New Mexico Philharmonic Program Book • 2022/23 Season • Volume 11 • No. 2

22/23 VOLUME 11 / NO. 2

OCT

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2022/23 SEASON

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WISE GIVING There are many ways to support the New Mexico Philharmonic and the New Mexico Philharmonic Foundation. 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.

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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.

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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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WELCOME LETTER FROM THE

MUSIC DIRECTOR The clouds of the pandemic are clearing as we look forward to an exciting season together through music.

I am so happy to be starting our 12th year and my 6th season as your music director. I cannot say often enough how honored I am to be with you and to make music with this amazing orchestra.

This season, we will have many highlights: our Tchaikovsky Festival, the Third Olga Kern International Piano Competition, new soloists, an original commission written by Ellen Reid, and more. It is always such a pleasure to lead the orchestra for you, and every musician feels the same joy playing for you. Have a great evening!

NMPHIL .

TABLE OF CONTENTS PROGRAMS

October 22, 2022 Program 5 October 29, 2022 Program 7 November 5, 2022 Program 9 Program Notes 14 ARTISTS

Roberto Minczuk Sylvia Thereza Francesco Lecce-Chong Richard Scofano

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YOUR NMPHIL

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. ●

Sponsor a Musician New Mexico Philharmonic Foundation Strategies for Wise Giving Letter from the Music Director Upcoming Concerts Donor Circles NMPhil Foundation Donors & Trustees Steinway Society Thank You Legacy Society Sponsors Orchestra, Staff Board of Directors, Advisory Board

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CONCERT PROGRAM .

POPEJOY CLASSICS

Tchaikovsky Festival: Love & Triumph

OCT

22

Popejoy Hall

Saturday, October 22, 2022, 6 p.m.

5:00 p.m. Pre-Concert Talk Roberto Minczuk Music Director Sylvia Thereza piano “Cossack Dance” from Mazeppa

Piano Concerto No. 2 in G Major, Op. 44 I. Allegro brillante e molto vivace II. Andante non troppo III. Allegro con fuoco Sylvia Thereza piano

Pyotr Ilyich Tchaikovsky (1840–1893)

Tchaikovsky

This performance is made possible by: Albuquerque Community Foundation

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin

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

Romeo and Juliet, Overture-Fantasy

Tchaikovsky

1812 Overture, Op. 49

Tchaikovsky

The New Mexico Philharmonic

MAKING A DIFFERENCE

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“ Mu s i c i s e n o u g h f o r a w h o l e lifetime—but a lifetime is n o t e n o u g h f o r m u s i c .”

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CONCERT PROGRAM .

POPEJOY CLASSICS

Third Olga Kern International Piano Competition Finals

OCT

29

Popejoy Hall

Saturday, October 29, 2022, 6 p.m.

5:00 p.m. Pre-Concert Talk Francesco Lecce-Chong conductor

The Olga Kern International Piano Competition (OKIPC) provides New Mexico Philharmonic audiences the opportunity to see developing world-class pianists at the beginning of their professional careers.

The finalists and winners of the Competition will go on to long and acclaimed careers performing before diverse audiences on every continent, and New Mexico Philharmonic audiences will always remember that their careers began here. The Competition takes place every three years in Albuquerque, New Mexico, and is open to pianists 18 to 32 years old. For more information, visit olgakerncompetition.org.

P R O G R A M

& C O M P E T I T O R S T B D

MAKING A DIFFERENCE

This performance is made possible by: City of Albuquerque Steinway & Sons Heritage Hotels & Resorts Inc.

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin

The New Mexico Philharmonic

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CONCERT PROGRAM .

POPEJOY CLASSICS

The Magic of the Bandoneón

NOV

5

Saturday, November 5, 2022, 6 p.m.

5:00 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Richard Scofano bandoneón

Four Dances from Estancia I. Los Trabajadores Agricolas (The Farm Workers) II. Danza del Trigo (The Wheat Dance) III. Los Peones de Hacienda (The Cattle Men) IV. Danza Final (Malambo)

Alberto Ginastera (1916–1983)

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

Astor Piazzolla (1921–1992)

Libertango

Piazzolla arr. Passarella

MAKING A DIFFERENCE

This performance is made possible by: Art Gardenswartz & Sonya Priestly PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency Hosted by KHFM’s Alexis Corbin

Richard Scofano bandoneón

Oblivion

Piazzolla Richard Scofano bandoneón

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

La Tierra Sin Mal Richard Scofano bandoneón

La noches de los mayas I. “Noche de los mayas,” molto sostenuto II. “Noche de jaranas,” scherzo III. “Noche de Yucatán,” andante espressivo IV. “Noche de encantamiento,” tema y variaciones

The New Mexico Philharmonic

Richard Scofano (b. 1976)

Silvestre Revueltas (1899–1940)

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ARTISTS .

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

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

A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having

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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. ●

ARTISTS .

Sylvia Thereza piano Sylvia Thereza is a piano virtuoso, a star in the Brazilian classical music scene, and a rising star internationally. More recently, Sylvia was invited by the violinist Daniel Hope to participate in the recording of his CD, America, released by Deutsche Grammophon in February 2022.

She is a protégé of the famous pianist Maria João Pires, who brought her to Europe and with whom she has shared the stage countless times around the world with enormous success. Maria João Pires invited her to become her assistant professor at the Queen Elisabeth Music Chapel in Belgium, a post that she held from 2012 to 2016.

Sylvia was also guided by the greats Nelson Freire, Bella Davidovich, Maria da Penha (disciple of Marguerite Long, Guiomar Novaes, and Jozef Turczynski), and Myrian Dauelsberg (disciple of Vlado Perlemuter and Heitor Villa-Lobos). Later in Belgium, she studied with Alan Weiss at the Master’s program of the University of Leuven. Precious support also came from Earl Wild and Sergio Tiempo.

Sylvia combines a great mixture of charisma, artistic depth, youth, experience on the concert stage, and social awareness and responsibility. She has conducted social projects in Brazil, Africa, and Belgium that have benefited more than 30,000 children by introducing them to classical music. For this work, she has received great recognition from government institutions, the public, and the media in many countries.

Sylvia Thereza was born in Rio de Janeiro, Brazil, and began her musical studies improvising with her father at the age of 3. Sylvia has been performing since the age of 6 as a soloist, chamber musician, and recitalist all over Europe, the Americas, the Middle East, South Korea, and Japan. Her way of experiencing art has taken her to important stages around the world and, in contrast, to some of the most underprivileged communities.

She was an award winner (special mention of the Jury) in the “Martha Argerich Edition” of the International Piano Competition of Vigo, Spain, in 2019, that had Martha Argerich, Nelson Freire, Tamas Vasary, and Sergio Tiempo on the jury, and winner of the “Nelson Freire Competition” held in Rio de Janeiro in 2004. Sylvia has been regularly invited to play in many festivals and with many orchestras, including the Brussels Philharmonic, the Kremlin Chamber Orchestra, the Hannover Chamber Orchestra, the Philadelphia Youth Orchestra, and, among others, all major orchestras of Brazil.

Sylvia Thereza is an enthusiastic chamber musician and plays regularly in many different chamber music formations.

She has performed with musicians such as Maria João Pires, Augustin Dumay, Daniel Hope, Misha Taits, and Ning Kam, among others.

She is the founder of the ONG Uaná— Association for the Arts in Belgium, an organization that provides access to culture for underprivileged children with special needs. For this program, she brought together great names in the music world who, with their valuable contribution, participate as educators bringing their art to these segments of society through music education, concerts, exhibitions, and recordings.

In 2021, Sylvia accepted the position of professor of piano at the prestigious University Luca School of Arts in Belgium, a member of the KU Leuven Association.

On her calendar for the year 2022, she has already confirmed performances in Italy, Belgium, Spain, Holland, France, Brazil, Thailand, and the United States. ●

Francesco Lecce-Chong conductor Conductor Francesco Lecce-Chong is the Music Director of the Eugene Symphony in Oregon, and the Santa Rosa Symphony, performing at the Green Music Center in Northern California.

The press has described him as a “fast-rising talent in the music world” with “the real gift” and recognized his dynamic performances, fresh programming, and deep commitment to commissioning and performing new music, as well as to community outreach. Mr. Lecce-Chong has appeared with orchestras around the world including the San Francisco Symphony, New York Philharmonic, Seattle Symphony, National Symphony, Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Symphony, and Hong Kong Philharmonic and collaborated with top soloists including Renée Fleming and Itzhak Perlman.

In spring 2019, Mr. Lecce-Chong debuted in subscription concerts with the San Francisco Symphony. The San Francisco Chronicle called his conducting “first rate” praising the “vitality and brilliance of the music-making he drew from members of the San Francisco Symphony.” Other recent subscription debuts include the Seattle Symphony, Colorado Symphony, Louisville Orchestra, Louisiana Philharmonic, and Xi’An Symphony Orchestra. Mr. Lecce-Chong has also returned to conduct the Civic Orchestra of Chicago and the Milwaukee and San Diego Symphonies. In 2019, he also debuted with the New York continued on 12

The New Mexico Philharmonic

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ARTISTS . continued from 11

Philharmonic as part of the legendary Young People’s Concert Series.

The 2020/2021 season will mark his subscription debuts with the Utah and the North Carolina Symphonies.

In the past season, heavily impacted by the pandemic, Mr. Lecce-Chong created and led a series of virtual performances with both the Santa Rosa and the Eugene Symphonies. The full season of performances was streamed for free to thousands of enthusiastic viewers around the world. In addition, the Santa Rosa Symphony reached more than two million households in the Bay Area through its “Santa Rosa Symphony Presents” TV broadcasts. Mr. Lecce-Chong embraced the digital format, using interviews with members of the ensembles, guest artists, and composers to overcome the challenges of connecting with audiences not physically present in the concert hall.

The programming included more than 20 works by living composers, including a groundbreaking partnership with the renowned Ellen Taaffe Zwilich—a project that will culminate in a recording of her music by the Santa Rosa Symphony to be commercially released in 2022.

Following the paths of renowned Music Directors of the Eugene and the Santa Rosa Symphonies including Marin Alsop, Giancarlo Guerrero, and Jeffrey Kahane, Mr. Lecce-Chong has quickly made his mark with the two orchestras, introducing a series of new music and community initiatives. During the 2021/2022 season, both orchestras will continue the fouryear “First Symphony Project” that is commissioning a symphony each year from a young American composer, including multiple residencies in the community. The Eugene Symphony will embark on a three-part concert presentation of Wagner’s epic opera Tristan und Isolde and the Santa Rosa Symphony will begin a cycle of the large orchestral works of Rachmaninoff paired with legendary film composers titled “Rachmaninoff and the Hollywood Sound.”

Across both orchestras in just a single season, Mr. Lecce-Chong will lead the world premieres of five major orchestral works including an ecology-inspired

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work by GRAMMY®-winning composer Michael Daugherty, a work for mariachi and orchestra by Enrico Chapela, and a dramatic work with actors based on the life of Olympic athlete Steve Prefontaine

by David Schiff.

During his successful tenures as Associate Conductor with the Milwaukee Symphony under Edo de Waart and the Pittsburgh Symphony under Manfred Honeck, Mr. Lecce-Chong also dedicated his time to opera, building his credentials as staff conductor with the Santa Fe Opera and conducting Madama Butterfly at the Florentine Opera with the Milwaukee Symphony.

Mr. Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award.

Trained also as a pianist and composer, he completed his studies at the Curtis Institute of Music with Otto-Werner Mueller after attending the Mannes College of Music and Accademia Musicale Chigiana in Italy. He has had the privilege of being mentored and supported by celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, Manfred Honeck, Donald Runnicles, and Michael Tilson Thomas. ●

Richard Scofano bandoneón A master of the bandoneón, Richard Scofano was born in Paso de los Libres, Argentina, and is the descendant of three generations of bandoneónists. Beyond his renowned virtuosity, musicality, and sensibility, Scofano is also an accomplished composer (proponent of the Nuevo Chamamé), arranger, and musical director. He began his studies at age 5, with his father, Ricardo Scofano, himself a landmark in the Argentine musical genre of the Chamamé. Richard grew up in the center of the folk traditions and culture of Northeast Argentina in a home constantly filled with musicians and singers and, nowadays, his artistry is a testimony to his mastering of the genre, to his musical craft, and to his ability to combine both through an exceptional creative genius. Scofano always nurtured interest for the music of neighboring Brazil and is passionate about the study of European classical traditions. With more than thirty years of professional work, Scofano has taken his music literally throughout the world and is held in high esteem by fellow musicians and audiences alike. Richard has worked as a performer, composer, arranger, and music director for decades. He has played throughout South America, North America, Europe, Japan, China, and Australia. In 2014/15, he toured China as director of the show “Identidad,” which included some of his music in the program. In 2015, he composed the music for Carmen de Buenos Aires,

UPCOMING CONCERTS ARTISTS .

an adaptation of the script of the opera Carmen in a tango/flamenco version, that premiered in Boston in November of that year. Also in 2015, he created a duo with pianist Alfredo Minetti, and they toured extensively throughout the U.S. and Puerto Rico, as well as Argentina and Brazil. In October 2016, he premiered his Iberá (concerto for bandoneón and orchestra) with the Oistrakh Symphony of Chicago under the direction of Mina Zikri. This concerto has been performed in the U.S. and Argentina (including at the prestigious Sala Ballena Azul at the CCK in Buenos Aires), as well as in Brazil.

The year 2016 also marked the release of his CD Estaciones with his original compositions, interpreted by his duo with Minetti. In this recording, Scofano debuted his original contribution to his native genre, the “Nuevo Chamamé.” In 2017, he was invited to play a concert of his music by the Jacobs School of Music in Bloomington, Indiana. In 2018, he was invited by Yamandú Costa to perform with him at the Guitar Salon International in Santa Monica, California. He performed again with Yamandú in 2019 in New York at the Sony Hall Concert; in Montreal, Canada, at the Montreal Jazz Festival; and at the Vail Jazz Festival, in Vail, Colorado. In 2020, he received a commission by the River Oaks Chamber Orchestra (ROCO) and wrote a symphonic poem entitled La Tierra Sin Mal (for bandoneón and orchestra), inspired by a Guarani legend, which he premiered with ROCO in September of that same year. He’s done numerous TV and radio appearances, interviews, and shows. His music has been featured in radio, including on Performance Today, conducted by Fred Child. He has participated as producer, arranger, and/ or performer on many recordings, and this year he will be the musical director and bandoneónist of an upcoming production of Astor Piazzolla’s María de Buenos Aires in four Brazilian cities. ●

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2022/23 SEASON The New Mexico Philharmonic

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PROGRAM NOTES .

Program Notes DAVID B. LEVY

Pyotr Ilyich Tchaikovsky

“Cossack Dance” from Mazeppa (1883) Pyotr Ilyich Tchaikovsky was born on May 7, 1840, in Votkinsk, Russia, and died on November 6, 1893, in Saint Petersburg. He remains one of the most popular composers of all time, beloved especially for his symphonies, ballets, and concertos. His three-act opera Mazeppa is set in Ukraine and is based on the historically based poem “Poltava”

by Alexander Pushkin. The libretto for the opera was fashioned by Victor Burenin.

The opera was composed between June 1881 and April 1883 and received its premiere in Moscow’s Bolshoi Theater on February 15, 1884. The “Cossack Dance” from Act I is a popular work that finds itself on concert programs.

Tchaikovsky was, of course, a master composer of symphonies and ballets.

Operas also caught his attention, and Mazeppa, like Eugene Onegin, is based on Pushkin. Mazeppa, however, never has enjoyed the same popularity as Onegin.

As is the case with the “Polonaise” from that opera, the “Cossack Dance” from Act I of Mazeppa, is a brief and welcome orchestral showpiece. The scene is set at a festive party at the estate of Vasily and Lyubov Kochubey in honor of their guest. Audiences who treasure the brilliant displays of orchestral opulence found in Tchaikovsky’s symphonies and ballet scores, can only delight in this brief excerpt. ●

DAVID B. LEVY

Tchaikovsky

Piano Concerto No. 2 in G Major, Op. 44 (1879–1880) Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 2 was composed in 1879-80 and received its first performance in New

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Shakespeare’s tragedy and Tchaikovsky’s tortured personal life combine to produce the first true expression of his genius as a composer.

York City on November 12, 1881, with Madeline Schiller as soloist with the New York Philharmonic conducted by Theodore Thomas. It is dedicated to Nikolai Rubinstein (1835–1881), although the pianist never performed the work. The Concerto No. 2 is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

The absence of trombones is notable.

Tchaikovsky’s Second Piano Concerto has never risen to the popularity of his Concerto No. 1 (1874-5, rev. 1876 and 1889), which arguably is the most famous work of its kind in the entire repertory.

Despite Rubinstein’s harshly negative reaction to Concerto No. 1, the pianist nevertheless became an ardent fan of the work and was rewarded with the dedication of the Concerto No. 2. A composer who often revised his works, the Concerto No. 2 comes down to us in more than one form. One of his students, Alexander Siloti made some cuts to the original score, as did Tchaikovsky himself. Siloti’s Nouvelle Édition revue et diminuée d’après les indications de l’auteur became the version most frequently performed at least until 1949, at which time Tchaikovsky’s original version was republished.

Most audiences know Tchaikovky’s second excursion into the world of piano concertos through the balletic choreography of George Balanchine, who created his Ballet Impérial in 1941, the title of which was later changed simply to “Tchaikovsky Piano Concerto No. 2.” Given Tchaikovsky’s success as the composer of ballets, many of which were choreographed by Marius Petipa and others associated with the grand Russian

tradition of Saint Petersburg, it should come as no surprise that some of the composer’s other works would also be found worthy of balletic interpretations.

The first movement of the concerto, Allegro brillante e molto vivace, begins as a grand march in the orchestra, the tune of which is soon played by the soloist with exuberant responses from the orchestra.

This rather four-square pattern soon yields to the composer’s more melancholy side.

Virtuosity abounds as the movement is punctuated by extensive cadenzas for the soloist, especially during the middle development section. The recapitulation is severely shortened, although it succeeds in restoring the grandeur of the movement’s opening theme. The second movement, Andante non troppo, is unusual for its extensive writing for solo violin and cello, and the finale, Allegro con fuoco, lives up to its tempo indication— “with fire,” and is dominated by its vigorous opening theme that sets as merry a mood as Tchaikovsky ever penned. ●

CHARLES GREENWELL

Tchaikovsky

Romeo and Juliet, Overture-Fantasy (1880) Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings. Approximately 19 minutes.

Shakespeare’s moving drama of the star-crossed lovers Romeo and Juliet has been a potent source of inspiration down through the centuries for writers, artists, composers, and filmmakers alike. The

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idea for putting the story into symphonic terms was given to Tchaikovsky by Mily Balakirev (1837–1910), a Russian composer, conductor, and teacher who is perhaps best remembered for having been the influential center of the group of composers known popularly as “The Five” (the other four being Rimsky-Korsakov, Mussorgsky, Borodin, and Cui). Balakirev, who was essentially the founding father of Russian nationalism, recognized the extraordinary potential in the young Tchaikovsky, and his discerning and helpful hand was just the sort of validation that Tchaikovsky needed at the time.

Balakirev gave his younger colleague a detailed program for the work (even including musical suggestions) in 1869, and Tchaikovsky related to the subject matter immediately and earnestly. He struggled with the initial version of the piece for several months, and it was given its premiere in Moscow the following year, but not at all successfully. This first version is a masterpiece in its own right (and has even been recorded), but it was not until the final version that Tchaikovsky was completely satisfied. Some of the intense emotion and sweeping lyricism of the work may have been the result of the composer’s despair over having been rejected two years previously by the only woman he ever was truly in love with, a Belgian opera singer named Désirée Artôt.

Whatever the case, Tchaikovsky was quite dissatisfied with this first version and continued to work on it sporadically for the next ten years. While in Switzerland in the summer of 1870, he fundamentally revised the work, and outlined the changes in a letter to Balakirev when he returned to Moscow that September, but Balakirev was not entirely satisfied

with this version and asked Tchaikovsky to make further revisions to the score.

He did so, and this second version was performed in Saint Petersburg in February of 1872, but again was not a success.

Tchaikovsky left the work alone for several years, and in August of 1880 he finally came up with a satisfactory version that was premiered that September, was published the following year, and which is now rightly regarded as one of his most inspired creations. The changes here were confined to the final 80 bars of the work, of which 34 were completely new. In 1884, the piece was awarded a prize as one of the best works in Russian classical music, and Tchaikovsky received 500 rubles as part of the award. The long and somber introduction is related to the character of Friar Laurence; next comes a fiery fast section representative of the conflict between the Montagues and the Capulets; then comes the beautiful love music of Romeo and Juliet. Later on, all of the principal themes are combined in masterful fashion, followed by music suggestive of a funeral procession, and this great tragedy comes to a conclusion with several strong chords and a final sustained note all thundered out by the full orchestra. In this intense and powerful work, Shakespeare’s tragedy and Tchaikovsky’s tortured personal life combine to produce the first true expression of his genius as a composer: a tautly constructed masterpiece that distills the Bard’s narrative down to its essentials in 20 minutes of music, which is by turns thunderingly dramatic and intensely beautiful, careening between the tension of the rival Montague and Capulet houses and the heartbreaking tenderness of the protagonists’ love. ●

“… very loud and noisy, but without artistic merit, because I wrote it without warmth and love.”

—Pyotr Ilyich Tchaikovsky

CHARLES GREENWELL

Tchaikovsky

1812 Overture, Op. 49 (1880) Scored for 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, optional brass band, and strings.

Approximately 18 minutes.

In 1880, Tchaikovsky received a commission from Nikolai Rubinstein, director of the Moscow Conservatory of Music and the Moscow branch of the Russian Musical Society, for a festive work that could be used for one of three important occasions. In 1881, Tsar Alexander II would be celebrating the 25th anniversary of his accession to the throne, the following year would see the opening of the All-Russia Arts and Industry Exhibition in Moscow, and the consecration of the Cathedral of Christ the Savior, which was being built to commemorate the Battle of Borodino and the subsequent liberation of Moscow from Napoleon’s armies in 1812.

Tchaikovsky initially was not enthusiastic, but Rubinstein persisted, and finally got a promise from the composer for “… a big solemn overture … very showy and noisy …” for the Cathedral ceremony. He began work on the new piece in October of 1880 and finished it in six weeks’ time. The scoring was to be for a very large orchestra, a brass band, cannon, and church bells, and the work would be performed outdoors—a combination that actually had a precedent in 1789, when Giuseppe Sarti, Court Conductor to Catherine the Great, had written a Te Deum to celebrate the capture of Ochakov from the Turks, and which was performed by similar forces (including a chorus) in front of Catherine’s palace. For the 1812 event, the cannon were to be fired electrically from a set of switches on the conductor’s music stand, and at the climactic moment all of the bells of the Cathedral would peal along with hundreds of other bells in the nearby Kremlin towers.

The event as planned would have been continued on 16

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spectacular, but unfortunately it never took place. In March of 1881, the Tsar was assassinated by a group of fanatical terrorists, throwing the country into turmoil, confusion, and panic. As a result, all outdoor ceremonies were banned for some time, and the work finally received its premiere as part of the Exhibition festivities in August of 1882, but it was performed in a tent next to the unfinished cathedral, of course minus the special outdoor trappings. For the record, the cathedral was finally finished in May of 1883. In addition, Nikolai Rubinstein never got to hear the work performed, because he had died unexpectedly in Paris just a few days after the Tsar had been killed by the terrorist bombs. The work makes use of three well-known patriotic tunes: the Russian hymns “God Preserve Thy People” and “God “Preserve the Tsar” and the French national anthem, “La Marseillaise.” While he was writing the overture, Tchaikovsky complained to his patroness Mme. Von Meck that the work would be “… very loud and noisy, but without artistic merit, because I wrote it without warmth and love.” Nevertheless, the work made the composer’s estate exceptionally wealthy, as it went on to become one of the most frequently performed and recorded works in his entire catalog. One interesting sidelight: during the Communist era in Russia, the Tsar’s anthem melody was replaced by a chorus from Mikhail Glinka’s historical opera A Life for the Tsar in which the words proclaim “Glory, Glory to you, holy Russia!” and even musical scores of the

overture published in Russia at the time contained this substitution. Fortunately, with the fall of the Soviet Union, the original musical content was restored. ●

DAVID B. LEVY

Alberto Ginastera

Four Dances from Estancia (1941) Scored for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion (triangle, tambourine, castanets, snare drum, cymbal, bass drum, tam-tam), and strings.

The 20th-century Argentine master Alberto (Evaristo) Ginastera was born in Buenos Aires on April 11, 1916, and died in Geneva on June 25, 1983. The suite derived from his ballet Estancia is his most frequently performed orchestral work. It received its premiere at the Teatro Colón in Buenos Aires on May 12, 1943.

Estancia is the second ballet composed by Ginastera, Argentina’s most prominent composer. The work had been commissioned by the American Ballet Caravan in 1941, but the premiere of the complete ballet was postponed until 1952 because of the dissolution of that organization. The scenario, which celebrates Argentine rural life (the title means “ranch”), relates the efforts of a “city slicker” who competes with some gauchos for the affections of a ranch girl.

Although Ginastera had to wait for a performance of the ballet, he extracted four dances—one thinks of Aaron

Piazzolla eventually became so enamored of the tango that he destroyed almost all of his early compositions and devoted the rest of his life to writing works with that rhythm as its basis.

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Copland’s analagous Rodeo “Dance Episodes”—to form a kind of suite, which he conducted at the Teatro Colón in Buenos Aires on May 12, 1943. Estancia is representative of Ginastera as a folkloric composer. Later in his career (after 1958) he turned to serialism. Known mainly for his stage and dramatic works, his sexually explicit opera, Bomarzo (1966-67), became an international sensation.

The Four Dances from Estancia begin with a rough and rhythmically energetic movement titled “Los trabajadores agrícolas” (“The land workers”). The gentle “Danza del trigo” (“Wheat dance”) serves as a slow movement.

This is followed by the low timbre and rhythmic complexity of “Los peones de hacienda” (“The cattle men”). Listeners may discern a kinship of this movement to Stravinksy’s Petrushka. The final movement, “Danza final (Malambo),” is a wild and wooly celebration, whose last part (Tempo di malambo) acts as a kind of rondo. The French horns in particular have a merry time of it in the digressions from the main theme. ●

CHARLES GREENWELL

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

Bandoneón Concerto, “Aconcagua” (1979) Scored for solo bandoneón (or accordion), percussion, harp, piano, and strings.

Approximately 22 minutes.

Astor Pantaleon Piazzolla was an Argentine composer, arranger, and virtuoso on the bandoneón, an Argentine type of accordion that has buttons instead of keys. His works changed the traditional tango into a new style called nuevo tango (new tango), which incorporated elements of jazz and classical music. Although in our time his name has become virtually synonymous with the tango, he certainly did not create the dance, but elevated it to new heights and in the process placed it firmly in both the dance halls and concert halls of the world. In this regard he was able, through the force

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and compelling qualities of his works, to transform a very popular idiom into a new and sophisticated form of music.

Although he was imbued with the folk elements of his native Argentina and other Latin-American cultures, he was able to study with the legendary Nadia Boulanger in Paris, whose influence can be heard in the unusual harmonies and rhythms in his tangos and other works. By the time Piazzolla got to it, the tango already had been filtered through European, African, and Cuban influences, and had arisen in the slums of Buenos Aires in the late 19th century. The dance itself is characterized by almost violent movements along with abrupt rhythmic and dynamic contrasts, and the sung tango lyrics are emotional, sentimental, and often very dark and negative. Piazzolla eventually became so enamored of the tango that he destroyed almost all of his early compositions and devoted the rest of his life to writing works with that rhythm as its basis. He developed this process to a point where it is often difficult to recognize the dance in his most complex and sophisticated works. Until comparatively recently, his music was not widely known outside of South America, but now his works are very popular and played all over the world.

This Bandoneón Concerto was commissioned by the Banco de la Provincia de Buenos Aires, and was first performed in December of 1979 in that city with Piazzolla himself as the soloist.

After his death in 1992, his agent and publisher gave the work the nickname of “Aconcagua,” the name of the highest peak in the Andes Mountains, and by inference, the highest peak of Piazzolla’s entire output. The accompanying ensemble excludes winds and brass, which serves to intensify the presence of the soloist. It is in the three-movement form of a classical concerto and is based on the milonga, a ballroom dance and forerunner of the tango that originated in the Rio de la Plata region of Argentina and Uruguay, and evolved from a fusion of the Cuban habanera, the polka, and the Brazilian macumba. There are elements of the tango all through the concerto: a melancholy alternation between major

Piazzolla forged a new music that fused folkloric beauty with contemporary practices, and in so doing challenged the traditional concepts of concert music. and minor, very extreme and disjointed articulation, expressive solo lines, and a pensive way of subtly changing the tempo. The first movement begins with strong, syncopated rhythms that blend into a lyrical middle section featuring two cadenzas for the soloist. The middle movement is slow and dreamy and builds to a passionate climax. After beginning in a whirlwind of fast, exciting music, the finale—like the first movement—slows down into a reflective section, then builds to a shattering climax over very strong and heavy rhythms.

CHARLES GREENWELL

Piazzolla arr. Roberto Passarella

Libertango (1974; arr. 2020) Piazzolla

Oblivion (1982) Until comparatively recently, LatinAmerican music was not heard very often on concert programs in the United States. The great names in LatinAmerican concert music are limited to the 20th century, but the contribution of these figures has been substantial.

Of all composers from that part of the Western hemisphere, Astor Piazzolla has become the most widely performed, and indeed has achieved something resembling pop-star status. He was a composer, bandleader, and a virtuoso on the bandoneón, an Argentine type of accordion that has buttons instead of keys. His family emigrated to New York in 1924, but he returned to Buenos Aires

in 1937, and in 1944 formed a small orchestra to play his own compositions.

In 1954, he wrote a symphony for the Buenos Aires Philharmonic that won him a scholarship to study with the legendary Nadia Boulanger in Paris, where he eventually settled in 1974. His very distinctive and trend-setting tangos included fugues, extreme chromaticism, dissonance, and elements of jazz.

Initially, this music was condemned by the traditionalists, and found favor mainly in the U.S. and France. By the 1980s, however, his work became widely accepted, and he was even regarded by many as the savior of the tango, the musical soul of Argentina. At that time, his works were taken up by many classical performers, among them the Kronos Quartet, Mstislav Rostropovich, Michael Tilson Thomas, Gidon Kremer, and Daniel Barenboim. Piazzolla forged a new music that fused folkloric beauty with contemporary practices, and in so doing challenged the traditional concepts of concert music. It is no exaggeration to say that he is the single most important figure in the history of the tango, a towering giant whose influence looms large over everything that preceded and followed him. His place in tango music can be roughly equated with that of Duke Ellington in jazz, that is, a genius who took an earthy, sensual, and even disreputable folk music and elevated it into a sophisticated form of high art.

In addition, Piazzolla was a virtuoso performer with a nearly unequaled mastery on the bandoneón. In his hands, the tango was lifted out of the realm of dance music and infused with an entirely new harmonic and rhythmic vocabulary made for the continued on 18

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concert hall more than the ballroom.

With Stravinsky-esque rhythms, sparsetextured counterpoint, and driving bass lines, he renewed the tango’s universality and its basic essence, in the process bringing him great international acclaim, particularly in Europe and Latin America.

It also earned him the lasting enmity of many tango purists who mercilessly attacked him for what they considered his abandonment of tradition, and this was enough to force him out of Argentina during the dark years of the military junta in the 1970s. In spite of this, he remained true to his vision, and became the tango’s principal ambassador to the world at large until he died in 1992. He was a true original because of his artistic uniqueness and innovative honesty.

Libertango, which was recorded and published in 1974 in Milan, is one of Piazzolla’s most frequently performed works. The title is a portmanteau combining Libertad (Spanish for liberty) and Tango, which here marked a change from Classical Tango to Tango Nuevo (New Tango), a new style of the master’s compositions. This sultry work with spicy rhythms and a striking melody also features an accordion, which gives the music a folk-like element, and has kept it at the forefront of the modern tango.

Although it was originally an instrumental work, in 1990 the Argentinian poet Horacio Ferrer added Spanish lyrics concerned with the theme of freedom.

The haunting and atmospheric Oblivion, another of Piazzolla’s most popular tangos, became widely known from the soundtrack of the 1984 Italian film Henry IV—the Mad King. Based on Luigi Pirandello’s play of the same name, it tells the story of a man, played by Marcello Mastroianni, who, after falling off his horse and receiving a concussion, spends the next 20 years of his life believing he was Henry IV, the 11th-century German king and Holy Roman Emperor. The film was directed by Marco Bellochio, a highly regarded mainstay of the Italian film industry who is sadly little-known outside of Italy. This is one of Piazzolla’s most traditional tangos, less jazzy and angular

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Their “land without evil” is a place where everything thrives, where there is no suffering, no illnesses, no death … where everything is in harmony. than many of his works, which owes much to the work of the Brazilian composer, pianist, and singer Antonio Carlos Jobim, one of the greatest exponents of Brazilian music, and the man who made the bossa nova internationally famous. ●

RICHARD SCOFANO

Richard Scofano

La Tierra Sin Mal (2020) This piece is inspired by the Guaraní account of the “land without evil” (la tierra sin mal—yvy marãhey). The South American indigenous peoples called the Guaraní-occupied areas of the continent this before the arrival of the Europeans.

Today, their descendants inhabit parts of Bolivia, Brazil, Paraguay, and Argentina.

Their “land without evil” is a place where everything thrives, where there is no suffering, no illnesses, no death … where everything is in harmony. According to their beliefs, this land could be reached in life, and it should be found somewhere at the center of earth, where their hero Ñanderuvuçú had built his house in time immemorial. This place was to be found toward the East, beyond the seas, and this belief justified population movements and displacements for centuries. They tackled the unknown, faced enemy groups, crossed forests, rivers, waterfalls, and endured suffering and illnesses so that they could reach their yvy marãhey.

Growing up, I took this myth as testimony of the Guaraní courage, endurance, and resilience, but above all, of the enthralling and overwhelming beauty of their culture, of their ways. I

remember envisioning mysterious and dangerous places and situations every time the search for “la tierra sin mal” was recounted. Dense forests, wetlands, vast grasslands, darkness and light, the anticipation, the challenges and dangers, the unknown, and above all, the moments of peace and rest, their settlements, their rituals, their dances, and festivities.

I could almost taste their mbeyús with honey while sipping mate. And I was fascinated by their profound spirituality, the transcendent and redemptive character of their myths, as well as with their symbiosis with the environment.

In this piece, I have drawn musical landscapes and commented on many of those elements, sometimes intentionally, mostly unconsciously. The piece is filled with human emotions and sensorial experiences: sights, smells, and sounds of the forest, the rivers and of the Guaraní settlements, their celebrations, and their people. But I prefer to leave it to musicians and audiences to find them according to their imagination, as the “poem” unfolds … as it is performed.

In the process of writing this piece, the myth was evermore present; it became personal, resonating with the current challenges that we all have been experiencing … another challenge, one more threshold to be crossed, and the new beginning that will follow as we continue the search for our “land without evil.” I think that this search may have to be directed toward our inner selves … as “la tierra sin mal” may very well be hidden deep inside each and every one of us … it may have been there from time immemorial. ●

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DAVID B. LEVY

Silvestre Revueltas

La noches de los mayas (1936) Mexican composer, conductor, and violinist Silvestre Revueltas was born on December 31, 1899, in Santiago Papasquiaro, Durango, and died on October 5, 1940, in Mexico City. One of his country’s foremost composers, trained both in his native land and in the United States, he also pursued an active career as a violinist and conductor, having performed and conducted in, among others, San Antonio, Mobile, and Mexico City. Revueltas was invited by Carlos Chávez in 1929 to become an assistant conductor of the Mexico Symphony Orchestra, a post he held for six years.

In addition to his frequently performed Sensemayá, Revueltas’s compositions include several ballets, orchestral works, chamber music, songs, and film scores, of which La noches de los mayas, composed in 1936 is an example. The music was composed for the film of the same name that was an adaptation by director Chano Urueta of a story by Antonio Mediz Bolio, an advocate for Mayan culture. In 1960, the composer and conductor José Yves Limantour created a four-movement suite based on Revueltas’s score. Limantour’s orchestration calls for 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets (both doubling E-flat clarinet), bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 2 trombones, tuba, timpani, percussion (bongos, caracol (conch shell), drum—with snares, drum—without snares, guiro, huehuetl (cylindrical drum), Indian drum, sonajas (metal rattles), tam-tam, tomtoms, tumbadora (conga drum), tumkul, and xylophone), piano, and strings.

Concert audiences may be familiar with Revueltas’s evocative Sensemayá (1938), and the present suite taken from Urueta’s film that celebrated and lamented the glory and decline of Mayan culture as it clashed with modern culture. No less a figure than Paul Hindemith took an interest

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in Revueltas’s music for La noches de los mayas, creating his own two-movement arrangement in 1946 and reducing the size of the originally huge percussion. In 1959, Mexican conductor José Yves Limantour made a four-movement suite from the film score. In this version, Limantour felt free to make alterations that included an extensive “improvisation” of exotic percussion instruments that was not the work of Revueltas. The four movements are as follows, taking the shape of a kind of symphony: “Noche de los mayas,” molto sostenuto “Noche de jaranas,” scherzo “Noche de Yucatán,” andante espressivo “Noche de encantamiento,” tema y variaciones Limantour’s version was first performed on January 30, 1961, by the Guadalajara Symphony Orchestra. The music is highly evocative from start to finish. ●

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PRINCIPALS CIRCLE

Donation of $125–$499 Marsha Adams Gerald Alldredge Amazon Smile Anderson Organizing Systems John & Polly Arango Leonard & Stephanie Armstrong Janice J. Arrott David Baca Sally Bachofer

Douglas Bailey Olive Baker-Brown Nicole Banks Harold & Patricia Baskin William Bechtold Edie Beck Michael Bencoe Gay & Stan Betzer Elaine Bleiweis & Karen Hudson, in memory of Blossom Kite Kelly Block James & Ann Bresson Douglas Brosveen Terry Brownell & Alpha Russell Nancy Brunson Marcia Bumkens Caliber’s Safe Store Carol Callaway Dante & Judith Cantrill Robert E. & Shirley Case Roscoe & Barbara Champion Gregory & Karen Chase Olinda Chavez Lance & Kathy Chilton Sharon Christensen Beth Clark Paul & Linda Cochran Jane & Kenneth Cole Donna Collins Lloyd Colson III Henry & Ettajane Conant Marcia Congdon Susan Conway Jasha Cultreri Stephen & Stefani Czuchlewski Paul & Kathleen Deblassie Ronald & Faye Detry Raymond & Anne Doberneck Carl & Joanne Donsbach Reverend Suzanne & Bill Ebel Gary Echert Michael & Laurel Edenburn Jeffrey Edgar The Eichel Family Charitable Fund Richard & Mildred Elrick Jay Ven Eman Jackie Ericksen David & Frankie Ewing Peggy Favour Helen Feinberg Heidi Fleischmann & James Scott William & Cheryl Foote Joseph Freedman & Susan Timmons Maureen Fry Mary Day Gauer Thomas & Linda Grace Paul & Marcia Greenbaum Justin M. & Blanche G. Griffin Stanley & Sara Griffith Mina Jane Grothey Kirk & Jan Gulledge Robert & Elene Gusch Ruth Haas Herman Haase Lee & Thais Haines Ron & Nancy Halbgewachs Leila Hall, in memory of Samuel Hall Debbie Hammack Bennett A. Hammer Joan Harris Darren Hayden

Patricia Henning & Anthony Lazzaro Pamelia Hilty (Snow Blossom Gift Fund) Laura Hoberg Toppin & Robert Hodge Ulton & Jean Hodgin Diane Holdridge Kiernan Holliday Bernhard E. Holzapfel Nancy Kay Horton Janet Humann Betty Humphrey Bryan “Lance” & Debrah Hurt Christopher & Venessa Johnson Nancy Joste Robert & Mary Julyan Carol Kaemper John & Mechthild Kahrs Norty & Summers Kalishman Thomas & Greta Keleher Ann King Gerald Kiuttu & Candace Brower Phil Krehbiel Jennifer C. Kruger Woody & Nandini Kuehn Karen Kupper Nick & Susan Landers Jae-Won & Juliane Lee Susan Lentz Robert Lindeman & Judith Brown Lindeman John Linder & Margaret Chaffey William & Norma Lock Gebhard Long Daniel Lopez & Linda Vigil Lopez Suzanne Lubar & Marcos Gonzales, in memory of Larry B. Lubar Joan M. Lucas Ruth Luckasson & Dr. Larry Davis, in memory of Dr. Alfred Watts Robert Lynn & Janet Braziel Robert & Linda Malseed The Man’s Hat Shop Jim & Helen Marquez Jeffrey Marr Carolyn Martinez Sallie McCarthy Roger & Kathleen McClellan Linda McNiel Martha Ann Miller & Henry Pocock Jim Mills & Peggy Sanchez Mills Louis & Deborah Moench Robert & Phyllis Moore Jim & Penny Morris Ted & Mary Morse Lynne Mostoller & Kathryn McKnight, in honor of Richard White Mr. Tux Betsy Nichols Rebecca Okun John & MacKenzie Ordorica Patrick Ortiz, in memory of Karen McKinnon Del Packwood & Barbara Reeback Michelle Pent Elizabeth Perkett Phil & Maggie Peterson Lang Ha Pham & Hy Tran Judi Pitch Placitas Artists Series PNM Resources

James Porcher Dan & Billie Pyzel Jane Rael Jerry & Christine Rancier Ray Reeder Robert Reinke Tim Renk Lee Reynis & David Stryker Erika Rimson & David Bernstein Peggy Rodriguez John & Faye Rogers Catalin Roman Glenn & Amy Rosenbaum Carole Ross Sofya Rubinchik John Salas Carey Salaz Santa Fe Opera Sarafian’s Oriental Rugs Christine Sauer John & Karen Schlue Laura Scholfield Kendra Scott Marc Scudamore & Brigitte Schimek Meryl & Ron Segel, in honor of Joan Zucker’s retirement Daniel & Barbara Shapiro R.J. & Katherine Simonson George & Vivian Skadron Carol Smith Steven & Keri Sobolik Karen Soutar Sport Systems John & Patricia Stover David & Jane Tallant Natalia Tikhovidova Craig Timm & James Wilterding Laurence Titman Jacqueline Tommelein True Rest Float Spa Leonard & Mary Joan Truesdell Kimberly Tuozzoli Arthur Vall-Spinosa & Sandra Louise Nunn Vara Winery & Distillery Charles & Barbara Verble John Vittal & Deborah Ham Wolfgang & Carol Wawersik Lawrence Wells Margaret Wente Jeffrey West Tad & Kay West Marybeth White Kris Williams Dot Wortman Paula Wynnyckyj Andrea Yannone Peng Yu, in honor of Steve & Maureen Baca Tony Zancanella

FRIENDS OF THE PHILHARMONIC

Donation of $25–$124 David & Elizabeth Adams Wanda Adlesperger Natalie Adolphi & Andrew McDowell Dr. Fran A’Hern-Smith Jeffrey Allen Mel & Hilaria Alper Jo Anne Altrichter & Robin Tawney

continued on 22

The New Mexico Philharmonic

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DONOR CIRCLES . continued from 21 Freda Anderson Jerry & Jo Marie Anderson Anonymous Julie Atkinson Jackie Baca & Ken Genco Thomas J. & Helen K. Baca Harper Baird Adam Banks Therese Barts Elizabeth Bayne Susan Beard Judy Bearden-Love Kirk & Debra Benton Mark & Beth Berger Barry Berkson Suzanne Bernhardt Marianne Berwick Karen Bielinski-Richardson Nancy & Cliff Blaugrund, in honor of Judge Parker on his birthday Nancy Blaugrund, in honor of Judy Lackner Thomas & Suzanne Blazier William Blumenthal David & Sheila Bogost Henry Botts J.M. Bowers & B.J. Fisher Samuel Brandt Carolyn Brown Hank & Miriam Burhans Elizabeth Burki Robert & Marylyn Burridge Douglas & Ann Calderwood Luana Carey, in honor of Carolyn Quinn & John Crawford CarMax James Carroll Joseph Cella Laura Chang Cheesecake Factory Wayne & Elaine Chew Barry Clark James & Pauline Clements James & Joan Cole Randall & Valerie Cole Amy Couch John & Katherine Cunningham Mark A. Curtis Marjorie Cypress & Philip Jameson The Daily Grind Hubert Davis Merrick & Leigh Ann Dean Kurt & Yvonne Deshayes Stephen R. Donaldson James & Julie Drennan Barbara Druxman, in memory of Dr. Larry Lubar Michael & Jana Druxman Jeff & Karen Duray Sondra L. Eastham, in memory of Judith Lackner Sondra L. Eastham, in memory of Dr. Herb Freidman John Eckert Helene Eckrich Bradley Ellingboe Robert & Dolores Engstrom Jane Farris, in honor of Brent & Maria Stevens John Adam Farris Howard Fegan Ella J. Fenoglio

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Irene Fertik David Fillmore Mary Filosi Sally Fish Joy Fishel-Eaton James Fisk Rabbi Arthur Flicker Blake & Liz Forbes Walter & Beverly Forman David Foushee Greg & Jeanne Frye-Mason Eric & Cristi Furman Jonathan & Julia Gallegos Yolanda Garcia Walter Gerstle Ronald Goldsmith The Golf Mart Lois Gonzales Stephen Ray Goode Great Harvest Bakery Alfred & Patricia Green Ginger Grossetete Kevin & Teresa Grunewald Birgitta Gustafson, in honor of Richard White J. Michele Guttmann Fletcher & Laura Hahn Kerry L. Harmon William & Janet Harrington Noah Harris Matt Hart John & Diane Hawley Jo Ellen Head Drew Henry Cynthia Heredia Marvin & Anne Hill, in memory of J.L. Tischhauser Nancy Hill Heidi Hilland Glenn & Susan Hinchcliffe Fred Hindel Kory & Roseann Hoggan, CPA Steven Homer Thomas & Mary Ann Horan Stanley & Helen Hordes Stephanie Hurlburt Ralph & Gay Nell Huybrechts James & Kristin Jackson Jenica Jacobi Jerry & Diane Janicke Gwenellen Janov Michael & Sandra Jerome Robert & Nanette Jurgensen Joyce Kaser Julia Kavet Janet & Michael Keller, in memory of Blossom Kite Margaret Keller Nancy Kelley Fern Kelly Bill Kent J. Dianne Keyson M.J. Kircher Barbara Kite, in memory of Blossom Kite Ralph & Heather Kiuttu Barbara Kleinfeld, in memory of Karen McKinnon Barbara Kleinfeld, in memory of Judith Lackner John & Gretchen Kryda Mark Kunzman

2022/23 Season / Volume 11 / No. 2

Kathryn Lackner Molly Lannon LeRoy Lehr & Veronica Reed Marc Limmany Carl & Sheila Litsinger Mariana Lopez Laurence & Patricia Loucks Sam Lucero & Ron Lahti Bob & Maureen Luna, in memory of Robert O. Woods Morgan MacFadden Frank Maher James & Marilyn Mallinson Ronald & Monica Manginell Nicolle Maniaci & John Witiuk Frederic & Joan March Elizabeth Marra Salvatore T. Martino John & Alice Massey Jean-Luc Matton Charles McCormack Brian McDonald David & Jane McGuire Judith W. Mead Joyce Mendel, in memory of Robert O. Woods Kathleen Miller Natalie Miller Robert F. Miller John Mims Phillip Mitchell, in memory of Beatriz Mitchell Dr. William Moffatt Letitia Morris Shirley Morrison Baker H. Morrow & Joann Strathman Karen Mosier & Phillip Freeman Peter Mostachetti Brian Mulrey Andrea Mungle Nambé Napoli Coffee Albert & Shanna Narath Bruce & Ruth Nelson Geri Newton Maude Nielsen Candace & Frank Norris Ruth Okeefe Ooh! Aah! Jewelry Joseph Opuszenski William Owen Eric Parker Mark & Diane Parshall Howard Paul Honorine Payne PayPal Giving Fund Brian Pendley PF Chang’s Barbara Pierce Ed Pierce, in memory of Judith Lackner Helen Priest Therese Quinn David & Tracey Raymo Kerry Renshaw Kay Richards George & Sheila Richmond Margaret Roberts Gerald & Gloria Robinson Gwenn Robinson, MD & Dwight Burney III, MD Jeff & Marin Robinson

Judith Roderick Christopher Rosol Dick & Mary Ruddy Aubree Russell Robert Sabatini & Angela Bucher John Sale & Deborah Dobransky Evelyn E. & Gerhard L. Salinger Katherine Saltzstein Warren Saur Savoy Bar & Grill Peggy Schey David & Marian Schifani Sheila Schiferl Seasons 52 Season’s Rotisserie & Grill Laurel Sharp & David Smukler Arthur & Colleen Sheinberg Dasa Silhova Beverly Simmons Norbert F. Siska Matthew & Diane Sloves Joseph Smith Kirk Smith Smith’s Community Rewards Catherine Smith-Hartwig Cynthia Sontag Allen & Jean Ann Spalt Linda Srote, in memory of Karen McKinnon Philip & Lois Ann Stanton Lauren Starosta Theodore & Imogen Stein Frances Steinbach Luis & Patricia Stelzner Brent & Maria Stevens Elizabeth C. Stevens Stone Age Climbing Gym Bryan Stoneburner Arthur Stuart Jonathan Sutin Gary & Rosalie Swanson Jeffrey & Georgeann Taylor Dr. Steven Tolber & Louise CampbellTolber Valerie Tomberlin John Tondl Marian Towne John & Karen Trever Jorge Tristani Linda Trowbridge Robert Walston Caren Waters Elaine Watson Dale A. Webster Kevin & Laurel Welch Charles & Linda White Leslie White Roland & Wendy Wiele Robert & Amy Wilkins Kathryn Wissell Margaret Wolak & Angelo Tomedi Kenneth Wright Kari Young Kenneth & Barbara Zaslow Charles & Nancy Zimmerman Michael & Anne Zwolinski 10/4/2022

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DONOR CIRCLES .

New Mexico Philharmonic Foundation DONORS & TRUSTEES The McKinnon Family Foundation Lee Blaugrund Charles, Trustee, & Eugenia Eberle Barbara Rivers, Trustee Robert & Frances Fosnaugh Thomas Martin, Trustee, & Cynthia Phillips Stephen, Trustee, & Maureen Baca Estate of Marian Ausherman Chavez Dr. Dean Yannias William E. Cates Mary Baca (aka Betty) Christine Kilroy Keith Gilbert Ann & Robert Boland Thomas & Edel Mayer Robert Milne David Northrop John & Karen Schlue Susan Spaven Tyler M. Mason Jerald Parker Richard VanDongen Roland Gerencer Jonathan Hewes George Thomas Richard Zabell & Teresa Apple Scott Obenshain Sydney (Al) & Melissa Stotts Marian & Jennifer Tanau Charles & Judith Gibbon Alice J. Wolfsberg Scott & Carol Schaffer Joel & Sandra Baca Dorothy M. Barbo Henry & Jennifer Bohnhoff Clarke & Mary Cagle Kenneth Conwell II Bob & Greta Dean Howard & Debra Friedman Robert & Jean Gough Justin Griffin Mike & Blanche Griffin Mary Herring Elisa Kephart Alan Lebeck Sonnet & Ian McKinnon James O’Neill W. Pierce & Joyce Ostrander Clifford Richardson III Jacquelyn Robins Jay Rodman & Wendy Wilkins John Rogers Heinz & Barbara Schmitt Michael & Janet Sjulin Peter & Judy Weinreb Jim Zabilski & Sue Johnson Marlin E. Kipp Thomas & Greta Keleher

Susanne Brown Michael Dexter Thomas M. Domme Martha Egan David Espey John Homko Frances Koenig Letitia Morris Michael & Judy Muldawer Ken & Diane Reese Jeff Romero Nancy Scheer Neda Turner Michael Wallace Thomas & Ann Wood Anonymous Maria Stevens John & Julie Kallenbach Kay F. Richards Stan & Gay Betzer Kenneth & Jane Cole Leonard Duda Mary E. Lebeck Robert & Judy Lindeman Martha A. Miller Betsy Nichols Lee Reynis Warren & Rosemary Saur John & Patricia Stover Leonard & Stephanie Armstrong Robert Bower & Kathryn Fry Christopher Calder & Betsey Swan Judith & Thomas Christopher Fran DiMarco Dr. Lauro G. Guaderrama Lawrence & Anne Jones Karen Lanin Geri Newton Edward Rose Christine Sauer James Sharp & Janice Bandrofchak Rae Lee Siporin Bruce Thompson & Phyllis Taylor Lawrence & Katherine Anderson Douglas & Dianne Bailey Edie Beck Jeffrey Bridges A.J. Carson Thomas & Elizabeth Dodson Harry & June Ettinger Helen Feinberg Carl Glenn Guist Fletcher & Laura Hahn Robert & Linda Malseed Robert & Rebecca Parker Elizabeth Perkett Shelley Roberts Thomas Roberts & Leah Albers Gruia-Catalin Roman Donald & Carol Tallman Peter & Mary Tannen Rosario Fiallos James & Ann Breeson Carl & Jeannette Keim Andrea Kilbury Linda McNiel

The New Mexico Philharmonic

Albert & Shanna Narath David & Cynthia Nartonis Ray Reeder Charles & Ruth Snell Henry & Ettajane Conant Nancy Hill Daniel T. O’Shea Charles & Linda White Dal Jensen Charlotte McLeod David Peterson 505 Southwest Auto Ninon Adams David Baca Mark & Beth Berger Charleen Bishop John Bowers & B.J. Fisher Eric R. Brock & Mae S. Yee Camille Carstens Joseph Cella Robert Chamberlin Dennis Chavez Development Corp Olinda Chavez Helene Chenier Hugh & Kathleen Church James Cole Barbara L. Daniels Drina Denham Jerry & Susan Dickinson Vicky Estrada-Bustillo Alfred & Patricia Green Peter Gregory Karen Halderson Samuel & Laila Hall Herman Haase Jo Ellen Head Kiernan Holliday Michael & Sandra Jerome Robert H. & Mary D. Julyan Julia Kavet Henry Kelly Robert & Toni Kingsley Walter & Allene Kleweno, in memory of Pegg Macy Gerald Knorovsky L.D. & Karen Linford Betty Max Logan Douglas Madison Elizabeth Davis Marra Salvatore Martino Donald McQuarie Dr. William Moffatt James B. & Mary Ann Moreno Cary & Evelyn Morrow Karen Mosier David & Marilyn Novat Richard & Dolly O’Leary Maureen Oakes Eric P. Parker Michael Pierson & Jane Ferris Karla Puariea Russell & Elizabeth Raskob George & Sheila Richmond Margaret E. Roberts Matthew Roberts Judith Roderick Marian Schreyer Drs. M. Steven Shackley & Kathleen L. Butler Joseph Shepherd & Julie Dunleavy

Lillian Snyder Julianne Stangel Ronald T. Taylor Marta Terlecki Betty Tichich Marvin & Patricia Tillery Robert Tillotson Jorge Tristani (President, Denis Chavez Development) Harold & Darlene Van Winkle Lana Wagner Dale Webster Kevin & Laurel Welch Liza White Marc & Valerie Woodward Diana Zavitz Michael & Jeanine Zenge Linda R. Zipp MD Jeffrey G. Allen Marilyn Bowman Stephen & Merilyn Fish Lorraine B. Gordon Hareendra & Sanjani Kulasinghe David C. McGuire Jr. William & Cynthia Warren John Vittal Margaret Lieberman Judith Anderson Marcia Congdon Genevieve Davidge Winnie Devore Karen Duray Jackie Ericksen John & Nancy Garth Allison Gentile Andrea Granger Fred & Joan Hart Edgarton (E.R.) Haskin Jr. Theresa Homisak Stephanie Kauffman Basil Korin Frederic & Joan March Cristina Pereyra Luana Ramsey J. Sapon & Allison Gentile Michael & Lisa Scherlacher John & Sherry Schwitz Beverly Simmons Alexandra Steen Kathleen Stratmoen Dean Tooley Kenneth Wright Kenneth & Barbara Zaslow Andrew & Lisa Zawadzki Peter & Ann Ziegler Mary J. Zimmerman Alvin Zuckert Dante & Judie Cantrill Lori Johnson Douglas Cheney Martha Corley Barbara Killian Gary Mazaroff Theodore & Sue BradiganTrujillo Christopher Behl Mary Compton Henry Daise Arthur Flicker Andrew McDowell & Natalie Adolphi

Claude Morelli Noel Pugach Bonnie Renfro Elizabeth Stevens Arthur Alpert Stanley & Helen Hordes Edward & Carol Ann Dzienis Bob Crain Denise Fligner & Terry Edwards Stephen Schoderbek Krys & Phil Custer Deborah Peacock & Nathan Korn Rita Leard Carol Diggelman Paul Isaacson Sarah Barlow Martin & Ursula Frick Robert & Phyllis Moore Gary & Nina Thayer Sharon Moynahan & Gerald Moore Jeffrey West Ina Miller Bruce Miller Julie Kaved Jeffery & Jane Lawrence Dolores Teubner Ronald & Sara Friederich Elen Feinberg Volti Subito Productions Melbourn & Dorothy Bernstein 10/4/2022

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THANK YOU .

Steinway Society

Steinway Society

Piano Fund

Members

Steinway Society members make dedicated donations for current and future purchases and maintenance of our Steinway & Sons Grand Piano Model D. Since the New Mexico Philharmonic’s birth in 2011, we have had to rely on rented pianos. They have been inconsistent and at the end of the 2018/19 season, it was clear that the NMPhil needed a new, reliable piano to feature great pianists. We were finally able to fulfill this dream when we received a very generous low-interest loan to purchase the piano. Thanks to donations from Steinway Society members, the NMPhil is making great strides toward paying off this loan. Please consider joining the Steinway Society at the donor level that is best for you and be part of your New Mexico Philharmonic by helping us to produce excellence through our music.

HOROWITZ LEVEL

Donation of $20,000–$50,000 Cliff & Nancy Blaugrund Lee Blaugrund Charles & Eugenia Eberle Roland Gerencer, MD

WHITE KEYS LEVEL

Donation of $6000–$19,999 Dal & Pat Jensen Diane & William Wiley Dr. Dean Yannias

BLACK KEYS LEVEL HOROWITZ LEVEL

$20,000–$50,000

• • • • • • •

Special short video presented before one concert at Popejoy Hall Two annual private dinners with artist(s) of choice Donor Lounge access One annual private dinner with Roberto Minczuk, Olga Kern, or other pianists Special mention in the Program Book Steinway Society section Special annual reception for all Steinway Society donors Engraved Steinway piano key with the name of the donor to be displayed in the lobby at NMPhil concerts featuring piano soloists • Name engraved somewhere inside the piano with date, etc.

WHITE KEYS LEVEL

$6000–$19,999

• • • • •

Donor Lounge access One annual private dinner with Roberto Minczuk, Olga Kern, or other pianists Special mention in the Program Book Steinway Society section Special annual reception for all Steinway Society donors Engraved Steinway piano key with the name of the donor to be displayed in the lobby at NMPhil concerts featuring piano soloists • Name engraved somewhere inside the piano with date, etc.

BLACK KEYS LEVEL

$2000–$5999

• Invitation to three Donor Lounge receptions during concerts • One private dinner every other year with Roberto Minczuk, Olga Kern, or other pianists • Special mention in the Program Book Steinway Society section • Special annual reception for all Steinway Society donors • Engraved Steinway piano key with the name of the donor to be displayed in the lobby at NMPhil concerts featuring piano soloists • Name engraved somewhere inside the piano with date, etc.

PEDAL LEVEL

$500–$1999

• Invitation to one Donor Lounge reception during a concert • Special mention in the Program Book Steinway Society section • Special annual reception for all Steinway Society donors PIANO FRIENDS LEVEL

• Special mention in the Program Book Steinway Society section • Special annual reception for all Steinway Society donors

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2022/23 Season / Volume 11 / No. 2

$50–$499

Donation of $2000–$5999 Meg Aldridge Carl & Linda Alongi Joel & Sandra Baca Stephen & Maureen Baca William & Paula Bradley Clark & Mary Cagle Phillip & Christine Custer Art Gardenswartz & Sonya Priestly Robert & Jean Gough Helen Grevey Bill & Carolyn Hallett Stephen & Aida Heath Michael & Roberta Lavin Dwayne & Marj Longenbaugh Jan Elizabeth Mitchell Jacquelyn Robins Jay Rodman & Wendy Wilkins Albert Seargeant III, in memory of Ann Seargeant Terry Sloan

PEDAL LEVEL

Donation of $500–$1999 Ronald Bronitsky Michael & Cheryl Bustamante, in memory of Cheryl B. Hall Richard & Peg Cronin Mr. & Mrs. Robert Duff Custer Leonard & Patricia Duda David Foster Peter Gould Jonathan & Ellin Hewes Robert & Toni Kingsley Dr. Herb & Shelley Koffler Tyler M. Mason Thomas & Edel Mayer Jon McCorkell & Dianne Cress Bob & Susan McGuire David & Audrey Northrop James P. O’Neill & Ellen Bayard Gary & Carol Overturf Ruth Ronan Ed Rose Marian & Howard Schreyer Bruce & Sandra Seligman Frederick & Susan Sherman David & Heather Spader Al & Melissa Stotts

THANK YOU .

PIANO FRIENDS LEVEL

Donation of $50–$499 Fran A’Hern-Smith Wanda Adlesperger Joe Alcorn & Sylvia Wittels Dennis Alexander Anonymous Judy Bearden-Love Karen Bielinski-Richardson David & Sheila Bogost Robert Bower & Kathryn Fry Dante & Judie Cantrill Camille Carstens Olinda Chavez Beth L. Clark Henry & Ettajane Conant John & Katie Cunningham Marjorie Cypress & Philip Jameson Thomas & Martha Domme Martin J. Doviak Robert B. Engstrom Jackie Ericksen Elle J. Fenoglio David Fillmore Blake & Liz Forbes George & Karen Gibbs Ginger Grossetete Elene & Robert Gusch Kerry L. Harmon Jo Ellen Head Heidi Hilland Glenn & Susan Hinchcliffe Bryan “Lance” & Debrah Hurt Nancy Joste Julia Kavet M.J. Kircher Ralph & Heather Kiuttu Larry W. Langford Susan Lentz Claire Lissance Morgan MacFadden James & Marilyn Mallinson Nicholle Maniaci & John Witiuk Martha Ann Miller & Henry Pocock Robert & Phyllis Moore Cary & Evelyn Morrow Edward & Nancy Naimark Geri Newton Bob & Bonnie Paine James Porcher Dan & Billie Pyzel Mary Raje Ray A. Reeder Judith Roderick Dick & Mary Ruddy John Sale & Deborah Dobransky Katherine Saltzstein Peggy Schey Laurel Sharp & David Smukler Catherine Smith-Hartwig Cynthia Sontag Frances Steinbach Linda Trowbridge Kevin & Laurel Welch Jeffrey West Charles & Linda White Roland & Wendy Wiele Diane Zavitz, in memory of Pat & Ray Harwick Linda R. Zipp, MD 9/30/2022

Legacy Society Giving for the future Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you.

Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier 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 Joyce Kaser Walter & Allene Kleweno Louise Laval Julianne Louise Lockwood Dr. & Mrs. Larry Lubar Joann & Scott MacKenzie

Margaret Macy Thomas J. Mahler Shirley Morrison Cynthia Phillips & Thomas Martin Eugene Rinchik Barbara Rivers Terrance Sloan Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Charles E. Wood Dot & Don Wortman 10/4/2022

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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 The Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Hakim Bellamy & the Albuquerque Cultural Services Department Amanda Colburn & the Bernalillo County Special Projects

BUSINESS & ORGANIZATION APPRECIATION Immanuel Presbyterian Church The New Mexico Philharmonic Foundation The Albuquerque Community Foundation

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Ian McKinnon & The McKinnon Family Foundation Alexis Corbin Billy Brown Anne Eisfeller Drew Henry

Chris Kershner Jim Key Jackie McGehee Barbara Rivers Brad Richards Emily Steinbach Brent Stevens

VOLUNTEERS HOSTING VISITING MUSICIANS Don & Cheryl Barker Ronald Bronitsky & Jim Porcher Tim Brown Isabel Bucher & Graham Bartlett Mike & Blanche Griffith Suzanne & Dan Kelly

Ron & Mary Moya Steve & Michele Sandager 10/4/2022

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The New Mexico Philharmonic

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THANK YOU .

Sponsors & Grants 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

Menicucci Insurance Agency mianm.com

Meredith Foundation

Moss Adams mossadams.com

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

GARDENSWARTZ REALTY

United Way of Central New Mexico uwcnm.org

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Urban Enhancement Trust Fund cabq.gov/uetf

2022/23 Season / Volume 11 / No. 2

The Verdes Foundation verdesfoundation.org

Olga Kern International Piano Competition olgakerncompetition.org

Scalo Italian Restaurant scaloabq.com

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

Call today! (505) 323-4343.

NMPHIL .

New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca

The Musicians FIRST VIOLIN Carmelo de los Santos •

Karen McKinnon Concertmaster Chair

Sarah Tasker •••

Assistant Concertmaster

Ana María Quintero Muñoz Joan Wang + Juliana Huestis Steve Ognacevic Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Carol Swift ••• Julanie Lee Gabriela Fogo + Heidi Deifel ++ Liana Austin Lidija Peno-Kelly Sheila McLay Brad Richards Eric Sewell + VIOLA Laura Chang • Kimberly Fredenburgh ••• Allegra Askew Christine Rancier Laura Steiner Virginia Lawrence Joan Hinterbichler Lisa DiCarlo CELLO Amy Huzjak • Jonathan Flaksman ••• Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps Lisa Collins Elizabeth Purvis

BASS Jean-Luc Matton •+ Zachary Bush ++ Mark Tatum •• Katherine Olszowka Terry Pruitt Sam Brown Frank Murry

TRUMPET John Marchiando • Brynn Marchiando Sam Oatts ••

FLUTE Valerie Potter • Jiyoun Hur ••

BASS TROMBONE David Tall

OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Pena ••+ Lauren Keating ••++ CLARINET Marianne Shifrin •+ Ivan Valbuena ++ Lori Lovato ••• Timothy Skinner

TROMBONE Aaron Zalkind • Byron Herrington

TUBA Richard White • TIMPANI Micah Harrow • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Matthew Tutsky •+

E-FLAT CLARINET Lori Lovato

Chair

Al Stotts

Vice President

David Peterson Secretary

Kory Hoggan Treasurer

Joel Baca Ruth Bitsui David Campbell Thomas Domme Fritz Eberle Jeffrey Romero Edward Rose, MD Terrence Sloan Rachael Speegle Marian Tanau Tatiana Vetrinskaya Michael Wallace ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Roland Gerencer, MD Heinz Schmitt William Wiley

BASS CLARINET Timothy Skinner + Cory Tamez ++ BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Allison Tutton Katelyn Lewis •• Maria Long ••••

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

STAFF Marian Tanau

Leif Atchley

Jess Bess

Roberto Minczuk

Dasa Silhova

Mary Montaño

Christine Rancier

Eric Sewell

Joan Olkowski

Matt Hart

Crystal Reiter

Lori Newman

President & CEO Music Director

Vice President of Business Vice President of Operations

The New Mexico Philharmonic

Production Manager Personnel Manager Principal Librarian Director of Community Relations & Office Manager

Front of House Manager Grants Manager

Design & Marketing Editor

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2022 GLA 250 SUV

Night Moves.

Proud Sponsor of New Mexico Philharmonic Alameda & Pan American (505) 821-4000 • mercedesabq.com