New Mexico Philharmonic Program Book • 2022/23 Season • Volume 11 • No. 5

22/23 VOLUME 11 / NO. 5

FEB

26

MAR

10

MAR

11

MAR

18

2022/23 SEASON

nmphil.org

mar

SPONSOR

A MUSICIAN

We invite you to engage more deeply with the orchestra and its musicians. This program comes with wonderful benefits that give you a chance to develop a personal relationship with one of our stellar musicians. Please call to find out the benefits and cost of sponsorship.

SPONSOR TODAY

(505) 323-4343 DWAYNE & MARJORIE LONGENBAUGH Principal Viola Sponsorship, Laura Tait Chang Violin Sponsorship, Laura Steiner

25

SATURDAY, MARCH 25, 2023 5:30–9:30 P.M. ALBUQUERQUE GARDEN CENTER 10120 Lomas Blvd. NE Albuquerque, NM 87112

DINNER WINE COCKTAIL HOUR MUSIC BY BARACUTANGA LIVE & SILENT AUCTIONS

$175/PERSON ($50 fair market value)

DRESS IN WHITE Women, white cocktail attire Men, white dinner jacket or guayabera

(505) 323-4343 nmphil.org • FULL SPONSOR •

2

WELCOME LETTER FROM THE

MUSIC DIRECTOR

NMPHIL .

TABLE OF CONTENTS

We started 2023 with a brilliant performance featuring the orchestra and its marvelous musicians on January 14, followed by a sold-out performance of Beethoven’s Ninth Symphony on February 11. You are an amazing audience who warmly embraced February’s featured composer, Ellen Reid, and her work we co-commissioned with the Seattle Symphony. We have more amazing performances in store for you before the closing of our season. I believe you will deeply enjoy them.

PROGRAMS

I am happy to let you know that we are in the planning stages for the 2023/2024 season! It promises to be a great one. I continue to be honored to lead the orchestra. Our musicians and I continue to share the great joy of performing for you. Enjoy the performance!

Roberto Minczuk Daniel Kaler Ottmar Liebert Andrei Ioniță

February 26, 2023 Program March 10, 2023 Program March 11, 2023 Program March 18, 2023 Program Program Notes

5 7 8 9 13

ARTISTS

10 11 11 12

YOUR NMPHIL

Roberto Minczuk Music Director

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

read full bio on page 10

The New Mexico Philharmonic

Sponsor a Musician Havana Nights Gala Letter from the Music Director Donor Circles NMPhil Foundation Donors & Trustees Steinway Society Legacy Society Thank You Sponsors Orchestra, Staff Board of Directors, Advisory Board

2 2 3 20 23 24 25 25 26 27 27

NEW MEXICO PHILHARMONIC OFFICES

3035 Menaul NE #2 / Albuquerque, NM 87107 ADVERTISE TODAY

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

nmphil.org

nmphil.org

3

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

Planting

seeds

Through Joy in Learning®

Now accepting

applications for 2023-2024

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

Financial Aid Available 1801 Central Avenue NW - 505.243.6659 www.manzanodayschool.org

CONCERT PROGRAM .

AFTERNOON CLASSICS

Haydn & Mozart

FEB

26

Sunday, February 26, 2023, 3 p.m.

Immanuel Presbyterian Church

Roberto Minczuk Music Director Daniel Kaler cello

Symphony No. 2 in D Major, Op. 11 I. Allegro presto II. Andante III. Presto

Cello Concerto No. 1 in C Major, Hob. VIIb:1 I. Moderato II. Adagio III. Finale (Allegro molto) Daniel Kaler cello

Joseph Bologne, Chevalier de Saint-Georges (1745–1799)

MAKING A DIFFERENCE

This performance is made possible by: Meredith Foundation

Joseph Haydn (1732–1809)

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

Symphony No. 38 in D Major, “Prague,” K. 504 I. Adagio—Allegro II. Andante III. Finale (Presto)

The New Mexico Philharmonic

Wolfgang Amadeus Mozart (1756–1791)

nmphil.org

5

MAR Roberto Minczuk Music Director

19

Musical Fiestas • ANDREI IONIȚĂ •

Sunday, March 19, 2023, 4 p.m.

MUSIC • DINNER • WINE

The NMPhil would like to invite you to a very special evening featuring cellist Andrei Ioniță, winner of the 2015 International Tchaikovsky Competition. Hosted by Laurie and Rogan Thompson at their beautiful High Desert home.

$250/PERSON

Tax-deductible to the extent allowed by law.

Fair market value of the event is $50.

Business casual dress.

RSVP BY 3/13/2023

(505) 323-4343 x1 nmphil.org

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

Locally Owned & Operated 2116 Vista Oeste NW, Bldg 5 • Albuquerque, NM 87120 Phone: 505.883.3683 • Fax: 505.883.2827 mianm.com

CONCERT PROGRAM .

COFFEE CONCERT

A Morning of Music for Strings Friday, March 10, 2023, 10:45 a.m.

10

Immanuel Presbyterian Church

Roberto Minczuk Music Director

Holberg Suite, Op. 40 I. Praeludium II. Sarabande III. Gavotte IV. Air V. Rigaudon

MAR

Edvard Grieg (1843–1907)

Cantus in Memoriam Benjamin Britten

MAKING A DIFFERENCE

This performance is made possible by: Italian Culture Club

Arvo Pärt (b. 1935)

Canon in D Major, P. 37 Johann Pachelbel (1653–1706)

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

Serenade for Strings in C Major, Op. 48 I. Pezzo in forma di sonatina. Andante non troppo— Allegro moderato II. Valse. Moderato. Tempo di Valse III. Elegia. Larghetto elegiaco IV. Finale (Tema russo). Andante—Allegro con spirito

The New Mexico Philharmonic

Pyotr Ilyich Tchaikovsky (1840–1893)

nmphil.org

7

CONCERT PROGRAM .

ROCK & POPS

A Night with Ottmar Liebert Saturday, March 11, 2023, 8 p.m.

MAR

11

Popejoy Hall

Roberto Minczuk Music Director Ottmar Liebert guitar

It’s a night of Nouveau Flamenco!

The New Mexico Philharmonic welcomes New Mexico’s own “million-fingered” guitar virtuoso!

Experience a flamenco-driven fusion of styles and genres in an amazing evening of music. With 38 Gold and Platinum Records, the music of Ottmar Liebert will wrap you in rhythm all night!

8

2022/23 Season / Volume 11 / No. 5

MAKING A DIFFERENCE

This performance is made possible by: Bernalillo County

CONCERT PROGRAM .

POPEJOY CLASSICS

Ioniță Plays Dvořák

MAR

18

Saturday, March 18, 2023, 6 p.m.

5:00 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Andrei Ioniță cello

Cello Concerto in b minor, Op. 104, B. 191 I. Allegro II. Adagio, ma non troppo III. Finale: Allegro moderato—Andante—Allegro vivo

Antonín Dvořák (1841–1904)

Andrei Ioniță cello

MAKING A DIFFERENCE

This performance is made possible by: Thomas Martin & Cynthia Phillips

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

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

Daphnis et Chloé Suite Nos. 1 and 2 I. Nocturne II. Interlude III. Danse guerrière IV. Lever du jour V. Pantomime VI. Danse générale

The New Mexico Philharmonic

Maurice Ravel (1875–1937)

Hosted by KHFM’s Alexis Corbin

nmphil.org

9

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

10

2022/23 Season / Volume 11 / No. 5

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. 5, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prizewinner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album.

Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. In 2017, Minczuk received the Medal of Commander of Arts and Culture from the Brazilian government.

A child prodigy, Minczuk was a professional musician by the age of 13. He was admitted into the prestigious Juilliard School at 14 and by the age of 16, he had joined the Orchestra Municipal de São Paulo as solo horn. During his Juilliard years, he appeared as soloist with the New York Youth Symphony at Carnegie Hall and the New York Philharmonic Young People’s Concerts series. Upon his graduation in 1987, he became a member of the Leipzig Gewandhaus Orchestra at the invitation of Kurt Masur. Returning to Brazil in 1989, he studied conducting with Eleazar de Carvalho and John Neschling.

He won several awards as a young horn player, including the Mill Santista Youth Award in 1991 and I Eldorado Music. ●

ARTISTS .

Daniel Kaler cello Praised by critics and listeners alike for his “warm and luminous tone” (Chicago Music Report), Daniel Kaler is recognized by many as a rising star of his generation.

Following his initial studies under Gilda Barston of the Music Institute of Chicago, Kaler continued his studies under Professor Hans Jørgen Jensen of the Northwestern University Bienen School of Music and Professor Stephen Balderston of the DePaul University School of Music.

Kaler received his Bachelor of Music in cello performance from the Cleveland Institute of Music in 2019, having studied with Mark Kosower. He currently studies with Brinton Smith at Rice University’s Shepherd School of Music.

Kaler has many awards to his credit, including being a prizewinner of the Sigma Alpha Iota Concerto Competition at the Chautauqua Festival (Chautauqua, New York); the Cleveland Institute of Music Concerto Competition, where he was also awarded the 2018 Payne Fund Prize; the North International Music Competition (London, UK); the Muse International Music Competition; and most recently, the Shepherd School of Music Concerto Competition. His solo engagements for the 2021/22 season included a performance of Ernest Bloch’s Schelomo with the Shepherd School of Music Symphony Orchestra and a recital at Rice University’s Shepherd School of Music.

In recent years, Kaler appeared as a soloist with the Ars Viva Orchestra, Kankakee Valley Symphony

Orchestra, West Virginia Symphony Orchestra, Bogotá Philharmonic Orchestra, Chautauqua Music School Festival Orchestra, Cleveland Institute of Music Orchestra, and the Asheville Symphony Orchestra.

Kaler has attended and given performances at solo, chamber, and orchestral music programs, including the Chautauqua Music Festival (Chautauqua, New York), Sarasota Music Festival (Sarasota, Florida), Heifetz International Music Institute (Staunton, Virginia), Bowdoin International Music Festival (Brunswick, Maine), and the North Shore Chamber Music Festival (Northbrook, Illinois). He has appeared on WFMT’s “Introductions,” WCPN’s “Applause Performances,” and WCLV. ●

Ottmar Liebert guitar Ottmar Liebert’s global success can be attributed to a myriad of things—his creative vision, his determination, and a strong sense of melody. Born in Cologne, Germany, he began playing guitar at age 11. Until the age of 19, Liebert had intended to stay in Germany and pursue a career as a designer and photographer.

However, while journeying extensively through Asia and playing with other travelers and local musicians, he realized that he could not escape a life of music.

After pursuing his dreams of playing rock music in Boston, he settled in Santa Fe, New Mexico. Santa Fe was a fresh start for Liebert in many ways and in addition to returning to the acoustic guitar, he

remained open to letting the place define the music he made. It was this openness to the local landscape that defined what was to become his musical style—a mix of Spanish, Mexican, and World elements, strong melodies tinged with a shade of melancholy, balanced with upbeat rhythms.

Liebert founded the first incarnation of his band, Luna Negra, in 1989. His debut album began as a self-produced release called Marita: Shadows and Storms, copies of which local Native American artist Frank Howell distributed in his art galleries. After the record made its way to radio stations, it began generating a buzz among programmers and received an unprecedented response among listeners. Higher Octave Music picked it up and released a fully remastered version, Nouveau Flamenco. Recorded for less than $3,000 on an old analog machine in a shack beside a gravel pit, this CD became an international sensation, establishing Liebert’s unique border-style flamenco, and becoming the best-selling instrumental acoustic guitar album of all time.

Visual art has always been essential to Ottmar Liebert’s worldview, and even today, he is an avid photographer. “My music is visual,” Liebert says. “Santa Fe has great light, that special thing you get in the high desert. Some days you can see for 100 miles and think you can reach into the sky or walk off a ridge and keep flying. That’s how I felt when I recorded Nouveau Flamenco.”

Liebert has since become one of the most successful instrumental artists of the past decades, entertaining audiences around the world and releasing a catalog of 33 classic albums including live recordings, an orchestral album for Sony Classical, a binaural surround-sound recording, remix albums, a lullaby, and a flamenco-reggae album. During his career, he has played more than 2,000 concerts worldwide. Ottmar Liebert and Luna Negra have played two concerts with the New Mexico Philharmonic featuring Liebert’s music arranged by bassist Jon Gagan.

These two concerts, to date, have broken attendance records for the New Mexico continued on 12

The New Mexico Philharmonic

nmphil.org

11

ARTISTS . continued from 11

Philharmonic. Ottmar Liebert has been nominated for five GRAMMY awards. ●

Andrei Ioniță cello Andrei Ioniță is one of the world’s most admired cellists of his generation. The Times of London calls him “one of the most exciting cellists to have emerged for a decade”; British Gramophone “a cellist of superb skill and musical imagination and a commitment to music of our time.”

The artist himself remarks, “The instrument will eventually find the musician who is destined for it.” Ioniță plays a violoncello built in Brescia, Italy, by Giovanni Battista Rogeri in 1671 with a characteristic design.

It is a famous loan by the Deutsche Stiftung Musikleben, in which he is a scholarship holder.

Ioniță was born in Bucharest, Romania, in 1994. He first became a student of Ani-Marie Paladi and later of professor Jens Peter Maintz at the University of the Arts (UdK) in Berlin. In 2015, he won the Gold Medal at the internationally renowned Tchaikovsky Competition. He became a laureate of the ARD, Hachaturian, and Feuermann competitions. From 2016 to 2018, the BBC of London awarded him the title “New Generation Artist,” which promoted his popularity in the UK. Following that, Andrei held performances with the BBC Philharmonic Orchestra, Bournemouth Symphony Orchestra, Royal Scottish National Orchestra, and the Royal Philharmonic Orchestra.

Andrei Ioniță has collaborated with an extensive network of European

12

2022/23 Season / Volume 11 / No. 5

orchestras, among them the Munich and Dresden Philharmonics, the German Symphony Orchestra, the Orchestre National de Belgique, and the Czech Philharmonic Orchestra, as well as his appointment to Artist-in-Residence with the Hamburg Symphonic Orchestra in the 2019/2020 season.

His musicianship has led him on tours throughout the U.S., where he has performed with the National Youth Orchestra of Romania and the Detroit, San Diego, and Grand Rapids Symphony Orchestras. Over the span of his career, he has worked with famous conductors such as Cristian Macelaru, Sylvain Cambreling, Kent Nagano, Omer Meir Wellber, John Storgårds, Joanna Mallwitz, and Ruth Reinhardt.

Andrei Ioniță’s exceptional talent makes him a versatile and sought-after performer of chamber music. He has joined forces with Martha Argerich, Christian Tetzlaff, Sergei Babayan, and Steven Isserlis, among others. He is often invited to worldclass concert venues and festivals within the world of classical music. “The music magically develops and flows out to the audience where it speaks directly to the soul,” says Ioniță.

Among the highlights of the 2022/23 season are concerts with the Gewandhausorchester Leipzig and the Chicago Symphony Orchestra, both conducted by Herbert Blomstedt.

A further season highlight is Ioniță’s nomination as Artist-in-Residence of the Romanian town of Timișoara, Europe’s cultural capital, in 2023.

On his highly acclaimed first solo CD, Oblique Strategies, Ioniță presents a world premiere by Brett Dean alongside pieces

by Bach and Kodály. His interpretations create an immense range of timbres, registers, and techniques that showcase the cello.

For Andrei Ioniță, life, music, and the arts are never direct, but pave their own way of expression. These “Oblique Strategies” are necessary to make them shine. ●

PROGRAM NOTES .

DAVID B. LEVY

Joseph Bologne, Chevalier de Saint-Georges

Symphony No. 2 in D Major, Op. 11 (pub. 1779) Composer and violinist Joseph Bologne, Chevalier de Saint-Georges, was born in Baillif, Guadeloupe, on December 25, 1745, and died in Paris on June 9, 1799.

He is one of 18th-century music history’s most intriguing figures, long known mainly to music historians but relatively unknown to audiences until recently. Interest in composers of color has led to worldwide renewed interest in his life and music, both of which have allowed his music to emerge from relative, and undeserved, obscurity.

As a result, audiences are discovering not only a fresh musical voice from the past, but have restored Bologne’s reputation as a master of many skills, including his fame as a champion fencing master. His Symphony No. 2 in D Major is in three movements and dates, as best as we can tell, from the 1770s. Also known for his operas, the composer reused the work in as an overture to his opera L’amant Anonyme (The Anonymous Lover). It is scored for 2 oboes, 2 horns, and strings.

As a graduate student in musicology, the name of Joseph Bologne, Chevalier de Saint-Georges, was brought to my attention by Professor Barry Brook of the Graduate Center of the City University of New York. Brook, whose expertise was in 18th-century music, shared with me and my fellow aspiring musicologists the importance of this composer in the development of the genre known as the symphonie concertante—a cross between symphony and concerto for two or more instruments. This type of composition was especially popular in Paris, but fine examples stemmed from the pens of Haydn, Mozart, and others.

Bologne was the son of a white planter, George Bologne, and his African slave Nanon. The title Chevalier de Saint-Georges became official

“[Joseph Bologne is] the most accomplished man in Europe in riding, shooting, dancing, fencing, and music.”

—John Adams when his father acquired the title of Gentilhomme ordinaire de la Chambre du roi. The family resettled in France in 1753, after which Joseph began his tutelage as a champion swordsman, leading eventually to his earning the title of Gendarme de la Garde du Roi as well as the title of Chevalier. After George Bologne returned to Guadeloupe, Joseph, who became the beneficiary of an annuity created by his father, remained in France, becoming the darling of the elite, partly based on his expertise as a fencing master. None other than John Adams dubbed him as “the most accomplished man in Europe in riding, shooting, dancing, fencing, and music.”

Much less is known of his early musical training, although evidence suggests he was already known in musical circles as early as early as 1764, based largely on his skill as a violinist and composer. He soon became the leader (concertmaster) of a new orchestra, the Concerts des Amateurs. This opportunity led to his composition of two concertos for violin that demonstrated his extraordinary skills as a virtuoso. Under his guidance, the Orchestra of the Amateurs became one of Europe’s leading ensembles.

In 1776, his success led to a proposal that Joseph be named director of the Paris Opéra, but racism reared its ugly head as a faction petitioned Queen Marie Antionette refused to be governed by someone of mixed race. Louis XVI decided to nationalize the institution, thus blunting Saint-Georges’s critics. As a result, the composer turned his attention increasingly toward the composition of operas. But by the 1780s, he again took up the mantle of orchestra leader and founded the Concert

de la Loge Olympique, the organization that commissioned none other than the illustrious Joseph Haydn to compose his six “Paris” Symphonies (Nos. 82-87).

While music, opera, and fencing remained central to Saint-Georges’s life, he also became a strong advocate for equality of Black people in France and England. He thus was, and once again has become, a symbol for racial equality. A man of myriad talents once again is receiving richly deserved recognition as an important cultural figure.

His Symphony No. 2 is a cheerful work in three movements. The outer movements are exuberant representatives of the popular galant style of the Classical era, while the central slow movement, a rondo in the minor mode, adds a touch of pathos. ●

CHARLES GREENWELL

Franz Joseph Haydn Born: March 31, 1732, in Rohrau, Austria Died: May 31, 1809, in Vienna, Austria

Cello Concerto No. 1 in C Major, Hob. VIIb:1 (c. 1761–1765) Scored for solo cello, 2 oboes, 2 horns, and strings. Approximately 25 minutes.

Although Haydn’s reputation rests mainly on his extraordinary output of symphonies, string quartets, and piano sonatas, he wrote a large quantity of music in many other genres. Until fairly recently, his concertos were generally neglected (except for the brilliant Trumpet Concerto), and in fact Haydn’s first biographer did not even mention any of the concertos. This was due in part to continued on 14

The New Mexico Philharmonic

nmphil.org

13

PROGRAM NOTES . continued from 13

these works having been overshadowed

by Mozart’s great concertos, and to problems relating to the authenticity of the Haydn works, which have only recently been resolved. At one time, no less than six cello concertos were attributed to Haydn, but that number was ultimately reduced to two, and until as recently as 1961 only one of them (D Major) was thought to have survived.

Then in that year, a set of parts to the present work was discovered in the National Museum in Prague in the hand of Joseph Weigl, Haydn’s principal cellist at the court of Eszterházy (the palace where Haydn was employed), for whom the concerto was probably written. To this day, however, the autograph score remains missing.

In 1761, Haydn took a step that would define not only the rest of his career but the whole course of Western music history. That spring, he accepted the post of Vice-Kapellmeister (assistant musical director) for the Eszterházy princes, a powerful family of Austro-Hungarian aristocrats who ruled over vast expanses of Central Europe from their court in Eisenstadt, which was about a day’s journey from Vienna. He thus became the second man in the court’s musical hierarchy, the top man being Gregor Joseph Werner, who had held that post since 1728. The ruling prince Paul Anton was careful to explain that Haydn was not being hired to replace the aging Werner, who would still be in charge of all church music, while Haydn would take over instrumental duties. Nevertheless, Werner

felt threatened, and in October of 1765 he petitioned the court to rectify what he considered were the declining standards of its musical establishment. Fate intervened the following year when Werner died at the age of 75, elevating Haydn immediately to the post of Kapellmeister, overseeing all types of music, sacred and secular. Back in March of 1762, almost a year into Haydn’s tenure, Prince Paul Anton died, but the Eszterházy dynasty continued with his brother, Nicholas (“The Magnificent”), succeeding him. Haydn continued to serve the court devotedly until 1790 when Nicholas died, after which he enjoyed a much looser relationship with the court. Most of Haydn’s famous symphonies date from the middle and later years of his career, but the best known of them were not written for this court, but for other musical enterprises.

During his almost 30 years of service to the Eszterházys, Haydn wrote an immense amount of music. The investigation into all of these works has posed a number of problems, not the least of which was that, even in his lifetime, and even more so after his death, an amazing number of works of questionable authenticity appeared under his name. For years, there was only one Haydn Cello Concerto, the lovely and expansive D Major one composed in 1783, whose authenticity was questioned for a time but that is now looked on as entirely genuine. Scholars also knew that he had written an earlier Cello Concerto in C Major, because it was listed in the Draft Catalogue of his works, begun around 1765 and added to sporadically

Of Mozart’s last six symphonies, this one lacks a minuet, and was actually referred to on concert programs and reviews in the early nineteenth century as “The Symphony without a Minuet.”

14

2022/23 Season / Volume 11 / No. 5

over the years, and then assembled in his last years with the help of a secretary/ copyist. There was, however, no trace of this concerto, and it was presumed lost. Then, in 1961, a Czech musicologist discovered a good 18th-century copy of the concerto in the archives of the National Museum in Prague, and its authenticity was definitively established. The only thing we don’t know for sure is exactly when it was composed, but a number of solid criteria seem to place it at the beginning of Haydn’s Eszterházy years when he often gave prominent solos in his symphonies to his players, and wrote concertos for the best of them, in this case the orchestra’s principal cellist, Joseph Franz Weigl, who was a good friend and by all accounts an excellent musician. Even if one assumes that the latest date it could have been written is 1765, that places it only 15 years after the death of Bach and six years after that of Handel. Small wonder, then, that there is so much vibrant Baroque style in the concerto.

There are three notable features of the concerto: In the first movement, the main theme is slightly modified each time it appears; in the second movement, the cello is accompanied by strings only; and in the last movement, the minor-key coloration that affects the main theme during its initial statement leaves its mark on the entire movement. ●

DAVID B. LEVY

Wolfgang Amadeus Mozart

Symphony No. 38 in D Major, “Prague,” K. 504 (1786) Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg and died on December 5, 1791, in Vienna. His Symphony No. 38 in D Major, “Prague,” K. 504, was composed in 1786 and first performed on December 6 of that same year in the city that bears its nickname.

The “K” number used for Mozart’s works refers to the name Ludwig Ritter von Köchel, who first issued the ChronologicalThematic Catalogue of the Complete

PROGRAM NOTES .

Works of Wolfgang Amadé Mozart in 1862.

The Köchel catalogue has been updated and revised many times to keep pace with musicological revelations. This work is scored for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Of Mozart’s last six symphonies, the one in D Major, “Prague,” stands out for a number of reasons. Even though Mozart had adopted the four-movement structure of the mature Classical symphony, this one lacks a minuet, and was actually referred to on concert programs and reviews in the early nineteenth century as “The Symphony without a Minuet” (the last of Mozart’s symphonies is popularly known by modern audiences as “Jupiter,” but was known earlier as the “Symphony with the Concluding Fugue”). The popular subtitle for the D Major Symphony, “Prague,” refers to the fact that Mozart had composed it for performance in that Czech city that at the time was part of the Habsburg Empire.

Mozart’s 1785 masterpiece of comic opera (opera buffa), Le nozze di Figaro, was the equivalent of a smash hit in Prague, and the composer wrote to his father of how the city had become mad for Figaro, with strains of the aria “No piu andrai” sounding in the streets. The success in Prague led to the premiere of Mozart’s next opera, Don Giovanni, which enjoyed its premiere there in 1787. Indeed, Mozart makes a humorous self-reference to the aforementioned Figaro aria in the finale of Act II. The first movement of the “Prague” Symphony begins with a broad and noble Adagio introduction, echoes of its excursion into the minor mode can be heard in the Overture to Don Giovanni of the next year. The same might be said of the energetic and high-spirited Allegro that forms the main body of the movement. A typical Mozartian trait is a poignant excursion into the minor key during the presentation of the second theme group of the exposition. One may discern how this first movement must have been an inspiration on the young Beethoven as he sat down in 1802 to compose his own D Major Symphony (No. 2, Op. 36). The second movement

“[Pärt] just seemed to shake his sleeves and notes would fall out.” is a beautiful and operatic Andante that balances sweetness with moments of drama, and even sadness. The finale, Presto, on the other hand is filled throughout with sunshine, power, and boundless energy. These qualities are derived mainly from rhythmic energy of the principal theme’s first four notes (three short notes followed by a long one). ●

CHARLES GREENWELL

Edvard Grieg

figure that is prominent throughout. The Sarabande, originally a Spanish dance form, is in slow tempo and triple meter. In third place is a Gavotte, a courtly French dance in duple meter, and in the central Musette, the strings imitate the droning of bagpipes. Then comes an Air—not a dance but an elegiac song—that Grieg directs be played with a “religious spirit.” The suite then concludes with a Rigaudon, a vivacious French folk dance in duple meter. ●

Born: June 15, 1843, in Bergen, Norway Died: September 4, 1907, in Bergen, Norway

Arvo Pärt

Holberg Suite, Op. 40 (1884)

Cantus in Memoriam Benjamin Britten (1977)

Born: September 11, 1935, in Paide, Estonia

Scored for string orchestra. Approximately 21 minutes.

Scored for strings and bell. Approximately 6 minutes.

During the early 18th century, the Danish poet-dramatist Ludwig Holberg put Scandinavia on the map in European theatrical circles. His comedies were so witty that he became known as “the Moliere of the North,” after the celebrated 17th-century French dramatist. Norway also claimed Holberg as its own because, for a time, he had lived in Grieg’s hometown of Bergen.

When the bicentenary of Holberg’s birth came in 1884, the city of Bergen wanted to provide its own tribute, and so Grieg—by then one of Europe’s most admired composers—was asked to write a cantata for male voices to be performed outdoors, and another work for the concert hall. The cantata was quickly forgotten, but the other work, properly titled From Holberg’s Time, a Baroque-inspired dance suite originally written for piano solo then rescored for string orchestra, became one of his best-loved compositions. Written in five short movements, the suite, following Baroque tradition, begins with a Prelude followed by four short dance movements.

The Prelude opens with an energetic

Pärt’s musical education began when he was 7, and by the time he was 14 he was starting to work as a composer.

In 1958, after finishing requisite military service, he enrolled in the Tallinn Music Conservatory, and from then until 1967 he also worked as a recording engineer for the music division of the Estonian Radio. While at the Conservatory, he displayed such a remarkable facility for writing music that it was said “he just seemed to shake his sleeves and notes would fall out.” At the time, he was composing scores for film and the theatre, and although he had little exposure to contemporary trends in Western music, he frequently was bringing new techniques into his music.

He first came to wide notice in Eastern Europe by taking first place in the AllUnion Young Composers’ Competition in 1960 for two choral works—a cantata for children’s chorus and orchestra titled Our Garden, and an oratorio titled The World’s Stride. Around this time, he began to experiment with serial techniques, and in 1960 produced a work called Nekrolog, which was the first 12continued on 16

The New Mexico Philharmonic

nmphil.org

15

PROGRAM NOTES . continued from 15

tone piece written in Estonia. He also was developing a kind of collage technique in which he used quotations from the music of other composers. In 1968, he produced Credo, a major work for piano, chorus, and orchestra, but because of its religious text it was banned in the Soviet Union, and this effectively stopped his explorations of serialism and the use of collage. Feeling that he had come to a creative dead end, during the following eight years, Pärt wrote mostly film scores, but began a long and intensive study of Gregorian Chant, sacred choral works of the Medieval and Renaissance eras, and Orthodox liturgical music.

It was at this time that he converted to the Russian Orthodox religion. The music that he began to produce after this hiatus was radically different than anything he had written previously; it used an innovative style that he referred to as “tintinnabuli,” that is imitating the sound of bells. About this new direction he stated, “I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements, with one voice or two voices. I build with primitive materials: with the triad, with one specific tonality. The three notes of a triad are like bells to me, and that is why I call it tintinnabulation.” In 1977, he wrote three works in this new style that are among his most admired creations, namely Fratres, Tabula rasa, and the present Cantus. Pärt also has said that this music is similar to light being refracted through a prism, in that the music may give each listener a slightly different experience.

A style that was once characterized

by harsh, even violent, dissonance was completely changed, and the new controlled dissonance comes about through diatonic means, either through close interplay between two or three voices or the use of carefully constructed tone clusters. These new dissonances are not meant to be upsetting, but nevertheless convey a sense of human suffering that runs through many of Pärt’s compositions. Once again, however, his music ran afoul of the political authorities, and in 1980 he and his family moved to Vienna, finally settling in West Berlin.

He has received numerous honors and awards, among them election to the American Academy of Arts and Letters, and winning the Leonie Sonning Music Prize, being described at the time as “one of the most original voices of our time.”

This short but very expressive Cantus was written in 1977, and as such is one of the earliest examples of his “tintinnabuli” style. It was composed as an elegy to mourn the death in December 1976 of the distinguished English composer Benjamin Britten, a composer whom Pärt greatly admired for possessing a kind of purity that he had always been seeking, and whom he viewed as a kindred spirit. Even though the Cantus is basically a secular work, it is nevertheless a meditation on death and how we all relate to it. The work begins and ends with silences that are actually written into the music, and form a framework that can be experienced as a spiritual dimension. Each string part, with the exception of the viola part, is divided into two groups, one playing the notes of a pure a-minor scale, the other playing only the three notes of an a-minor chord. This second group, according to

“During this time, I was obviously at a point where I could recognize the magnitude of such a loss.”

– Arvo Pärt

16

2022/23 Season / Volume 11 / No. 5

the composer, represents the subjective world of sin and suffering, while the first group represents the objective world of forgiveness. Why did Britten’s death touch Pärt so deeply? In his words, “During this time, I was obviously at a point where I could recognize the magnitude of such a loss. Inexplicable feelings of guilt arose in me, for I had just discovered Britten for myself. Just before his death, I had begun to appreciate the unusual purity of his music, and for a long time I wanted to meet Britten personally, but now it would not be possible.” ●

DAVID B. LEVY

Johann Pachelbel

Canon in D Major, P. 37 (c. 1680) The German Baroque master Johann Pachelbel [Bachelbel] was born in Nuremburg on September 1, 1653, and was buried there on March 9, 1706.

These dates precede and overlap with those of the greatest composer of the next generation, Johann Sebastian Bach (1685–1750). We know that Pachelbel, who traveled extensively during his career, personally knew Bach’s father and other members of that celebrated family of musicians. We also know that Pachelbel was one of his generations most prolific and highly esteemed composers throughout Germany. Despite his great skill in the realms of sacred, keyboard, and chamber music, his name would scarcely be known today except by specialists were it not for the revival and discovery of his Canon [and Gigue] in D Major for three violins and basso continuo, the date of which composition is unknown.

Pachelbel’s Canon has for many decades become one of the most beloved works of the Baroque era. Its outsized popularity may suggest that he was a prolific composer of chamber music, but this genre occupied only a small part of his activity. His most important contribution to that repertory was a collection titled Musikalische Ergötzung for two violins and basso continuo (Nuremburg, 1695).

PROGRAM NOTES .

The reasons for its familiarity to so many can be attributed to many factors, not least of which is the skillful manner in which it is composed, i.e., a strict canon (or round) at the unison constructed over a two-measure repeated bassline. The resulting work is a hybrid form of variation and chaconne. Everyone, from early childhood on, loves to sing rounds, which is part of the reason for its appeal. A 1968 arrangement and recording by the JeanFrançois Paillard Ensemble soon went viral, and the Canon subsequently enjoyed worldwide popularity. Its use in the 1980 film Ordinary People, directed by Robert Redford and starring Mary Tyler Moore, Judd Hirsch, and Timothy Hutton, gave yet another boost to the music’s popularity.

By now, Pachelbel’s Canon has become the music of choice for wedding processions, as well as Christmas celebrations. No matter its origins and subsequent usage, it is a musical composition worthy of its fame. ●

Pyotr Ilyich Tchaikovsky

Serenade for Strings in C Major, Op. 48 (1880) Pyotr Ilyich Tchaikovsky was born on May 7, 1840, in Votkinsk, Russia, and died on November 6, 1893, in Saint Petersburg.

He remains one of the most popular composers of all time, beloved especially for his symphonies, ballets, and concertos.

His Serenade for Strings dates from 1880, the same period in which he composed his 1812 Overture, and was first performed publicly in Moscow on January 16, 1882.

The work is in four movements, the second of which, a Waltz, has proven to be a perennial favorite with audiences.

Tchaikovsky makes reference to his Serenade for Strings in a letter dated October 1880 to his patron Madame Nadja von Meck. In this letter, he compares the Serenade favorably in contrast to his “very noisy” overture (the popular 1812 Festive Overture) written “without much warmth or enthusiasm, and therefore … [without] great artistic value.” The Serenade, on the other hand, was written “from an inward

“It is meant to be an imitation of [Mozart’s] style, and I would be delighted if I thought I had in any sense approached my model.”

—Pyotr Ilyich Tchaikovsky impulse.” In a letter written in 1881, the composer revealed that the first of its four movements is an homage to Mozart: “It is meant to be an imitation of his style, and I would be delighted if I thought I had in any sense approached my model.”

Tchaikovsky composed three string quartets between the years 1871 and 1876, and these works reveal his familiarity for, and admiration of, the string quartets of Beethoven and Schubert. Taking into account Tchaikovsky’s love of Mozart, the success of the Serenade for Strings should come as no surprise. Composed as a string quintet writ large, it is one of Tchaikovsky’s most closely knit compositions, based on two basic ideas: a descending tetrachord (four stepwise scalar notes) first sounded at the beginning of the first movement (Piece in the form of a sonatina), and a reciprocal and corresponding rising scale, first heard in measure eight. One can clearly hear a transformation of the rising scale in the opening of the delightful second movement (Tempo di valse), as well as in the introduction to the third movement (Elegy). An adaptation of the descending tetrachord characterizes the principal tune of the concluding Allegro con spirito. It is here that we discover that the descending four notes are the basis of a popular Russian folksong, which now makes its appearance in this movement.

The tight thematic organization of the entire work is cemented by a poignant recollection of the introduction of the first movement, before the Serenade rushes on to its exuberant conclusion. ●

Antonín Dvořák

Cello Concerto in b minor, Op. 104, B. 191 (1894–1895) The Czech master Antonín Dvořák was born in Nelahozeves, near Kralupy, on September 8, 1841, and died in Prague on May 1, 1904. His Cello Concerto, universally acknowledged to be the supreme masterpiece of its genre, was composed between November 1894 and February 1895. The composer revised it in June 1895, and it received its premiere in London on March 19, 1896. It is scored for 2 flutes (piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

Only the Symphony No. 9 (“From the New World”) surpasses Dvořák’s Cello Concerto in popularity. This magnificent concerto, along with the composer’s Symphony No. 7, represents the Czech master’s work at its finest. It is indeed the cello concerto par excellence, a work that prompted Dvořák’s friend and colleague Johannes Brahms to write in admiration that had he known that such a concerto for this instrument were possible, he “would have written one long ago!” The closest Brahms came to acting on this statement was his composition of a “Double” Concerto for Violin and Cello.

The work stems from the period between November 1894 and February 1895, a time at which Dvořák resided at a brownstone on E. 17th Street in New York City (one block removed from where the author of these notes grew up!). The building, alas, was destroyed a few years

continued on 18

The New Mexico Philharmonic

nmphil.org

17

PROGRAM NOTES . continued from 17

ago to make room for an ever-expanding neighborhood medical center. The street, however, was renamed “Dvořák Place.”

The famous Czech musician was serving at the time as the Director of the fledgling National Conservatory of Music.

One of the most significant influences on Dvořák’s Concerto was the Concerto No. 2 by Victor Herbert, a work he heard performed by Herbert himself in New York.

Dvořák also admired the work of two other cellists—the American Alwin Schroeder in Boston and the Czech Hanuš Wihan, to whom the Cello Concerto is dedicated.

Dvořák, upon his return to Prague, presented the work to Wihan. The virtuoso was dissatisfied with many aspects of the work and suggested numerous revisions, including the interpolation of a cadenza near the end of the finale. The composer rejected nearly all of these. One important revision, however, stemmed from the composer himself. In 1865, the composer became the piano teacher for two sisters, Josefina and Anna Čermáková, the latter of whom was to become Dvořák’s wife.

Indeed, the composer in that year penned a Concerto for Cello and Piano in A for his colleague Ludevít Peer. His sister-in-law Josefina became especially fond of one of Dvořák’s songs composed in the winter of 1887–88, “Lasst mich allein” (“Leave me alone”), Op. 82, No. 1. When she fell gravely ill during the composition of the Cello Concerto, Dvořák decided to include a quotation of the melody of the song in the second movement. Upon her death in May 1895, he added a reminiscence of the tune in the finale as well (played by a solo violin), adding a moving personal touch to the work. The Cello Concerto received its first performance in London on March 19, 1896, with Leo Stern as soloist. A letter

of protest from the composer, written in English, survives in which he argues for the engagement of Wihan to perform it.

Although the work is scored for large orchestra, Dvořák succeeds in never obscuring the soloist. Intense drama, soaring lyricism, virtuosity, and adventuresome harmonic episodes live happily side by side, with no one element overshadowing the others. The essential unity of the three movements is strengthened by the use of thematic recall (cyclic techniques). One of the most memorable modern performances of the work took place in London during the spring of 1968 when the Russian virtuoso Mstislav Rostropovich was engaged to play it in the aftermath of the incursion of Soviet tanks in the streets the Czech capital city during the historic “Prague Spring.” Shouts came from the audience as the master took his seat—“Play it for the Czechs!” By all accounts, it was a performance for the ages. ●

Maurice Ravel

Daphnis et Chloé (1909–1912) Maurice Ravel was born on March 7, 1875, to parents of Swiss and Basque descent in Ciboure, Basses-Pyrénées.

He died on December 28, 1937, in Paris.

His ballet Daphnis et Chloé was first performed on June 8, 1912, at the Paris Théâtre du Châtelet. It is scored for chorus (wordless), 2 flutes, piccolo, 2 oboes (2nd doubles on oboe d’amore), English horn, 2 B-flat clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, trumpet in D, 3 trumpets in C, 3 trombones, tuba, 3 saxophones

“… vast musical fresco, less scrupulous as to archaism than faithful to the Greece of my dreams …”

—Maurice Ravel

18

2022/23 Season / Volume 11 / No. 5

(sopranino, soprano, tenor), timpani, percussion, celesta, harp, and strings.

Daphnis et Chloé, a ballet in one act, is acknowledged by many to be Maurice Ravel’s greatest masterpiece.

The composer, who referred to it as a symphonie choréographique, began work on it in 1909 and continued his efforts until its completion and first performance in Paris’s Théâtre du Châtelet on June 8, 1912. The choreography was created by the celebrated Mikhail Fokine and the dancers were members of Sergei Diaghilev’s famous Russian Ballet troupe (Ballets Russes). Vaslav Nijinsky danced the role of Daphnis and Tamara Karsavina portrayed Chloé. It is staggering to reflect on how many monuments of early-twentieth-century music owe their existence to the enterprising Diaghilev.

Along with the present work we may count, among others, Stravinsky’s Firebird, Petrushka, and The Rite of Spring, Debussy’s Jeux, and Falla’s ThreeCornered Hat. Ravel’s conception of the ballet scenario differed considerably from that of his collaborators insofar as the composer wished to erect, as the composer wrote, a “vast musical fresco, less scrupulous as to archaism than faithful to the Greece of my dreams …” When the ballet reached the stage, its impact was seriously weakened because of a scandal that was created only ten days earlier by Nijinsky’s highly erotic interpretation of Debussy’s Prelude to The Afternoon of a Faun. The popularity of Ravel’s Daphnis et Chloé rests largely on the two Fragments (suites) that he excerpted from the complete ballet. Of these, the second has proved to be the better known.

The listener will be dazzled by Ravel’s brilliant whirl of orchestral colors. One also will be able to identify certain recurrent thematic motifs that weave their way throughout the score.

Here follows an abridged summary of the plot: PART I:

A meadow with hills in the background.

To the right, a grotto, at the entrance of which, hewn out of the rock, is an

PROGRAM NOTES .

antique sculpture of three Nymphs. On the left side, we see a large rock that resembles the form of the god Pan. In the background, sheep are grazing. A bright spring afternoon. Introduction and religious dance. Youths and girls enter, carrying gifts for the Nymphs in baskets.

Daphnis and his flock enter from the background. Chloé joins him. The girls entice Daphnis and dance around him, which arouses pangs of jealousy on the part of Chloé, but she is caught up in the dance. The cowherd Dorcon proves to be especially bold, which upsets Daphnis.

General dance. At the end of the dance, Dorcon tries to kiss Chloé. She innocently offers her cheek. Daphnis pushes Dorcon aside as the youths intervene. They position themselves in front of Chloé and gently lead Daphnis away. One of them proposes a dance contest between Daphnis and Dorcon, the prize of which will be a kiss from Chloé. Dorcon’s dance is grotesque, which inspires general laughter. Daphnis’s, on the other hand, is light and graceful. Everyone invites Daphnis to accept his reward. Dorcon comes forward as well, but he is chased off by the group, accompanied by loud laughter. The laughter ceases at the sight of the radiant group formed by the embracing lovers.

As everyone except Daphnis withdraws, he lies face down in the grass. Lyceion enters and places her hands over his eyes.

Daphnis thinks that this Chloé teasing him, but he recognizes Lyceion and tries to pull away. Lyceion dances and drops one of her veils. Daphnis picks it up and places it back on her shoulders. She ironically resumes her erotic dance, leaving the young shepherd very disturbed.

War cries are heard, coming nearer and pirates begin chasing the women and Daphnis runs off to save his beloved.

Chloé, however, is carried off by the pirates, leaving behind only a sandal that she loses in the struggle. Daphnis’s despair is consoled by the Nymphs, who come to life and invoke the intervention of the god Pan.

The New Mexico Philharmonic

PART II:

We find ourselves by a rugged seacoast at the pirate camp. Voices are heard from offstage, at first very distant, but then growing nearer. The pirates run to and fro, carrying their plunder. Chloé, her hands tied, is led in by two pirates. She dances in vain, hoping to be set free. The leader carries her off triumphantly. Suddenly, the shadow of Pan, accompanied by Satyrs and other apparitions, appear. Everyone flees in horror.

PART III:

Daphnis is still stretched out before the grotto of the Nymphs. Gradually the day breaks. The songs of birds are heard.

A group of herdsmen enters looking for Daphnis and Chloé. They discover Daphnis and awaken him. Anxiously, he looks around for Chloé, who emerges surrounded by shepherdesses and wearing a wreath that confirms that intervention of Pan is manifest. The old shepherd Lammon explains that, if Pan has saved Chloé, it is in memory of the nymph Syrinx, whom the god once loved.

Daphnis and Chloé mime the tale of Pan and Syrinx, as heard by a long flute solo in the orchestra that represents Pan playing on the reeds in which the nymph is hiding.

Chloé, as Syrinx, reappears and interprets in her dance the accents of the flute. The dance becomes more and more animated as Chloé falls into Daphnis’s arms. Before the altar of the Nymphs, he pledges his love as a group of girls enters dressed as bacchantes, shaking tambourines. A group of youths rushes onstage as the ballet ends in joyful commotion. ●

nmphil.org

19

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 Jonathan & Ellin Hewes Holmans USA, LLC, Anthony D. Trujillo Dal & Pat Jensen Christine Kilroy Walter & Allene Kleweno Dwayne & Marjorie Longenbaugh Trust of Margaret E. Macy Terri L. Moll, in honor of Mark J. Moll 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

20

BRAHMS CIRCLE

Donation of $5000–$9999 Albuquerque Community Foundation, The Ties Fund Carl & Linda Alongi Anonymous James Botros & Jeremy Wirths Paula & William Bradley Richard & Margaret Cronin Bob & Fran Fosnaugh Friends of Music Inc. Hancock Family Foundation Robert & Elisa Hufnagel Chris & Karen Jones Harry & Betsey Linneman ListenUp Edel & Thomas Mayer Foundation Menicucci Insurance Agency Karl & Marion Mueller New Mexico Arts George & Mary Novotny S. Scott Obenshain Bob & Bonnie Paine Robertson & Sons Violin Shop 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

CHOPIN CIRCLE

Donation of $3500–$4999 Anonymous Anonymous Mary “Betty” Baca Nancy M. Berg The Cates Team/RBC Wealth Management Club Culturale Italiano French Funerals & Cremations Charles & Judith Gibbon Gerald Gold A. Elizabeth Gordon Bill & Carolyn Hallett Bonnie & Hank Kelly Michael & Roberta Lavin Ed & Nancy Naimark David & Audrey Northrop Charles Olguin Edward Rose, MD Melissa & Al Stotts Marian & Jennifer Tanau

GRACE THOMPSON CIRCLE

Donation of $1933–$3499 Anonymous Joel & Sandra Baca Thomas Bird & Brooke Tully Ann Boland

2022/23 Season / Volume 11 / No. 5

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 Harris Hartz Stephen & Aida Ramos Heath Donna Hill Rosalyn Hurley Sue Johnson & Jim Zabilski Bruce A. Larson Jon McCorkell & Dianne Cress 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 Jacquelyn Robins Jay Rodman & Wendy Wilkins Ellen Ann Ryan Albert Seargeant Vernon & Susannah Smith Dorothy Stermer & Stacy Sacco Betty & Luke Vortman Endowment

BACH CIRCLE

Donation of $1000–$1932 Leah Albers & Thomas Roberts Albuquerque Community Foundation, Peggy CavettWalden & 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 Phil & Krys Custer 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 Nataliya & Daniel Higbie Hal Hudson, in memory of Carolyn 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 Joyce & Pierce Ostrander Stuart & Janice Paster Mary Raje Dr. Barry & Roberta Ramo Sandra P. & AFLt/Col (r.)

Clifford E. Richardson III Joan Robins & Denise Wheeler The Rodey Law Firm Roberta & Barry Romo Ruth Ronan Dr. Harvey Ruskin Howard & Marian Schreyer Bruce & Sandra Seligman Barbara Servis Richard & Janet Shagam Janet & Michael Sjulin David & Heather Spader David E. Stinchcomb Jane & Doug Swift Fund for Art & Education Tamara Tomasson Michael Wallace Eugene & Barbara Wasylenki Peter & Judy Basen Weinreb Robert & Trudie White Bill & Janislee Wiese Bill Wingate & Emily Rogers David & Evy Worledge

CONCERTMASTER CIRCLE

Donation of $500–$999 Dennis Alexander Anonymous Anonymous Anonymous Richard & Linda Avery Michael & Leanore Baca Daniel Balik Jan Bandrofchak & Cleveland Sharp Dave Barney Hugh & Margaret Bell Richard & Maria Berry Michael Blackledge Monica Boehmer Rod & Genelia Boenig Mike Boice Walt & Celia Bolic Bosque School Community Builders Immersive Marie Brown-Wagner Michael & Cheryl Bustamante David & Shelly Campbell Camille Carstens Douglas Collister James Connell Cathy Conrad Stephanie & Bert Coxe Michael Dexter Thomas Dyble Martha Egan Jane & Michael Flax Diane Fleming Denise Fligner & Terry Edwards Howard & Debra Friedman Carolyn Gerhard, in memory of Barbara Lipinski Dennis & Opal Lee Gill Drs. Robert & Maria Goldstein Yvonne Gorbett Marcia Gordon Berto & Barbara Gorham Lauro Guaderrama Kathleen Hammar Harris Jewelers Martha S. Hoyt Robin Jackson Photography Steve Kemp Robert & Toni Kingsley Marlin Kipp Herbert & Shelley Koffler Noel & Meredith Kopald Christina Kreuz Stephanie & Kenneth Kuzio Drew Lamprich Mildred Langston Donald & Margaret Lenk Ronald Lipinski Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Tyler M. Mason C. Everett & Jackie McGehee Christine & Russell Mink Cary & Eve Morrow Michael & Judy Muldawer Mark Napolin Lynne Newton Richard & Susan Perry

DONOR CIRCLES .

John Provine Barbara Rivers Patricia Rodgers & Harry Stumpf Anjella Schick Frederick & Susan Sherman Ronald Shettlesworth Rae Siporin George & Vivian Skadron Suzanne Slankard William E. Snead Sarah Stevens-Miles Charles Stillwell Phyllis Taylor & Bruce Thomson George Thomas Margaret Vining Marie Weingardt Carl G. & Janet V. Weis Jeffrey West Tad & Kay West Diana Zavitz

PRINCIPALS CIRCLE

Donation of $125–$499 Marsha Adams Gerald Alldredge Amazon Smile Anderson Organizing Systems William Anderson & Paula Baxter Anonymous John & Polly Arango Leonard & Stephanie Armstrong Janice J. Arrott David Baca Sally Bachofer Douglas Bailey Charlene Baker Olive Baker-Brown Nicole Banks Harold & Patricia Baskin Susan Beard William Bechtold Edie Beck Michael Bencoe Gay & Stan Betzer Elaine Bleiweis & Karen Hudson Kelly Block David & Sheila Bogost James & Ann Bresson Douglas Brosveen Carolyn R. Brown & William Ranken Terry Brownell & Alpha Russell The Bruckner Society of America, Inc. Nancy Brunson Marcia Bumkens Caliber’s Safe Store Carol Callaway Dante & Judith Cantrill David C. Carr Robert E. & Shirley Case Roscoe & Barbara Champion Dan & Tina Chan Richard Chapman & Jan Biella

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 Bob Crain Jasha Cultreri John & Sally Curro Stephen & Stefani Czuchlewski Paul & Kathleen Deblassie Ronald & Faye Detry Jerry & Susan Dickinson 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 Elizabeth Kubie 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 & 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 Dorothy White Morse Ted & Mary Morse

Karen Mosier & Phillip Freeman Lynne Mostoller & Kathryn McKnight Mr. Tux Betsy Nichols Rebecca Okun John & MacKenzie Ordorica Patrick Ortiz Outpost Productions, Inc. 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 Bradford Richards Erika Rimson & David Bernstein Peggy Rodriguez John & Faye Rogers Catalin Roman Glenn & Amy Rosenbaum Carole Ross Sofya Rubinchik Socorro Kiuttu Ruddy John Salas Carey Salaz Santa Fe Opera Sarafian’s Oriental Rugs Christine Sauer John & Karen Schlue Laura Scholfield Leslie Schumann 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 Gary & Nina Thayer 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 Judith Anderson Anonymous Julie Atkinson Jackie Baca & Ken Genco Thomas J. & Helen K. Baca Harper Baird Adam Banks Therese Barts Elizabeth Bayne Judy Bearden-Love Helen Benoist 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

continued on 22

The New Mexico Philharmonic

nmphil.org

21

DONOR CIRCLES . continued from 21 Joseph Cella Laura Chang Frank Chavez & Steven Melero 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 Thomas & Elizabeth Dodson Stephen R. Donaldson James & Julie Drennan Barbara Druxman Michael & Jana Druxman Jeff & Karen Duray 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 Jane Farris & Michael Pierson, in honor of Sally & Tom Hinkebein Jane Farris & Michael Pierson, in honor of Brent & Maria Stevens 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 Ilse Gay Walter Gerstle Lawrence Jay Gibel, MD Ronald Goldsmith The Golf Mart Lois Gonzales

22

Stephen Ray Goode Great Harvest Bakery Alfred & Patricia Green Ann Green, in memory of The Honorable James A. Parker Charles & Kathleen Gregory Ginger Grossetete Kevin & Teresa Grunewald Birgitta Gustafson J. Michele Guttmann Stan & Janet Hafenfeld, in memory of David Waymire Fletcher & Laura Hahn Kerry L. Harmon William & Janet Harrington Noah Harris Matt Hart John & Diane Hawley Douglas & Willie HaynesMadison 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 Hinchcliffe Fred Hindel Kory & Roseann Hoggan, CPA Steven Homer Thomas & Mary Ann Horan Stanley & Helen Hordes Stephanie Hurlburt Ralph & Gay Nell Huybrechts James & Kristin Jackson Jenica Jacobi Jerry & Diane Janicke Gwenellen Janov Michael & Sandra Jerome Robert & Nanette Jurgensen Joyce Kaser Julia Kavet Janet & Michael Keller, in memory of Blossom Kite Margaret Keller Nancy Kelley Fern Kelly Bill Kent J. Dianne Keyson M.J. Kircher Barbara Kite, in memory of Blossom Kite Ralph & Heather Kiuttu Barbara Kleinfeld, in memory of Judith Lackner Barbara Kleinfeld, in memory of Karen McKinnon John & Gretchen Kryda Mark Kunzman Kathryn Lackner Molly “Mary” Lannon LeRoy Lehr Marc Limmany Carl & Sheila Litsinger Virginia Loman, in memory of The Honorable James A. Parker Mariana Lopez

2022/23 Season / Volume 11 / No. 5

Laurence & Patricia Loucks Mary Loughran, in memory of The Honorable James A. Parker Sam Lucero & Ron Lahti Bob & Maureen Luna Robert Lynn & Janet Braziel 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 Bryant & Carole Mitchell Phillip Mitchell Dr. William Moffatt Roy & Elizabeth Morgan Letitia Morris Shirley Morrison Baker H. Morrow & Joann Strathman Peter Mostachetti Brian Mulrey Andrea Mungle Nambé Jim & Beth Nance, in memory of Barbara Lipinski 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 Robert 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 Peter & Susan Scala 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 George Dubois Stan & Marilyn Stark, in memory of The Honorable James A. Parker Stan & Marilyn Stark, in honor of Malka Sutin’s 80th birthday 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 William & Cynthia Warren

Caren Waters Elaine Watson Dale A. Webster Kevin & Laurel Welch Tom Wheatley, in memory of Barbara Lipinski Charles & Linda White Leslie White Roland & Wendy Wiele Robert & Amy Wilkins Kathryn Wissell Margaret Wolak & Angelo Tomedi Judith Woods, in memory of David Waymire Judith Woods, in memory of Bob Woods Daniel & Jane Wright Kenneth Wright Kari Young Kenneth & Barbara Zaslow Charles & Nancy Zimmerman Michael & Anne Zwolinski 2/1/2023

●

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, MD 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 2/1/2023

●

nmphil.org

23

THANK YOU .

Steinway Society

Steinway Society

Piano Fund

Members

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

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

WHITE KEYS LEVEL

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

BLACK KEYS LEVEL HOROWITZ LEVEL

$20,000–$50,000

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

WHITE KEYS LEVEL

$6000–$19,999

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

BLACK KEYS LEVEL

$2000–$5999

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

PEDAL LEVEL

$500–$1999

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

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

24

2022/23 Season / Volume 11 / No. 5

$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 Edward Rose, MD 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 2/1/2023

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

Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier Nancy Berg Sally A. Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Eugenia & Charles Eberle Bob & Jean Gough Peter Gregory Ruth B. Haas Howard A. Jenkins Joyce Kaser Walter & Allene Kleweno Louise Laval Julianne Louise Lockwood Dr. & Mrs. Larry Lubar Joann & Scott MacKenzie

Margaret Macy Thomas J. Mahler Shirley Morrison Cynthia Phillips & Thomas Martin Eugene Rinchik Barbara Rivers Terrance Sloan, MD Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Charles E. Wood Dot & Don Wortman 2/1/2023

●

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 Billy Brown Alexis Corbin Anne Eisfeller Drew Henry Chris Kershner

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

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

Ron & Mary Moya Steve & Michele Sandager 2/1/2023

●

● The New Mexico Philharmonic

nmphil.org

25

THANK YOU .

Sponsors & Grants Sound Applause

The concerts of the New Mexico Philharmonic are supported in part by the City of Albuquerque Department of Cultural Services, the Bernalillo County, and the Albuquerque Community Foundation.

Albuquerque Community Foundation albuquerquefoundation.org

Hotel Andaluz hotelandaluz.com

Bernalillo County bernco.gov

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

French Funerals & Cremations frenchfunerals.com

Gardenswartz Realty

Hunt Family Foundation huntfamilyfoundation.com

John Moore Associates johnmoore.com

Keleher & McLeod keleher-law.com

Menicucci Insurance Agency mianm.com

Meredith Foundation

Moss Adams mossadams.com

Music Guild of New Mexico musicguildofnewmexico.org

New Mexico Arts nmarts.org

New Mexico Gas Company nmgco.com

New Mexico Philharmonic Foundation Inc. nmphilfoundation.org

RBC Wealth Management rbcwealthmanagement.com

Sandia Laboratory Federal Credit Union slfcu.org

Scalo Italian Restaurant scaloabq.com

GARDENSWARTZ REALTY

The Verdes Foundation verdesfoundation.org

26

2022/23 Season / Volume 11 / No. 5

Olga Kern International Piano Competition olgakerncompetition.org

Urban Enhancement Trust Fund cabq.gov/uetf

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

Call today! (505) 323-4343.

NMPHIL .

New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca

The Musicians FIRST VIOLIN Cármelo de los Santos

Karen McKinnon Concertmaster Chair

Sarah Tasker •••

Assistant Concertmaster

Ana María Quintero Muñoz Laura Steiner 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

BASS Jean-Luc Matton •+ Zachary Bush ++ Mark Tatum •• Katherine Olszowka Terry Pruitt Frank Murry FLUTE Valerie Potter • Jiyoun Hur ••

TRUMPET John Marchiando • Brynn Marchiando Sam Oatts •••

OBOE Kevin Vigneau • Amanda Talley

TROMBONE Aaron Zalkind • Byron Herrington

ENGLISH HORN Melissa Pena ••+ Lauren Keating ••++

BASS TROMBONE David Tall

CLARINET Marianne Shifrin • Ivan Valbuena ++ Lori Lovato ••• Timothy Skinner

VIOLA Laura Chang • Kimberly Fredenburgh ••• Allegra Askew Christine Rancier Virginia Lawrence Joan Hinterbichler Lisa DiCarlo

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

TUBA Richard White • TIMPANI Micah Harrow •

E-FLAT CLARINET Lori Lovato

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

BASS CLARINET Timothy Skinner + Cory Tamez ++

HARP Matthew Tutsky •+

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

BASSOON Stefanie Przybylska • Denise Turner

CELLO Amy Huzjak • Jonathan Flaksman ••• Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps Lisa Collins Elizabeth Purvis

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

STAFF Marian Tanau

Dasa Silhova

Roberto Minczuk

Eric Sewell

Principal Librarian

Co-Director of Community Relations & Office Manager

Christine Rancier

Amy Rosendall

Luis DeVargas

Assistant Librarian

Front of House Manager

Matt Hart

Nancy Naimark

Grace Marks

President & CEO Music Director

Vice President of Business Vice President of Operations

Leif Atchley

Personnel Manager

Co-Director of Community Relations & Development Officer

Crystal Reiter

Joan Olkowski

Design & Marketing

Lori Newman Editor

Intern

Mary Montaño Grants Manager

Production Manager

The New Mexico Philharmonic

nmphil.org

27

CONCERT PROGRAM .

Electric just got bigger.

Three rows bigger.

The all-electric T:10"

Proud Sponsor of New Mexico Philharmonic Alameda & Pan American (505) 821-4000 • mercedesabq.com 28

2022/23 Season / Volume 11 / No. 5

2022 EQB 350 4MATIC® SUV shown in Black leather upholstery with AMG Night Package and Iridium Silver paint with optional equipment. ©2022 Authorized Mercedes-Benz Dealers