New Mexico Philharmonic Program Book • 2022/23 Season • Volume 11 • No. 4

THE NEW MEXICO PHILHARMONIC FOUNDATION HAS ACHIEVED AROUND $2 MILLION IN ASSETS.

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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.

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

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

DWAYNE & MARJORIE LONGENBAUGH Laura Chang Principal viola Laura Steiner violin

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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WELCOME LETTER FROM THE

MUSIC DIRECTOR We are halfway through our season and closed 2022 with two sold-out holiday concerts at Immanuel Presbyterian Church. I hope you were able to attend these concerts and kick off your holiday season with a memorable experience from your NMPhil.

As we enter the new year, I look forward to seeing you in the concert hall for more exciting programs with many thrilling guest soloists. It is always such a pleasure to be in Albuquerque leading the orchestra for you, and every musician feels the same joy playing for you. Have a great evening!

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. ●

read full bio on page 9

NMPHIL .

TABLE OF CONTENTS PROGRAMS

January 14, 2023 Program January 22, 2023 Program February 11, 2023 Program Program Notes

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ARTISTS

Roberto Minczuk Matthew Forte Ellen Reid Amy Owens Denise Wernly Alsina Marcos Vigil Yazid Gray Bradley Ellingboe The Oratorio Society of Coro Lux Sanctuary Choir of the United Church of Santa Fe

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YOUR NMPHIL

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

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· Core Values · Fenton Ranch · Learning Lab · Community Service Projects · Bus Service · Nonprofit

Planting

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We are the only Albuquerque elementary school accredited by the Independent Schools Association of the Southwest.

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CONCERT PROGRAM .

POPEJOY CLASSICS

Scheherazade: A Musical Masterpiece

JAN

14

Popejoy Hall

Saturday, January 14, 2023, 6 p.m.

5:00 p.m. Pre-Concert Talk Roberto Minczuk Music Director

Don Juan, Op. 20

Richard Strauss (1864–1949)

Ballade for Orchestra in a minor, Op. 33

Samuel Coleridge-Taylor (1875–1912)

MAKING A DIFFERENCE

This performance is made possible by: Albuquerque Community Foundation

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

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

Scheherazade, Op. 35 I. The Sea and Sinbad’s Ship II. The Tale of the Kalandar Prince III. The Young Prince and the Young Princess IV. Festival at Baghdad. The Sea. Ship Breaks Upon a Cliff Surmounted by a Bronze Horseman; Conclusion.

The New Mexico Philharmonic

Nikolai Rimsky-Korsakov (1844–1908)

Hosted by KHFM’s Alexis Corbin

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N E W

P R O U D T O B E S U P P O R T I N G T H E M E X I C O P H I L H A R M O N I C

S C A L O I T A L I A N R E S T A U R A N T 3 5 0 0 C E N T R A L A V E S E A L B U Q U E R Q U E N M 8 7 1 0 6 S C A L O A B Q . C O M

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CONCERT PROGRAM .

AFTERNOON CLASSICS

Brass & Winds Virtuosity

JAN

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Sunday, January 22, 2023, 3 p.m.

Immanuel Presbyterian Church

Matthew Forte conductor

Decet for Winds in D Major, Op. 14 I. Doucement mouvementé II. Modérément—Vivement III. Allégrement, mais pas trop vif

Symphonette I. Moderato II. Andante III. Scherzo IV. Theme and Variations

George Enescu (1881–1955)

MAKING A DIFFERENCE

This performance is made possible by: Meredith Foundation

Allan Stephenson (1949–2021)

“Invictus”

Anthony Barfield (b. 1983)

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

Symphony for Brass and Timpani I. Dona Nobis Pacem II. Elegy III. Jubilation

Herbert Haufrecht (1909–1998)

“O magnum mysterium”

Morten Lauridsen (b. 1943)

Danzón No. 2 for Brass Ensemble

The New Mexico Philharmonic

Arturo Márquez (b. 1950) (arr. Jeremy Van Hoy)

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CONCERT PROGRAM .

POPEJOY CLASSICS

Karen McKinnon Special Concert: The Greatest: Beethoven’s 9th

FEB

11 Popejoy Hall

Saturday, February 11, 2023, 6 p.m.

5:00 p.m. Pre-Concert Talk Roberto Minczuk Music Director Amy Owens soprano Denise Wernly Alsina mezzo-soprano Marcos Vigil tenor Yazid Gray baritone The Oratorio Society of Coro Lux and the Sanctuary Choir of the United Church of Santa Fe / Bradley Ellingboe director

Today and Today and Today and Today and Today and Today and Today and Today and Today and Today

Ellen Reid (b. 1983)

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

MAKING A DIFFERENCE

This performance is made possible by: The McKinnon Family Foundation & The New Mexico Philharmonic Foundation

PRE-CONCERT TALK

Symphony No. 9 in d minor, “Choral,” Op. 125 I. Allegro ma non troppo, un poco maestoso II. Scherzo. Molto vivace III. Adagio molto e cantabile IV. Finale. Presto

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2022/23 Season / Volume 11 / No. 4

Ludwig van Beethoven (1770–1827)

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

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

The New Mexico Philharmonic

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. ●

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ARTISTS .

Department of Education and has served as guest faculty since 2016. He received his Bachelor’s degree, summa cum laude, from the Hartt School of the University of Hartford, where, upon graduation, he received the Belle K Ribicoff Prize for academic excellence; his Master’s and Doctoral degrees were earned at Michigan State University, where he was a Rasmussen Fellow and served as music director of the Michigan State University Concert Orchestra, work for which he received the 2017 MSU Distinguished Teaching Citation. ● Matthew Forte conductor Matthew Forte was Director of Orchestral Studies at the University of Toledo, where, in a three-year tenure, he more than doubled the size of the University of Toledo Symphony Orchestra, increasing that ensemble’s artistic standards and its visibility throughout the Midwestern United States. Concurrent to this post, Matthew served on the conducting staff of the Toledo Symphony—where his primary duties involved conducting the Toledo Symphony Youth Orchestras—and as one of the conductors of the Greater Toledo International Youth Orchestra— an organization with which he began an initiative to bring chamber orchestra music to diverse and underserved communities in downtown Toledo. Matthew has collaborated with performing arts and educational institutions throughout the U.S. He has served as cover conductor of the St. Louis Symphony, served on the faculty of Grand Valley State University, and, as a composer, has had works premiered by Glass City Singers, Musique 21, and the Pittsburgh New Music Ensemble, among others. He is likewise in regular demand as a clinician and teacher of young musicians throughout the country. In the summer months, Matthew works with young musicians at Sitka Fine Arts Camp, in Sitka, Alaska, one of the most prestigious preparatory music camps in the United States. He likewise maintains an active association with the Aspen Music Festival and School, where he collaborates frequently with the AMFS

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2022/23 Season / Volume 11 / No. 4

Ellen Reid composer Ellen Reid is one of the most innovative artists of her generation. A composer and sound artist whose breadth of work spans opera, sound design, film scoring, and ensemble and choral writing, she was awarded the 2019 Pulitzer Prize in Music for her opera p r i s m.

Along with composer Missy Mazzoli, Ellen co-founded the Luna Composition Lab. Luna Lab is a mentorship program for young female, nonbinary, and gender nonconforming composers. Since 2019, she has served as Creative Advisor and Composer-in-Residence for Los Angeles Chamber Orchestra.

In 2020, she created Ellen Reid SOUNDWALK, a work of public art that reimagines city parks as interactive soundscapes. SOUNDWALK premiered in New York’s Central Park, featuring the New York Philharmonic, and continues to expand to parks around the world,

fostering collaborations with ensembles such as the Kronos Quartet and the Philadelphia Orchestra.

Ellen received her BFA from Columbia College, Columbia University, and her MA from California Institute of the Arts. She is inspired by music from all over the globe, and she splits her time between her two favorite cities—Los Angeles and New York. ●

Amy Owens soprano Amy Owens is known for her “high-flying vocals” and “scene-stealing” charisma (Opera News) on operatic and symphonic stages, as well as her innovative, multidisciplinary pursuits in music and entrepreneurship. Her performing career has taken her to some of America’s most beloved venues, including the Kennedy Center, where her fall 2019 debut as the soprano soloist in Carmina Burana under the baton of Gianandrea Noseda earned praise for “a perfect combination of purring, sensuous phrasing, and puretoned innocence” (Washington Classical Review). A well-known favorite for Carmina Burana, she has soloed twice with the National Symphony, as well as with the Omaha Symphony, Virginia Symphony, Buffalo Philharmonic, Mobile Symphony, and MidAmerica Productions for her Carnegie Hall debut in 2017. She recently created the title role in Augusta Read Thomas’s Sweet Potato Kicks the Sun with Santa Fe Opera, sharing the stage with legendary beatboxer Nicole Paris in the first commission for the groundbreaking initiative “Opera for All Voices.”

ARTISTS .

In the 2021/2022 season, Amy made her debut with Chicago Opera Theater in Becoming Santa Claus under Lydia Yankovskaya and covered the roles of Controller and Tina in Dallas Opera’s production of Flight. She also appeared with the Dayton Philharmonic and Lubbock Symphony for performances of Messiah, as well as performances with the Oberlin Contemporary Music Ensemble, Brooklyn Art Song Society, and the Florida Keys Concert Association. She kicks off the 2022 fall season performing Enrique Granados’s Canciones amatorias with the Brooklyn Art Song Society, followed by her main-stage debut with Virginia Opera as Mabel in The Pirates of Penzance.

Other notable roles include Cunegonde in Candide with the Utah Symphony, where she was praised for her “dazzling array of vocal abilities” and “remarkable acting talent,” Johanna in Sweeney Todd with Michigan Opera Theater, and Florestine in On Site Opera’s North American premiere of La mére coupable, a notoriously difficult score that Owens was hailed as handling with “keen sensitivity,” “gleaming coloratura,” and “impressive accuracy and thrilling high notes” (Broadway World, Bachtrack, Musical America). Her affinity for new music also makes her a sought-after soprano for developing contemporary works, including the Metropolitan Opera workshop of Eurydice, and multiple workshops with American Opera Projects. She covered the role of Faustina in the world premiere of The Phoenix at Houston Grand Opera in 2019, sang as a last-minute replacement in Opera America’s 2016 New Opera Showcase at Trinity Church NYC, was featured in The Intimacy of Creativity Festival in Hong Kong in 2017, and has premiered art song frequently with the NYFOS Next series.

Amy was a resident artist with Utah Opera, Wolf Trap Opera, Santa Fe Opera, and Central City Opera, and was a grandprize recipient of the Sullivan Foundation in 2014. She also holds awards from the Jensen Foundation (2019 finalist) and Metropolitan Opera National Council (Eastern Region finalist 2015). She is a multiple prizewinner with the George

The New Mexico Philharmonic

London Foundation and was a featured soloist on their recital series with Anthony Dean Griffey and Warren Jones in 2018.

As a multidisciplinary artist, Amy performed at the 50th annual New Orleans Jazz Festival with renowned musician Glen David Andrews in the Blues Tent in 2019, and as a budding conductor, she was selected to participate in the Hart Institute for Women Conductors at Dallas Opera and the International Conducting Workshop Festival in Bulgaria. She released two collaborative albums in 2019: a debut album of original music, HAETHOR, which received acclaim in the electronica world as “an enchanted force” (Impose), and Songs of Leonard Bernstein, including previously unrecorded vocal music. Other discography includes her performance as Mater Gloriosa in Utah Symphony’s recording of Mahler Symphony 8.

As an educator and producer, Amy co-founded The Collective Conservatory and developed a unique curriculum to forge new and innovative paths for online musical collaboration during the pandemic in 2020. She has also served as the artistic director and co-founder of Bel Canto Productions in Westwood, New Jersey, and production manager for Access Opera, two organizations with missions to increase accessibility and broaden the definition of opera for a wider audience. She developed a unique online education program for vocalists in 2021 called Vocal Revolution and maintains a robust online studio focusing on technique and vocal freedom. In 2022, she codirected Opera Storytellers, a children’s day camp run through Santa Fe Opera, developing a groundbreaking process for youth to compose and perform an original opera in five days. She also produced a two-week festival for students from her private vocal studio, called Studio Fest, where she produced multiple concerts and conducted a scenes program in Santa Fe, New Mexico.

Amy enjoys developing her interests as a multi-genre vocalist, producer, conductor, accordion player, dancer, yogi, educator, writer, composer, and wellness advocate. She holds an M.M. degree in

vocal performance from Rice University and a B.M. in vocal performance from Brigham Young University. ●

Denise Wernly Alsina mezzo-soprano Denise Wernly Alsina, an Albuquerque native, made her German debut with the Oper Leipzig in their production of The Canterville Ghost in 2015. She has since appeared with Opera Southwest in Bless Me, Ultima, sang the title role in their 2019 production of Maria de Buenos Aires, and Flora in their 2021 production of La traviata. Denise was an apprentice with the Santa Fe Opera in 2014.

Previous seasons have seen Ms. Wernly Alsina as Anna Gomez in The Consul, Gianetta in L’elisir d’amore, and as a soloist in Gershwin’s Catfish Row with Symphonic Band at Northwestern University. She holds her Master’s degree from Manhattan School of Music and her Bachelor of Music degree from Northwestern University. ●

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ARTISTS .

Marcos Vigil tenor Born and raised in Las Vegas, New Mexico, tenor Marcos Vigil holds a Bachelor of Music degree from New Mexico State University as well as a Master of Music degree and Professional Studies Certificate from Manhattan School of Music. Performances include Ein Soldat in Viktor Ulman’s Der Kaiser for Atlantis with The People’s Theater of Denver, Nemorino in L’elisir d’amore with MidOhio Opera, Don Eusebio in L’occasione fa il ladro with Little Opera Theater of New York, King Nebuchadnezzar in The Burning Fiery Furnace with Opera Brittenica in Boston, Don Raimro from La Cenerentola with Capitol Heights Lyric Opera of New York, and Count Almaviva from Il barbiere di Siviglia with Opera Company of Brooklyn. Mr. Vigil was also twice a participant in the Martina Arroyo Foundation’s Prelude to Performance summer program, where he performed the role of Prunier in Puccini’s La rondine as well as the role of Beppe in Donizetti’s Rita, where Opera News hailed his performance as “a comedic and vocal tour de force.” Concert performances include the Art Song Festival of Cleveland, as well as performances in Colorado, New York, Trinidad and Tobago, and Las Vegas, New Mexico. Mr. Vigil has also appeared as tenor soloist in performances of Messiah with Metro Chamber Orchestra of Brooklyn and with Polyphony: Voices of New Mexico. ●

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Yazid Gray baritone Yazid Gray has been described as “a vocal chameleon” (Seen and Heard International) with “a baritone voice of fine quality and warmth” (onStage Pittsburgh). Mr. Gray recently finished a summer with The Glimmerglass Festival as a young artist where he sang Le Dancäire in Carmen, Baloo in the world premiere of The Jungle Book (Sankaram/Rourke), and covered the role of Cedric/Matteo in the world premiere of Tenor Overboard (Rossini/Ludwig). He is a former Resident Artist with Pittsburgh Opera where he performed The Woodcutter/ The Outlaw in the world premiere of In a Grove (Cerrone/Fleischmann), Le Dancäire in Carmen, Policeman #3 in Blue, and Second Priest in The Magic Flute in their 2021/22 season. In 2022–2023, Mr. Gray made his debut as Homecoming Soldier in The Falling and the Rising with Intermountain Bozeman Opera and will make his debut with Madison Opera as Sam in Trouble in Tahiti.

In summer 2021, Mr. Gray performed with Chautauqua Opera as an apprentice artist where he appeared as the baritone soloist in As the Cosi Crumbles: A Company Developed Piece. In Pittsburgh Opera’s 2020/21 season, he performed in all four mainstage productions which included Guglielmo in Così fan tutte, Soldier in David T. Little’s Soldier Songs, Dizzy Gillespie in Charlie Parker’s Yardbird, and Athamas in Semele.

During the summer of 2020, Mr. Gray participated as a featured young artist in Chautauqua Opera’s digital season and in 2019, he made his debut with the company singing Fiorello in Il barbiere di Siviglia. ●

Bradley Ellingboe director Bradley Ellingboe has led a wide-ranging career in the world of singing, including accomplishments as a choral conductor, soloist, composer, scholar, and teacher.

As a choral conductor, he has led festival choruses in 35 states and 14 countries.

As a bass-baritone soloist, he has sung under such conductors as Robert Shaw, Helmuth Rilling, and Sir David Willcocks.

Ellingboe has more than 160 pieces of music in print, including his Requiem for chorus and orchestra, which has been performed more than 300 times in this country and Europe. For his scholarly work in making the songs of Edvard Grieg more accessible to the English-speaking public, he was knighted by the King of Norway in 1994. As a teacher, the University of New Mexico Alumni Association named him Faculty of the Year in 2008.

Bradley Ellingboe retired in 2015 after serving on the faculty of the University of New Mexico for 30 years, where he was Director of Choral Activities, Professor of Music, and Regents Lecturer. He is a graduate of Saint Olaf College and the Eastman School of Music and has done further study at the Aspen Music Festival, the Bach Aria Festival, the University of Oslo, and the Vatican.

Ellingboe has won annual awards for his choral compositions from ASCAP— the American Society of Composers, Arrangers, and Publishers—since 2000.

His choral music is widely sung and has been performed and recorded by such groups as the Santa Fe Desert Chorale,

ARTISTS .

VocalEssence, the Saint Olaf Choir, the Harvard Glee Club, Conspirare, and the choirs of the University of Michigan and Luther College, among many others.

Beginning in the summer of 2020, he will be Composer-in-Residence for Albany Pro Musica.

He lives in Albuquerque, New Mexico, with his wife Karen. They are the parents of three children and have four grandchildren.

Ellingboe is Director of Choirs at the United Church of Santa Fe and founder and artistic director of Albuquerque’s Coro Lux (“Chorus of Light”). ●

The Oratorio Society of Coro Lux Coro Lux (“Chorus of Light”) is an auditioned community chorus based in Albuquerque, founded in the fall of 2015.

Under Artistic Director Bradley Ellingboe, the chorus has grown into one of the top choruses in New Mexico. Coro Lux consists of the larger Oratorio Society and the smaller Chamber Chorus. The Oratorio Society, with 60 members, presents major choral works, usually with orchestra and often in conjunction with the New Mexico Philharmonic. The Chamber Chorus is an ensemble of 16 members that presents a variety of smaller works in various locations around Albuquerque. Each ensemble presents about three concert programs each season.

Coro Lux has participated in music events far from Albuquerque, including a Carnegie Hall concert in 2016 and the Great American Choral Series festival in Florence, Italy, in the summer of 2018. In 2017, Coro Lux became the Ensemble-in-Residence at St. Paul Lutheran Church in Albuquerque. ●

The Oratorio Society of Coro Lux and the Sanctuary Choir of the United Church of Santa Fe ROSTER

Sanctuary Choir of the United Church of Santa Fe The Sanctuary Choir of the United Church of Santa Fe exists primarily to enhance the worship of the congregation. They sing weekly from September through May, as well as several times in the summer months, and for many special services of the church year. In addition, they are increasingly active in the larger world of choral music, including co-sponsoring the annual FebFest with Coro Lux. They remained a vital part of worship life through the pandemic and now can be heard weekly online. Recent guests have included such distinguished musicians as Libby Larsen, Alice Parker, Morten Lauridsen, Rosephanye Powell, Rollo Dilworth, and André Thomas. ●

SOPRANO Katy Anderson Gabrielle Dietrich * Linda Eccard + Karen Ellingboe Ashley Jonkman Tania Hopkins Linda HummingbirdMcDonald + Diane Johnston + Sharlotte Kramer Shelly Ley Nicole Lopez Sarah Lopez ALTO Jan Bowers Jo Browning Rebecca Brunette Christy Cook Candy Elkjer + Angelynn Gomez Janet Harris + Cynthia Lashley Kirsten Norman Vinnessa Ohle

Jen Prakash Laurie Romero + Jody Spalding + Emily Steinbach Quynh Truong Antoinette Utsinger Donette Wagner + Elizabeth Wenrich Kathleen Wilson +* Vicky Wood Susie Tallman Yarbrough

Bonnie PachanianFinch Maggie Popp + Sarah Rulfs Lauren Smith + Sue Spaven Sally Strong + Kristin Thelander Natalie Tiesi Jamie Villanueva Janet Vrudny

TENOR Mark Adrian * Ed Barker + Bryan Butler Cameron Byrley Bill Foote Casey Haynes Doug Hendry + Garrett Keith Peter Njagi

Neal Ohle Hal Ratcliff Peter Smith + Peter Spalding + Curtis Storm +* Bruce Turnquist + Joe Ubben + Scott Wagner +

BASS Bill Artman George Arthur Ken Bordner + Martin Doviak Bill Elkjer + Ennio Fermo Steve Kerchoff +* Martin Kroebel Burke Lokey +

Richard Macklin David Milford Arnel Oczon Larry Rasmussen + Peter Stoll Bobby Storbakken Joe Mitchell * Wayne Thelander

* section leader + Sanctuary Choir member

The New Mexico Philharmonic

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PROGRAM NOTES .

DAVID B. LEVY

Richard Strauss (1888–1889)

Don Juan, Op. 20 Richard Strauss was born on June 11, 1864, in Munich and died September 8, 1949, in Garmisch-Partenkirchen. He was celebrated primarily for his symphonic poems and operas. Don Juan was composed in 1888–89 and received its first performance on November 11, 1889, with the composer conducting the orchestra of the Weimar Opera. The work is based on a poem by Nikolaus Lenau and is dedicated to fellow Munich composer Ludwig Thuille. Don Juan is scored for piccolo, 3 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings.

Before Richard Strauss turned the world of opera on its proverbial ear with his shocking Salome and Elektra, he dazzled the orchestral world with his first group of tone poems—Aus Italien (1886), Macbeth (1888), Tod und Verklärung (Death and Transfiguration, 1889), and above all, Don Juan (1888–9). The tone (or symphonic) poem, an invention of Franz Liszt, offered composers an alternative to the more traditional multi-movement symphony. Strauss became the genre’s worthiest proponent, and the premiere of Don Juan in November of 1889 in Weimar served as the catalyst to launch Strauss’s reputation as a force with whom to be reckoned. Karl Dahlhaus called Don Juan the “dawning of ‘musical modernism,’” and Strauss scholar Bryan Gilliam wrote that Don Juan’s “provocative subject matter, brilliant orchestration, sharply etched and evocative themes, novel structure, and tight pacing created a sensation at the time and earned Strauss his stature as a symphonic composer of international note.” (The Nineteenth-Century Symphony, ed. D. Kern Holoman).

An external musical stimulus for Strauss’s Don Juan is Wagner’s opera Tristan und Isolde. The more specific topic and philosophical model for Don Juan, however, is worlds removed from the high-mindedness of Wagner’s hymn

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“… provocative subject matter, brilliant orchestration, sharply etched and evocative themes, novel structure, and tight pacing created a sensation at the time and earned Strauss his stature as a symphonic composer of international note.”

—Bryan Gilliam, The Nineteenth-Century Symphony to love. Strauss, as always, sought to grapple with more sensational material.

His Don Juan is kin to, but also rather different from, the notorious lover one encounters in the original Spanish iterations of the legend (such as the one

by Tirso di Molina, whose hero treats his conquests as mockeries). Nor have we here the title character of Mozart’s opera Don Giovanni (who ultimately is punished by divine intervention). Strauss, instead, presents us with the figure created by the Austrian poet Nicolaus Lenau (1802–1850), the subject of whose “dramatic poem” is at once both heroic and tragic. Lenau’s Don Juan certainly is a libertine who preys upon women and who shows utter contempt for the world and its laws. But he also is driven by a self-loathing and realization that his sexual desire and lust after the “ideal” woman ultimately is futile.

Lenau/Strauss’s Don Juan, after several adventures, each more daring than the last, finally seeks release from his desire through suicide by permitting an adversary in a duel to run him through.

The following excerpt from Lenau’s poem is published in Strauss’s score (dedicated to fellow Munich composer Ludwig Thuille). Rather than signaling specific episodes in the music or its musical structure (which has elements of both rondo and sonata form), it gives us a broader sense of what the music’s spirit:

That magic circle, immeasurably wide, of beautiful femininity with their multiple attractions, I want to traverse in a storm of pleasure, and die of a kiss upon the lips of the last woman. My friend, I want to fly through all places where a beautiful woman blooms, kneel before each one of them and conquer, if only for a few moments … I shun satiety and the weariness of pleasure, and keep myself fresh in the service of the beautiful; hurting the individual woman, I adore the whole species. The breath of a woman, which is the fragrance of spring to me today, tomorrow may oppress me like the air of a dungeon. When I wander with my changing affections in the broad circle of beautiful women, my love for each one is different; I do not wish to build temples out of ruins. Yes! Passion must be new each time; it cannot be transferred from one woman to the next, it can only die in one place and arise once more in another; and if it recognizes itself for what it is, it knows nothing of repentance. Just as every beauty is unique in the world, so also is the love to which it gives pleasure. Out, then, and away after ever-new victories as long as the fiery ardors of youth still soar! … It was a beautiful storm that drove me on; it has subsided and a calm has remained behind. All my desires and hopes are in suspended animation; perhaps a lightning bolt, from heights that I contemned,

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mortally struck my amorous powers, and suddenly my world became deserted and benighted. And yet, perhaps not—the fuel is consumed and the hearth has become cold and dark. ●

Samuel Coleridge-Taylor (1898)

Ballade for Orchestra in a minor, Op. 33 Afro-British composer Samuel ColeridgeTaylor was born in London on August 15, 1875, and died there on September 1, 1912. His mother was Alice Hare Martin (1856–1953), an English woman, and his father, Daniel Peter Hughes Taylor, was from Sierra Leone and studied medicine in London. The two never married. Taylor later became a prominent administrator in West Africa, leaving Coleridge-Taylor’s mother pregnant. She decided to name the child (without the hyphen) after the poet Samuel Taylor Coleridge. Musical talent ran on both sides of his parents, and young Samuel’s gifts were allowed to develop. He studied violin, and later, composition at the Royal College of Music, becoming a student of Charles Villiers Stanford. He married Jessie Walmisley, a fellow student at the college in 1899.

Over the course of his career, he visited the United States on three occasions.

He and his music were well-received in America, and Coleridge-Taylor was invited to the White House by President Theodore Roosevelt. His visits to America also stirred his interest in his African heritage, as he came into contact with several important Black artists, including Paul Laurence Dunbar (whom he met prior to coming to the USA), W.E.B. Du Bois, and

Harry T. Burleigh, the singer who inspired Antonín Dvořák to look closely into the African-American repertory of spirituals.

His Ballade for Orchestra, Op. 33 was a relatively early work, composed in 1898 shortly after finishing his degree at the Royal College. Its first performance took place on September 12 of that year at the Three Choirs Festival in Gloucester, England. It is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings.

Samuel Coleridge-Taylor’s music was very well-received and respected during his all-too-brief lifetime, but somehow fell out of the repertoire of concerts on this side of the Atlantic, except in AfricanAmerican circles. A Coleridge-Taylor Choral Society was formed in Washington, D.C., and his music forms an important part of the repertory of the Fisk Jubilee Singers. Happily, the neglect in concert halls is beginning to change, and modern audiences are hearing more and more of his fine music. After his three visits to the United States (the first being in 1904), it became Coleridge-Taylor’s mission to bring dignity to African-American music.

The Ballade for Orchestra came into being thanks to the Edward Elgar, who had become Coleridge-Taylor’s mentor. When the Three Choir Festival in Gloucester asked Elgar to write a short orchestral work, he declined due to his many other obligations. As he wrote to the organizers of the Festival, “I wish, wish, wish you would ask Coleridge-Taylor to do it. He still wants recognition, and he is far and away the cleverest fellow going amongst the young men. Please don’t let your committee throw away the chance

Coleridge-Taylor’s Ballade lives in the expressive world of Brahms, Tchaikovsky, and Dvořák, but nonetheless bears a stamp of true originality.

of doing a good act.” The organizers, of course, agreed, resulting in the work we will hear this evening. The title of the work hints of some kind extra-musical inspiration, as in poetic ballads are narrative by nature, and it may well be that Coleridge-Taylor had something specific in mind. This theory is enhanced by the young composer’s connection to the German-born publisher August Johannes Jaeger. Those familiar with Elgar’s Enigma Variations will recognize Jaeger to be the dedicatee of the famous and profoundly moving “Nimrod” variation. ColeridgeTaylor’s Ballade lives in the expressive world of Brahms, Tchaikovsky, and Dvořák, but nonetheless bears a stamp of true originality. ●

Nikolai Rimsky-Korsakov (1888)

Scheherazade, Op. 35 The Russian master Nikolai Andreyevich Rimsky-Korsakov was born in Tikhvin on March 18, 1844, and died in Lyubensk, near Luga (now Pskov district), on June 21, 1908. He was a brilliant composer, arranger, and teacher whose illustrious students included Igor Stravinsky. A member of the group of composers known as “The Five,” Rimsky-Korsakov (along with Mussorgsky, Balakirev, Cui, and Borodin) played an important role in developing an idiosyncratic Russian musical voice. The author of a manual on orchestration, and prized by all as a master of the same, Rimsky-Korsakov is best known for his orchestral showpieces, including the Great Russian Easter Festival Overture, Capriccio espagnol, and the most popular of them all, Scheherazade (1887–88). The work was first performed on November 3, 1888, in Saint Petersburg and is scored for piccolo, 2 flutes, 2 oboes (one doubling on English horn), 2 clarinets, 2 bassoons, 4 French horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings.

Composed in 1888, the symphonic suite in four movements based on tales from the Thousand and One Nights, Scheherazade has captured the imagination of audiences, as well as serving as a model of orchestral opulence and virtuosity. The continued on 16

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reasons for its immense popularity are readily apparent. Scheherazade is filled with sumptuous and tuneful melodies, brilliant splashes of orchestral color, exoticism of subject, and enough virtuoso writing to please everyone. This work has spawned other masterpieces, most notably Stravinsky’s ballets The Firebird and Petrouchka (Stravinsky was Rimsky’s pupil) and Ravel’s Daphnis et Chloe. None of these scores could ever have existed without Rimsky’s model. The “plot” of Scheherazade’s story is given in the score: The Sultan Schahriar, persuaded of the falseness and the faithlessness of women, has sworn to put to death each one of his wives after the first night. But the Sultana Scheherazade saved her life by interesting him in tales she told him during one thousand and one nights. Pricked by curiosity, the Sultan put off his wife’s execution from day to day, and at last gave up entirely his bloody plan.

A sense of narrative is apparent everywhere in the piece. A solo violin serves as the voice of the Sultana.

Listeners should be content to give their imaginations free reign regarding the details of each tale, since even the titles for each of the movements were afterthoughts, urged on the composer by his friends.

The Sea and Sinbad’s Ship. Clarinets, bassoons, trombones, tuba, and massed strings introduce the menacing theme representing the Sultan. A series of wind chords, reminiscent of Mendelssohn and Weber, introduce the first of the solo violin’s many cadenzas.

These, of course, are the voice of Scheherazade, our narrator. The setting of her first tale is the majestic ocean, as is made evident by everpresent rolling arpeggiated figures. The movement ends serenely.

II. The Tale of the Kalandar Prince. The narrative voice of Scheherazade once again introduces the tale, the specifics of which our imaginations are left to deduce from the episodic nature of the movement. The solo bassoon ushers in an alluring theme, which is I.

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The Sultan Schahriar … has sworn to put to death each one of his wives after the first night.

But the Sultana Scheherazade saved her life by interesting him in tales she told him during one thousand and one nights. picked up by the oboe, the strings, and eventually the whole orchestra. The mood is broken by a sudden outburst.

The trombone announces a threatening fragment of an idea, echoed by the muted trumpet. (An astute listener will recognize the reference to the Sultan’s theme of the first movement.) This leads to an evocative and dramatic cadenza in the clarinet, accompanied by plucked strings. The fragment is developed more fully, but is soon interrupted by a new outburst and cadenza, this time featuring the voice of the bassoon. The various musical ideas are further explored in dramatic fashion. Wistful recollections of the clarinet and bassoon cadenzas are accompanied by bravura flourishes in the harp. The movement draws to a dramatic close.

III. The Young Prince and the Young Princess. Here, as in the second movement, no specific program is identifiable. Nonetheless, the sweetness of the first of this movement’s two themes (Andantino quasi allegretto) suggests that a tender love story is about to unfold.

The second theme—“ever so slightly faster” reads the tempo indication—is a graceful dance, first played by the clarinet to the accompaniment of the tambourine. The reprise of the first theme is interrupted by the solo violin, a gentle reminder of the music and voice of the Sultana Scheherazade.

IV. Festival at Baghdad. The Sea. Ship Breaks Upon a Cliff Surmounted by a Bronze Horseman; Conclusion.

Despite the specificity of the title, we must again rely on our imaginations to fill in the scenario. The voice of the Sultan begins the movement in an angry mood. The narrative voice of the solo violin, now in doublestops and chords over a menacing sustained note in the cellos and basses, suggests that the trial of the Sultana has reached a point of crisis. The episodic music that unfolds is a highly colorful reprise of themes from previous movements, the climax of which occurs at the arrival of the principal theme from the first movement—whose majestic arpeggios are unforgettable.

Appropriately, it is the solo violin, our aural guide through Rimsky’s colorful symphonic tour de force, that brings the work to its conclusion. ●

George Enescu (1906)

Decet for Winds in D Major, Op. 14 Romanian composer, violinist, conductor, and educator George(s) Enescu was born on August 19, 1881, in Liveni-Vîrnav (later renamed “George Enescu”) in the old Kingdom of Romania and died in Paris on May 4, 1955. His first name acquired an added “s” in France. There is no disagreement that Enescu was the

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most gifted musician ever to emanate from his native Romania. His impact on contemporaneous Romanian musicians and subsequent generations remains strong even today, and his ability to retain a vast repertory of music in his memory was prodigious. Enescu’s influence, however, was truly international in scope, earning for him the praise of musicians from across the globe. As a teacher of violin, Yehudi Menuhin, Ivry Gitlis, Arthur Grumiaux, and Ida Haendel, were among his most illustrious students. His activity as a conductor was widespread, having especially been active in Paris and New York, where he came under consideration as the successor to Arturo Toscanini as music director of the New York Philharmonic in 1936. As a composer, Enescu is best known for his two Romanian Rhapsodies, whose popularity have overshadowed his other compositions, much to the composer’s annoyance. His Decet (Dixtour in French) for Winds was composed in Paris in 1906 and was first performed there on June 12 of that year. The work is scored for 2 flutes, oboe, English horn, 2 clarinets, 2 bassoons, and 2 horns.

Enescu’s Decet for Winds is one of the treasures of early-twentieth-century music for wind instruments. According to the biographical article on the composer in the New Grove Dictionary of Music and Musicians, “melodic line was, for Enescu, the vital principle of music: as he wrote in his autobiography, ‘I’m not a person for pretty successions of chords … a piece deserves to be called a musical composition only if it has a line, a melody, or, even better, melodies superimposed on one another.’” This principle certainly applies well to the Decet, each of whose three movements offers ample evidence of this compositional technique. Cast within a tonal, if highly chromatic idiom, this charming work evokes the spirit of compositions for woodwind instruments dating back to the Serenades of Mozart and Haydn, as well as the two Serenades for small orchestra by Enescu’s early model Johannes Brahms. Unlike much of the composer’s music that relies on the citation or style of Romanian folk music,

“I’m not a person for pretty successions of chords … a piece deserves to be called a musical composition only if it has a line, a melody, or, even better, melodies superimposed on one another.”

—George Enescu the Decet stands apart. Enescu’s witty and idiomatic scoring for winds, on the other hand, may have influenced compositions by later French composers such as Milhaud and Ibert.

The Decet’s three movements are marked “Doucement mouvementé” (sweetly flowing), “Modérément— Vivement” (in moderate tempo—lively), and “Allégrement, mais pas trop vif” (lively, but not too fast) and is circa 23 minutes in duration. ●

Allan Stephenson (2011)

Symphonette Composer, cellist, and conductor Allan Stephenson was born in Wallasey, near Liverpool, England, on December 15, 1949, and died on August 2, 2021, in Cape Town, South Africa. His musical training began as a pianist when he was age 7, and his study of cello started at age 13. After graduating from the Royal Manchester School of Music in 1972, Stephenson moved to Cape Town to serve as cellist in the Cape Town Philharmonic Orchestra. He also taught at that city’s university and served as director of the University Orchestra. Over his career, he composed more than 100 compositions in a wide range of genres, including opera. His Symphonette, scored for flute, 2 oboes, 2 clarinets, 2 bassoons, and 2 horns was composed in 2011 and is dedicated to Oliver Hasenzahl and the Ensemble Serenata Stuttgart.

Allan Stephenson has described

his style as “romantic, lyrical, exciting rhythmically, but, above all, enjoyable to play and listen to.” South African musicologist Ronald Charles has written, “Allan Stephenson’s music is unashamedly listener-friendly.” Such certainly is the case with his charming Symphonette, a work comprising four movements that follow the traditional sequence found in larger works with the title symphony. His skill at writing for wind instruments is remarkably fine, especially considering his career as a cellist. His ability to orchestrate well, doubtlessly, was the result of his diligence in studying orchestral scores while a student, as well as his activity as a conductor. ●

Anthony Barfield (2020)

“Invictus” New York-based composer and producer Anthony Barfield was born in 1983 in Collinsville, Mississippi. Formerly a trombonist who trained at New York’s Juilliard and Manhattan Schools of Music, Barfield’s career has branched out in multiple directions. He worked for a time as Media Production Manager for Juilliard, and currently teaches at the Boston Conservatory of Music and Berklee School. He has composed music on commission from many major orchestras throughout the country and North America, including, among others, the New York Philharmonic and the Seattle and Toronto Symphonies. He also has composed for continued on 18

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the United States Army Band (“Pershing’s Own”). His “Invictus” for brass ensemble was composed on commission by the Lincoln Center for the Performing Arts in 2020 and was premiered by musicians from the Metropolitan Opera Orchestra, New York Philharmonic, The Juilliard School, Jazz at Lincoln Center, New York City Ballet Orchestra, and the Mostly Mozart Festival Orchestra outdoors on August 7, 2020, bringing members of these diverse ensembles together for the first time.

The confluence of COVID–19 and the Black Lives Matter protests produced an aura of uncertainty that challenged the resilience of people throughout the world, but nowhere more pointedly than in New York City. “Invictus” takes its name from a poem composed in 1875 by the British poet William Ernest Henley (1849–1903), and the word means “unconquerable.” It gained celebrity when the South African anti-apartheid leader Nelson Mandela read it aloud to his fellow prisoners while jailed on Robben Island. The final two lines are well-known: “I am the master of my fate: I am the captain of my soul.” The 2009 film with the same title, starring Matt Damon and Morgan Freeman and directed by Clint Eastwood, portrayed Mandela’s rise to the presidency of South Africa and brought the poem to the attention of those who have seen the movie.

It was an appropriate choice of title when in 2020, the young Black American composer Anthony Barfield captured the poem’s, as well as New York City’s, sense of determination in the face of troubling times. In the composer’s own words, his music captures the worlds of gospel, jazz, classical, and hip-hop, reflecting New York’s diverse populace, as well as the different ensembles who perform at the city’s hub of the performing arts, Lincoln Center. The result is a noble and moving tribute to the human spirit. A video of the New York City premiere performance may be accessed via the composer’s website (anthonybarfield.com). ●

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“Invictus” takes its name from a poem composed in 1875 by the British poet William Ernest Henley […] The final two lines are wellknown: “I am the master of my fate: I am the captain of my soul.”

Herbert Haufrecht (1953–1956)

Symphony for Brass and Timpani The American composer Herbert Haufrecht was born in New York City, New York, on November 3, 1909, and died in Albany, New York, on June 23, 1998. His principal musical instruction took place at the Cleveland Institute of Music, where he studied with Herbert Elwell and Quincy Porter, and at The Juilliard Graduate School (1930–34), where his composition teacher was Rubin Goldmark. He was hired in 1937 by the Works Progress Administration (WFA) as a composer and arranger for the Federal Theater in New York, where he stayed for two years. He also worked as a field representative in West Virginia for the Resettlement Administration of the Federal Department of Agriculture. It was during this time that Haufrecht began collecting folk songs and stories, leading him to initiate an oral history project. His engagement with folk idioms resulted later in life to issue several educational publications, as well as bringing him into contact with many folk singers, including Pete Seeger, Burl Ives, and Judy Collins.

He also helped organize the Folk Festival of the Catskills, in Phoenicia, New York.

His Symphony for Brass and Timpani was composed between 1953–56. It is scored for 3 trumpets, 4 horns, 3 trombones, tuba, and timpani.

Herbert Haufrecht’s name and music may not be well-known by patrons of symphony concerts, but his importance

for American music was significant, especially concerning the role he played in the revival of folk music in the 1950s and ’60s. His Symphony for Brass and Timpani comprises three movements, the first of which is entitled “Dona Nobis Pacem” (Grant Us Peace). One typically associates the instrumentation of brass and timpani as indicative of warfare, but Haufrecht, at times evoking the antiphonal effects of the late-Renaissance/early-Baroque master of Venice’s Basilica San Marco, Giovanni Gabrieli (1557–1612), mixes hymnody with triumphal optimism. The second movement, “Elegy,” sets a more somber tone, whose middle section strikes a more militant air. The return of a more mournful mood brings “Elegy” to a quiet and introspective conclusion. The powerful third and final movement, “Jubilation,” as its title suggests, is all about celebration—an affirmation that peace brings joyfulness. ●

Morten Lauridsen (1994)

“O magnum mysterium” American composer Morten Johannes Lauridsen was born on February 27, 1943, in Colfax, Washington. His accomplishments as a composer of vocal music have earned him the recipient of the title of “American Choral Master” (2006) and the National Medal of Arts (2007).

His connection with the spiritual and the natural world was honed by his activity as a Forest Service Firefighter and lookout near Mount St. Helens, during which time he realized that musical composition was

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his true calling in life. This led him to enroll at Whitman College, followed by graduate study at the University of Southern California (USC), where he studied composition with Ingolf Dahl, Halsey Stevens, and others. He began teaching at USC’s Thornton School of Music in 1967 and continued to do so until his retirement in 2019. His setting of the medieval Christmas Day Vigil “O magnum mysterium” was composed in 1994 on commission from the Los Angeles Master Chorale and was first performed in LA’s Dorothy Chandler Pavilion on December 18 of that year with Paul Salamunovich conducting.

It has become one of Lauridsen’s most frequently performed works and has been transcribed for various instrumental combinations, including brass ensembles of different sizes and combinations.

O great mystery, and wonderful sacrament, that animals should see the newborn Lord, lying in a manger!

Blessed is the virgin whose womb was worthy to bear the Lord, Jesus Christ.

Alleluia!

This beautiful medieval chant for Christmas Day has enjoyed numerous choral settings, including ones by the Renaissance masters Giovanni Pierluigi da Palestrina and Tomás Luis de Victoria, as well as the twentieth-century French master Francis Poulenc. According to Lauridsen, the inspiration for “O magnum mysterium” came from a 1633 painting by the Spanish artist Francisco de Zubarán titled “Still Life with Lemons, Orange and a Rose.” Lauridsen went on write, “I wanted this piece to resonate immediately and deeply into the core of the listener, to illumine through sound” as well as to create “a quiet song of profound inner joy.” The popularity of this deeply reflective and spiritual choral work, as well as its multiple instrumental transcriptions, certainly speaks to Lauridsen’s success in creating a welcome addition to the Christmastide repertoire. ●

“This music is a tribute to all that gives birth to the danzón …

I approach the dance rhythms in the closest possible way to express my respect … towards genuine popular music.”

—Arturo Márquez

Arturo Márquez (1994)

Danzón No. 2 for Brass Ensemble (arr. Jeremy Van Hoy) Arturo Márquez Navarro was born in Álamos, Sonora-Mexico, on December 20, 1950. He studied music at the Conservatory of Music of Mexico, The Taller de Composicion of the Institute of Fine Arts of Mexico, California Institute for the Arts, and privately in Paris. His principal teachers have been Federico Ibarra and Morton Subotnick.

He has received numerous grants and awards from the Mexican and French governments as well as a Fulbright Scholarship. The original version of Danzón No. 2 is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (claves, snare drum, suspended cymbal, guiro, tom-toms, bass drum), piano, and strings.

Although Márquez’s accomplishments include a large and widely varied repertory of pieces, his series of Danzones in the early 1990s have brought him international fame. The Danzones are based on the music of Cuba and the Veracruz region of his native Mexico. As of the date of the writing of these notes, he has composed nine works under the title Danzón thus far. Danzón No. 2 was commissioned by the National Autonomous University of Mexico and was debuted in 1994 in Mexico City by the Orchestra Filarmonica de la UNAM under the direction of

Francisco Savin. Danzón No. 2 was also performed by the Simon Bolívar Youth Orchestra, an ensemble comprising Latin American musicians led by the charismatic conductor Gustavo Dudamel on their 2007 tour of Europe and the United States. Its popularity with audiences established Danzón No. 2 not only as one of the signature pieces performed by that orchestra but has gained admirers throughout the musical world.

According to the composer, “This music is a tribute to all that gives birth to the danzón … I approach the dance rhythms in the closest possible way to express my respect … towards genuine popular music.” ●

COURTESY OF SEATTLE SYMPHONY

Ellen Reid (2021)

Today and Today …

World Premiere: February 3, 2022, with Seattle Symphony conducted by Ruth Reinhardt at Benaroya Hall in Seattle

What to Listen For: • Smeared notes called glissandi in the strings and other instruments where one note glides into another.

• Startling “scratch” tones in the finale’s strings.

It should be no surprise that the title of Ellen Reid’s single-movement symphonic work echoes the monotony most everyone experienced during the pandemic: lockdowns and bouts of continued on 20

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working from home (or not working at all), blurred hours and days into weeks and months. According to the composer, the repetition in the title not only portrays what she remembers as “the cyclical feeling of those daily routines,” but optimistically also seeks “the magic that happens when those routines are broken and something erupts within the day that’s surprising and exciting.”

Today and Today … begins with a sudden drone that seems to surface from oceanic depths. Tense clusters continue to edge skyward until held by a giant chord that’s powered by the brass. Fierce downward strums on the harp signal the strings to divide into subgroups in a segment labeled by Reid as “Dark, Murky.”

Several short episodes follow, veering from unsettled agitation to moments of uneasy repose with apt directions such as “Slowly Degrading” and “Sheer Will.”

Midway through, the music halts, leaving only the timpani to pound a loping riff, which is picked up by the entire orchestra. Ribbon-like ascending scales recall the introduction, but faster and higher, blurring into shimmering textures.

A variation emerges, reminiscent of the agitated strings heard previously, but elongated as a barrage of tuttis. These chords peter out, leaving quiet pulses on the piano supported by two violas and a contrabass. A fierce brass chord announces a surprising percussion interlude of swaggering congas, bongos, bass drum, and piano.

The final section unleashes a brief jolt of “scratch tones” where the strings rumble and creak, like prying open the rusty portcullis of a giant castle.

Heard up close, such tones can be discomfiting, but in a concert hall, clouds of microscopic harmonics hover and float. The percussion and orchestra then converge in a joyous ending. ●

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DAVID B. LEVY

Ludwig van Beethoven (1822–1824)

Symphony No. 9 in d minor, “Choral,” Op. 125 Ludwig van Beethoven, one of history’s pivotal composers, was born on December 16 or 17, 1770, in Bonn and died in Vienna on March 26, 1827. His Ninth Symphony, Op. 125 was composed over a period of many years, most intensely between 1822 and 1824, culminating in its premiere in Vienna’s Kärtnertortheater on May 7, 1824.

It is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, triangle, bass drum, cymbals, timpani, and strings.

Beethoven’s Ninth Symphony has acquired a status of universal approbation unmatched in the symphonic repertory. The British affectionately call Beethoven’s Ninth the “Choral” Symphony, while the Japanese, who each December present well over one hundred performances of it, have dubbed the work “Daiku” (“Big Nine”). It is a mainstay of concert halls and music festivals throughout the world. Wagner saw fit to conduct a performance of it when he laid the cornerstone of the Bayreuth Festspielhaus in 1872. In the summer of 1989 in China, revolutionary students gathered in Tiananmen Square and played its finale through loudspeakers in order to bolster their spirits. Later the same year, in Berlin, Leonard Bernstein led a ceremonious performance of it, changing Schiller’s “Freude” (Joy) to “Freiheit” (Freedom) in symbolic celebration of the razing of the Wall which had divided that city.

The Ninth is, at the same time, one of Beethoven’s most perplexing compositions—a work that remains one of the world’s most revered musical masterpieces, but which is not without its problematic side. Its musical syntax is a curious mixture of complexity and simplicity, and over time critics have seen

fit to assail it on both counts, although virtually no composer after Beethoven could escape the Ninth’s immense shadow. Stemming as it did from a particular time and circumstance—Vienna during the age of Metternich—with all the musical, social, and cultural associations of that period, the Ninth Symphony has emerged as ceremonial piece par excellence, befitting artistic and political summitry, as well as populist symbol for freedom-loving citizens from Beijing to Berlin. The Ninth Symphony is much more than a monument of Western music: It is a cultural icon. UNESCO declared it to be the first musical composition to be entered into the Memory of the World Register in 2001.

Beethoven’s last symphony represents the culmination of two discrete projects. The first was the fulfillment of a commission for a new symphony tendered by the Philharmonic Society of London in 1822, itself the partial satisfaction of an earlier request from the Society for two new symphonies.

The other project dates back to 1792, the year in which we have the first evidence of Beethoven’s interest in setting Friedrich Schiller’s 1785 poem, An die Freude (Ode to Joy), to music.

The joining of these separate enterprises into the Ninth Symphony did not occur until relatively late in the symphony’s evolution. First performed in Vienna on May 7, 1824, the Ninth Symphony immediately made a tremendous impact, despite its faulty execution.

Indeed, the work itself seems immeasurable. The opening Allegro un poco maestoso is far from the longest first movement that Beethoven wrote, yet its scale is greater than any other. One reason for this lies in the density of its content.

From a barely audible murmur, fragments in the strings grow in speed and intensity as they coalesce to form the titanic first theme. The time scale in which this occurs is small, but its implication is immense.

Never before, and rarely since, has such force ever been unleashed in music. The opening of the movement is unique, yet all subsequent imitations of it (Bruckner and Wagner, most notably) were conceived in

PROGRAM NOTES .

[The Ninth Symphony] is one of Beethoven’s most perplexing compositions—a work that remains one of the world’s most revered musical masterpieces. fully self-conscious homage to Beethoven.

Equally cataclysmic in its impact is the explosion in D Major that launches the movement’s recapitulation. The powerful funereal peroration from the coda also has been imitated—most notably by Gustav Mahler—but never equaled. The first movement of the Ninth Symphony is tragedy writ large.

The scherzo, which is placed as the symphony’s second movement, offers little relief. Tragedy is now replayed as farce as the strings and kettledrums hammer out its distinctive motif. After a full-scale treatment of the Molto vivace in sonata form, replete with a fugal exposition and metrical trickery in its development section, the pastoral trio in D Major offers the first true moment of respite. The word “scherzo” means joke, but anyone familiar with Beethoven knows that his humor often has its dark side, and the scherzo of the Ninth Symphony is one of the most demonic ever penned.

The final “joke” of this movement comes in the coda, where Beethoven threatens to repeat the trio section, only to thwart our expectation with an abrupt ending—a gesture that he used in the scherzo of his Seventh Symphony (1812).

The Adagio molto e cantabile third movement dwells in the realm of pure melody and dance. Aestheticians in the eighteenth and nineteenth centuries were fond of making a distinction between the “sublime” (lofty) and the “beautiful” in art. If the first two movements are representative of the former, the third movement of the Ninth Symphony surely is an exemplar of the latter. The movement is cast as a rondo with varied reprises for each of its two

The New Mexico Philharmonic

themes. A distinguishing characteristic of the first theme is the woodwind echo that occurs at the end of each phrase of the hymnal theme played by the strings, a feature that is retained in each of its returns. The second theme is a contrasting Andante moderato in triple meter. The literal midpoint of the movement (and, in fact, the entire symphony) is its ethereally calm development section, where the color of woodwinds (Harmoniemusik) dominates its landscape. The fourth horn emerges out of this heavenly serenity in a celebrated passage that culminates in an unaccompanied scale. Listeners should attend to how this instrument continues to play a prominent, and often virtuosic, role throughout the remainder of the movement.

The onset of the finale rudely shatters the calm with a glancing dissonance and a passage that Wagner dubbed the “horror fanfare” (Schreckensfanfare). Evidence from Beethoven’s sketches reveal that Beethoven had considerable difficulty effecting a transition from the purely instrumental opening movements to the choral part of the finale. How, after all, does one introduce an element that never before had belonged to a genre? Using every bit of his ingenuity, and bringing his experience gained from previous works to bear (the “Choral” Fantasy and several piano sonatas), Beethoven hit upon the idea of using instrumental recitative—played here by the cellos and contrabasses—as a conduit from the world of purely instrumental music to that of instrumental/vocal.

The instrumental recitative is a superbly effective device, used as a link between

fragmented reminiscences from the previous movements. The reason for these thematic recollections has been interpreted by analysts in various ways.

Most writers suggest that the recitative serves as a rebuff of the spirit of these earlier movements, each of which in turn is spurned by the cellos and basses until the famous “Joy” melody is presented.

But there is another possible reason why Beethoven elected to bring back these themes, a purpose that is as much prospective as it is retrospective. The elaborate multi-sectional finale plays out as an entire four-movement symphonic structure in miniature. Viewed from this perspective, the episode of recitative and recollection is an introductory prefiguration of the landscape of the entire finale.

The presentation of the “Joy” theme in variations (both instrumental and vocal) comprises the gesture of a first “movement.” The portions of Schiller’s An die Freude used in this part are the ones that are most overtly profane or pagan in spirit. This is followed by the “Turkish” music that acts as a kind of scherzo, which in turn yields to a solemn slow “movement” (Seid umschlungen, Millionen). This third section devotes itself to the most overtly sacred parts of Schiller’s poem. The reentry of the “Turkish” percussion movements marks the onset of the “finale,” where Beethoven joins together the profane and the sacred in a symbolic marriage of Athens and Jerusalem. Joy, then, serves as the agent through which “all men become brothers.”

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THANK YOU .

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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

BASSOON Stefanie Przybylska • Denise Turner

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

TRUMPET John Marchiando • Brynn Marchiando Sam Oatts ••

FLUTE Valerie Potter • Jiyoun Hur •• OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Pena ••+ Lauren Keating ••++ CLARINET Marianne Shifrin •+ Lori Lovato ••• Timothy Skinner

HORN Peter Erb • Allison Tutton Katelyn Lewis •• Maria Long ••••

TROMBONE Aaron Zalkind • Byron Herrington BASS TROMBONE David Tall TUBA Richard White • TIMPANI Micah Harrow • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

Chair

Al Stotts

Vice Chair

David Peterson Secretary

Kory Hoggan Treasurer

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

HARP Matthew Tutsky •+

E-FLAT CLARINET Lori Lovato BASS CLARINET Timothy Skinner + Cory Tamez ++ Principal • Assistant Principal •• Associate Principal ••• Assistant •••• Leave + One-year position ++

STAFF Marian Tanau

Leif Atchley

Luis DeVargas

Roberto Minczuk

Dasa Silhova

Mary Montaño

Christine Rancier

Eric Sewell

Joan Olkowski

Matt Hart

Crystal Reiter

Lori Newman

President & CEO Music Director

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The New Mexico Philharmonic

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

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Design & Marketing Editor

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DONOR CIRCLES .

Donor Circles Thank You for Joining a Circle BENEFACTOR CIRCLE

Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund Marian Ausherman Chavez Trust City of Albuquerque The Karen McKinnon Fund The McKinnon Family Foundation The Meredith Foundation

BEETHOVEN CIRCLE

Donation of $25,000–$49,999 The Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Eugenia & Charles Eberle New Mexico Philharmonic Foundation

MOZART CIRCLE

Donation of $10,000–$24,999 Albuquerque Community Foundation, NDB & CEB Fund Meg Aldridge Anonymous Bernalillo County Commission George & Sibilla Boerigter Deborah Borders Art Gardenswartz & Sonya Priestly David Gay Keith Gilbert Mary Herring Holmans USA, LLC, Anthony D. Trujillo Dal & Pat Jensen Walter & Allene Kleweno Dwayne & Marjorie Longenbaugh Trust of Margaret E. Macy The Honorable & Mrs. James A. Parker Cynthia Phillips & Thomas Martin Real Time Solutions, Inc. Rio Rancho Kiwanis Foundation Sandia Foundation, Hugh & Helen Woodward Fund Terrence Sloan, MD Sophia’s Foundation for Autism United Way Community Fund Estate of Charles E. Wood Dr. Dean Yannias

BRAHMS CIRCLE

Donation of $5000–$9999 Albuquerque Community Foundation, The Ties Fund Carl & Linda Alongi Anonymous James Botros & Jeremy Wirths Paula & William Bradley Bob & Fran Fosnaugh Friends of Music Inc. Hancock Family Foundation Jonathan & Ellin Hewes, in memory of Roger Hall Robert & Elisa Hufnagel Chris & Karen Jones Christine Kilroy Harry & Betsey Linneman

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ListenUp Edel & Thomas Mayer Foundation Menicucci Insurance Agency Karl & Marion Mueller New Mexico Arts George & Mary Novotny Scott Obenshain Bob & Bonnie Paine Sandia Laboratory Federal Credit Union Richard Vandongen The Verdes Foundation Kathleen & David Waymire Diane Chalmers Wiley & William Wiley Lance Woodworth John Wronosky & Lynn Asbury Janet Youngberg

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GRACE THOMPSON CIRCLE Donation of $1933–$3499 Anonymous Joel & Sandra Baca Thomas Bird & Brooke Tully Ann Boland Ronald Bronitsky, MD, in honor of Anastasiya Naplekova, Hedwig Bronitsky, & Robert Alexander Clarke & Mary Cagle Century Bank D’Addario Foundation Thomas & Martha Domme Fritz Eberle & Lynn Johnson David & Ellen Evans Firestone Family Foundation First United Methodist Church, Kaemper Music Series Frank & Christine Fredenburgh Roland Gerencer, MD Jean & Bob Gough Helen Grevey Madeleine Grigg-Damberger & Stan Damberger Stephen & Aida Ramos Heath Donna Hill Rosalyn Hurley Sue Johnson & Jim Zabilski Bonnie & Hank Kelly Bruce A. Larson Jon McCorkell & Dianne Cress

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Bob & Susan McGuire Jan Mitchell Moss-Adams LLP Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings Ruth & Charles Needham Tom & Lili O’Malley Gary & Carol Overturf Jerald & Cindi Parker Dick & Marythelma Ransom Deborah Ridley & Richard S. Nenoff Robertson & Sons Violin Shop Jacquelyn Robins Jay Rodman & Wendy Wilkins Ellen Ann Ryan Albert Seargeant Vernon & Susannah Smith Dorothy Stermer & Stacy Sacco Betty & Luke Vortman Endowment

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Donation of $1000–$1932 Leah Albers & Thomas Roberts Albuquerque Community Foundation, Peggy Cavett-Walden & Professor Jerrold Walden Fund for Art & Music Grant Anonymous Teresa Apple & Richard Zabell Jonathan & Deborah Armerding Benevity Fund Lawrence & Deborah Blank Robert Bower & Kathryn Fry Drs. Kathleen L. Butler & M. Steven Shackley Butterfield’s Jewelers Edwin Case Daniel & Brigid Conklin John Crawford & Carolyn Quinn Robert & Mary Custer Leonard & Patricia Duda James & Teresa Edens Susan Evatt Richard & Virginia Feddersen David Foster Helen Fuller Ralph Garza George F. Gibbs Scott Goodman Peter Gould Stephen Hamm Roger & Katherine Hammond Harris Hartz Hal Hudson Stephanie & David Kauffman Steve & Elisa Kephart Judith Levey Marcia Lubar Myra & Richard Lynch Linda S. Marshall Kathy & John Matter Ranne B. Miller & Margo J. McCormick Miller Stratvert, P.A. Robert Milne & Ann DeHart Mark Moll David & Alice Monet National Christian Foundation Southwest New Mexico School of Music, Tatiana Vetrinskaya James O’Neill & Ellen Bayard

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Nancy Brunson Marcia Bumkens Caliber’s Safe Store Carol Callaway Dante & Judith Cantrill David C. Carr Robert E. & Shirley Case Roscoe & Barbara Champion Gregory & Karen Chase Olinda Chavez Lance & Kathy Chilton Sharon Christensen Thomas & Judith Christopher Beth Clark Paul & Linda Cochran Jane & Kenneth Cole Donna Collins Lloyd Colson III Henry & Ettajane Conant Marcia Congdon Susan Conway Jasha Cultreri John & Sally Curro Stephen & Stefani Czuchlewski Paul & Kathleen Deblassie Ronald & Faye Detry Raymond & Anne Doberneck Carl & Joanne Donsbach Gale Doyel, in memory of The Honorable James A. Parker Reverend Suzanne & Bill Ebel Gary Echert Michael & Laurel Edenburn Jeffrey Edgar The Eichel Family Charitable Fund Richard & Mildred Elrick Jay Ven Eman Robert & Dolores Engstrom Jackie Ericksen David & Frankie Ewing David & Regan Eyerman Peggy Favour Helen Feinberg Lori Finley, in memory of David Waymire Heidi Fleischmann & James Scott William & Cheryl Foote, in memory of David Waymire 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 Patricia B. Guggino, in memory of The Honorable James A. Parker Kirk & Jan Gulledge Robert & Elene Gusch Ruth Haas Herman Haase Lee & Thais Haines Ron & Nancy Halbgewachs Leila Hall Debbie Hammack Bennett A. Hammer Joan Harris Darren Hayden Bruce & Ann Hendrickson, in memory of The Honorable James A. Parker Patricia Henning & Anthony Lazzaro

Pamelia Hilty (Snow Blossom Gift Fund) Laura Hoberg Toppin & Robert Hodge Ulton & Jean Hodgin Diane Holdridge Bernhard E. Holzapfel Nancy Kay Horton Janet Humann Betty Humphrey Bryan “Lance” & Debrah Hurt Christopher & Venessa Johnson Marilyn & Walt Johnson, in memory of David Waymire 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 Jeffery & Jane Lawrence 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 Joan M. Lucas Ruth Luckasson & Dr. Larry Davis Robert Lynn & Janet Braziel Robert & Linda Malseed The Man’s Hat Shop Jim & Helen Marquez Jeffrey Marr Carolyn Martinez, in memory of The Honorable James A. Parker Sallie McCarthy Roger & Kathleen McClellan Linda McNiel Jerry & Azantha Middleton, in memory of The Honorable James A. Parker Bruce & Jill Miller 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 Mr. Tux Betsy Nichols Rebecca Okun John & MacKenzie Ordorica Patrick Ortiz Del Packwood & Barbara Reeback Geri Palacios 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 Daniel & Barbara Shapiro R.J. & Katherine Simonson Carol Smith Steven & Keri Sobolik Karen Soutar Sport Systems Jennifer Starr John & Patricia Stover Larry & Susan Tackman, in honor of NMPHIL Musicians 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 Marybeth White Kris Williams Dot Wortman Paula Wynnyckyj Andrea Yannone Peng Yu 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 Freda Anderson Jerry & Jo Marie Anderson

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DONOR CIRCLES . continued from 25 Judith 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 Dorothy & Melbourne Bernstein Marianne Berwick Karen Bielinski-Richardson Nancy & Cliff Blaugrund, in memory of The Honorable James A. Parker Nancy Blaugrund Thomas & Suzanne Blazier William Blumenthal Henry Botts J.M. Bowers & B.J. Fisher Marilyn Bowman Richard & Iris Brackett Samuel Brandt Carolyn Brown James & Jan Browning, in memory of The Honorable James A. Parker Hank & Miriam Burhans Elizabeth Burki Robert & Marylyn Burridge Douglas & Ann Calderwood Luana Carey CarMax James Carroll Bradley & Andrea Carvey Joseph Cella Laura Chang Cheesecake Factory Wayne & Elaine Chew, in memory of Judith Lackner Wayne & Elaine Chew, in memory of The Honorable James A. Parker 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 Debby De La Rosa, in memory of The Honorable James A. Parker Kurt & Yvonne Deshayes Stephen R. Donaldson James & Julie Drennan Barbara Druxman Michael & Jana Druxman Jeff & Karen Duray

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Sondra L. Eastham, in memory of Dr. Herb Freidman Sondra L. Eastham, in memory of Judith Lackner John Eckert Helene Eckrich Bradley Ellingboe Jane Farris John Adam Farris Howard Fegan Ella J. Fenoglio Irene Fertik David Fillmore Mary Filosi Sally Fish Joy Fishel-Eaton James Fisk Rabbi Arthur Flicker Blake & Liz Forbes Walter & Beverly Forman David Foushee Martin & Ursula Frick Greg & Jeanne Frye-Mason Eric & Cristi Furman Jonathan & Julia Gallegos Yolanda Garcia Walter Gerstle Lawrence Jay Gibel, MD Ronald Goldsmith The Golf Mart Lois Gonzales Stephen Ray Goode Great Harvest Bakery Alfred & Patricia Green Ann Green, in memory of The Honorable James A. Parker Ginger Grossetete Kevin & Teresa Grunewald Birgitta Gustafson 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 Ursula Hill, in memory of David R. Waymire Heidi Hilland Glenn & Susan 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

2022/23 Season / Volume 11 / No. 4

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 Judith Lackner Barbara Kleinfeld, in memory of Karen McKinnon John & Gretchen Kryda Mark Kunzman Kathryn Lackner Molly Lannon LeRoy Lehr Marc Limmany Carl & Sheila Litsinger Virginia Loman, in memory of The Honorable James A. Parker Mariana Lopez Laurence & Patricia Loucks Mary Loughran, in memory of The Honorable James A. Parker Sam Lucero & Ron Lahti Bob & Maureen Luna 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 Tom & Constance Matteson Jean-Luc Matton Janet Matwiyoff Charles McCormack Brian McDonald David & Jane McGuire Judith W. Mead Joyce Mendel Kathleen Miller Natalie Miller Robert F. Miller John Mims Phillip 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

Richard & Marian Nygren Ruth Okeefe Ooh! Aah! Jewelry Joseph Opuszenski William Owen Peter Pabisch Eric Parker Mark & Diane Parshall Howard Paul Honorine Payne PayPal Giving Fund Brian Pendley PF Chang’s Barbara Pierce Ed Pierce Helen Priest Daniel Puccetti 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 Charles Rundles 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 Seasons Rotisserie & Grill Laurel Sharp & David Smukler Arthur & Colleen Sheinberg Dasa Silhova Beverly Simmons John Simpson Norbert F. Siska Matthew & Diane Sloves Joseph Smith Kirk Smith Catherine Smith-Hartwig Smith’s Community Rewards Cynthia Sontag Allen & Jean Ann Spalt Linda Srote Philip & Lois Ann Stanton Stan & Marilyn Stark, in memory of The Honorable James A. Parker Stan & Marilyn Stark, in honor of Malka Sutin’s 80th Birthday Stan & Marilyn Stark, in memory of George Dubois 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 Julie Tierney Dave Tighe, in memory of The Honorable James A. Parker Dr. Steven Tolber & Louise Campbell-Tolber 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 Judith Woods, in memory of Bob Woods Judith Woods, in memory of David Waymire Kenneth Wright Kari Young Kenneth & Barbara Zaslow Charles & Nancy Zimmerman Michael & Anne Zwolinski 12/15/2022

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THANK YOU .

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, MD 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 Albert & Shanna Narath

The New Mexico Philharmonic

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, Dennis Chavez Development Corp.)

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 Helen Feinberg Volti Subito Productions Melbourn & Dorothy Bernstein 12/15/2022

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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 LEVE 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. 4

$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 Terrence Sloan, MD

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 Wanda Adlesperger Fran A'Hern-Smith 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 Tom & Constance Matteson 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 12/15/2022

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 Terrence Sloan, MD Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Charles E. Wood Dot & Don Wortman 12/15/2022

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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 12/15/2022

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● The New Mexico Philharmonic

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2022/23 Season / Volume 11 / No. 4

UPCOMING CONCERTS NMPHIL .

2022/23 SEASON

nmphil.org

HAYDN & MOZART FEBRUARY 26, 2023

A MORNING OF MUSIC FOR STRINGS

IONIȚĂ PLAYS DVOŘÁK CELLO CONCERTO

MAHLER: THE TITAN

MARCH 18, 2023

APRIL 22, 2023

THE MAJESTIC ORGAN

EXUBERANT BEETHOVEN!

APRIL 14, 2023

MARCH 10, 2023

APRIL 30, 2023

A NIGHT WITH OTTMAR LIEBERT

THE MUSIC OF GENESIS & PHIL COLLINS

MARCH 11, 2023

APRIL 15, 2023

The New Mexico Philharmonic

nmphil.org

31

CONCERT PROGRAM .

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2022/23 Season / Volume 11 / No. 4