier. The unusual title of

the set was likely intended as an eye-catching phrase to help generate good sales, and it must have worked as the publication was highly successful and very influential. ●

Gloria in D Major, RV 589 (circa 1715)

Scored for vocal soloists, chorus, oboe, trumpet, and strings. Approximately 29 minutes.

As far as we can tell, Vivaldi wrote at least three settings of the Gloria in excelsis Deo, whose words date from around the 4th century, and which is an integral part of the Ordinary of the Mass. Two of these survive, the present RV 589 and RV 588. There is a third, RV 590, but it is mentioned only in one of Vivaldi’s catalogs and is presumed lost—along with dozens of other works (perhaps even hundreds) lost to history.

As with other such choral works, Vivaldi wrote many introductory motets that were to be performed before the Gloria itself, according to a practice of the time. Four of these exist, but are rarely performed. The dates of composition and first performances of his sacred works are mostly unknown, but it is presumed that at least some of them were intended for the musicians of the state-supported orphanage, called the Ospedale della Pieta, where he was for many years the institution’s music director. This work was definitely written after 1708 and probably dates from the period 1713–1719, when there was no one else at the Pieta with the specific responsibility of composing sacred choral music. This Ospedale was one of four charitable institutions in Venice that supported and educated homeless or unwanted children at public expense, in this case an orphanage for the education of young girls that emphasized musical training.

Hired initially as a violin teacher in 1703, Vivaldi later was appointed Musical Director, a position he held on and off until 1740.

Thanks entirely to him, the musical program there became exceptionally successful and achieved fame all over Europe. Every Sunday, the orchestra and choir of the Pieta gave public performances of Vivaldi’s music for the city’s elite, and eventually these outstanding performances became one of Venice’s main attractions, drawing listeners from far and wide. Most of Vivaldi’s music was intended for performance at the Pieta, and of course was performed entirely by continued on 14

The New Mexico Philharmonic

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PROGRAM NOTES . continued from 13 women. His concertos especially showcased the remarkable abilities of his students, and he had the amazing ability to adjust his concertos to suit the players he had on hand. For these talented ladies, Vivaldi wrote cantatas, concertos, and sacred vocal music, and he taught these orphans music theory and how to play from scores. For feast days, he was required to compose an oratorio or a concerto, and it was for one such day that he wrote this setting of the Gloria text. All of his Gloria creations were written for soprano, alto, tenor, and bass, which begs the question: How were the lower parts (normally sung by men) performed at this institution? At the time, women who sang sacred music were not allowed to share choir lofts with men, so the contraltos would have sung the tenor parts (all of which lie within the low contralto range), and women with exceptionally low voices would have sung the bass parts, portions of which would have been transposed up an octave. Vivaldi’s all-female orchestras and choirs were legendary sensations, but the girls had to be protected from noblemen and travelers to the city. To keep the darlings sheltered from the corruption and decadence of the visiting public, the girls sang behind patterned grills in the upper galleries of the church, which only added to the theatrical sense of Vivaldi’s music.

This Gloria was intended to be performed as part of a festive Mass, a unique Venetian type known as a Missa lecta, that is, a Mass read silently by a priest. At least one Vivaldi scholar has commented on the military character of some of the music, and so has conjectured that it might have been intended to celebrate the Venetian defeat of the Turks at Petrovardin, and the collapse of the Turkish siege of Corfu in August of 1716. The Latin text is the second item of the Ordinary of the Mass which dates back to at least early Gregorian chant from the Middle Ages.

Vivaldi divided the text into 12 movements, each with a different musical character and varied styles and settings. This is one of Vivaldi’s best-known compositions, second only to The Four Seasons in popularity, and is one of the most frequently performed choral works from the Baroque era. Like many of his other compositions, Vivaldi’s works for the chorus and orchestra of the Pieta disappeared following his death in 1741, and were believed lost until their almost accidental rediscovery in the 1920s. Modern audiences first encountered his music in the 1950s, much later than other Baroque masters such as Bach and Handel, but even with this late 14

2019/20 Season / Volume 9 / No. 2

“[ideas for a concerto running constantly], the beginning of which gives me no peace.”

—Felix Mendelssohn

start, Vivaldi went on to become one of the most frequently performed and recorded composers in history. ●

Carl Maria von Weber

Born November 18, 1786, in Eutin, Germany Died June 5, 1826, in London, England

Overture to Oberon (1826)

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 9 minutes.

Oberon, or The Elf King’s Oath, is a threeact romantic opera that Weber wrote to an English libretto, composing two acts in Germany and the last in London. The libretto was based on a German poem called Oberon, which itself was based on a French medieval epic entitled Huon de Bordeaux. Weber took the commission against his doctors’ advice, learning English to be able to deal with the intricacies of the libretto. Unfortunately, the pressure of rehearsals, composing extra numbers, and social engagements undermined his already precarious physical condition, and he died prematurely in London in 1826 at the age of 39. Much of the drama centers around non-singing roles (a feature Weber found difficult to deal with), and juxtaposes both heroic and comic elements in the lovers who constitute the main characters. The work was premiered at Covent Garden in London in April of 1826, with the composer conducting, and was a great triumph with many encores. The libretto was subsequently translated into German, and it is with these words that the opera has been most often performed. Weber was dissatisfied with the structure of the opera as it had been produced in London, and intended to revise the work when he returned to Germany, but he died in London before this could be accomplished. Since then, other composers and writers have revised the work, most notable among them Gustav Mahler and the English novelist

Anthony Burgess, who actually wrote a whole new libretto for the opera. As Weber originally composed the work, the overture contains music directly excerpted from the complete opera, and was one of the last pieces to be completed before the premiere.

Although composed in a more classical vein than his other two opera overtures (Der Freischutz and Euryanthe), Oberon features some fascinating leitmotif writing that would have such a profound effect on Wagner. The story in a nutshell is as follows: Oberon the Elf King, having quarreled with his fairy partner, can never be reconciled until he finds two lovers who will be constant to each other under all circumstances. The two lovers turn out to be Sir Huon, a young knight of the Bordeaux, and Reiza, daughter of the Caliph of Baghdad. The story is all about their trials and temptations, and how they remain true to each other throughout, thereby securing Oberon’s forgiveness. Despite some of Weber’s most gorgeous music, the opera virtually disappeared after the original production, and is even today rarely staged, most of the blame falling on the unwieldy and convoluted libretto. ●

Felix Mendelssohn

Born February 3, 1809, in Hamburg, Germany Died November 4, 1847, in Leipzig, Germany

Violin Concerto in e minor, Op. 64 (1844)

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

Approximately 28 minutes.

This beloved concerto was Mendelssohn’s last large-scale orchestral work. It forms an important part of the violin repertoire and is one of the most popular and frequently performed violin concertos ever written.

Although Mendelssohn was himself an excellent violinist, he did not compose this work to display his own talents. Instead, it was written for his long-time friend and colleague violin virtuoso Ferdinand David.

PROGRAM NOTES .

When Mendelssohn was in his mid-teens he met David, one year his junior, who was already a prodigious and famous soloist who had appeared with several leading orchestras, among them the Leipzig Gewandhaus Orchestra, and was held in the highest regard as a model concertmaster, quartet leader, and teacher. Later on, in 1836, when Mendelssohn was appointed director of the Gewandhaus, he quickly secured the appointment of David as the orchestra’s concertmaster, and when he founded the Leipzig Conservatory in 1843, David became the first head of the violin faculty. In the creation of this concerto, David played a role comparable to that taken a generation later

by Joseph Joachim with the Brahms Violin Concerto. In 1838, Mendelssohn wrote to David that he had some ideas for a concerto running constantly through his head, “the beginning of which gives me no peace.” The concerto took the normally prolific composer another six years to complete, and during those years the two men kept up a regular correspondence, with Mendelssohn seeking technical and compositional advice. The autograph score is dated 16 September 1844, but Mendelssohn was still seeking advice from David right up until the premiere, which took place in Leipzig in March of 1845.

Mendelssohn is often thought of as a facile composer whose work came to him without much effort, but he was in fact a compulsive reviser. David was of course the soloist, but due to illness Mendelssohn was unable to conduct, so the premiere was conducted by the Danish composer and conductor Niels Wilhelm Gade. Mendelssohn and David collaborated for the first time on the work in October of that year. Composed at the height of Mendelssohn’s brilliant but short-lived career, the concerto was met with rapturous applause, became an instant classic, and remains one of the cornerstones of the violin repertoire. Mendelssohn’s music is most clearly influenced by Mozart and Beethoven, and his use of harmony and form is rooted in the classical period. However, he developed a

clear and characteristic style of his own, and there are many innovations in the concerto.

He had recently discovered the music of J.S. Bach, and in this work his own style of writing achieved a new elegance. Although the concerto consists of the traditional three movements in the standard fast-slow-fast structure, and each movement follows a traditional form, among the innovations are the almost immediate entry of the violin at the beginning of the work, and the throughcomposed form of the concerto as a whole, in which the three movements are melodically and harmonically linked and played without any pause.

By the way, although most people refer to this as THE Mendelssohn Violin Concerto, he actually wrote an earlier one in d minor for violin and strings in the early 1820s when he was in his early teens. This was at the time he produced his 12 string symphonies, and this concerto was “rediscovered” and first recorded in 1951 by Yehudi Menuhin. ●

Johannes Brahms

Born May 7, 1833, in Hamburg, Germany Died April 3, 1897, in Vienna, Austria

Symphony No. 4 in e minor, Op. 98 (1884)

Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings.

Approximately 39 minutes.

Brahms’s four symphonies have been cornerstones of the orchestral repertory for well over a hundred years, and with good reason. More than any other composer, Brahms succeeded in combining the qualities of drama and architecture that Beethoven had made the hallmarks of his symphonic music, and in the process created some of the most durable music we have. The Fourth Symphony, which some critics have called “one of the seven wonders of the musical world,” blends supreme poetic invention with the most thoughtful treatment of musical

[Brahms’s] Fourth Symphony, has been called “one of the seven wonders of the musical world.”

The New Mexico Philharmonic

ideas and formal design. Brahms found that his creative juices flowed most freely during his summer vacations, which he spent in a succession of villages in the Austrian, German, Swiss, and Italian countryside. He spent the summers of 1884 and 1885 in a charming Styrian village about a two-hour train ride from Vienna, and it was there that the Fourth Symphony was born. Brahms himself conducted the premiere performance of the symphony with the Meiningen Ducal Chapel Orchestra in October of 1885, and then took the work on tour to several cities in Germany and the Netherlands—but only after Hans von Bulow, one of the finest pianists and conductors of the day, and a great champion of Brahms’s music—had given a second performance in Meiningen.

During rehearsals, von Bulow offered these comments about the new symphony: “Difficult. Very difficult. No. 4 is gigantic, altogether a law unto itself, quite new, steely individuality. Exudes unparalleled energy from first note to last.” After the actual premiere, the Duke of Meiningen and some foreign guests stayed behind to hear the first and third movements again. Possibly because the pressure of the first performance was behind him, Brahms conducted with even greater passion, and the orchestra seemed electrified. The influential and often feared Viennese music critic Eduard Hanslick wrote in part after the premiere: “Brahms is unique in his resources of genuine symphonic invention; in his sovereign mastery of all the secrets of counterpoint, harmony, and instrumentation; and in his logic of development combined with the most beautiful freedom of fantasy.” To his amazement, the premiere turned out to be a great success, and audience enthusiasm only increased with subsequent performances.

Yet, the Brahms scholar Walter Frisch observed, “…the Fourth is not a work that unlocks its secrets easily. Here, Brahms seems to be writing for exactly the kind of cultivated, musically literate listener whose disappearance at the end of the 19th century he prophesied and sorely regretted.” The Fourth represents a harvesting at the highest level of all the wisdom he had cultivated throughout his life with regard to the ideal of the symphony—not only as the leading contemporary champion of a genre that was increasingly looked on as outdated, but as a musical thinker deeply self-conscious of the lineage leading up to him. What he achieved here was a musical monument of unwaveringly masterful craftsmanship, continued on 16 nmphil.org

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PROGRAM NOTES . continued from 15 part of a body of music that has a unique durability and robustness.

Although it is cast in the same classical four-movement scheme as his earlier symphonies, the Fourth is more tightly unified throughout, and its movements proceed with a tremendous sense of cumulative power. It is the only one of Brahms’s symphonies that begins directly with the main theme of its first movement without even a note of introduction. Many commentators have remarked about the modal contour of the melody that forms the basis of the second movement, and Brahms uses its tonal ambiguity to create unusually beautiful harmonies and melodic variations.

The third movement is perhaps the most boisterous music he ever produced, and it represents for the first time the inclusion of a real scherzo in a symphony, in contrast to the lighter intermezzos that served as the third movements of the first three. Brahms saved his trump card for the finale, a gigantic passacaglia—a neo-Baroque structure—in which an eight-measure theme (derived from the last movement of Bach’s Cantata No. 150) is subjected to no less than 32 variations of widely varying character, and its severity is to a large extent the source of its strength. The whole movement is carefully shaped, leading to an inexorable and powerful climax, and its inspired outpouring and formal perfection which constitute Brahms’s final utterance as a symphonist have to be looked on as one of his greatest achievements. In his last years, Brahms saw his class being destroyed, and he felt that music, including his own music, his civilization, and the tradition he so dearly loved, were being destroyed along with it. So, in his final symphony, he sang of the despair that he felt for all of this, and composed a remarkable and solemn elegy to a craft he saw dying. ●

“…the Fourth is not a work that unlocks its secrets easily.”

—Walter Frisch

16

2019/20 Season / Volume 9 / No. 2

George Frideric Handel

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

Messiah (1741)

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

Approximately 120 minutes.

The oratorio, one of the great Baroque vocal forms, came from the religious play-withmusic of the Counter-Reformation and took its name from the Italian word for a place of worship. The first oratorios were actually sacred operas, and were produced as such. Then, around the middle of the 17th century, the oratorio gradually did away with theatrical trappings and developed its own personality as a large-scale work for solo voices, chorus, and orchestra, usually—but not always—based on a biblical story. These new productions were usually performed in a church or hall without scenery, costumes, or acting, and what action there was developed with the use of a narrator and a series of recitatives, arias, duets, trios, and choruses, with the role of the chorus being quite prominent. Typical of this form are the oratorios of Handel, probably the finest composer of this popular vocal form. Handel came from the middle class and went on to make his career in England, where the middle class first achieved its strength. As he turned from standard opera to oratorio, he became part of an enormous social change, and in so doing, became one of the founders of a new culture and a creator of our modern mass public. He had very keen instincts and was able to understand the needs of his adopted country, and he produced oratorios that were steeped in the settings of the Old Testament, making them perfectly suited to the tastes of England’s middle class. He achieved this in part by making the chorus— in other words, the people—the center of the drama. Like Bach and other great Baroque masters, Handel’s rhythms were strong and unswerving, and he favored the direct language of diatonic harmony as opposed to Bach’s more ingenious idiom, which at times became highly chromatic. Handel’s melodies unfold in great majestic arches and reveal a depth of feeling that sets him apart from most of his contemporaries. Having grown up in the theatrical world, he was able to make use of tone color for a variety of moods and dramatic expression.

Handel first came to England when he was 25 and already celebrated throughout

Europe as an outstanding composer of Italian-style opera. His main reason for going to England was to repeat his successes as an opera composer, and he was able to achieve this—for a time. After 25 years of triumphs in this realm, two forces did him in: the inevitable changes in public taste and the rivalries and jealousies that have always been a part of theatrical life. As a result, his final season of opera in London in 1741 was such a disaster that he began to think seriously about returning to Germany. Fate intervened, however, when Charles Jennens, his English literary collaborator, seriously worried about losing this supremely gifted composer, gave Handel the libretto of a new oratorio called simply Messiah. Jennens hoped it would inspire the man to new heights, and specifically designed the work to be presented during Holy Week, when theaters would be closed, thus ensuring a full house for some kind of benefit performance.

Jennens was correct: Handel thought the new libretto was inspired and could be used as part of a new venture that had come his way. He had recently been invited to Dublin to give a series of oratorio concerts and realized immediately that Messiah, performed as a benefit concert for charity, would be the perfect way to conclude the season.

Handel began work on the new score in late August of 1741, and in a phenomenal burst of virtually nonstop energy, finished the entire score, orchestration and all, in the amazing space of just 24 days! He set out for Ireland in early November and arrived in Dublin on November 18. The trip across the water proved to be a revitalizing experience, and in spite of the hard work that the new oratorio season would require, it was almost like a holiday, away from the financial, artistic, and personal problems that he had been dealing with in London.

In addition, when he came to Dublin he was greeted with the kind of adulation that had greeted his arrival in London some 30 years previously, and once again he was idolized, fussed over, feted wherever he went, and in general, treated like some kind of royalty.

The music-loving people of Ireland had in Dublin several musical societies that were unusual in that they were all organized for charitable purposes. This was largely due to the terrible social conditions in the country, compared with the poor people of London and the inmates of its prisons and hospitals who were relatively well off. The citizens of Dublin, appalled by the miserable conditions in their prisons and hospitals, wanted to

PROGRAM NOTES .

do everything they could to alleviate this wretched state of affairs, and so they raised money for humanitarian purposes by sponsoring public concerts. There was then a new Music Hall in the city that was built on order from the Charitable Music Society and their guiding light, a wealthy and influential music publisher named William Neale. He was also the secretary of Dublin’s Charities Commission, and he not only had a commanding position in all that was to follow, but in all likelihood had a hand in the invitation that brought Handel to Dublin and resulted in the production of Messiah.

On March 27, 1742, the Dublin Journal printed an announcement for a new benefit concert, stating that it would take place at the Music Hall on April 12, at which time would be performed “…Mr. Handel’s new Grand Oratorio, called Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some concertos on the Organ

by Mr. Handel.” As it turned out, the concert did not take place until April 13, but there was a public rehearsal on April 9, about which the Journal had written: “Yesterday Mr. Handel’s new Grand Sacred Oratorio called Messiah was rehearsed … and was performed so well that it gave universal satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard ….” In that article and again on the day of the performance there were requests to the audience that ladies come without hoops in their dresses and that gentlemen come without their swords, so that the greatest number of people could be squeezed into the hall. At the formal premiere, this resulted in an audience of 700 pressed into a space designed to hold 600, but nobody seems to have been upset in the slightest. The premiere was an unqualified triumph, and the press notices outdid themselves in praising the work and its performance, with particular praise being given to the fact that everyone performed gratis, thereby helping to raise over 400 pounds for the advertised charities. Because of its great success, Handel was asked to repeat the work at his last Dublin concert, and so began the career of one of the most popular, beloved, and frequently performed works in the whole history of music.

Messiah was given its first performance in London in March of 1743, but it was not at all the great success it had been in Dublin. It is possible that Handel anticipated certain objections to the work, as he advertised it as

The New Mexico Philharmonic

“Mr. Handel’s new Grand Sacred Oratorio called Messiah […] was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard.”

—Dublin Journal

“a New Sacred Oratorio” without mentioning its title, but he was certainly unprepared for the hostility it received in some quarters.

There were many who were greatly upset that the Scriptures formed the basis for what was presented as secular entertainment and were very vocal in objecting to its having been presented in a theatre with several famous singers as soloists. Even librettist Jennens, after hearing the work for the first time, said that he was dissatisfied with what he called “some weak parts” in the score. As a result of this, Messiah was rarely performed in London in the mid-1740s, while at the same time it was being performed regularly in Dublin. In 1749, things made a dramatic turnaround, and once again the prime force was a connection with charity. Handel had always been known as a kind and generous man, and at the time he had become interested in the recently created Foundling Hospital for young orphans and children in dire need.

In May of 1749, he proposed a concert for the hospital’s benefit, and ultimately was appointed a governor of the establishment.

On May 27, the concert was given in the newly built chapel, and it was a great success.

The hospital received a considerable sum of money from the concert, and that sum was further increased by a very generous gift from the King. The following year, Handel put together a new season of oratorio, and Messiah played a prominent role. It was given at the Foundling Hospital on May 1, 1750, and the chapel was so packed with eager listeners that the work had to be repeated on May 15. These were successes on the scale of the Dublin premiere, and marked the beginning of the oratorio’s great popularity in London and elsewhere.

In the years to come, Handel made it a tradition to include Messiah in his oratorio seasons during Lent, and also performed

it every year at the Foundling Hospital.

(Incidentally, although the Foundation still exists and thrives in London, the chapel in which Handel played, and to which he left a score and parts to Messiah in his will in order that the performances might continue, was declared unsafe and demolished in 1926. It was the last remaining building in London in which he had promoted concerts.)

He continued to conduct performances of Messiah right up until his death, and in fact in March of 1759 gave three performances at Covent Garden. The annual Foundling Hospital performance was scheduled for May 3, but before the rehearsals could begin Handel was taken seriously ill. After a week of steady deterioration, he finally succumbed on April 14, 1759—the day after Good Friday. He had asked to be given a private burial in Westminster Abbey, but because he was so famous and beloved a figure, he was accorded a very public ceremony on the occasion of his internment on April 20. Of all the memorial statues in the Abbey, his is one of the most striking and memorable: In his right hand is a sheet of music containing the opening bars of the great aria from Messiah, “I know that my Redeemer liveth.”

After the first London performance, Handel said to a friend, “My Lord, I should be sorry if I only entertained them. I wished to make them better.” He clearly intended the oratorio to mean something special to his audiences because it meant something special to him. At a Messiah performance in 1759 on the occasion of his 74th birthday, Handel responded to the very enthusiastic applause by saying, “Not from me—but from Heaven—comes all.” ●

nmphil.org

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NEW MEXICO PHILHARMONIC

musical fiestas

YOUR NMPHIL’S

MUSICIAN’S CORNER

Musical Fiestas are special 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.

MUSIC, DINNER, WINE COMPLIMENTARY VALET PARKING

Sunday, January 26, 2020 4:00 p.m.

Jason Vieaux guitar

Hosted by John Trotter in his art-filled Near North Valley home.

Sunday, February 16, 2020 4:00 p.m.

Andrei Ioniţă cello

Performance hosted at the North Valley arts-and-crafts-inspired home of Dr. Ron Bronitsky.

Friday, April 10, 2020 Time TBA Olga Kern piano

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

RSVP ONLY

(505) 323-4343 nmphil.org 18

2019/20 Season / Volume 9 / No. 2

Laura Chang Viola

Laura Chang, a native of Wisconsin, was born into a musical family and began her studies shortly after her fourth birthday.

Laura earned both Bachelor’s and Master’s degrees from Peabody Conservatory, under the tutelage of Martin Beaver and Pamela Frank, for whom she was a graduate assistant.

Laura is an avid chamber and orchestral musician whose performances have taken her to venues across the US, Canada, and Europe. While a resident of Washington, DC, she was a member of the National Philharmonic and the Maryland Symphony and frequently performed with other orchestras in the Baltimore/Washington metro area. Five years ago, Laura and her family moved to Denver, Colorado. She is currently a member of the Colorado Springs Philharmonic and the Central City Opera Orchestra and enjoys playing as an extra with the Colorado Symphony.

Laura is very excited to start her first season with the New Mexico Philharmonic and can’t wait to explore the state with her husband, two young boys, and menagerie of pets! ●

ARTISTS .

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

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

A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras;

the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco.

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

Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone award of excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin Grammy in 2004 and was nominated for an American Grammy in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works

by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released

by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival, including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes 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. ●

Christopher Confessore conductor Christopher Confessore celebrates his 16th season as Music Director and Principal Conductor of the Brevard Symphony continued on 21

The New Mexico Philharmonic

nmphil.org

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2019/20 Season / Volume 9 / No. 2

LEGACY SOCIETY

GIVING FOR THE FUTURE Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 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 Louise Laval

Dr. & Mrs. Larry Lubar Thomas J. Mahler Cynthia Phillips & Thomas Martin George Richmond Eugene Rinchik Barbara Rivers Terrance Sloan Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman

ARTISTS . continued from 19 Orchestra and his seventh season as Resident Conductor of the Alabama Symphony Orchestra in 2010–2011. During his tenure in Brevard, the orchestra has performed a broad repertoire—including the world premieres of seven compositions commissioned by the orchestra—and enjoyed a dramatic period of artistic growth, increased attendance at all performances, and financial stability. Mr. Confessore joined the Alabama Symphony Orchestra as its Associate Conductor in 2000. His appearances on the ASO’s Masterworks series have garnered rave reviews from the Birmingham News for his “special talent for drawing the broadly lyrical out of his orchestra.” He also leads the orchestra in a wide variety of educational and outreach performances, and serves as Conductor of the Alabama Symphony POPS! Mr. Confessore’s schedule as a guest conductor has included appearances with the Houston Symphony, the Florida Orchestra, the Chattanooga Symphony Orchestra, and the Louisiana Philharmonic Orchestra. He made his international debut in June of 2004, conducting the Sibiu Philharmonic Orchestra in Romania.

During the 1999/2000 season, Mr. Confessore served as Interim Education and Outreach Conductor of the Houston Symphony, conducting multiple performances on the orchestra’s Lollipops, Discovery, and First Concerts series, as well as other community outreach concerts. In June of 2007, he conducted eight performances on the Houston Symphony’s Sounds Like Fun Community Outreach series.

From 1992–2000, Mr. Confessore served as Associate Conductor of the Florida West Coast Symphony in Sarasota. From 1990– 1995 he served as Education Director of the Florida West Coast Symphony, administering one of the most intensive orchestral education programs in the country.

Hailed by the Birmingham News as a leader with “firm vision and confidence,” Christopher Confessore has accompanied a distinguished list of artists, including Itzhak Perlman, Joshua Bell, Lang Lang, Glenn Dicterow, and Carol Wincenc. As a Pops conductor, he has appeared with a diverse group of performers, including GRAMMY Award winners Art Garfunkel, Roberta Flack, Peabo Bryson, Larry Gatlin, and Nanci Griffith, and Tony Award winners Debbie Gravitte and Michael Maguire. In April of 2005, music columnist Mary Colurso of the Birmingham News remarked, “Anyone who

regards the symphony as stuffy and elitist hasn’t been to a SuperPops show when Confessore’s in charge. He exudes nice-guy appeal on stage, along with real warmth, a sense of humor, and smarts to spare.”

Mr. Confessore has studied with internationally acclaimed conductor Leonard Slatkin and has attended workshops and seminars led by Gustav Meier, Harold Farberman, and Lawrence Leighton Smith.

He holds a Master of Music degree in instrumental conducting from the University of Southern California and the Bachelor of Music degree in bassoon performance from Florida State University. ●

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

Mentors instrumental in shaping her musicianship were Camilla Wicks from the San Francisco Conservatory; William Preucil and Linda Cerone at the Cleveland Institute of Music, where she received her Bachelor’s degree; and Masao Kawasaki at The Juilliard School, where she was awarded a Master’s degree in violin performance. She has taken her seat in international orchestral performances in several cities in Western Europe, England, China, and Japan. While a member of the Cleveland Institute Intensive Quartet program, her foursome was chosen to study and perform with the Tokyo String Quartet. Ms. Tasker has received honors

in competitions throughout the United States and Europe and has performed many times as soloist with the Utah Symphony. In addition to playing, she enjoys teaching and trying to keep up with her energetic boy and two girls. ●

Gabriela Fogo violin A native of Brazil, Gabriela Fogo began music studies at age 10, going on to receive her Bachelor’s degree in violin performance from Faculdade Cantareira in São Paulo, Brazil.

She has been a member of various orchestras and chamber groups in Brazil, including the Cantilena Ensemble, Quarteto Zimmer, Camerata Fukuda, Orquestra Experimental de Repertório, and Orquestra Sinfônica de Santo André. She is currently pursuing her Master’s degree in string pedagogy and violin performance at the University of New Mexico. Gabriela has been playing as concertmaster of the UNM Symphony Orchestra, and violinist in the Abe Franck graduate string quartet. In 2019, she went on tour with the Orchestra of the Americas representing Brazil. She became a member of the Santa Fe Symphony Orchestra and the New Mexico Philharmonic in 2017. ●

continued on 21 The New Mexico Philharmonic

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ARTISTS . continued from 21 of New Mexico. During her time there, she performed a number of roles with the University Opera Theatre, including Orlofsky in Strauss’s Die Fledermaus, and sang in the Opera Southwest Chorus. She has performed both nationally and internationally, most recently as Dorabella in Mozart’s Così fan Tutte with the International Lyric Academy in Viterbo, Italy. Yasmeen is a staff musician at the United Church of Santa Fe and works in development at the Lensic Performing Arts Center. ●

Sharlotte Kramer soprano Dr. Sharlotte Kramer is a research mechanical engineer at Sandia National Laboratories and has been a musician her entire life. She studied classical piano as a child, has been in choirs since middle school, and studied voice with Desiree LaVertu in Pasadena while earning her Ph.D. in Aeronautics from the California Institute of Technology. She won first place in the 2008 Caltech Opera competition. She has been leading the worship music at High Desert Presbyterian Church in Albuquerque since 2012. She joined Coro Lux this past September. When she is not running experiments in a structural test lab at Sandia Labs or singing, she is baking and spending time with her husband, Richard, and daughters, Grace and Evelyn. ●

Yasmeen Lookman mezzo-soprano Yasmeen Lookman received a Bachelor of Music in vocal performance at the University

22

2019/20 Season / Volume 9 / No. 2

Richard Lin violin Taiwanese-American violinist Richard Lin is the newly crowned Gold Medalist of the 10th Quadrennial International Violin Competition of Indianapolis, which took place in September of 2018.

Highlights of Mr. Lin’s 2019/2020 season include concerto engagements with the Indianapolis, Montclair, and Chippewa Valley Symphonies as well as the New Mexico, Evansville, and Marion Philharmonics in the United States. Multiple recitals in Dallas, New York, Washington, D.C., and Poland will culminate in a Carnegie Hall Stern Auditorium recital debut in June 2020. In Asia, Richard will tour Vietnam with the Evergreen Symphony Orchestra. He will also perform the Beethoven Triple Concerto with the National Symphony Orchestra in Taipei and the Tchaikovsky Violin Concerto with the Sendai Philharmonic Orchestra in Japan.

Richard has collaborated with numerous orchestras and performed at celebrated concert venues throughout the world including the Tokyo Symphony Orchestra under conductor Norichika Iimori at Tokyo’s Suntory Hall. Other orchestras

with whom he has worked include the NDR Radiophilharmonie; the North Carolina, Shanghai, and Singapore Symphonies; Poznań, Łódź, Polish Baltic, Nagoya, Taiwan, and Oklahoma City Philharmonics; the Hong Kong Sinfonietta, National Taiwan Symphony Orchestra, Yomiuri Nippon Symphony Orchestra, Orchestra Ensemble Kanazawa, Munich Chamber Orchestra, Amadeus Polish Chamber Orchestra, and the Royal Chamber Orchestra of Wallonia among others.

He released his first album on the Fontec label in 2013 featuring works for violin and orchestra by Beethoven, Bartók, and Brahms performed with the Sendai Philharmonic and conductor Pascal Verrot. The following year, he released the complete Brahms Sonatas for Piano and Violin with his brother, pianist Robert Lin. Richard has amassed a startling collection of top prizes at major international competitions, including 1st Prize at the Sendai International Violin Competition, 3rd Prize in the Joseph Joachim International Violin Competition in Hannover, and 2nd Prize at the Singapore and Michael Hill International Violin competitions.

Born in Phoenix, Arizona, and raised in Taiwan, Richard began his violin studies at the age of four. He gave his public debut at age 11, performing the Saint-Saëns Violin Concerto No. 3 with the Taipei Symphony Orchestra. Richard graduated from the Curtis Institute of Music and The Juilliard School where he studied with Aaron Rosand and Lewis Kaplan respectively. ●

David Felberg conductor Praised by The Santa Fe New Mexican for his “fluid phrases; rich, focused tone;

ARTISTS .

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. ●

Sandia Presbyterian Church Choir SPC Choir sings at the traditional service 11 months out of the year. The choir has more than 50 members and most Sundays will have 40 or more singers in attendance. These talented volunteers enjoy singing a variety of genres ranging from classical to gospel music.

Since April 2017, the choir has been directed

by John Reith, who previously was choir director at St. Pius X High School. ● John Reith director Maxine Brown Barbi Cappel Dave Cappel Butch Cox Mary Anne Cox Suzanne Ebel Pam Evans Betsy Everett Steve Fish Ryan Guth Ron Harris Kirsten Harvey Susanne Hays Betty Hekman Winnie Hoeksema Dale Horner Ginger Horner

Cathy Jones Ann Long Kay Martin Jim McMillan Ruthie Mendoza Bob Merson Molly Minana M Moyer Angela Muhanga Lisa Nelson Dave Ohms Martha Peercy Cathy Phillips Dave Phillips Linda Pickard Paul Pickard John Reith

The New Mexico Philharmonic

Alma Ripley Bill Ripley Ken Roark Jeff Romine Lois Sancho Mary Seal Barbara Strongin

Ann Teachout Dick Tebay Jean Tebay Bruce Tempest Judy Tull Margaret Williams

●

Baritone Gerald Bennett Martin Doviak Brenden Laughlin Chester Sakura Peter Stoll Wayne Thelander

Bass Joe Alcorn George Arthur Bill Artman Paul Bushnell Martin Kroebel David Milford Joe Mitchell * Chad Patterson Walter Polt

* section leader ●

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

Bradley Ellingboe conductor & Artistic Director Jonathan Davidson assistant conductor Mary Ann Ybarra pianist Soprano 1 Katy Anderson Aubri Gonzales Shelly Ley * Nicole Lopez Jody Spalding Antoinette Utsinger Krista Vrapi Susie Tallman Yarbrough

Soprano 2 Karen Ellingboe Kira Harrison Ashley Jonkman Emily Steinbach Quynh Truong Vicky Wood LaVonne Yazzie

Alto 1 Audrianna Aragon Elizabeth Dwyer Angelynn Gomez Sharlotte Kramer Cynthia Lashley Yasmeen Lookman Elisa Bess McLaughlin Lori Nash Kirsten Norman Natalie Tiesi

Alto 2 Jan Bowers Jo Browning Linda H. Buffett Kit Ersfeld Victoria Hontas Kristen Hutchinson * Vinnessa Ohle Sue Spaven Kristin Thelander Jamie Villanueva

Tenor 1 Jonathan Davidson * Gabriel Gonzales Garrett Keith

Tenor 2 Bryan Butler Duncan MacIvor Neal Ohle Peter Spalding

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DONOR STORIES LYNN ASBURY & JOHN WRONOSKI Percussion Sponsorship, Emily Cornelius

“We love live music performances and consider ourselves fortunate to have the fantastic NMPhil in Albuquerque Sponsoring a musician seemed like a good way to not just support the NMPhil, but to learn about the musicians who keep the music alive for us and the community. We asked to sponsor Emily because the percussion section is one of our favorites, and even though the section is placed at the back of the orchestra she catches our eye as she performs, especially when she plays the bass drum. Lynn also feels a bond with Emily because she gave birth to twins and Lynn herself is a twin.”

–John Wronoski

Lynn Asbury

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2019/20 Season / Volume 9 / No. 2

Emily Cornelius

SPONSOR A MUSICIAN WE INVITE YOU TO ENGAGE MORE DEEPLY WITH THE ORCHESTRA AND ITS MUSICIANS. This new program comes with wonderful benefits that give you a chance to develop a personal relationship with one of our stellar musicians. Please call (505) 323-4343 to find out the benefits and cost of sponsorship.

SPONSOR TODAY

(505) 323-4343

GEORGE & SIBILLA BOERIGTER Concertmaster Sponsorship, Krzysztof Zimowski

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

—George Boerigter

George & Sibilla Boerigter

BOARD OF DIRECTORS Maureen Baca President Anthony Trujillo Vice President

New Mexico Philharmonic

David Peterson Secretary

The Musicians

FIRST VIOLIN Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Sarah Tasker Assistant Concertmaster Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Gabriela Fogo • Carol Swift •• Julanie Lee Anthony Templeton Michael Shu Donna Bacon Lidija Peno Sheila McLay + Ana María Quintero ++ Heather MacArthur Brad Richards Eric Sewell VIOLA Laura Chang • Kimberly Fredenburgh •• Allegra Askew Christine Rancier Laura Steiner Virginia Lawrence Willy Sucre Joan Hinterbichler Lisa DiCarlo

CELLO Joan Zucker •+ James Carney ++ Carol Pinkerton ••+ Annabelle Hoffman ••++ 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 •••

E-FLAT CLARINET Lori Lovato BASS CLARINET Timothy Skinner BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Nathan Ukens + Allison Tutton ++ Katelyn Benedict ••• Jeffrey Rogers ++ Niels Galloway •••• TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Byron Herrington ++

PICCOLO Sara Tutland

BASS TROMBONE David Tall

OBOE Kevin Vigneau • Amanda Talley

TUBA Richard White •

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

TIMPANI Douglas Cardwell •

Kory Hoggan Treasurer Thomas Domme J. Devon Hyde Anne McKinney Jeffrey Romero Edward Rose, MD Rachael Speegle Al Stotts Marian Tanau Michael Wallace 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 Director of Business Relations Alexis Corbin Director of Education & Outreach Matt Hart Production Manager

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

Shea Perry Personnel & Operations Manager

HARP Matthew Tutsky •

Jeremiah Fernandez Assistant Librarian

Allison Tutton Principal Librarian

Eric Sewell Copyist Nancy Pressley-Naimark Office Manager Crystal Rieter Assistant Office Manager Mary Montaño Grants Manager

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

The New Mexico Philharmonic

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

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NMPHIL .

The New Mexico Philharmonic Foundation is a new stand-alone 501(c)(3) nonprofit charitable corporation.

Its mission is to “provide dedicated funding for the New Mexico Philharmonic, funding that creates long-term stability, future growth, and permanence through a secure venue for donor support that is directly controlled by its donors and trustees.”

Visit nmphilfoundation.org to learn more!

COMMUNITY CONNECTION NMPHIL’S YOUNG MUSICIAN INITIATIVE HAS A MISSION TO STRENGTHEN COMMUNITIES, SUPPORT SCHOOLS AND FAMILIES, AND BUILD LIFE SKILLS THROUGH MUSIC EDUCATION AND PERFORMANCE.

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2019/20 Season / Volume 9 / No. 2

GREETERS. USHERS. TICKET SCANNERS. RECEP TIONS & SOCIAL EVENTS. FUNDRAISING. OFFICE HELP.

Want to meet some great people?

Improve your health?

Volunteer Today!

A national survey found that people who volunteer have less trouble sleeping, less anxiety, less helplessness and hopelessness, better friendships and social networks.

For More Information

Email: guild@nmphil.org Visit: vol4nmphil.org

In October, YMI families were invited to Parent Day, where 30-plus family members participated in a trombone lesson and then performed a short concert for their children. Parents reported that it was incredibly meaningful to experience what the 14-hour-per-week after-school outreach program brings to their children.

We’re grateful for our community’s support in creating access to life-changing, in-depth music education for our youth!

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 Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Holmans USA, LLC, Anthony D. Trujillo The Meredith Foundation

MOZART CIRCLE Donation of $10,000– $24,999 Anonymous Anonymous, in honor of Roberto Minczuk Bernalillo County Commission Deborah Borders Art Gardenswartz & Sonya Priestly Mary Herring 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, in memory of Florence Parker Cynthia Phillips & Thomas Martin Sandia Foundation, Hugh & Helen Woodward Fund Dr. Dean Yannias

BRAHMS CIRCLE Donation of $5000–$9999 Albuquerque Community Foundation, The CavettWalden Grant Albuquerque Community Foundation, The Ties Fund Anonymous Anonymous Paula & William Bradley William E. Cates Cover Family Giving Fund

Nance Crow-Sullivan & Molly Saunders, in loving memory of Bill Sullivan Eugenia & Charles Eberle Bob & Fran Fosnaugh Tanner & David Gay Keith Gilbert Hancock Family Foundation William H. & Matatie Wattis Harris Foundation Holman’s Foundation Robert & Elisa Hufnagel Hunt Family Foundation Harry & Elizabeth Linneman Dr. & Mrs. Larry Lubar Menicucci Insurance Agency Jan Mitchell, in memory of Gwendolyn D. Mitchell New Mexico Arts George & Mary Novotny Bob & Bonnie Paine, in memory of Allyra Jameson & Ann Stinchcomb The Schmidt-Nowara Family, in memory of Christopher Schmidt-Nowara Terrence Sloan The Swalin Family Marian & Jennifer Tanau Patricia & George Thomas Richard Van Dongen John Wronosky & Lynn Asbury X-Ray Associates of New Mexico, P.C.

CHOPIN CIRCLE Donation of $3500–$4999 Linda & Carl Alongi The Cates Team/RBC Wealth Management David & Mary Colton David & Ellen Evans Cynthia & Thomas Gaiser Jonathan & Ellin Hewes Myra & Richard Lynch Karl & Marion Mueller Scott Obenshain Robertson & Sons Violin Shop Melissa & Al Stotts United Way Community Fund The Verdes Foundation William A. Wiley & Diane Chalmers Wiley Lance Woodworth

GRACE THOMPSON CIRCLE Donation of $1933–$3499 Albuquerque Community Foundation, E. Blaugrund Family Fund Albuquerque Involved Meg Aldridge Scott Alexander

Marie Jo Anderson & Carl C. Anderson, Sr. Charitable Foundation Anonymous Anonymous The Baca Family, in memory of George H. Baca Thomas Bird & Brooke Tully Nancy & Cliff Blaugrund Ann Boland Ronald Bronitsky, MD, in honor of Anastasiya Naplekova, Hedwig Bronitsky, & Robert Alexander Century Bank Richard & Margaret Cronin D’Addario Foundation Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Madeleine Grigg-Damberger & Stan Damberger Chris & Karen Jones Bonnie & Hank Kelly Walter & Allene Kleweno Virginia LeRoy Tyler M. Mason Kathy & John Matter Edel & Thomas Mayer Foundation Bob & Susan McGuire Ruth Mondlick, in memory of Martin I. Mondlick Moss-Adams LLP Ruth & Charles Needham David & Audrey Northrop Carol & Gary Overturf Dick & Marythelma Ransom Sandra P. & AFLt/Col (r.) Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford Eugene Richardson Jr. & Josephine Anne & Angelo A.J. Asciolla Steve Ridlon, in memory of Casey Scott Edward Rose Ellen Ann Ryan Vernon & Susannah Smith Susan Spaven, in honor of Carla Lehmeier-Tatum U.S. Bank Foundation Kathleen & David Waymire

BACH CIRCLE Donation of $1000–$1932 Leah Albers & Thomas Roberts Robert Anderson Christopher Apblett Phillip Askenazy, in memory of Alex Askenazy Edward & Leslie Atler Ellen Bayard & Jim O’Neill Gay & Stan Betzer

Deborah Blank James Botros & Jeremy Wirths Robert Bower & Kathryn Fry Patricia Broyles Dawn & Joseph Calek Edwin & Deborah Case, in memory of Debbie Case Michael & Wendy Cieslak Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin John Crawford & Carolyn Quinn Krys & Phil Custer Marjorie Cypress & Philip Jameson Thomas & Martha Domme Gertrude Frishmuth Helen Fuller GE Foundation Dennis & Opal Lee Gill Laurence Golden A. Elizabeth Gordon Jean & Bob Gough Steve Hamm & Mary Kurkjian Katherine & Roger Hammond Harris Hartz Dr. Carlton Holte & Sheryl Guterl Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Virginia Lawrence, in memory of Jean Sharp Linda S. Marshall Jean & William Mason Jackie & C. Everett McGehee Ina S. Miller Martha Miller Ranne B. Miller & Margo J. McCormick Mark Moll Dorothy White Morse Judy & Michael Muldawer Musicians Association of Albuquerque, Local 618 Ed & Nancy Naimark Gretchen & Tom Obenauf Stuart & Janice Paster Mike Provine Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Kathryn & Chris Rhoads Barbara Rivers, in memory of Thom Stein Jay Rodman & Wendy Wilkins Scott & Margaret Sanders Janet & Michael Sjulin Paula M. Steinberg David E Stinchcomb, in memory of Ann Stinchcomb Conrad & Mary Strohacker Jane & Doug Swift Fund for Art & Education Betty & Luke Vortman Endowment

Judy Basen Weinreb & Peter Weinreb Robert & Trudy White Bill & Janislee Wiese Alice Wolfsberg Dolly Yoder Carol Zulauf

CONCERTMASTER CIRCLE Donation of $500–$999 William & Ona Albert Albuquerque Community Foundation, Maisel/Goodman Charitable Endowment Fund Atkinson & Co., Clarke Cagle Tonianne Baca-Green Sally Bachofer Daniel Balik Bank of America Charitable Foundation Dorothy M. Barbo Monica Boehmer, in memory of Leonie Boehmer Rod & Genelia Boenig Timothy Briggs Michael & Cheryl Bustamante Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Thomas Gordon Cagle Carol Callaway Drs. Lee & Kelly Caperton CarMax Ricardo Castillo Margaret Chaffee Edith Cherry & Jim See Jane & Kenneth Cole Mark & Susan Conradi Douglas Doll Patricia & Leonard Duda Thomas Dyble Mary Lou Edward, in honor of Camile Carstens ExxonMobil Foundation Gail Feldman Howard & Debra Friedman Charles & Judith Gibbon Mark Goodman Barbara & Berto Gorham Peter Gould Sharon Gross Ron & Nancy Halbgewachs Margaret Harvey & Mark Kilburn Ulton & Jean Hodgin Noelle Holzworth Martha S. Hoyt Thomas & Greta Keleher Suzanne Kelsey, in memory of Bill Sullivan Woody & Nandini Kuehn Stephanie & Kenneth Kuzio Rita Leard Kathleen D. Lebeck

continued on 28 The New Mexico Philharmonic

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DONOR CIRCLES . continued from 27 Dr. Ronald & Ellen Loehman Dwayne & Marjorie Longenbaugh John & Kathleen Mezoff Robert Milne & Ann DeHart, in memory of Clare Dreyer Paul Mondragon Richard Moore Robert & Claudia Moraga Mardell Morrow Lynne Mostoller & Kathryn McKnight Elias Nasr Charles Olguin Bethe Orrell Jerald & Cindi Parker Rada Potts Kenneth & Diane Reese Deborah L. Ridley Elizabeth Robertson Joan Robins & Denise Wheeler, in memory of Sue & Mel Robins John & Faye Rogers Ruth Ronan Glenn Rosenbaum Richard & Pamela Salmon Nancy Scheer Howard & Marian Schreyer Chris Schroeder Walt & Beth Simpson Gary Singer Conrad & Marcella Stahly Philip Stanton Wes & Marilyn Steiner Charles & Flossie Stillwell Sturges-Draper Family Charitable Fund Suzanne Taichert, in memory of Bob & Zane Taichert Jeffrey & Elizabeth Thomsen ABQ Memory Movers LLC, Barbara Thomte Gehron & Michelle Treme Marianne Walck Patricia & Robert Weiler Carl G. & Janet V. Weis Dr. & Mrs. Albert Westwood David & Evy Worledge Lei Yang Michael & Jeanine Zenge

PRINCIPALS CIRCLE Donation of $125–$499 Dr. Fran A’Hern-Smith Gerald Alldredge Roger Ames Jerry & Jo Marie Anderson Anderson Organizing Systems Anonymous Anonymous Janice J. Arrott Richard & Linda Avery David Baca

28

Diane & Douglas Brehmer Bailey Genevieve Baker Jan Bandrofchak & Cleveland Sharp Elinore M. Barrett Steve & Nancy Bassett Fred L. Beavers Edie Beck Hugh & Margaret Bell, in memory of Joan Allen Kristi Bemis-Standoli Peter Bernstein & Debbie Erfer, in memory of Stan & Lea Bernstein Marianne Berwick Waldemar Boehmer, in memory of Leonie D. Boehmer Ann & James Bresson Lee Calderwood Dante & Judith Cantrill Paty Carreon Ann Carson Robert E. & Shirley Case Olinda Chavez Susan Clark Virginia Clark James Connell Cathy Conrad David Corcoran Bob Crain Stephen & Stefani Czuchlewski Rosalie D’Angelo William Davidson Hubert Davis Jerry & Susan Dickinson Fran DiMarco Christel Dinkler Raymond & Anne Doberneck Janice Dosch Kathleen Economy Michael Edenburn Anne Egan Martha Egan Catherine & Paul Eichel Richard & Mildred Elrick Robert & Dolores Engstrom Stephanie Eras & Robert Hammerstein Jackie Ericksen Harry Ettinger David & Frankie Ewing Helen Feinberg Howard & Deonne Finkelstein Joy Fishel-Eaton, in memory of C.J. Eaton MD Stanley Fitch Heidi Fleischmann & James Scott Denise Fligner & Terry Edwards Flying Star Inc. Carol Follingstad Cheryl & William Foote J. Arthur Freed

2019/20 Season / Volume 9 / No. 2

Joseph Freedman & Susan Timmons Mary Day Gauer Ann Gebhart Kenneth Gillen James Robert Goldberg The Very Rev J. Mark Goodman Yvonne Gorbett Justin M. & Blanche G. Griffin Elene & Robert Gusch Kenneth Guthrie & Doni Lazar Bennett A. Hammer Joan Harris Darren Hayden Stephen & Aida Ramos Heath Douglas & Joyce Hilchie Fred Hindel Beate Hitzler Toppin & Robert Hodge Kory I. Hoggan, CPA John Homko Thomas & Mary Ann Horan Constance & James Houle Carolyn & Hal Hudson Janet & Vincent Humann Bryan Hurt Jerry & Diane Janicke Gwenellen Janov Dal & Pat Jensen Carol Kaemper John Kahrs Sheri & Ira Karmiol Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Ann King Marlin Kipp Gerald F. Kiuttu James & Helen Knoll Jennifer C. Kruger Karen Kupper William & Margie Lang Jeffery & Jane Lawrence Rebecca Lee & Daniel Rader John Linder William J. Lock Julianne Lockwood Katherine Logan Frank & Judy Love Orlando Lucero & B.J. Jones Ruth Luckasson & Dr. Larry Davis Joanne E. Magalis Robert & Linda Malseed Jeffrey Marr Salvatore T. Martino Sallie McCarthy Jon McCorkell & Dianne Cress Brian & Jane McDonald Eugene McGuire & Rosemary Hunter Anne McKinney Albert & Linda McNiel Judith W. Mead

Bernard & Mary Metzgar Jim Mills & Peggy Sanchez Mills Christine & Russell Mink Deborah & Louis Moench Jim & Penny Morris Deborah Muldawer Albert Narath, in memory of Orval Jones NM School of Music, Tatiana Vetrinskaya Betsy Nichols Donald & Carol Norton Rebecca Okun Joyce & Pierce Ostrander Judith Pentz Richard & Susan Perry Lang Ha Pham & Hy Tran Judi Pitch PNM Resources Richard Price Karla Puariea, in honor of Shirley Puariea Dan & Billie Pyzel David & Tracey Raymo T.D. Raymond Tim Renk Lee A. Reynis & David W. Stryker Charles & Kay Richards Erika Rimson & David Bernstein Shelley Roberts & Dewey Moore Catalin Roman Jeffrey Romero Carole Ross Sofya Rubinchik Christine Sauer Ronald & Lisa Shibata John & Karen Schlue Laura Scholfield Leigh Schultzberger Bruce & Sandra Seligman Richard & Susan Seligman Daniel & Barbara Shapiro Frederick & Susan Sherman R.J. & Katherine Simonson George & Vivian Skadron Amanda Smith Carol Smith Smith Engineering, in memory of Linda Bolvin Steven & Keri Sobolik Stan & Marilyn Stark, in memory of Judy Hines Patricia & Luis Stelzner, in honor of Joan Zucker Brent & Maria Stevens Maria & Mark Stevens John & Patricia Stover Kevin & Judy Taira David & Jane Tallant Phyllis Taylor & Bruce Thompson Rogan Thompson Leonard Truesdell

Boris Venet Rena E. Vinyard Michael Wallace Alfred Watts & Jan Armstrong David Watts Kevin Welch Lawrence Wells Margaret Wente Jeremy Weserich Jeffrey West Kay & Tad West Marybeth White Diana Whitehouse Helen M. Whitesides Jane & Scott Wilkinson Phyllis Wilson Kathryn Wissell Jae Won-Lee Don & Dot Wortman Stanley Yager Alvin Zuckert & Louise Martin, in memory of Sam & Mimi Zuckert

FRIENDS OF THE PHILHARMONIC Donation of $25–$124 Vicki Aamodt David & Elizabeth Adams Wanda Adlesperger Natalie Adolphi & Andrew McDowell Kelly Aldridge Jeffrey Allen Arthur Alpert Jo Anne Altrichter & Robin Tawney Elizabeth Anderson Judith Anderson Oliver Anderson Judy Andrews Anonymous John Arango Shanon Arellano, in memory of Ralph Cover Audio Excellence Austin-Healey Roadrunner Club, in memory of William N. Sullivan Barbara Baca Jackie Baca & Ken Genco Thomas J. & Helen K. Baca Joyce Barefoot David & Judith Bennahum Debra & Kirk Benton Barry Berkson Dorothy & Melbourne Bernstein Denise Bissell Jeff Bjarke Christine Blaser & Constantine Stewart Cliff & Nancy Blaugrund, in memory of Sid Skaar Thomas & Suzanne Blazier Dusty & Gay Blech

DONOR CIRCLES .

Blue Sky Properties, Inc Dennis Boesen Henry Botts J.M. Bowers & B.J. Fisher Marilyn Bowman Lydia Boye Sue Bradigan-Trujillo & Theodoro Trujillo Charles Brandt Carolyn Brown James & Elizabeth Brown Allan & Barbara Brumer Elaine Burgess Elizabeth Burki James Carroll Camille Carstens Joseph Cella Thomas Chacon Robert Chamberlin Barbara & Roscoe Champion Kyle Champion, in honor of Barbara & Roscoe Champion J & J Chavez Douglas Cheney Kathy & Lance Chilton Barry Clark Dr. Donald Clark James & Joan Cole Randall & Valerie Cole Lloyd Colson III Patrick Conroy Alexis & Hovey Corbin Sierra Corrin John & Mary Covan Henry Daise III Ashlee Dauenhauer Kurt & Yvonne Deshayes Ronald Detry Carol Diggelman Carl & Joanne Donsbach Paula Dorris-Osborn & Larry Osborn Sheila Doucette Martin J. Doviak Matt Doxtator Jeff & Karen Duray Edward Dzienis Jr. Linda Eaton Reverend Suzanne & Bill Ebel Helene Eckrich Roger C. Entringer Philippa M. FalknerSchwendimann Darlene Fattorusso Peggy Favour John Fielder Mary Filosi Rona Fisher Rabbi Arthur Flicker Martin & Ursula Frick Neal Gerstein Lawrence Jay Gibel, MD Lois Gonzales Timothy Gonzales

Janice K. Goodman Alfred & Patricia Green Erna Sue Greening Charles Gregory Friends of Marian & Larry Greher David Griffith Ginger Grossetete Kirk & Jan Gulledge Charles & Betsy Gunter Fletcher Hahn Karen Halderson Bhanu Joy Harrison Gloria B. Hawk John & Diane Hawley Patricia Henning Robert & Sara Henning Donna Hill Nancy Hill Diane Holdridge Larisa Holiday Kiernan Holliday Bernhard E. Holzapfel, in memory of Barbara Holzapfel Michael Hyde Claudia Isaac, in the name of Teresa Marquez Sandra & Michael Jerome John P. Johnson Nancy Johnson, in memory of Betty Vortman Peggy Jones Robert & Mary Julyan Margaret Keller Kim Kiesow Kate Killebrew William Kirtley Karen Knoll Katherine Kraus Holly Kraynik Phil Krehbiel Deborah Krichels Hareendra & Sanjani Kulasinghe Janice Langdale Michael Langner Daniel Lee Robert Lindeman & Judith Brown Betty Logan Daniel Lopez & Linda Vigil Lopez Jessica Lopez Betty Louise Lovering Frank Maher Bruce F. Malott Joan March Jim & Helen Marquez Walton & Ruth Marshall Carolyn Martinez Janet Matwiyoff David & Jennifer Mayschak Barb McBee, in memory of William N. Sullivan Peter & Lois McCatharn

The New Mexico Philharmonic

Fred & Karin McDowell David McGuire David & Barbara Menicucci Kathleen Miller Dr. William Moffatt Robert & Phyllis Moore Claude Morelli & Sharon Nepstad Shirley Morrison & Cornelis Klein Baker H. Morrow & Joann Strathman John Morrow & Harriette Monroe Ted & Mary Morse Karen E. Mosier John & Patsy Mosman Brian Mulrey Don & Evelyn Neil Dick & Sharon Neuman New Mexico Japanese American Citizens League Candace & Frank Norris Richard & Marian Nygren Wendy & Ray Orley Ricardo Ortega Daniel O’Shea Mark Parshall Howard Paul Brian Pendley Oswaldo Pereira & Victoria Hatch Elizabeth Perkett Phil & Maggie Peterson Leslie Porter Helen Priest Shirley Puariea Regina & Daniel Puccetti Therese Quinn Jane Rael Russell & Elizabeth Raskob Robert & Marj Reed Ray Reeder Carol Renfro Patricia Renken Judith Ribble & Clark Bussey George & Sheila Richmond Matthew Roberts Rochelle Robertson Gwenn Robinson, MD & Dwight Burney III, MD Dawn Rodriguez Lisa D. Romero Kletus & Lois Rood Christopher Rosol Tom Ruddell Robert & Mary Sabatini Evelyn E. & Gerhard L. Salinger Mary Ann Sampson Scott & Carol Schaffer Roger Schluntz Travis Scholten Claude M. Senninger Arthur & Colleen M. Sheinberg

Ronald & Claudia Short, in memory of Susie Kubie Beverly Simmons Katharine Sisk Norbert F. Siska Carl & Marilyn Smith Maryellen Smith Smith’s Community Rewards Karen Smoot Snow-Blossom Gift Fund Lillian Snyder David & Laurel Srite Bill Stanton Jennifer Starr & Eugene Lesser Patricia Steffes Geny Stein Elizabeth C. Stevens Herb Strasberg Peter & Mary Tannen Herbert & Ingeborg Farny Taylor, in honor of Julie Kavet Nina & Gary Thayer Ruth M. Thelander David Ther Corinne Thevenet, in memory of Dick Kavet Julie Tierney John Tischhauser Thomas Tomczyk Dean Tooley Karen & John Trever J.T. Vaughn John Vittal & Deborah Ham David Wade Marmion Walsh Robert Walston Cynthia & William Warren Dale A. & Jean M. Webster Wendy Weygandt, in memory of John Emerson Dixon Wendy Weygandt, in memory of Joe Zoeckler Carol Whiddon Leslie White Katherine Whitman Robert & Margaret Whittaker Brahna Wilczynski David Winter & Abagail Stewart Walter Wolf Maria Wood Kari Young Kenneth & Barbara Zaslow Diana Zavitz, in honor of Pat & Ray Harwick Rebecca Zerger Linda R. Zipp Vita Zodin Michael & Anne Zwolinski 10/5/2019

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THANK YOU .

NEW MEXICO PHILHARMONIC FOUNDATION Donors & Trustees Maureen & Stephen Baca, Trustee Edie Beck Mark & Beth Berger Sue Bradigan-Trujillo & Theodore Trujillo Camille Carstens Dennis Chavez Development Corp., Jorge Tristani, President Judith & Thomas Christopher Kathleen & Hugh Church Henry & Ettajane Conant Winnie Devore Tomas & Elizabeth Dodson Eugenia & Charles Eberle, Trustee Rosario Fiallos Lorraine B. Gordon Herman Haase Dal Jensen Robert H. & Mary D. Julyan Thomas & Greta Keleher Marlin E. Kipp Gerald Knorovsky Mary E. Lebeck Douglas Madison Robert A. Malseed Thomas Martin, Trustee, & Cynthia Phillips Donald McQuarie Claude Morelli Mary Ann & James B. Moreno Daniel T. O’Shea Eric P. Parker Jerald Parker Bonnie Renfro Margaret E. Roberts Warren & Rosemary Saur Janet & Michael Sjulin Marian & Jennifer Tanau Ronald T. Taylor Robert Tillotson Dean Tooley Ann & Thomas Wood Mae S. Yee & Eric R. Brock Peter & Ann Ziegler 9/3/2019

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

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 Chris Kershner

NMPHIL GUILD VOLUNTEERS Thank you for all their help and dedication!

Bill Albert Ona Albert Michael Beerman Chuck Chavez Stephanie Coxe Dianne Cress Jackie Ericksen Helen Feinberg Louise Gibson Debbie Hammack Janet Heindel Lisa Jackson June Jefford Carolyn Johnson Juliet Jones Sybil Keyser Linda Laitner Patricia Lake

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Jim Key Jackie McGehee Brad Richards Emily Steinbach Brent Stevens

2019/20 Season / Volume 9 / No. 2

Juliana Martinez Susan McGuire Anne McKinne, Chair NMPhil Guild guild@nmphil.org Edward Naimark Geri Newton Nancy Pressley-Naimark Sonja Pulvino Billie Pyzel Elizabeth Robertson Flora Sanchez Jan Strand Valari Taylor Sherri Wells Diane Werner Bronwyn Willis 10/5/2019

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STRATEGIES FOR

WISE GIVING There are many ways to support the New Mexico Philharmonic. We thank our members, donors, volunteers, sponsors, and advertisers for their loyalty and enthusiasm and their help in ensuring the future of symphonic music in New Mexico for years to come.

Looking to make smart donations? Based on presentations by professional financial advisors, here are some strategies for giving wisely, following recent changes in the tax law. The advisors identified five strategies that make great sense. Here they are in brief: GIVE CASH Whether you itemize deductions or not, it still works well.

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

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

QUALIFIED CHARITABLE DISTRIBUTION/ REQUIRED MINIMUM DISTRIBUTION If you are required to take an IRA distribution, don’t need the cash, and don’t want the increased taxes, have the distribution sent directly to a qualified charity.

HIGH-INCOME YEARS If you are going to have high-income years (for any number of reasons), accelerate your deductions, avoid capital gains, and spread out gifts through a Donor-Advised Fund.

BE PROACTIVE! Consult your own financial advisor to help you implement any of these. Please consider applying one or more of these strategies for your extra giving to the NMPhil.

PLAN A WISE GIVING STRATEGY

nmphil.org/ways-to-donate

Sponsors & Grants

THANK YOU .

Sound Applause

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.

Albuquerque Community Foundation albuquerquefoundation.org

Bernalillo County bernco.gov

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

GARDENSWARTZ REALTY Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

French Funerals & Cremations frenchfunerals.com

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

Menicucci Insurance Agency mianm.com

Meredith Foundation

Music Guild of New Mexico musicguildofnewmexico.org

New Mexico Arts nmarts.org

New Mexico Gas Company nmgco.com

Sandia Foundation sandiafoundation.org

U.S. Bank usbank.com

Olga Kern International Piano Competition olgakerncompetition.org

RBC Wealth Management rbcwealthmanagement.com

Sandia Laboratory Federal Credit Union slfcu.org

United Way of Central New Mexico uwcnm.org

Urban Enhancement Trust Fund cabq.gov/uetf

The Verdes Foundation verdesfoundation.org

Wells Fargo wellsfargo.com

Yanni’s Lemoni Lounge yannisandlemoni.com

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

Call Today! (505) 323-4343.

The New Mexico Philharmonic

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CRAFTED FOR THE MODERN FRONTIER

Proud sponsor of the New Mexico Philharmonic

GX