New Mexico Philharmonic Program Book • 2019/20 Season • Volume 9 • No. 4

19/20 VOLUME 9 / NO. 4

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2019/20 SEASON

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19/20 NMPHIL CONCERT SCHEDULE

2019/20 SEASON

NEW MEXICO PHILHARMONIC

musical fiestas

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

Friday, April 10, 2020 7:00 p.m.

Olga Kern piano

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

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

RSVP ONLY

Unforgettable Albinoni, Marcello, Boccherini, & Bach

(505) 323-4343 nmphil.org

Saturday, February 29, 2020, 6:00 p.m.

Alice in Wonderland Ballet

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

Song Plays Shostakovich

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Saturday, April 4, 2020, 8:00 p.m.

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Star Wars to Superman: A Salute to John Williams

k or Y w Ne Gala

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.

0 PM 0 • 5:3 7, 202 H C R R E T A CEN DAY, M VENT SATUR RTAS E E U P LAS

Musical Delights

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

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f Ja o t r A e Th

Carmina Burana

FUNDRAISING SPECIAL

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NEY

Y WHIT TRACE

2019/20 Season

(505) 323-4343 nmphil.org

musical fiestas more info

nmphil.org/gala

LETTER FROM THE

MUSIC DIRECTOR I am honored to be at the helm of such a great orchestra, with our fine musicians and appreciative and devoted audience.

Every concert we play together is utterly fulfilling, and I love our musicians’ passion and love of the wonderful music we present at our performances.

This is why, I am extremely excited that I will be with this talented group of musicians for another four years, through 2024. I look forward to our musical adventures together. Thank you, our audience, for making us beam with joy when you acknowledge our music and our shared experiences. You are one of the most warm and loving audiences in the world!

Sincerely, Roberto Minczuk Music Director

NMPHIL .

TABLE OF CONTENTS PROGRAMS February 22, 2020 Program February 29, 2020 Program March 21, 2020 Program April 4, 2020 Program Program Notes

5 7 9 11 12

ARTISTS David Felberg Kevin Vigneau Shea Perry Curtis Storm Alfredo Beltran Central United Methodist Chancel Choir Anna Sofia Bridge Amanda Rohr Roberto Minczuk Yoonshin Song

16 16 16 17 17 17 18 18 18 19

YOUR NMPHIL Musical Fiestas Gala: New York Lights Letter from the Music Director Legacy Society Sound Card Student Membership NMPhil Foundation NMPhil in the City: Come Play With Us! NMPhil’s Music & Arts Festival 2020 Community Connection Orchestra, Staff Board of Directors, Advisory Board, Board of the Future Donor Stories Sponsor a Musician Donor Circles NMPhil Foundation Donors & Trustees Thank You Strategies for Wise Giving Sponsors

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THE NEW MEXICO PHILHARMONIC OFFICES

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

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

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

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CONCERT PROGRAM .

NEIGHBORHOOD CONCERT

Unforgettable Albinoni, Marcello, Boccherini, & Bach

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

Central United Methodist Church

David Felberg conductor Kevin Vigneau oboe Shea Perry soprano Curtis Storm tenor Alfredo Beltran bass Central United Methodist Chancel Choir

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

Concerto in d minor, Op. 5, No. 7 Tomaso Albinoni I. Allegro (1671–1751) II. Adagio III. Allegro Concerto grosso in g minor, Op. 6, No. 8, (“Christmas Concerto”) I. Vivace II. Allegro III. Adagio—Allegro—Adagio IV. Vivace V. Allegro—Largo. Pastorale ad libitum

Meredith Foundation

Arcangelo Corelli (1653–1713)

Oboe Concerto in d minor Alessandro Marcello I. Allegro moderato (1669–1747) II. Adagio III. Allegro Kevin Vigneau oboe Minuet in A Major

Luigi Boccherini (1743–1805)

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

Cantata No. 4, Christ lag in Todes Banden, BWV 4 Johann Sebastian Bach I. Sinfonia (1685–1750) II. Christ lag in Todes Banden III. Den Tod niemand zwingen kunnt IV. Jesus Christus, Gottes Sohn V. Es war ein wunderlicher Krieg, da Tod und Leben rungen VI. Hier ist das rechte Osterlamm VII. So feiern wir das hohe Fest VIII. Wir essen und leben wohl

The New Mexico Philharmonic

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proudly presents

for Piano and Strings

The first-place winners perform with the New Mexico Philharmonic for an evening of music at the Zoo. June 5, 2020 | Gates open at 6:00pm Tickets available at: www.cabq.gov/culturalservices/biopark/events/summer-concerts musicguildofnewmexico.org

Now accepting applications for the 2020-2021 school year In-session Open House Wednesday, March 4 9:00 – 11:00 a.m

Financial Aid Available

CONCERT PROGRAM .

POPEJOY CLASSICS

Alice in Wonderland Ballet Saturday, February 29, 6:00 p.m.

David Felberg conductor Anna Sofia Bridge director Amanda Rohr Alice

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Popejoy Hall

ACT 1

Overture Scene 1: Afternoon Lessons Scene 2: Meet the White Rabbit Scene 3: Welcome to Wonderland Scene 4: Strange Encounters Scene 5: In the Garden of Living Flowers

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

Albuquerque Community Foundation

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

ACT 2

Scene 1: Mad Hatter’s Tea Party Scene 2: Croquet With the Queen Scene 3: A Mysterious Cat Scene 4: Painting the Roses Red Scene 5: The Royal Court Scene 6: Off With Their Heads!

DIRECTION & CHOREOGRAPHY Directed and choreographed by Anna Bridge along with choreography by Amanda Rohr and Robbie Rodriguez. Original 2016 choreography by Natalie Harris.

MUSIC Performed to the music of Sergei Prokofiev’s Symphony No. 1 in D Major, “Classical,” Op. 25; Alexander Glazunov’s The Seasons, Op. 67: “Winter,” “Summer,” and “Autumn”; Bedrich Smetana’s The Bartered Bride: “Polka” and “Dance of the Comedians”; and Anatoly Lyadov’s The Enchanted Lake, Op. 62; and Antonín Dvořák’s Carnival Overture, Op. 92

The New Mexico Philharmonic

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Challenging Education

CONCERT PROGRAM .

POPEJOY CLASSICS

Song Plays Shostakovich

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Saturday, March 21, 2020, 6:00 p.m. / 5:00 p.m. Pre-Concert Talk Roberto Minczuk Music Director Yoonshin Song violin

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Popejoy Hall

Violin Concerto No. 1 in a minor, Op. 77/99 I. Nocturne II. Scherzo III. Passacaglia IV. Burlesque Yoonshin Song violin

Dmitri Shostakovich (1906–1975)

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

Albuquerque Community Foundation Meredith Foundation PRE-CONCERT TALK Hosted by:

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

Brent Stevens Romeo and Juliet, Op. 64, Selections from Suites Nos. 1 and 2 Montagues and Capulets Juliet As a Young Girl Minuet Masks Romeo and Juliet Death of Tybalt Romeo at Juliet’s Tomb

The New Mexico Philharmonic

Sergei Prokofiev (1891–1953)

Sponsored by:

Menicucci Insurance Agency Classical 95.5 KHFM

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ACCESS THE ENTIRE SEASON FOR JUST $30!

Your card gives you access to at least 20 concerts with your NMPhil duringNMPHIL the 2019/20 season.

SOUND CARD Unlimited Concerts STUDENT MEMBERSHIP Reserve one ticket to any

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Classical, Afternoon Classics, Rock & Pops, Neighborhood, or Zoo concert.

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Bring a Friend Free Popejoy Classics: 11/23/19; 2/15/20 Afternoon Classics: SEASON ACCESS THE ENTIRE 1/12/20; 4/19/20 FOR JUST $30!

Rock & Pops: 12/21/19 Your card gives you access to Neighborhood: 2/22/20 at least 20 concerts with your NMPhil during the 2019/20 season.

Unlimited Concerts Reserve to any TO PURCHASE ORone FORticket MORE INFORMATION Classical, Afternoon Classics, Call (505) 323-4343 Online nmphil.org/soundcard Rock & Pops, Neighborhood, In Personor 3035 ZooMenaul concert. Blvd NE Suite No. 2

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Your continued support makes this possible. The Afternoon Classics: Legacy Society represents people who have provided 1/12/20; 4/19/20 Rock &to Pops: 12/21/19 long-lasting support the New Mexico Philharmonic through wills,Neighborhood: retirement plans,2/22/20 estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you.

TO PURCHASE OR FOR MORE INFORMATION

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2019/20 Season / Volume 9 / No. 4

DEAR FAMILY MEMBER OF THE NEW MEXICO PHILHARMONIC,

At the beginning of November, a very generous anonymous donor offered to match every donation to the New Mexico Philharmonic Foundation dollar for dollar, up to $100,000.

This is significant for our Foundation.

Our Foundation’s mission is to provide sustainable, dedicated funding for the New Mexico Philharmonic. Funding that provides long-term stability, future growth, and permanence. This Foundation is a transparent and secure fiduciary instrument for donor support that is directly controlled by its donors and trustees.

The Foundation, although in its infancy, already has $300,000 in pledges and cash.

This generous dollar-for-dollar match, together with your gift, would make the Foundation’s goal of raising $500,000 or more by the end of this season possible.

The match will apply to donations coming in through March 31, 2020.

Thank you so much for considering making a gift in addition to your regular giving to the New Mexico Philharmonic and helping us grow an endowment for your NMPhil. To find out more about the NMPhil Foundation, please visit: nmphilfoundation.org.

Sincerely,

THOMAS MARTIN, MD President of the Board New Mexico Philharmonic Foundation

nmphilfoundation.org

CONCERT PROGRAM .

ROCK & POPS

Star Wars to Superman: A Salute to John Williams

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Saturday, April 4, 2020, 8:00 p.m.

Popejoy Hall

Roberto Minczuk Music Director

Superman March

John Williams (b. 1932)

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

Bernalillo County

Theme from Jurassic Park

Suite from Harry Potter and the Sorcerer’s Stone I. Hedwig’s Theme IV. Harry’s Wondrous World

“Raiders March” from Raiders of the Lost Ark

“Shark Theme” from Jaws

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

Three Pieces from Schindler’s List I. Theme from Schindler’s List II. Jewish Town (Krakow Ghetto – Winter ’41) III. Remembrances

Star Wars: Suite for Orchestra I. Main Title II. Princess Leia’s Theme III. The Imperial March IV. Yoda’s Theme V. Throne Room and End Title

The New Mexico Philharmonic

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PROGRAM NOTES .

Program Notes Lori Newman

Tomaso Albinoni

Born 1671, Venice, Italy Died 1751, Venice, Italy

Concerto in d minor, Op. 5, No. 7 (1707) Approximately 10 minutes.

Tomaso Albinoni was a Baroque composer of opera and instrumental works. He was a wealthy man, so he composed out of passion not as a means to put food on the table.

Because of this, much of his compositional output did not survive, as he had no financial need to see his works published. This is especially true of his operas. The Concerto in d minor, Op. 5, No. 7 is from a set of 12 works entitled 12 concerti a cinque for solo violin, two violins, two violas, and basso continuo published in Venice in 1707. The work follows the typical fast-slow-fast movement configuration, with the outer movements providing plenty of virtuosic moments for the violins. Today, Tomaso Albinoni is most famous for a work that he did not write, the ever-popular and overdramatic Adagio. ●

Arcangelo Corelli

Born 1653, Fusignano, Italy Died 1713, Rome, Italy

Concerto grosso in g minor, Op. 6, No. 8, (“Christmas Concerto”) (1708) Approximately 13 minutes.

Arcangelo Corelli was a major force in both the rise of instrumental music and as a violinist in the mid-Baroque period. He was the first composer to derive fame and make his living solely from instrumental compositions, and he developed a strict foundation for violin playing that continued well into the next century. Melodically, his compositions draw their power from lyricism rather than virtuosity; harmonically, he explored functional tonality to its fullest— employing circle of fifths chord progressions, sequences, and chains of suspensions. While his compositional output is relatively small and restricted to solo sonatas, trio sonatas,

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and concerti grossi, his influence was farreaching and his music was studied in earnest long after it was de rigueur.

The “Christmas Concerto” was published posthumously as a set of twelve concerti grossi, Op. 6, in 1714. It is believed to have been commissioned by Corelli’s patron, Cardinal Pietro Ottoboni, and first performed around 1690. The concerto carries the inscription “Fatto per la notte di Natale” (“Made for the Night of Christmas”) and along with the first eight concerti of Op. 6 is an example of a sonata da chiesa, or church sonata; the remaining four falling under the heading of sonata da camera, or chamber sonata. All 12 of the concerti are arranged for an ensemble of a solo concertino of two violins and cello, string orchestra, and continuo.

While technically a sonata da chiesa, the “Christmas Concerto” pushes the boundaries of the formal structure associated with this established model. Corelli writes six movements instead of the traditional four and deviates from the usual slow-fast-slowfast by incorporating small sections of the opposing tempo into certain movements. For example, the first movement begins with a section marked Vivace before settling into the slow tempo that is expected of the first movement of a concerto grosso. Similarly, the third movement has an interjection of an Allegro between statements of the accustomed Adagio. The second movement is in traditional binary form and exploits Corelli’s oft-used imitative suspensions throughout. The fourth and fifth movements are both upbeat and bright, allowing Corelli to end most nontraditionally with a slow movement—the bucolic and tranquil “Pastorale.” ●

Alessandro Marcello Born 1669, Venice, Italy Died 1747, Venice, Italy

Oboe Concerto in d minor (1717) Approximately 10 minutes.

Alessandro Marcello and his younger brother Benedetto were wealthy noblemen who composed out of enjoyment, not necessity. Their collective works are scant, with Alessandro’s most prolific composition being a set of concertos entitled La Cetra, published between 1730 and 1740. His most famous work, however, is the Oboe Concerto in d minor (often transposed to c minor),

published in 1717. The concerto is often attributed (falsely according to The Grove Dictionary of Music and Musicians) to the younger Marcello, Benedetto.

Stylistically, Marcello’s oboe concerto is often compared with similar works by Tomaso Albinoni. The concerto was chosen

by Johann Sebastian Bach and transcribed for solo harpsichord, the resultant work BWV 974. The Oboe Concerto is written in typical Baroque concerto form, with the expected movement configuration of fast-slow-fast. While the piece as a whole is utterly enjoyable, it is the exquisitely poignant second movement that is the true gem of the concerto. ●

Luigi Boccherini Born 1743, Lucca, Italy Died 1805, Madrid, Spain

Minuet in A Major (1771) Approximately 4 minutes.

Notes by Charles Greenwell: Luigi Rodolfo Boccherini was an Italian composer and cello virtuoso who influenced the development of the string quartet, and who composed the first-ever string quintets, in his case the quintets being mainly for two violins, viola, and two cellos. His approximately 500 compositions also include sacred works, around 30 symphonies, and 12 virtuoso cello concertos. He composed more than 90 string quartets—far more than Haydn’s output—as well as more than 100 string quintets, a dozen guitar quintets, plus numerous trios, sextets, and other chamber music ensembles. His mature works were written in a courtly and galante style, particularly after he settled in Spain and matured apart from the major European music centers. This style is characterized by great charm, lightness, a notable optimism, and considerable melodic and rhythmic invention along with frequent influences from the Spanish guitar tradition. He was one of the great cellists of his day who often played violin music at pitch, a skill he developed by substituting for ailing violinists while touring. This remarkable command of the cello brought him great acclaim from his contemporaries and is reflected in the cello parts of his compositions, which, for example, brought the four voices of the string quartet into closer balance than previous quartets. In this regard, he is

PROGRAM NOTES .

credited with improving Haydn’s model of the string quartet, where the cello was often relegated to an accompanying role. In 1761, Boccherini went to Madrid as court musician to the Crown Prince Luis Antonio, younger brother of King Charles III of Spain, and remained in his service until the Prince died in 1785. Without his royal patron’s support, Boccherini eventually fell on hard times and by the early 1800s was reported to be in ill health and living in poverty. He died in 1805 of a long-standing respiratory ailment. In 1771, he produced the String Quintet in E Major, Op. 11, No. 5, the third movement of which is this graceful and delightful minuet, which to this day is played most often on its own outside of the Quintet. ●

Johann Sebastian Bach Born 1685, Eisenach, Germany Died 1750, Leipzig, Germany

Cantata No. 4, Christ lag in Todes Banden, BWV 4 (1707) Approximately 22 minutes.

The Cantata No. 4 by J.S. Bach was a musical job application for the post of organist at the church of St. Blaise in Mühlhausen, written in 1707 when Bach was a mere 22-year-old.

No surprise, he got the job. It is an Easter cantata in chorale form, meaning both text and music are based on a hymn, and its source material is a hymn of the same name

by Martin Luther. The hymn is based on the medieval sequence “Victimae paschali laudes,” so much of the tonality and harmony of the cantata can be considered modal. Each movement is in e minor and the text or the melody of the hymn can be found in every movement, including the opening sinfonia.

In 1725, Bach reworked the cantata for performances in Leipzig, adding brass and probably rewriting the final movement, and

Curiosity gets the best of Alice, and she follows the creature down a rabbit hole into the intriguing world known as Wonderland. it is the manuscript of this reworked version that has survived. ●

Ballet

Alice in Wonderland Synopsis One afternoon, a young girl named Alice is playing outside with her friends. Eventually, Alice’s sister and governess separate the children to begin their studies. Alice reluctantly attends her reading lesson but soon falls asleep out of boredom. Alice awakens to find a peculiar-looking white rabbit studying a pocket watch. Curiosity gets the best of Alice, and she follows the creature down a rabbit hole into the intriguing world known as Wonderland.

As Alice wanders around this new land in search of the White Rabbit, she meets many strange characters who, unfortunately, are not as friendly as she had hoped. Advice from a caterpillar leads her to a mischievous pair, Tweedledee and Tweedledum. She is soon run out of their forest into a beautiful garden of flowers. When the flowers discover that Alice herself is not a flower, they send her on her way. Alice once again sets off in pursuit of the White Rabbit.

Alice happens upon a seemingly joyous tea party hosted by the Mad Hatter, March Hare, and Dormouse. Chaos erupts and Alice soon takes her leave. Spotting the White Rabbit again, she follows him and a familiar-looking

Shostakovich was no fool. All the while he was giving the establishment what they wanted, he was secretly composing works that did not follow their rules.

The New Mexico Philharmonic

boy into the court of the Queen of Hearts.

Alice joins the Queen for a croquet match but the Queen’s temper flares when Alice is the victor. The Jack of Hearts helps her escape to a nearby forest, where she meets the Cheshire Cat. The tricky cat tells Alice where to find the White Rabbit, but first she must sneak back into the Queen’s court.

When she arrives in the royal garden, Alice is puzzled to find playing cards painting all of the white roses red. Being the curious girl she is, Alice inquires about the peculiar activity and learns that the Queen demands her roses must be red. Anyone who disobeys her orders will lose their head. Just then, the Queen and King of Hearts enter with fanfare, accompanied by people of the court.

When the Queen notices her roses have been painted, she demands to know who is responsible. The playing cards point to the Jack of Hearts and the Queen exclaims, “Off with his head!” A trial begins but Alice is determined to save Jack. She defends him and tries to explain how nonsensical the situation is. The Queen grows more angry and exclaims, “Off with her head!” Alice and Jack escape and a chase ensues.

Alice suddenly wakes up in her own world.

Excited by her adventure and how real everything seemed, she wonders … was it all just a dream? ●

Dmitri Shostakovich Born 1906, St. Petersburg, Russia Died 1975, Moscow, Russia

Violin Concerto No. 1 in a minor, Op. 77/99 (1947–1948) Approximately 39 minutes.

The conditions under which Shostakovich was forced to compose are hard to imagine in today’s society. He was a successful Russian composer, and as such, was forced to compose based on the political climate of the time—most notably Stalinism. When continued on 14 nmphil.org

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PROGRAM NOTES . continued from 13 he wrote according to the party’s guidelines, he was showered with praise and accolades; when he strayed, he was denounced.

The first such denouncement came in 1936 when an article in Pravda (the official Communist newspaper of the time) entitled “Muddle Instead of Music” criticized Shostakovich’s previously successful opera Lady Macbeth of the Mtsensk District.

Coincidentally, Stalin just happened to be at a performance of the opera a mere two days before the Pravda article was published. He outwardly showed his disapproval—cringing when he felt it was too loud and mocking some of the opera’s more tender moments.

It is widely believed that Stalin wrote the damning article, or at least was behind its content. As a result, Lady Macbeth was banned in the Soviet Union and thus began Russia’s period of musical censorship and compositional control.

After the Pravda article, more articles followed and Shostakovich began to lose commissions. For several years, he seemed to “play along” in order to work, and wrote his music according to the demands of politicians—going so far as to withdraw his Mahler-inspired Fourth Symphony from publication. He could only put on the charade for so long and in 1948 he was denounced again, this time more formally by way of the Zhdanov Doctrine. This doctrine not only denounced Shostakovich, but other Russian greats Sergei Prokofiev and Aram Khachaturian. The doctrine condemned “formalism”—a broad-reaching term for anything that could be mildly construed as Western-inspired or containing Western European Modernism or anything too complex. The Doctrine contained some specifics as to what “formalism” entailed, but soon the Doctrine took a backseat to the whims of Stalin and his cronies.

Shostakovich was no fool. All the while he was giving the establishment what they wanted, he was secretly composing works that did not follow their rules. He knew that Stalin’s reign of terror could only last so long, so he bided his time, publicly writing approved film scores and

Nationalist cantatas, while keeping hidden his other compositions, among them, his Violin Concerto No. 1 in a minor. Originally the Violin Concerto was assigned the opus number of 77 (it was being completed when the Zhdanov Doctrine was put forth), but Shostakovich knew this was not the climate in which to release the work, so he held onto it until after Stalin’s death in 1953. The famed violinist David Oistrakh worked with Shostakovich to revise parts of the concerto, and the opus number was reassigned to 99.

The concerto premiered on October 29, 1955, with the Leningrad Symphony under the direction of Yevgeny Mravinsky and David Oistrakh as soloist. The Violin Concerto has four movements, following more of a symphony design than that of a threemovement concerto. ●

Sergei Prokofiev

Born 1891, Sontsovka, Yekaterinoslav district, Ukraine Died 1953, Moscow, Soviet Union

Romeo and Juliet, Op. 64, Selections from Suites Nos. 1 and 2 (1935–1936) Approximately 30 minutes.

William Shakespeare’s Romeo and Juliet has been the inspiration for numerous works in several genres, including art, music, opera, ballet, musical theatre, and film. The most successful ballet is by Sergei Prokofiev, although Prokofiev’s version was nearly destined for failure due to several missteps— some within Prokofiev’s control and some not.

Prokofiev began formal education at the age of 11 with the composer Reinhold Glière.

While Prokofiev appreciated Glière’s tutelage, he would later write that he felt his teacher was too conservative in his lessons, and taught him “square” phrasing and traditional modulatory patterns. At the urging of the composer Alexander Glazunov, Prokofiev enrolled in the St. Petersburg Conservatory at the age of 12. His early style of composition was considered radical, atonal, and avant-

Life in America was not all Prokofiev had hoped […] in the shadow of other Russian exiles.

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garde, experimenting with polytonality, dissonance, high chromaticism, and irregular time signatures. He graduated from the Conservatory with relatively average marks, mainly because he treated his time there as wasteful and boring. Despite this, Prokofiev had made a name for himself as a composer of the future before he was 20 years old.

His first big break came when the music publisher Boris P. Jurgenson signed a contract with the young composer in 1911. The contract allowed him to tour internationally, and in 1913 he traveled to Paris and London where he was introduced to Sergei Diaghilev and the famed Ballets Russes. He wrote several short ballets for Diaghilev, with varying degrees of success, but the experience of working with the balletic master would have a profound impact years later when he would begin Romeo and Juliet.

In 1918, Prokofiev left Russia, partially due to his fear of the Russian Revolution and Russian Civil War and their implications, and partially because he felt his music was too experimental to have lasting success in an increasingly stifling political climate. Prokofiev arrived in New York in early September 1918.

Life in America was not all Prokofiev had hoped for. He found brief initial success, possibly due to people’s curiosity more than anything else, but he seemed to constantly be compared with, and in the shadow of, other Russian exiles, most notably Sergei Rachmaninoff. His one big success in the States was the commission of his opera The Love for Three Oranges. The premiere was delayed and the opera took so much time to compose that Prokofiev found it difficult to take on other endeavors and to financially support himself. Prokofiev decided living in America full time was not for him, and he began a period of going back and forth between Europe and America until 1922 when he moved back to Europe.

Prokofiev spent the years 1922–1936 composing and living throughout Europe. All the while he was composing and succeeding in Western Europe, he continued to maintain ties to the Soviet Union. He toured there and began weighing his options for a possible return. He had decided to pursue a simpler musical scheme that was less harsh and experimental and wondered if the style he envisioned for himself could fit in with the Soviet Union’s political ideals. Prokofiev returned to the Soviet Union in 1936 and remained there for the rest of his life.

PROGRAM NOTES .

In 1934 while Prokofiev was still splitting his time between Moscow and Paris, he received a commission for a full-length ballet from the Kirov Theater in Leningrad (now St. Petersburg). The composer decided he would choose a lyrical subject matter, Shakespeare’s Romeo and Juliet. For reasons unknown, the Kirov backed out of its contract; it is suggested this was due to political pressure to purge composers considered “avantgarde” from their repertoire. In 1935, the Bolshoi ballet picked up the contract but later backed out, claiming the music was impossible to dance to. It is also believed that the Bolshoi vehemently disagreed with Prokofiev’s ending of the work—he originally had written a happy ending to one of the most tragic and famous works in history. He explains in his autobiography: There was quite a fuss at the time about our attempts to give Romeo and Juliet a happy ending—in the last act Romeo arrives a minute earlier, finds Juliet alive and everything ends well. The reasons for this bit of barbarism were purely choreographic: living people can dance, the dying cannot … But what really caused me to change my mind about the whole thing was a remark someone made to me about the ballet: “Strictly speaking, your music does not express any real joy at the end.” That was quite true. After several conferences with the choreographers, it was found that the tragic ending could be expressed in the dance and in due time the music for that ending was written.

He changed the ending for the premiere in 1938, which finally, and quietly, premiered in Brno, Czechoslovakia. With the future of his Romeo and Juliet uncertain, Prokofiev created two orchestral suites and ten piano works from the score. (A third orchestral suite was later extracted.)

Prokofiev’s Romeo and Juliet saw its Russian premiere at the Kirov Theater on January 11, 1940. The production was fraught with difficulty. Prokofiev and the choreographer, Leonid Lavrosky, were at constant odds with each other, and the dancers complained that they didn’t understand how to dance to Prokofiev’s music. Lavrosky, without Prokofiev’s permission or knowledge, added music to the ballet and re-orchestrated some sections so that the dancers could more easily hear their cues. Despite these issues, the performance was both a commercial and critical success. The Bolshoi programmed the work in 1946, and it has remained one of the most popular ballets in the repertoire and one of Prokofiev’s most enduring successes. ●

The New Mexico Philharmonic

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ARTISTS .

awarded the Dean’s Prize for outstanding member of the graduating class. He also studied with Ralph Gomberg and Laurence Thorstenberg at Boston University, where he earned his BM. The Cape Times has referred to Dr. Vigneau as “a consummate instrumentalist, who brings to the task technical facility, abundant musicality, and a keen intellect.” ●

David Felberg conductor Praised by The Santa Fe New Mexican for his “fluid phrases; rich, focused tone; rhythmic precision; and spot-on intonation,” Albuquerque native, violinist, and conductor David Felberg is Associate Concertmaster of the New Mexico Philharmonic. He also serves as Artistic Director and cofounder of Chatter Sunday, Chatter 20-21, and Chatter Cabaret. He is concertmaster of the Santa Fe Symphony and Music Director of the Albuquerque Philharmonic. He also teaches contemporary music at the University of New Mexico. His robust conducting career has included conducting the New Mexico Symphony Orchestra, New Mexico Philharmonic, Santa Fe Symphony, and many performances of contemporary music with Chatter. David performs throughout the Southwest as concert soloist, recitalist, and chamber musician. He made his New York debut in Merkin Hall in 2005. He received a Bachelor of Arts in history from the University of Arizona and a Master of Music in conducting from the University of New Mexico. He has taken advanced string quartet studies at the University of Colorado with the Takács Quartet and was awarded a fellowship to attend the American Academy of Conducting at the Aspen Music Festival.

David plays an 1829 J.B. Vuillaume violin. ●

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Kevin Vigneau oboe Principal Oboe of the New Mexico Philharmonic, Dr. Kevin Vigneau is also Professor of Oboe at UNM and has enjoyed an international career as an orchestral player, soloist, teacher, and chamber musician.

Principal Oboe of the Cape Town Symphony Orchestra (South Africa) from 1986–1990 and Principal Oboe of the Orquestra Metropolitana de Lisboa (Lisbon, Portugal) from 1993–1996, he has been a member of the Santa Fe Opera Orchestra, the Opera Company of Boston Orchestra, the New Haven Symphony, and a fellow at the Berkshire Music Festival.

Mr. Vigneau has performed as a chamber musician with Music from Angel Fire, the Banff Festival, the South African Broadcasting Society, the Mistral Wind Quintet, the Cassat Quartet, the Kandinsky Trio, and the Maia String Quartet. As a recitalist and soloist, he has performed in Rio de Janeiro, Lisbon, at Octoboefest in Iowa, at International Double Reed Society Conferences in Chicago and Phoenix, in Amsterdam, Johannesburg, Cape Town, the Azores, Taiwan, Canada, and at many colleges and universities throughout the United States.

His solo CD, Oboe on the Edge: Modern Masterworks for Oboe, was released in 2008 on Centaur Records. He has also recorded the Richard Strauss Oboe Concerto with the Orquestra Metropolitana de Lisboa for EMI Classics, the Hidas Oboe Concerto with the UNM Wind Symphony on the Summit label, and 20th-century wind quintets with the New Mexico Winds for Centaur.

Dr. Vigneau holds a Doctor of Musical Arts from Yale University (1998), where he studied with Ronald Roseman and was

Shea Perry soprano A Connecticut native, Shea Perry is a recent graduate of the University of New Mexico where she studied vocal performance.

She holds a dual Bachelor’s degree in vocal performance and music education from The Hartt School of Music in West Hartford, Connecticut. She is a soprano, music teacher, and arts administrator. Shea is the Operations and Personnel Manager with the New Mexico Philharmonic, as well as the Artistic Director of the Common Time Concert Series. She teaches choir at the Young Musician Initiative and St. John’s United Methodist Church. Along with singing, Shea enjoys photography, classical music, her cats, and long walks on the beach. Recently Shea has been featured as a soloist in Mahler’s Symphony No. 4, Beethoven’s Symphony No. 9, Bach’s Schlage doch, gewünschte Stunde, Bach’s Weihnachts Oratorium, and others. Shea sings with Quintessence Choral Artists, Opera Southwest, and was recently featured as a soloist with the New Mexico Philharmonic in the Fauré Requiem. ●

ARTISTS .

has nearly a decade of experience as a music director in public schools and churches, and as private voice teacher.

Curtis is a student of Dr. Michael Hix and Dr. Kristin Ditlow. ●

Curtis Storm tenor Curtis Storm is a regular soloist and collaborative musician throughout the Southwest United States. In October 2015, he was the featured tenor soloist for the world premiere of the American Choral Association’s Alice Parker Award-winning Requiem for Eagles by David Lingle, which was later reprised for his debut with the San Juan Symphony in October 2017.

In 2019, he performed in Ensemble Music New Mexico’s performance of the Bach Easter Oratorio, as the tenor soloist for Red Rock String’s performance of Handel’s Messiah, and The St. John’s Bach Project performance of Bach’s Coffee Cantata. In January, he returned to The St. John’s Bach Project for their performance of Cantata 106, Gottes Zeit ist die allerbeste Zeit.

He also joined Quintessence Choral Artists of the Southwest as a staff singer for their 2019/2020 season and will be performing with Polyphony: Voices of New Mexico in their productions of Haydn’s Creation this April and Beethoven’s 9th Symphony this December. Additionally, he has also performed with Opera Southwest in their productions of Guillaume Tell, Norma, and in October 2019 covered the role of Thamar in Giovanni Bottesini’s Alì Babà, its first production in 150 years.

As a graduate voice performance student at the University of New Mexico, Mr. Storm has performed in many of UNM Opera’s productions, including The Turn of the Screw, the workshop premiere of Nell Shaw Cohen’s Mabel’s Call, and as Frederic in The Pirates of Penzance in which his voice was described by the New Mexico Review of the Arts as “sonorous.” He will also sing the role of Ferrando in Così fan tutte at UNM in February and March 2020. Mr. Storm also

The New Mexico Philharmonic

Alfredo Beltran bass Baritone Alfredo Beltran is a freelance professional singer, currently based in the Albuquerque, New Mexico, area. This is his fifth solo appearance with the Philharmonic, having sung one of the baritone solos in Handel’s Messiah in December 2018, the baritone solos in J.S. Bach’s Cantata BWV 140 in September 2018, the baritone solos in Mozart’s Missa brevis in G in April 2018, and the baritone solos in Fauré’s Requiem in March 2014. In the past few years, Beltran has performed with Opera Southwest, both in the chorus and in supporting roles in both Hector Armienta’s Bless Me, Ultima and Rossini’s Guillaume Tell. In April 2017, he performed the titular role in UNM Opera’s production of Puccini’s Gianni Schicchi, as well as the baritone solos in Brahms’s Ein Deutsches Requiem with ABQ Coro Lux. Outside of the Albuquerque area, Beltran was a participant of Varna International’s Opera Academy in Stara Zagora, Bulgaria, during the summer of 2017, performing as Masetto in Mozart’s Don Giovanni and Top in the Bulgarian premiere of Aaron Copland’s The Tender Land. During the summer of 2016, he was an Emerging Artist with Opera in the Ozarks in Eureka Springs, Arkansas, once again performing the role of Masetto in Mozart’s Don Giovanni, and performing the role of Vicar Gedge in Benjamin Britten’s Albert Herring. Beltran’s upcoming engagements include singing the role of Ser Amantio di Nicolao in Puccini’s Gianni

Schicchi with Heartland Opera Theatre in Joplin, Missouri.

Beltran received a Bachelor of Music degree in voice performance from the University of New Mexico, studying under baritone Michael Hix, and a Master of Music degree also in voice performance from the Conservatory of Music at the University of Missouri-Kansas City, studying under baritone Dale Morehouse.●

Central United Methodist Chancel Choir The Central United Methodist Chancel Choir, directed by Dr. Karen Marrolli, offers music each week during Central’s traditional worship services. The choir sings a variety of repertoire, ranging from the classic works of Bach and Brahms to modern anthems from composers such as Susan LaBarr, Mark A. Miller, and Craig Courtney. They also routinely offer sacred folk music from around the world, from Celtic expressions of worship to songs from South Africa. Past performances of major works have included Morten Lauridsen’s Lux Aeterna, Bach Cantata 61 (Nun, Komm, der Heiden Heiland), and Robert Ray’s Gospel Mass. The choir has a history of participating in Neighborhood Concerts with the New Mexico Philharmonic, including the yearly presentation of Handel’s Messiah. The Chancel Choir exists as part of the larger music ministry of Central, which includes Mass ApPeal Handbells, Sinfonia, Women’s and Men’s vocal ensembles, and community outreach through the Love Your Neighbor concert series. ●

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Anna Sofia Bridge director Anna discovered her love for ballet while growing up dancing in Los Alamos, New Mexico. She received her early training at New Mexico Dance Theater & Performance Company under the artistic direction of Susan Baker-Dillingham. Anna went on to attend the School for Classical & Contemporary Dance at Texas Christian University (TCU), where she graduated summa cum laude with a BFA in ballet and modern dance and a minor in arts administration. While at TCU, Anna received the Nordan Fine Arts Scholarship and the Walt Steimel Dance Scholarship. In 2012, Anna moved to Denver, Colorado, to pursue a professional dance career where she performed with Zikr Dance Ensemble, Dawson|Wallace Dance Project, and BRIAH Danse. She also had the pleasure of being the rehearsal assistant for several seasons to David Taylor, Artistic Director of Zikr Dance Ensemble. Anna has taught various dance styles and choreographed for several schools in Colorado and New Mexico, including A Time to Dance (Monument), Colorado Ballet Academy (Denver), Littleton Dance Academy (Littleton), Metropolitan Academy of Dance (Centennial), Aspen Santa Fe Ballet (Santa Fe), National Dance Institute New Mexico (NDI-NM) Hiland program, and New Mexico Dance Theater (Los Alamos).

She is also a BASI Pilates instructor. When Anna moved back to New Mexico in 2018, she became the School Director for the New Mexico Ballet Company. She is thrilled to be directing NMBC’s 2020 production of Alice in Wonderland. ●

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Amanda Rohr Alice Amanda Rohr began her ballet training at the age of five learning the Cecchetti method with Joan Shelton Mason followed by training in the Vaganova Method at San Diego Ballet Academy. She studied on full scholarship at The Jillana School rounding out her ballet technique in the Balanchine style. After being invited to New York for the Youth American Grand Prix ballet competition Amanda started her professional career dancing with Ballet Idaho, performing in the corps de ballet as well as performing various soloist roles, before joining New Mexico Ballet Company in 2014. Amanda has been featured in roles including Alice in Alice in Wonderland, Swanhilda in Coppélia, Princess Jasmine in Aladdin and the Magic Lamp, Sugarplum Fairy in The Nutcracker, and soloist roles in George Balanchine’s Serenade. This is Amanda’s sixth season dancing with NMBC. ●

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,

ARTISTS .

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 The New Mexico Philharmonic

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. ●

Yoonshin Song violin Yoonshin Song was recently appointed as Concertmaster of the Houston Symphony Orchestra. She had previously held the same position with the Detroit Symphony Orchestra for seven years, and she is also a guest leader for the Budapest Festival Orchestra under the direction of Iván Fischer.

She has been invited to join the BFO as a soloist for the 2020/2021 season.

Song is a top-prize winner of many international competitions such as the Lipinski Wieniawski in Poland, the Lipizer in Italy, Henri Marteau in Germany, the Stradivarius International Competition in the U.S., and the winner of virtually all major competitions in South Korea. She has also been the recipient of the David G. Whitecomb Foundation Award and the Korean Minister of Culture’s Award.

As a soloist, she has performed with many orchestras around the world such as the Detroit Symphony, the Houston Symphony, the Utah Symphony, the New Mexico Philharmonic, Bayreuth Festival Orchestra, the Paul Constantinescu Philharmonic Orchestra, Seoul Philharmonic Orchestra, and KBS Philharmonic Orchestra, to name a few.

She has actively participated both as a soloist and a chamber musician in numerous music festivals including the Marlboro Music Festival, the Deer Valley Festival, the Great Lakes Chamber Music Festival, the Lucerne Music Festival, and the Verbier Music Festival.

She plays on a violin by Vincenzo Rugeri made in 1700. ●

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NMPHIL IN THE CITY

COMMUNITY CONNECTION

IMMERSE YOURSELF IN THE MUSIC!

YOU ARE INVITED!

Tuesday, April 21, 2020, 4:45 p.m.

National Hispanic Cultural Center Pete V. Domenici Education Building Students of NMPhil’s Young Musician Initiative build poise and confidence every time they perform in our community! YMI has performed in museums, schools, senior centers, cultural festivals, and concert halls, and we’d love to perform for you.

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

Sunday, June 7, 2020, 7 p.m.

Civic Plaza Are you a talented classical musician in the Albuquerque area?

Roberto Minczuk and the New Mexico Philharmonic invite you to immerse yourself in the music and play with us!

We’re looking for a select group of students and adults who would enjoy rehearsing with Maestro Minczuk and members of the orchestra, and then—performing with us in an exciting concert at the newly updated downtown Civic Plaza at 7:00 p.m. on Sunday, June 7, 2020.

The varied repertoire will include popular works by Beethoven, John Williams, Tchaikovsky, Dvořák, and more.

Experience the excitement with us!

To find out more, simply call (505) 343-4343.

If you would like to participate, please complete the short online application by April 15, 2020, to tell us a bit about yourself. more info

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NMPhil

Music & Arts Festival 2020

APR

2020

LOVE& LOVE& SACRIFICE SACRIFICE more info

nmphil.org/artsfest

NMPHIL .

New Mexico Philharmonic 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 da Silva Fogo • Carol Swift •• Julanie Lee Anthony Templeton Michael Shu Donna Bacon Lidija Peno Kelly 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 • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

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

BOARD OF DIRECTORS Maureen Baca President Anthony Trujillo Vice President David Peterson Secretary Kory Hoggan Treasurer Joel Baca Thomas Domme Fritz Eberle J. Devon Hyde Anne McKinney Jeffrey Romero Edward Rose, MD Terrence Sloan 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 BOARD OF THE FUTURE Dr. James Botros Levi Bowman Sandy Buffet Nina Chavez Lauren Neeley

HARP Matthew Tutsky •

STAFF Marian Tanau Executive Director Roberto Minczuk Music Director Christine Rancier Director of Business Management Alexis Corbin Director of Education & Outreach Matt Hart Production Manager

Shea Perry Personnel & Operations Manager Allison Tutton Principal Librarian Jeremiah Fernandez Assistant Librarian Eric Sewell Copyist Nancy Pressley-Naimark Office Manager

The New Mexico Philharmonic

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

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DONOR STORIES LYNN ASBURY & JOHN WRONOSKY 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 Wronosky

Lynn Asbury

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2019/20 Season / Volume 9 / No. 4

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

DONOR CIRCLES .

Donor Circles Thank You for Joining a Circle

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

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

George & Sibilla Boerigter The Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean 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

Christine Kilroy Harry & Elizabeth Linneman Dr. Larry & Marcia 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, in honor of Ronald Bronitski’s Grandfather The Swalin Family Marian & Jennifer Tanau Patricia & George Thomas United Way Community Fund 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 Richard & Margaret Cronin David & Ellen Evans Jonathan & Ellin Hewes Myra & Richard Lynch Karl & Marion Mueller Scott Obenshain Robertson & Sons Violin Shop Melissa & Al Stotts 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 Douglas Cardwell Century Bank D’Addario Foundation Frederick Eberle Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Cynthia & Thomas Gaiser A. Elizabeth Gordon 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 Betsey Swan & Christopher Calder U.S. Bank Foundation Verdes Farm LLC Kathleen & David Waymire

BACH CIRCLE Donation of $1000–$1932

Kathleen Adam Leah Albers & Thomas Roberts Robert Anderson Anonymous Anonymous Christopher Apblett Phillip Askenazy, in memory of Alex Askenazy Edward & Leslie Atler Bank of America Charitable Foundation Nancy M. Berg Gay & Stan Betzer Deborah Blank James Botros & Jeremy Wirths Robert Bower & Kathryn Fry Dawn & Joseph Calek Edwin & Deborah Case, in memory of Debbie Case Michael & Wendy Cieslak Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Mark & Susan Conradi 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 Jean & Bob Gough Steve Hamm & Mary Kurkjian Katherine & Roger Hammond Harris Hartz Jim & Sandra Hoge 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 Robert & Claudia Moraga Dorothy White Morse Musicians Association of Albuquerque, Local 618 Ed & Nancy Naimark James O’Neill Gretchen & Tom Obenauf Stuart & Janice Paster David & Melanie Peterson Mike Provine Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Stephen Rehnberg & Mary Burgener 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 Rita Villa Margaret Vining Betty & Luke Vortman Endowment Barbara & Eugene Wasylenki 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 Anderson Organizing Systems Atkinson & Co., Clarke Cagle Tonianne Baca-Green Sally Bachofer Daniel Balik Dorothy M. Barbo Monica Boehmer, in memory of Leonie Boehmer Rod & Genelia Boenig Timothy Briggs Patricia Broyles 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

Susan Clark Jane & Kenneth Cole Douglas Doll Patricia & Leonard Duda Thomas Dyble Mary Lou Edward ExxonMobil Foundation Gail Feldman Howard & Debra Friedman Ann Gebhart Charles & Judith Gibbon Drs. Robert & Maria Goldstein Mark Goodman Barbara & Berto Gorham Peter Gould Sharon Gross Ron & Nancy Halbgewachs Kathleen Hammar Margaret Harvey & Mark Kilburn 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 Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Dwayne & Marjorie Longenbaugh John & Kathleen Mezoff Robert Milne & Ann DeHart, in memory of Clare Dreyer Paul Mondragon David & Alice Monet Richard Moore Mardelle Morrow Lynne Mostoller & Kathryn McKnight Judy & Michael Muldawer Mark Napolin 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 Richard & Pamela Salmon Nancy Scheer Howard & Marian Schreyer Chris Schroeder Frederick & Susan Sherman Walt & Beth Simpson Gary Singer, in memory of Kathleen Singer Conrad & Marcella Stahly Philip Stanton Wes & Marilyn Steiner Charles Stillwell Sturges-Draper Family Charitable Fund Suzanne Taichert, in memory of Bob & Zane Taichert Jeffrey & Elizabeth Thomsen Barbara & James Thomte, ABQ Memory Movers LLC Laurence Titman Gehron & Michelle Treme Chuck & Jean Villamarin Marianne Walck

continued on 24 The New Mexico Philharmonic

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DONOR CIRCLES . continued from 23 Patricia & Robert Weiler Carl G. & Janet V. Weis Jeffrey West 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 Anonymous Anonymous Anonymous John Arango Janice J. Arrott Richard & Linda Avery David Baca Diane & Douglas Brehmer Bailey Genevieve Baker Elinore M. Barrett Steve & Nancy Bassett Edie Beck Hugh & Margaret Bell, in memory of Joan Allen Kristi Bemis-Standoli Mark Berger Peter Bernstein & Debbie Erfer, in memory of Stan & Lea Bernstein Marianne Berwick Black Dog Printing Waldemar Boehmer, in memory of Leonie D. Boehmer Carolyn Brown Marie Brown-Wagner Lee Calderwood Dante & Judith Cantrill Paty Carreon Ann Carson Camille Carstens Robert E. & Shirley Case Olinda Chavez Kathy & Lance Chilton Thomas & Judith Christopher Virginia Clark James Connell Cathy Conrad David Corcoran Bob Crain Stephen & Stefani Czuchlewski Rosalie D’Angelo William Davidson Hubert Davis Jacob Dewitte Jerry & Susan Dickinson Fran DiMarco Christel Dinkler Raymond & Anne Doberneck Janice Dosch Kathleen Economy Michael Edenburn Jeffrey Edgar Anne Egan Martha Egan Catherine & Paul Eichel Richard & Mildred Elrick Robert & Dolores Engstrom Stephanie Eras & Robert Hammerstein Jackie Ericksen Harry Ettinger David & Frankie Ewing Peggy Favour Helen Feinberg

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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 Janine Ford J. Arthur Freed Joseph Freedman & Susan Timmons Yolanda Garcia Mary Day Gauer George F. Gibbs Kenneth Gillen James Robert Goldberg The Very Rev J. Mark Goodman Yvonne Gorbett Paul Greenbaum Peter Gregory Justin M. & Blanche G. Griffin Mina Jane Grothey Elene & Robert Gusch Kenneth Guthrie & Doni Lazar Bennett A. Hammer Janet Harrington Joan Harris Gloria B. Hawk John & Diane Hawley Darren Hayden Stephen & Aida Ramos Heath Douglas & Joyce Hilchie Fred Hindel Beate Hitzler Toppin & Robert Hodge Ulton & Jean Hodgin Kory I. Hoggan, CPA John Homko Thomas & Mary Ann Horan Constance & James Houle Carolyn & Hal Hudson William B Hughes Janet & Vincent Humann Bryan Hurt Jerry & Diane Janicke Gwenellen Janov Dal & Pat Jensen Carol Kaemper John & Mechthild Kahrs Sheri & Ira Karmiol Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Ann King Marlin Kipp Gerald F. Kiuttu James & Helen Knoll Maria & Asja Kornfeld Jennifer C. Kruger Karen Kupper William & Margie Lang Jeffery & Jane Lawrence Mary E. Lebeck Rebecca Lee & Daniel Rader Matthew Lemelin Joe & Pam Limke John Linder & Margaret Chaffey Claire Lissance William J. Lock Julianne Lockwood Katherine Logan Frank & Judy Love Orlando Lucero & B.J. Jones Ruth Luckasson & Dr. Larry Davis

2019/20 Season / Volume 9 / No. 4

Robert M. Lynn Joanne E. Magalis Robert & Linda Malseed Jeffrey Marr Salvatore T. Martino Janet Matwiyoff Sallie McCarthy Jon McCorkell & Dianne Cress Brian & Jane McDonald Eugene McGuire & Rosemary Hunter Anne McKinney Albert & Linda McNiel Judith W. Mead Sterret & Lynette Metheny Bernard & Mary Metzgar Bruce Miller Jim Mills & Peggy Sanchez Mills Christine & Russell Mink Deborah & Louis Moench Dr. William Moffatt Jim & Penny Morris Deborah Muldawer Albert Narath, in memory of Orval Jones NM School of Music, Tatiana Vetrinskaya Donald & Carol Norton Rebecca Okun Pete & Carol Ormson Daniel O’Shea Joyce & Pierce Ostrander Mark Parshall Judith Pentz Richard & Susan Perry Lang Ha Pham & Hy Tran Judi Pitch PNM Resources Richard Price Helen Priest Karla Puariea, in honor of Shirley Puariea Dan & Billie Pyzel David & Tracey Raymo T.D. Raymond Robert Reinke Tim Renk Lee A. Reynis & David W. Stryker Charles & Kay Richards Erika Rimson & David Bernstein Shelley Roberts & Dewey Moore Jeffrey Romero Glenn Rosenbaum Carole Ross Sofya Rubinchik Renee Sandoval Christine Sauer John & Karen Schlue Laura Scholfield Leigh Schultzberger Bruce & Sandra Seligman Richard & Susan Seligman Daniel & Barbara Shapiro Ronald & Lisa Shibata R.J. & Katherine Simonson George & Vivian Skadron Amanda Smith Carol Smith Katherine Smith, in memory of Craig Smith Smith Engineering, in memory of Linda Bolvin Steven & Keri Sobolik Thor 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 Carmen & Lawrence Straus Kevin & Judy Taira David & Jane Tallant Phyllis Taylor & Bruce Thompson Rogan & Laurie Thompson Sue Ann Thompson Leonard Truesdell Boris Venet Rena E. Vinyard Michael Wallace Cynthia & William Warren Alfred Watts & Jan Armstrong David Watts Kevin Welch Lawrence Wells Margaret Wente Jeremy Weserich Kay & Tad West Marybeth White Diana Whitehouse Helen M. Whitesides Jane & Scott Wilkinson Phyllis Wilson Kathryn Wissell Joe & Sylvia Wittels Jae Won-Lee Marla Wood Don & Dot Wortman Stanley Yager Vita Zodin

FRIENDS OF THE PHILHARMONIC Donation of $25–$124

Vicki Aamodt David & Elizabeth Adams Wanda Adlesperger Natalie Adolphi & Andrew McDowell Albuquerque Community Foundation/Susan Beard Grant Recommendation Kelly Aldridge Jeffrey Allen Arthur Alpert Jo Anne Altrichter & Robin Tawney Elizabeth Anderson Judith Anderson Oliver Anderson Judy Andrews 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 Thomas Bail Jan Bandrofchak & Cleveland Sharp Joyce Barefoot Elizabeth Bayne Fred L. Beavers David & Judith Bennahum Debra & Kirk Benton Barry Berkson Dorothy & Melbourne Bernstein Ursula Biggers Denise Bissell Jeff Bjarke

Christine Blaser & Constantine Stewart Thomas & Suzanne Blazier Dusty & Gay Blech 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 Ann & James Bresson James & Elizabeth Brown Allan & Barbara Brumer Fred Bunch & Betty Tichich Elaine Burgess Elizabeth Burki Luana Carey, in honor of Carolyn Quinn James Carroll Joseph Cella Thomas Chacon Robert Chamberlin Barbara & Roscoe Champion Kyle Champion, in honor of Barbara & Roscoe Champion J & J Chavez Douglas Cheney Barry Clark Dr. Donald Clark James & Joan Cole Valerie Cole Lloyd Colson III Henry & Ettajane Conant Patrick Conroy Alexis & Hovey Corbin Sierra Corrin John & Mary Covan Mark A. Curtis Henry Daise III Ashlee Dauenhauer Kurt & Yvonne Deshayes Ronald Detry Winnie Devore Carol Diggelman Thomas & Elizabeth Dodson Stephen R. Donaldson Carl & Joanne Donsbach Marcy Dorchester, in memory of Mom Paula Dorris-Osborn & Larry Osborn Sheila Doucette Gregory Doudnikoff Martin J. Doviak Matt Doxtator James C. Drennan, MD Jana Druxman Jeff & Karen Duray Edward Dzienis Jr. Linda Eaton Reverend Suzanne & Bill Ebel Helene Eckrich Lester & Eleanor Einhorn Roger C. Entringer Philippa M. FalknerSchwendimann John Farris Darlene Fattorusso John Fielder Mary Filosi Rona Fisher Rabbi Arthur Flicker Beverly & Walter Forman Martin & Ursula Frick Ron Friederich W. Michael Garrett, MD Neal Gerstein

DONOR CIRCLES .

Lawrence Jay Gibel, MD Ronald Goldsmith Jim Gonzales 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 Michele Handschuh Thomas Harmon & Sara Keeney Bhanu Joy Harrison Jo Ellen Head Patricia Henning Robert & Sara Henning Donna Hill Nancy Hill Susan Hinchcliffe Diane Holdridge Larisa Holiday Kiernan Holliday Bernhard E. Holzapfel, in memory of Barbara Holzapfel Virginia Horner Anthony & Susan Hunt Michael Hyde Claudia Isaac Sandra & Michael Jerome John P. Johnson Nancy Johnson, in memory of Betty Vortman Peggy Jones Robert & Mary Julyan Paul Karavas Margaret Keller Kim Kiesow Kate Killebrew William Kirtley Karen Knoll Gerald Knorovsky Herbert & Shelley Koffler Philip Kolehmainen Katherine Kraus Holly Kraynik Phil Krehbiel Deborah Krichels Hareendra & Sanjani Kulasinghe Janice Langdale Larry W. Langford Michael Langner Susan Larsen Dawn Leach Daniel Lee Robert Lindeman & Judith Brown Carl & Sheila Litsinger Betty Logan Daniel Lopez & Linda Vigil Lopez Jessica Lopez Betty Louise Lovering JW Madison Frank Maher Bruce F. Malott Joan March Jim & Helen Marquez Walton & Ruth Marshall Carolyn Martinez Stephen & Janice Matthews David & Jennifer Mayschak

Barb McBee, in memory of William N. Sullivan Peter & Lois McCatharn Fred & Karin McDowell David McGuire David & Barbara Menicucci Kathleen Miller Robert & Phyllis Moore Claude Morelli & Sharon Nepstad Roy Morgan Shirley Morrison & Cornelis Klein Baker H. Morrow & Joann Strathman John Morrow & Harriette Monroe Ted & Mary Morse Karen E. Mosier John & Patsy Mosman Brian Mulrey David & Cynthia Nartonis Don & Evelyn Neil Dick & Sharon Neuman New Mexico Japanese American Citizens League Betsy Nichols Candace & Frank Norris Richard & Marian Nygren Wendy & Ray Orley Ricardo Ortega Howard Paul Deborah Peacock Brian Pendley Oswaldo Pereira & Victoria Hatch Maria Pereyra & Timothy Berkopec Elizabeth Perkett Phil & Maggie Peterson Cathryn & Martin Pokorny Leslie Porter Shirley Puariea Regina & Daniel Puccetti Therese Quinn Jane Rael Russell & Elizabeth Raskob Robert & Marj Reed Ray Reeder Lilith Ren Carol Renfro Patricia Renken Diane Reuler Kevin & Jacqueline Reynolds Judith Ribble & Clark Bussey George & Sheila Richmond Herbert Richter Matthew Roberts Rochelle Robertson Gwenn Robinson, MD & Dwight Burney III, MD Dawn Rodriguez Catalin Roman Lisa D. Romero Kletus & Lois Rood Christopher Rosol Tom Ruddell Nancy Ruggles, in memory of Jean Bridgers Robert & Mary Sabatini Evelyn E. & Gerhard L. Salinger Anne Salopek Mary Ann Sampson Scott & Carol Schaffer Roger Schluntz Travis Scholten Justine Scott Meryl Segel Claude M. Senninger

The New Mexico Philharmonic

Arthur & Colleen M. Sheinberg Ronald & Claudia Short, in memory of Susie Kubie Beverly Simmons Katharine Sisk Norbert F. Siska Carl & Marilyn Smith Joseph Smith Kirk Smith Maryellen Smith Smith’s Community Rewards Karen Smoot Snow-Blossom Gift Fund Lillian Snyder Gwyneth & Tracy Sprouls David & Laurel Srite Bill Stanton Jennifer Starr & Eugene Lesser Ronald & Patricia Stauber Patricia Steffes Geny Stein Elizabeth C. Stevens Rea & Val Stover, in memory of Jean Bridgers Herb Strasberg Peter & Mary Tannen Herbert & Ingeborg Farny Taylor, in honor of Julie Kavet Jeffrey Taylor Ronald Taylor 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 Anna Watkins 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 & Maegaret Whittaker Brahna Wilczynski Robert & Amy Wilkins David Winter & Abagail Stewart Walter Wolf Kari Young Kenneth & Barbara Zaslow Diana Zavitz, in honor of Pat & Ray Harwick Rebecca Zerger Linda R. Zipp Alvin Zuckert & Louise Martin, in memory of Sam & Mimi Zuckert Michael & Anne Zwolinski 1/27/2020

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NEW MEXICO PHILHARMONIC FOUNDATION Donors & Trustees

Mary Baca Maureen & Stephen Baca, Trustee Douglas & Dianne Bailey Edie Beck Mark & Beth Berger Sue Bradigan-Trujillo & Theodore Trujillo AJ Carson Camille Carstens Joseph Cella Dennis Chavez Development Corp.

Douglas Cheney Judith & Thomas Christopher Kathleen & Hugh Church James Cole Kenneth & Jane Cole Henry & Ettajane Conant Marcia Congdon Winnie Devore Tomas & Elizabeth Dodson Eugenia & Charles Eberle, Trustee Rosario Fiallos Stephen & Merilyn Fish Keith Gilbert Lorraine B. Gordon Dr. Lauro G. Guaderrama Carl Glenn Guist Herman Haase Fred & Joan Hart Edgarton (E.R.) Haskin Jr. Mary Herring Jonathan Hewes Nancy Hill Helen & Stanley Hordes Dal Jensen Robert H. & Mary D. Julyan Thomas & Greta Keleher Christine Kilroy Marlin E. Kipp Gerald Knorovsky Alan Lebeck Mary E. Lebeck Robert & Judy Lindeman Douglas Madison Robert A. Malseed Thomas Martin, Trustee, & Cynthia Phelps Arew McDowell & Natalie Adolphi Donald McQuarie Claude Morelli Mary Ann & James B. Moreno Karen Mosier Albert & Shanna Narath Betsy Nichols Maureen Oakes Daniel T. O’Shea W. Pierce & Joyce Ostrander Eric P. Parker Jerald Parker Russell & Elizabeth Raskob Bonnie Renfro Lee Reynis Kay Richards Margaret E. Roberts Warren & Rosemary Saur Scott & Carol Schaffer Janet & Michael Sjulin Sydney (Al) & Melissa Stotts Marian & Jennifer Tanau Ronald T. Taylor Robert Tillotson

Dean Tooley Jorge Tristani, President, Dennis Chavez Development Corp.

Richard VanDongen Charles & Linda White Ann & Thomas Wood Kenneth Wright Dean Yannias Mae S. Yee & Eric R. Brock Michael & Jeanine Zenge Peter & Ann Ziegler 1/30/2020

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THANK YOU .

STRATEGIES FOR

Thank You for Your Generous Support Volunteers, Expertise, Services, & Equipment

WISE GIVING

CITY & COUNTY APPRECIATION

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.

BUSINESS & ORGANIZATION APPRECIATION

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:

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.

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 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

Jim Key Jackie McGehee Brad Richards Emily Steinbach Brent Stevens

NMPHIL GUILD VOLUNTEERS Thank you for all your help and dedication.

Bill Albert Ona Albert Sue Baker Lucia Bartovic Michael Beerman Cassandra Campanozzi Chad Chappelle Mackie Cox Stephanie Coxe Jackie Ericksen Joe Fasanella Helen Feinberg Maricel Fiegler Paul Fornell Yolanda Garcia Louise Gibson Debbie Hammack Janet Heindel Lisa Jackson June Jefford Juliet Jones Sybil Keyser Patricia Lake Jan Marino

Juliana Martinez Carolyn Lawson Mercedes Martinez-Nunnally Susan McGuire Anne McKinney Geri Newton Christine Paul Sheryl Peak Chris Polansky Nancy Pressley-Naimark Sonja Pulvino Billie Pyzel Amber Duginske Rohl Beverly Russell Cynthia Seyb Sharon Sharp Jan Strand Valari Taylor Julie Tierney Eva Venczel Sherri Wells Diane Werner Bronwyn Willis 1/26/2020

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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

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2019/20 Season / Volume 9 / No. 4

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

Hotel Andaluz hotelandaluz.com

Bernalillo County bernco.gov

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

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

RBC Wealth Management rbcwealthmanagement.com

Sandia Foundation sandiafoundation.org

Sandia Laboratory Federal Credit Union slfcu.org

United Way of Central New Mexico uwcnm.org

Urban Enhancement Trust Fund cabq.gov/uetf

U.S. Bank usbank.com

The Verdes Foundation verdesfoundation.org

Wells Fargo wellsfargo.com

GARDENSWARTZ REALTY

Olga Kern International Piano Competition olgakerncompetition.org

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

Call Today! (505) 323-4343.

Yanni’s Lemoni Lounge yannisandlemoni.com

The New Mexico Philharmonic

nmphil.org

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CRAFTED FOR THE MODERN FRONTIER

Proud sponsor of the New Mexico Philharmonic

GX