New Mexico Philharmonic Program Book • 2022/23 Season • Volume 11 • No. 6

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NMPHIL .

TABLE OF CONTENTS PROGRAMS

April 14, 2023 Program April 15, 2023 Program April 22, 2023 Program April 23, 2023 Program April 30, 2023 Program May 28, 2023 Program Program Notes

nmphilfoundation.org STRATEGIES FOR

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

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

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

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ARTISTS

Roberto Minczuk Matthew Forte Maxine Thévenot Stuart Chafetz Aaron Finley Brook Wood Brian Kushmaul Jennifer Frautschi Radu Marian Paponiu Akilan Sankaran Camilo Vasquez

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YOUR NMPHIL

Sponsor a Musician Donor Circles NMPhil Foundation Donors & Trustees Steinway Society Legacy Society Thank You Sponsors Orchestra, Staff Board of Directors, Advisory Board

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NEW MEXICO PHILHARMONIC OFFICES

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

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

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

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

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

PLAN A WISE GIVING STRATEGY

nmphil.org/ways-to-donate The New Mexico Philharmonic

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CONCERT PROGRAM .

COFFEE CONCERT

The Majestic Organ

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Friday, April 14, 2023, 10:45 a.m.

Immanuel Presbyterian Church

Matthew Forte conductor Maxine Thévenot organ

Concerto for Organ, Timpani, and Strings in g minor, FP 93

Maxine Thévenot organ

Francis Poulenc (1899–1963)

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

Symphony in C I. Allegro vivo II. Andante. Adagio III. Allegro vivace IV. Finale. Allegro vivace

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2022/23 Season / Volume 11 / No. 6

Georges Bizet (1838–1875)

MAKING A DIFFERENCE

This performance is made possible by: Meredith Foundation

CONCERT PROGRAM .

ROCK & POPS

The Music of Genesis & Phil Collins

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Popejoy Hall

Saturday, April 15, 2023, 8 p.m.

Stuart Chafetz conductor Aaron Finley vocals Brook Wood vocals Brian Kushmaul percussion

Phil Collins’s one-of-a-kind drum work and songwriting have left an enduring mark on music.

With the megaband Genesis and his numerous solo hits, Phil Collins—along with bandmates Tony Banks and Mike Rutherford—penned unforgettable hits that changed the landscape of rock and pop music. This symphonic tribute features two vocalists, and the set list includes hits such as “Follow You Follow Me,” “Abacab,” “I Missed Again,” “Turn It on Again,” “Sussudio,” “One More Night,” “Take Me Home,” “Two Hearts,” and the iconic “In the Air Tonight.” Stuart Chafetz conducts. ●

The New Mexico Philharmonic

MAKING A DIFFERENCE

This performance is made possible by: Bernalillo County

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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

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.

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

SPONSOR TODAY

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

RESERVATIONS: 505.923.9080 125 2ND ST. NW ALBUQUERQUE, NM 87012

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CONCERT PROGRAM .

POPEJOY CLASSICS

Mahler: The Titan Saturday, April 22, 2023, 6 p.m.

5:00 p.m. Pre-Concert Talk

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Popejoy Hall

Roberto Minczuk Music Director Jennifer Frautschi violin

Violin Concerto No. 5 in A Major, “Turkish,” K. 219 Wolfgang Amadeus Mozart I. Allegro aperto—Adagio—Allegro aperto (1756–1791) II. Adagio III. Rondeau—Tempo di minuetto Jennifer Frautschi violin

MAKING A DIFFERENCE

These performances are made possible by: Albuquerque Community Foundation

PRE-CONCERT TALK I N T E R M I S S I O N

Symphony No. 1 in D Major, “Titan” Gustav Mahler I. Langsam. Schleppend (1860–1911) II. Kräftig bewegt, doch nicht zu Schnell III. Feierlich und gemessen, ohne zu schleppen IV. Stürmisch bewegt

The New Mexico Philharmonic

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

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For the love of music, the Music Guild of New Mexico supports, promotes, and encourages nonprofit musical organizations that will educate, enhance, engage, and enrich the quality of our New Mexico community, especially its youth. musicguildofnewmexico.org

CONCERT PROGRAM .

NMPHIL POWER CONCERTS

Beautiful Woodwinds Sunday, April 23, 2023, 3 p.m.

From the Macabre to the Majestic

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Immanuel Presbyterian Church

Sunday, May 28, 2023, 3 p.m.

Roberto Minczuk Music Director

In the grand tradition of Leonard Bernstein’s groundbreaking and impactful “Young People’s Concerts,” the New Mexico Philharmonic presents the “Power Concerts” series.

These concerts aim to inform and delight children and families by providing an illuminating, behind-the-scenes look at both the classical music tradition and the orchestra. Led by Music Director Roberto Minczuk, Power Concerts are affordable, 1-hour concerts that will take the audience on a guided tour through topics such as the building blocks of music, interesting stories and anecdotes from music history, and an introduction to the various instruments of the orchestra. Each concert will highlight one composer or more and focus on an instrument or family of instruments. By making these concerts economical, it is the NMPhil’s hope that it can reach as many young people and their families as possible, introducing a new generation to the wonders of classical music.

The inaugural two concerts for this exciting series are titled “Beautiful Woodwinds” and “From the Macabre to the Majestic.” As the title suggests, the first concert will feature the woodwind family, while the second will feature the violin, cello, brass, and percussion sections.

Featured composers include Camille Saint-Saëns and Aaron Copland. With repertoire from the Baroque to the contemporary and from the highest piccolo to the lowest tuba, join us for these illustrative, family-friendly concerts! ●

The New Mexico Philharmonic

MAKING A DIFFERENCE

These performances are made possible by: Bernalillo County • Commission Chair Barbara Baca, District 1 • Commissioner Steven Michael Quezada, District 2 • Commissioner Walt Benson, District 4 Albuquerque City Council • Councilor Trudy E. Jones • Councilor Tammy Fiebelkorn • Councilor Renee Grout HOLMANS USA CORPORATION

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CONCERT PROGRAM .

AFTERNOON CLASSICS

Exuberant Beethoven!

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Sunday, April 30, 2023, 3 p.m.

Immanuel Presbyterian Church

Radu Marian Paponiu conductor Akilan Sankaran piano Camilo Vasquez cello

Die schöne Melusine Overture

Piano Concerto No. 2 in c minor, Op. 18 I. Moderato Akilan Sankaran piano

Felix Mendelssohn-Bartholdy (1809–1847)

Sergei Rachmaninoff (1873–1943)

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Cello Concerto in e minor, Op. 85 Edward Elgar I. Adagio—Moderato (1857–1934) II. Lento—Allegro molto Camilo Vasquez cello

Symphony No. 1 in C Major, Op. 21 Ludwig van Beethoven I. Adagio molto—Allegro con brio (1770–1827) II. Andante cantabile con moto III. Menuetto: Allegro molto e vivace IV. Adagio—Allegro molto e vivace

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MAKING A DIFFERENCE

This performance is made possible by: Music Guild of New Mexico’s Jackie McGehee Young Artists’ Competition Additional support provided by: The Cates Team/RBC Wealth Management

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

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

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

The New Mexico Philharmonic

worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco.

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

Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone Award of Excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin GRAMMY in 2004 and was nominated for an American GRAMMY in 2006.

His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works

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

by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival, including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include a 2010 DVD recording with the Chamber

Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 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. ●

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

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Maxine Thévenot organ Versatile, engaging, and spirited Canadian-American organist, conductor, composer, and educator Maxine Thévenot is driven by a passion for music in all its forms and styles. Equally at home with repertoire from the classical canon and more contemporary compositions, “… her playing is, as always, excellent.” “… [her playing] is extremely tender and very thrilling.”

–The Diapason Magazine, (Prairie Sounds CD), July 2021 Maxine Thévenot is among the foremost artists of her generation, hailed across North America and Europe for her skillful, musical playing and inventive programming. As a collaborative artist, Maxine has given the U.S. and New Mexican premiere performances of numerous works for organ and orchestra, including Ottorino Respighi’s Suite in G

for Organ and Strings with conductor/ violinist David Felberg; Concerto for Organ and Orchestra in C by British composer/ conductor Andrew Carter; the U.S. premiere of Concerto for Organ, Strings, and Timpani by UK composer/conductor Philip Moore; Francis Poulenc’s Concerto for Organ, Timpani, and Strings in g minor with the New Mexico Philharmonic Orchestra under conductor Grant Cooper; the U.S. premiere of Canadian composer Andrew Ager’s Concerto for Organ and Orchestra under the baton of Dr. Justin Bischof; and Concerto for Organ and Strings by Richard Proulx under the baton of Dr. Julian Wachner at Chicago’s Symphony Hall, as part of the 2006 National Convention of the American Guild of Organists.

Dr. Thévenot’s most recent appearances as organist have included the NM premiere and collaborative performance of Voiceless Mass by Pulitzer Prizewinning Diné composer, performer, and installation artist Raven Chacon; a recital for St. James-in-the-City, Los Angeles, on the International Laureates Organ Recital Series; a recital for the Guild of Scholars of the Episcopal Church at The Episcopal Cathedral of St. John, Albuquerque; and a solo recital for the Royal Canadian College of Organists in Saskatoon, SK, Canada.

Dr. Thévenot serves as Director of Cathedral Music and Organist at the Episcopal Cathedral of St. John, Albuquerque, where she oversees a large choral music program and is artistic director of their extensive community outreach ministry, Friends of Cathedral Music.

Maxine is the Founding and Artistic Director of Polyphony: Voices of New Mexico, the state’s first professional, resident vocal ensemble. She is also an adjunct faculty member at the University of New Mexico, where she teaches pipe organ and, from 2006-2020, served as director of the UNM women’s choir, Las Cantantes.

A member of the duo Air & Hammers, Maxine concertizes with her husband, acclaimed English baritone Edmund Connolly, specializing in programs that combine song repertoire from the 19th

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and 20th centuries with new works by living composers. A published composer with Paraclete Press, her compositions have recently been premiered at the Cambridge University colleges of Clare, Selwyn, and St. John’s, as well as at Balliol College; Oxford University, UK; and subsequently performed across the UK and North America.

Recognized for her excellence as a recording artist, Dr. Maxine Thévenot has released 16 well-received CDs on Raven CD. A native of Saskatchewan, Canada, Thévenot received the Doctor of Musical Arts and Master of Music from the renowned Manhattan School of Music, NYC, in organ performance, and was twice awarded the Bronson Ragan Award for “most outstanding organ performance.”

She earned her Bachelor of Music in music education (with distinction) at the University of Saskatchewan, Canada.

Maxine is an Associate of the Royal Canadian College of Organists and of the Royal Conservatory of Music, Toronto.

She was made an Honorary Fellow of the National College of Music, London, UK, in 2006 for her “services to music.” maxinethevenot.com ●

Stuart Chafetz conductor Stuart Chafetz is the Principal Pops Conductor of the Columbus Symphony and the newly appointed Principal Pops Conductor of the Chautauqua and Marin Symphonies. Chafetz, a conductor celebrated for his dynamic and engaging

The New Mexico Philharmonic

podium presence, is increasingly in demand with orchestras across the continent and this season, Chafetz will be on the podium in Detroit, Houston, Milwaukee, Naples, Philly Pops, Cincinnati Pops, Pittsburgh, San Diego, and Winnipeg. He enjoys a special relationship with The Phoenix Symphony where he leads multiple programs annually.

He’s had the privilege to work with renowned artists including Chris Botti, 2 Cellos, Hanson, Rick Springfield, Michael Bolton, Kool & The Gang, Jefferson Starship, America, Little River Band, Brian McKnight, Roberta Flack, George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker, and Bernadette Peters.

He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. He’s led numerous Spring Ballet productions at the world-renowned Jacobs School of Music at Indiana University.

In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra in addition to his role as that orchestra’s timpanist.

When not on the podium, Chafetz makes his home near San Francisco, California, with his wife Ann Krinitsky.

Chafetz holds a Bachelor’s degree in music performance from the CollegeConservatory of Music at the University of Cincinnati and a Master’s degree from the Eastman School of Music. ●

Aaron Finley vocals Born and raised in Bozeman, Montana, Aaron C. Finley’s career has spanned from coast to coast as a professional actor and singer. Educated at Pacific Lutheran University in Seattle, he quickly became a top-tier talent in the Pacific Northwest, appearing in productions of Jesus Christ Superstar (Jesus/ Judas), Rent (Roger), Fiddler on the Roof (Perchik), Hairspray (Link Larkin), and It Shoulda Been You (Greg Madison). Among his other regional roles, Aaron originated the role of Billy in the new musical Diner, based on the Barry Levinson film, with music and lyrics by Sheryl Crow and direction by Kathleen Marshall.

Aaron made his Broadway debut in 2013, starring as Drew Boley in Rock of Ages. Next, he took over the role of Brian Howard in It Shoulda Been You, directed by David Hyde Pierce. He most recently was seen in the Broadway production of Kinky Boots as leading man, Charlie Price. Among his other work in New York, he participated in a lab production of George Takei’s Broadway musical, Allegiance, as well as other workshops and readings of new works.

Follow him on Twitter/Instagram @aaroncfinley and aaroncfinley.com. ●

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In addition, he teaches drumming for the Chautauqua Institution “I Can Drum” School Residency throughout Chautauqua County. As a drum-set artist, he has performed with Dave Grusin, Eddie Daniels, Len Boogsie Sharpe, the Pittsburgh Symphony Orchestra, Cleveland Orchestra, Phoenix Symphony, and recorded with the Central Standard Time Jazz Quartet. ●

Brook Wood vocals Brook Wood is a singer based in New York City. She is currently touring with some of Broadway’s best singers in Neil Berg’s 50 Years of Rock and Roll all over the country. She originated the role of J.P. Morgan in the Adirondack Theatre Festival’s production of Nikola Tesla Drops the Beat. She was also seen in the PATH Fund’s Rockers on Broadway at Le Poisson Rouge benefiting Tom Kitt. She most recently toured with “Post Modern Jukebox on Deck” this past summer. Brook is a native of Indianapolis, Indiana, and a proud graduate of Indiana University. Instagram: @browood. ●

Brian Kushmaul percussion Brian Kushmaul is the principal percussionist for the Chautauqua Symphony Orchestra. He regularly performs with the orchestras of Buffalo, Columbus, St. Louis, and Pittsburgh.

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Jennifer Frautschi violin Two-time GRAMMY® nominee and Avery Fisher career grant recipient, Jennifer Frautschi has garnered worldwide acclaim as a deeply expressive, musically adventurous violinist with impeccable technique and a wide-ranging repertoire.

Equally at home in the classic and contemporary repertoire, her recent seasons have featured performances and recordings of works ranging from Robert Schumann and Lili Boulanger to Barbara White and Arnold Schoenberg.

She has also had the privilege of premiering several new works composed for her by prominent living composers.

Critics have described her performances as “electrifying,” “riveting,” and “mesmerizing,” lauding her “staggering energy and finesse” and “fierce expression.” After a recent performance of the Brahms Violin Concerto, Cleveland Classical wrote: “We witnessed the most magnificent performance by a guest soloist in recent memory. From the outset of the Brahms Concerto, she was a stunning presence, her playing a

breathtaking conflation of grace and grit, and at times downright ferocious.”

Ms. Frautschi’s concerto appearances have included the Los Angeles Philharmonic under Pierre Boulez, the Chicago Symphony Orchestra under Christoph Eschenbach, Minnesota Orchestra under Osmo Vänska, Boston Philharmonic, Buffalo Philharmonic, Cincinnati Symphony, Florida Orchestra, Milwaukee Symphony, Rhode Island Philharmonic, Saint Paul Chamber Orchestra, Utah Symphony, Lincoln Center’s Mostly Mozart Festival, and Orchestra of the Teatro di San Carlo Opera House. Her 2022/23 season features engagements with the Indianapolis Symphony and New World Symphony, reengagements with the New Mexico Philharmonic and the Santa Rosa Symphony, and a residency at the North Carolina School of the Arts. During the 2022 summer season, she has been invited to perform at Chamber Music Northwest, Charlottesville Chamber Music Festival, Music@Menlo, Santa Fe Music Festival, Salt Bay Chamberfest, Sarasota Music Festival, Tippet Rise, and Vivace Festival.

Ms. Frautschi is an Artist Member of the Boston Chamber Music Society, and has performed at virtually all of the premier chamber music series and festivals in the United States: Caramoor, Charlottesville, Lake Champlain, La Musica, Moab, Newport, Ojai, Salt Bay, Santa Fe, Seattle, and Spoleto USA Chamber Music Festivals; Bravo! Vail, Chamber Music Northwest, La Jolla Summerfest, Music@Menlo, and Tippet Rise Arts Center; and at the Library of Congress, New York’s Metropolitan and Guggenheim Museums of Art, the 92nd Street Y, Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, Phillips Collection, and Mainly Mozart in San Diego.

Internationally, she has been invited to present recitals in the Salzburg Mozarteum, Vienna Konzerthaus, Amsterdam Concertgebouw, La Cité de la Musique in Paris, Brussels’s Théâtre Royal de la Monnaie, London’s Wigmore Hall, and Beijing’s Imperial Garden, as

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well as toured England with musicians from Prussia Cove. She has performed at Chanel’s Pygmalion Series in Tokyo, the Cartagena International Music Festival in Columbia, San Miguel de Allende Festival in Mexico, the Spoleto Festival of the Two Worlds and Rome Chamber Music Festival in Italy, Pharo’s Trust in Cyprus, Kutna Hora Festival in the Czech Republic, Toronto Summer Music in Canada, and St. Barth’s Music Festival in the French West Indies. She has premiered important new works

by Barbara White, Mason Bates, Oliver Knussen, Krzysztof Penderecki, Michael Hersch, and others, and has appeared at New York’s George Crumb Festival and Stefan Wolpe Centenary Concerts.

Her extensive discography includes several discs for Naxos: the Stravinsky Violin Concerto with the Philharmonia Orchestra of London, conducted by the legendary Robert Craft, and two GRAMMY-nominated recordings— Schoenberg’s Concerto for String Quartet and Orchestra (nominated for “Best Instrumental Soloist Performance” in 2006) and the Schoenberg Third String Quartet (nominated for “Best Chamber Music Performance” in 2011). Her most recent releases are with pianist John Blacklow on Albany Records: the complete sonatas of Robert Schumann, and American Duos, featuring works by contemporary American composers Barbara White, Steven Mackey, Elena Ruehr, Dan Coleman, and Stephen Hartke.

The three recordings she released on Artek have received universal acclaim: the two Prokofiev Concerti with Gerard Schwarz and the Seattle Symphony; music of Ravel and Stravinsky for violin and piano; and 20th-century works for solo violin.

Other recent recordings include a disc of Romantic Horn Trios, with hornist Eric Ruske and pianist Stephen Prutsman, and the Stravinsky Duo Concertant with pianist Jeremy Denk.

Born in Pasadena, California, Ms. Frautschi began the violin at age 3 under the Suzuki Method. She was a student of Robert Lipsett at the Colburn School for the Performing Arts in Los Angeles.

She attended Harvard, the University of

The New Mexico Philharmonic

Southern California, the New England Conservatory of Music, and finished her studies with Robert Mann at The Juilliard School. She is an Artist-in-Residence at Stony Brook University. She performs on a glorious Antonio Stradivarius violin from 1722, the ‘ex-Cadiz,’ on generous loan to her from a private American foundation with support from Rare Violins In Consortium. ●

Radu Marian Paponiu conductor Radu Paponiu is Artistic and Music Director of the Southwest Florida Symphony Orchestra, Associate Conductor of the Naples Philharmonic, and Music Director of the Naples Philharmonic Youth Orchestra. Since 2017, Radu has conducted the Naples Philharmonic in more than 100 different classical, education, and pops programs. As a guest conductor, Radu has appeared with Teatro Comunale di Bologna Orchestra, Transylvania State Philharmonic Orchestra, Banatul Philharmonic, Louisiana Philharmonic Orchestra, Rockford Symphony Orchestra, Colorado Music Festival Orchestra, North Carolina Symphony, California Young Artists Symphony, and National Repertory Orchestra. Radu has collaborated with notable soloists such as Evgeny Kissin, Yefim Bronfman, Midori, Vladimir Feltsman, Robert Levin, Charles Yang, Nancy Zhou, Stella Chen, and the Ébène Quartet. Radu has served as cover conductor with the Dallas Symphony

Orchestra, St. Louis Symphony Orchestra, and Konzerthausorchester Berlin, and he has assisted conductors including Andrey Boreyko, Iván Fischer, Fabio Luisi, Stéphane Denève, Hans Graf, Donald Runnicles, Cristian Măcelaru, Bernard Labadie, and Ludovic Morlot.

Radu has served on the conducting faculty of the Juilliard Pre-College, as well as conductor for the Summer Performing Arts with Juilliard in Shanghai, China, and the Southeast Asia Music Festival in Hanoi, Vietnam.

Radu completed his Master of Music degree in orchestral conducting at the New England Conservatory of Music, where he studied with Hugh Wolff. While in Boston, Radu was also conductor apprentice with the Handel and Haydn Society. In the summer of 2017, Radu was appointed assistant conductor of the National Repertory Orchestra in Colorado, as well as conducting fellow for the Cabrillo Festival Workshop in California. Radu participated in the prestigious American Academy of Conducting at the Aspen Music Festival and School as the recipient of both the Albert Tipton Aspen Fellowship and the David A. Karetsky Memorial Fellowship.

In Aspen, Radu furthered his studies under the guidance of Robert Spano, Larry Rachleff, Leonard Slatkin, Patrick Summers, and Federico Cortese.

Radu began his musical studies on the violin at age 7, studying privately with Carmen Runceanu and Ștefan Gheorghiu. After coming to the United States at the invitation of the Perlman Music Program, Radu completed two degrees in violin performance under the guidance of Robert Lipsett at the Colburn Conservatory in Los Angeles. As a soloist and chamber musician, Radu has appeared in festivals throughout Europe and North America, collaborating with artists such as Itzhak Perlman, Clive Greensmith, Martin Beaver, Merry Peckham, and Vivian Hornik Weilerstein.

Radu currently resides in Naples, Florida, with his wife, flutist Blair Francis Paponiu. In his spare time, he enjoys chamber music reading parties, fishing, biking, and playing tennis. ●

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ARTISTS .

Outside of piano, he also enjoys crosscountry running and frequently participates in math and science contests. He won first place in the mathematics category of the Regeneron International Science fair in 2022, the Samueli Foundation prize in the 2021 Broadcom Masters competition, and first place in the New Mexico state Mathcounts competition. As the champion of New Mexico’s spelling bee competition, Akilan represented New Mexico in the Scripps National Spelling Bee in 2017. ●

Akilan Sankaran piano Fifteen-year-old pianist Akilan Sankaran is a student of Lawrence Blind at the New Mexico School of Music. Akilan has performed at distinguished venues such as the Weill Recital Hall in Carnegie Hall, Mazzoleni Hall in the Royal Conservatory of Music, and the Église de Verbier. He was the only junior pianist selected to attend the 2022 Verbier Festival as part of the Verbier Academy. He has had master classes with renowned musicians including Kirill Gerstein, Jean-Efflam Bavouzet, Stephen Kovacevich, Olga Kern, Gábor Tákacs-Nagy, Mathieu Herzog, Mihaela Martin, and Augustin Dumay. Akilan is a three-time winner of the Dennis Alexander Piano Competition, two-time winner of Professional Music Teachers of New Mexico’s State Honors Audition, and winner of the 2021 Jackie McGehee Young Artists’ Competition.

Akilan won the New Mexico state Music Teachers National Association junior piano competition in 2021. He was also awarded the National Gold Medal by the Royal Conservatory of Music twice. He has been studying piano since he was 5 years old.

Akilan is currently in the tenth grade at Albuquerque Academy. Besides piano, Akilan plays the drums and enjoys being part of a piano trio group at Albuquerque Academy. He also loves singing and was part of New Mexico Educators Association’s All State Choir in 2018. He plays jazz piano in his school’s jazz band and was selected to the 2022 All-State Jazz Band.

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Camilo Vasquez cello Camilo Vasquez is a sophomore at the University of North Texas College of Music, pursuing a Bachelor of Music degree in cello performance as part of the cello studio of Professor Nikola Ruzevic.

Accolades include scholarships to the Sphinx Performance Academy at the Cleveland Institute of Music in 2019 and 2020, second place in the 2020/2021 Castro Concerto Competition with the Albuquerque Youth Symphony, and first-place winner of the Jackie McGehee Young Artists’ Competition in 2021.

Camilo graduated magna cum laude from Bosque School in 2021. His music education started in elementary school with violin and piano lessons. Then he switched to cello with instructor Leslie Alperin. Throughout high school, Vasquez studied with renowned cellist Joel Becktell. He was also in the Albuquerque Youth Symphony program for five years, the AYS chamber music program, the Bosque Serenata strings ensemble,

and the Bosque Cantate choir, plus he participated in the New Mexico All-State Music Festival each year.

Camilo enjoys playing in chamber groups when not playing orchestral and solo repertoire. Some of his favorite memories from his time with AYS are the Christmas concerts, playing with Opera Southwest, and the amazing teachers, conductors, and friends he made during the AYS chamber music performances and gigs. His goal is to continue his studies to be able to give back to his community through music in different ways. ●

PROGRAM NOTES .

DAVID B. LEVY

Francis Poulenc

Concerto for Organ, Strings, and Timpani, FP 93 (1934–1938) Francis Poulenc was born in Paris on January 7, 1899, and died there on January 30, 1963. His earlier works, many of which were of a lighter or satirical character, led audiences and critics to dismiss Poulenc as a serious composer despite having composed some important sacred works. His Concerto for Organ, Strings, and Timpani was composed between 1934 and 1938 upon a commission from Princess Edmond de Polignac. Its first performance took place at the princess’s salon on December 16, 1938, with the famed organist Maurice Duruflé as soloist and conducted by Nadia Boulanger. A public performance followed in June of 1939, again with Duruflé as soloist.

The name of American-born Winnaretta Singer is probably one of the least known figures in the history of music in the early20th century. An heiress to the Singer sewing machine fortune, this woman was one of the most influential patrons of music in Paris during her lifetime. Born in Yonkers, New York, Singer was one of Isaac Singer’s twenty-four children, whose mother was the French-born Isabella Eugénie Boyer. Winnaretta, although a lesbian, married twice. Her second husband, who was gay, Edmond de Polignac, was, like his lavender bride, an amateur musician. At the time of their marriage, she was 28 years old and he was aged 59. Their mutual love of music led them to establish a Parisian salon in the music room of their mansion. The composers who benefited from their generosity were a veritable “who’s who” of the Parisian musical world: Emmanuel Chabrier, Claude Debussy, Maurice Ravel, Gabriel Fauré, Igor Stravinsky, Erik Satie, Darius Milhaud, Jean Françaix, Francis Poulenc, Nadia Boulanger, Ethel Smyth, and several others. As if this weren’t enough, the Princess also

Admitted to the Conservatory at the tender age of 10, Bizet’s Symphony in C easily represents the finest work of his youth. supported the careers of many performers, dancers (Isadora Duncan), architects (Le Corbusier), scientists (Marie Curie), artistic entrepreneurs (Sergei Diaghilev), and artists (Jean Cocteau and Claude Monet).

Two works by Poulenc were the results of Polignac’s commissions: the sprightly Concerto for Two Pianos (1932) and the more solemn Concerto for Organ, Strings, and Timpani. The original commission was offered to Françaix, but after he declined, it fell to Poulenc. The composer’s turn toward a more serious musical idiom was inspired in part by the death in 1936 of his friend and fellow composer Pierre-Octave Ferroud. Poulenc was not an organist himself, so he subsequently studied the great works of the Baroque era by Bach and Buxtehude and sought advice from Maurice Duruflé, who gave the work its premiere performances in 1938 and 1939.

Twenty minutes in duration, the Concerto is conceived in one continuous movement comprising seven sections distinguished by tempo and style. It has become one of the most frequently performed concertos for organ. ●

Georges Bizet

Symphony in C (1855) French composer Georges Bizet was born in Paris on October 25, 1838, and died in Bougival (near Paris) on June 3, 1875.

Although his compositional output was wide-ranging, he is best known and loved for the opera Carmen. His youthful Symphony in C Major was composed in a few short weeks in the autumn of 1855, when the composer was only 17 years old. Written as a student work, there is no evidence that it was performed at the Paris Conservatory during Bizet’s time there.

Bizet showed no interest in publishing

it either, and the work remained in the archives of the Conservatory until it was discovered in 1933. The manuscript was shown to Felix Weingartner, who led its first performance in Basel, Switzerland, on February 26, 1935. The Symphony in C Major is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings.

Few works in the symphonic repertoire can match Bizet’s Symphony in C for sheer verve of expression and spontaneity of tunefulness. Bizet penned this work in 1855 at the age of 17, while a student of Charles Gounod at the Paris Conservatory; at the time, he was transcribing his teacher’s Symphony in D. Naturally, the influence of Gounod may be discerned by those who know this work, but the spirit of Schubert, whose music Bizet may have known a little, permeates this work. Like Schubert and the young Felix Mendelssohn, Bizet was a precocious talent who stemmed from a family that encouraged his natural abilities. Admitted to the Conservatory at the tender age of 10, Bizet’s Symphony in C easily represents the finest work of his youth.

One can hardly be blamed for forming a comparison with another, and earlier, composer who produced one of his first masterpieces at the same age as Bizet’s Symphony—Felix Mendelssohn and his Overture to Shakespeare’s A Midsummer Night’s Dream.

Bizet cast the work in the classical four-movement design, opening with a spirited Allegro vivo in sonata form. The energetic opening theme is based on a rising and falling arpeggiated chord that allows the composer ample opportunity for clever developments. The lyrical second theme, however, is so nicely self-contained (a Schubertian trait) that continued on 18

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Bizet had little choice but to repeat it in new keys and orchestrations. An early sign of his maturity lies in the fact that the listener rarely tires of this theme’s repetitions. The second movement, Adagio, is cast in the contrasting key of a minor (although, interestingly enough, it begins with a progression that starts in F Major). A repeated dotted pattern in the winds prefigures the evocative and exotic principal melody of the movement, which is sung in long phrases by the solo oboe. Once again, the ghost of Schubert may be discerned by those familiar with the second movement of the Viennese master’s Symphony No. 9 (“The Great”).

The middle section of Bizet’s slow movement shows that the composer had been paying close attention to his counterpoint lessons at the Conservatory, as it features a finely wrought fugato. But what lingers in the ear from this Adagio is the haunting oboe tune. The Scherzo is a whirling Allegro vivace whose trio section is particularly piquant because of the bagpipe-like drones and modal (Lydian) inflections of its melody. The opening theme of the finale is a perpetual motion Allegro vivace, which, as was the case with the first movement, is balanced by a tuneful second theme. Bizet found the opportunity in later years to make further use of these themes in the entr’acte of his opera Don Procopio.

In recent years, Bizet’s Symphony in C has been quite popular with concert audiences, as well as aficionados of ballet, even though the composer never intended it to be used for as a work for the theater. For reasons that are not entirely clear, Bizet never made any effort to have his Symphony performed or published.

Perhaps he feared that Gounod, and the Parisian public, would accuse him, at best, of lack of originality, or, at worst, plagiarism. We should be grateful, however, that the manuscript survived. ●

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Wolfgang Amadeus Mozart

Violin Concerto in A Major, “Turkish,” K. 219 (1775) Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg and died on December 5, 1791, in Vienna. During most of his adult life, he preferred using the French version of his name, Amadé. The Concerto for Violin in A Major, K. 219 [No. 5], is dated December 20, 1775, and was presumably first performed in Salzburg during the Christmas season. The “K” number used for Mozart’s works refers to the name Ludwig Ritter von Köchel, who first issued the Chronological-Thematic Catalogue of the Complete Works of W.A. Mozart in 1862. The Köchel catalogue has been updated and revised many times to keep pace with musicological revelations.

The autograph manuscript of the score now resides in Washington, D.C., as one of the treasures of the Library of Congress.

The work is scored for solo violin, 2 oboes, 2 horns, and strings.

Given the fact that Mozart’s father, Leopold, was the author of one of the most important treatises on playing the violin, it is hardly a surprise that his son authored several violin concertos, five of which are authentic—K. 207, 211, 216, 218, and 219. He possibly may have composed two others—K. 268/ C14.04 and K. 271a/271i—but these have survived in either fragmentary form, or are of doubtful authenticity. The fact that the five authentic violin concertos all emerged between April and December of a single year—1775—is less easy to explain.

There is reason to believe that these concertos were written for Gaetano Brunetti, the concertmaster of the Salzburg Court. Evidence for this is provided by an alternate finale for K. 207 (K. 261a) and a substitute second movement for K. 219 (K. 261). This latter movement was described

by Leopold as a new “Adagio for Brunetti, since the one was too studied for him.” Be that as it may, one can hardly imagine how anyone could have been unhappy with the original Adagio, whose melodiousness,

grace, and expressivity are unsurpassed by any of its sister concertos.

The opening of the first movement, Allegro aperto, contains a charming surprise. After the obligatory opening ritornello for the orchestra, the first entry of the soloist is in a new tempo, Adagio, as if to say to the orchestra that something is amiss. The original tempo resumes, but now with a soaring new theme entrusted to the solo violin. This theme, in fact, is the missing element from the beginning of the movement. With things now set aright, the movement continues on its merry way.

The last movement, Tempo di Menuetto, is a rondo that begins with a graceful, dance-like theme whose final cadence is a delicately rising arpeggio. The second theme is no less enchanting, but the third one displays considerably more passion.

After another reprise of the minuet, the real surprise of the finale ensues as the tempo shifts from triple to duple meter; the tempo is marked Allegro, and the key changes from A Major to a minor. It is here that the episode that gives this concerto its nickname, “Turkish,” begins.

Turkish music was extremely popular in Austria in the eighteenth century—a reflection of, and response to, the fact that the Ottoman Empire twice laid siege to Vienna, in 1532, and again in 1683.

The musical features that define the “Turkish” style are minor keys and the use or imitation of the percussion instruments (Janissary) associated with the Ottoman military forces. Mozart even borrows a quotation from another piece in the same style, his ballet music for the opera Lucio Silla of 1773. The best-known Turkish music by Mozart comes from his 1782 opera The Abduction from the Seraglio (parts of which were shown in the 1984 film Amadeus) as well as the “Rondo alla Turca” finale of his Sonata for Piano, K. 331/300i, composed in 1778. Perhaps the most extraordinary thing about the Turkish episode of the finale of the Violin Concerto is its duration in relationship to the rest of the movement. Once the storm has passed, however, the charming first two themes come back, with a varied reprise of the minuet theme having the wistful last word. ●

PROGRAM NOTES .

Gustav Mahler

Symphony No. 1 in D Major (“Titan”) (1887–1888) Gustav Mahler was born in Kalischt, near Iglau (Kaliště, Jihlava), Bohemia, on May 7, 1860, and died in Vienna on May 18, 1911. His principal musical activity was that of a conductor and administrator, presiding over many important posts, including most significantly the Vienna Court Opera (now the Vienna State Opera), the Metropolitan Opera, and the New York Philharmonic. His compositional output centered almost exclusively on songs and symphonies, work that was largely carried out during the summer months. Mahler’s Symphony No. 1 was composed in the years 1887-88 and was first performed in Budapest on November 20, 1889, conducted by the composer.

The premiere was largely a failure and the composer continued revising the work over the next ten years. The huge score calls for 4 flutes (3rd and 4th doubling on piccolo), 4 oboes (3rd doubling on English horn), 3 clarinets (3rd doubling on bass clarinet), E-flat clarinet, 4 bassoons (3rd and 4th doubling on contrabassoon), 7 horns (4 off-stage in the finale), 4 trumpets (2 of which play off-stage in the first movement and reinforced by one extra in the finale), 4 trombones, tuba, timpani, percussion, strings, and harp.

Mahler’s First Symphony, by any standard, is an astonishing achievement.

To find a first symphony its equal, one must look to Brahms’s First Symphony, or perhaps Berlioz’s Symphonie fantastique.

In considering Brahms, however, one

encounters the work of an artist in his forties who already had several works for orchestra under his belt before composing his First Symphony. Mahler, on the other hand, was in his twenties, with relatively little experience in writing for orchestra (his much-neglected cantata Das klagende Lied is almost the sole exception) and standing rather early in his career as a conductor. Mahler’s First Symphony, therefore, is a testimony not only to his innate talent and fertile imagination, but to his keen receptivity to the compositional models he encountered during his days as a student in his native Bohemia and at the Conservatory of Music in Vienna.

Like Brahms, Mahler was reluctant to write his First Symphony. In fact, its earliest version (1888), first performed in Budapest, was presented as a “Symphonic Poem in Two Parts.” Such a title, of course, explicitly implied that the music contained extra-musical meanings. Symphonic poems were the “invention” of Franz Liszt, and Mahler’s slightly younger contemporary Richard Strauss had already started shaking up the musical establishment with his impressive works in that genre such as Don Juan and Death and Transfiguration. One should also bear in mind that Richard Wagner had implanted the notion in the mind of many that the symphony as a genre was a dinosaur, now replaced by the “music of the future,” i.e., the Wagnerian opera or music drama. Mahler’s admiration for the symphonies of Anton Bruckner was probably, at least partly, the reason why he wrote a symphony at all. It is not surprising, therefore, that Mahler’s Budapest audience was baffled to find no hints as to the content of Mahler’s

Mahler was reluctant to write his First Symphony […] symphony as a genre was a dinosaur, now replaced by the “music of the future,” i.e., the Wagnerian opera.

program. The only specific designation came in the French title for the fourth of its five movements: A la pompes funèbres.

Mahler responded to this criticism by “clarifying” the work’s program in several ways when he reintroduced it in Hamburg in 1893. To start, he added the title “Titan” (taken from a novel by Jean Paul Richter) to the entire work, now calling it a “symphonic poem in the form of a symphony”: Part I: “From the Days of Youth: Flower, Fruit, and Thorny Pieces” Endless Springtime. (Introduction and Allegro commodo). The introduction portrays the awakening of nature after a long winter’s sleep.

“Blumine” (Andante) “In Full Sail” (Scherzo) Part II: “The Human Comedy” “Abandoned!” (a funeral march in “Callot’s Manner”) “From the Inferno” (Allegro furioso) follows, as the sudden outbreak of doubt of a deeply wounded heart This “program” underwent still further modifications in Weimar (1894) and Berlin (1896), but by the time the full score was published in 1899, Mahler removed the short “Blumine” Andante, reducing the five-movement work to four, and abandoning all programmatic titles with their references to Jean Paul, Dante, and Callot. (Many conductors choose to reinstate the lovely “Blumine” movement, which offers hints as to events in the symphony’s finale.) Mahler soon began complaining to friends about how trapped he felt by programmatic titles because they led to misunderstandings and forced him to give his music the appearance of greater specificity than he wished to ascribe. Nevertheless, knowing these titles still provides a useful insight into the spirit of many of Mahler’s movements.

I. (Slow, dragging. Like a sound of nature, followed by Very moderately).

Mahler’s first movement begins shrouded in a miasma of mystery. This effect is produced by its striking orchestration—a seven-octave deep pedal tone—from which emerges distant fanfares and cuckoo calls. The main body of the continued on 20

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movement is based upon the second song from Mahler’s cycle Songs of a Wayfarer, “This Morning I Travelled Across the Field” (Ging heut’ morgen). The music trades back and forth between moments of static activity and great energy. The triumphal entry of the “whooping” horns at the recapitulation thrust the movement toward its exciting conclusion.

II. (Scherzo. Powerfully moving, but not too fast). Here is an extroverted Ländler (a popular Austrian folk dance in triple meter).

Its quasi-yodeling is patterned after one of Mahler’s most charming early songs “Hans und Grete.” Also enjoyable are the sassy stopped notes in the French horns. The middle, trio section offers repose after the high energy of the scherzo.

III. (Ceremoniously and measured, without dragging). This is easily one of Mahler’s most droll creations. Hopefully everyone will recognize the popular round “Frère Jacques” (“Bruder Martin” in German) played in the minor mode starting with a solo string bass! Several theories have been proposed as to the meaning of this bizarre march. Mahler once made a reference to a woodcut by Moritz von Schwind titled “The Huntsman’s Funeral” in which forest animals bear the huntsman’s body in a strange procession (Nature’s revenge on mankind?), suggesting that this is what he had in mind. The allusion to “Callot’s manner” in the Hamburg version, however, may offer even further clarification. Jacques Callot was a 17th-century engraver known for his surreal imagery such as his “Temptation of St. Anthony.” Among Callot’s sincerest admirers was the early–19th century German author, composer, and critic E.T.A. Hoffmann, who himself wrote a series of “Fantasy Pieces in the Manner of Callot.” Could Mahler, by using “Frère Jacques,” have been invoking that same surreal atmosphere? (“Are you sleeping, brother Jacques [Callot]?”). While it is difficult to ascertain whether Mahler knew Callot’s etchings, he was very familiar with Hoffmann’s stories. Mahler’s Jewish roots also play a role in this strange movement, as the “cheap” and boozy sounds of a klezmer band insert themselves into the picture, although some have argued that

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In Edward Elgar’s final years, when asked about the “meaning” of the Cello Concerto, he called it “a man’s attitude to life.” these gestures refer more to Bohemian tavern music than Jewish elements. A more contemplative moment arrives when Mahler introduces the melody borrowed from the fourth and final song from Songs of a Wayfarer, “The Two Blue Eyes” (Zwei blaue Augen).

IV. (Stormily) Mahler wished for the finale to begin without any break after the third movement, entering like a thunderclap, and depicting the “sudden outburst of a wounded heart.” Storminess indeed is the order of the day in this movement, with a few serene interludes of wonderful lyricism. Listen carefully for the return of thematic material from the first movement!

This reprise serves as a harbinger of the ultimate triumph that breaks forth in a joyful “chorale” led by the French horns, and that eventually brings the symphony to its rousing and lofty conclusion. ●

Felix Mendelssohn-Bartholdy

Die schöne Melusine Overture, Op. 32 (1834) (Jacob Ludwig) Felix Mendelssohn (-Bartholdy) was born on February 3, 1809, in Hamburg and died on November 4, 1847, in Leipzig. Die schöne Melusine Overture (The Fair Melusine Overture or Ouvertüre zum Märchen von der schönen Melusine) was composed in 1834 by Mendelssohn to celebrate the birthday (November 14) of his sister, Fanny (Hensel). She, like her brother, was a gifted composer and pianist. The work was given its premiere performance in London on April 7, 1834. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

The concert overture was a contribution to the orchestral repertory of the Romantic era whose origins may be traced to that

musical idol of German romanticism, Beethoven (e.g., Leonore Overture No. 3). As with Chopin’s Preludes for piano, these pieces are not intended to introduce anything in particular, but instead are intended to stand alone as self-contained compositions. Concert overtures are meant to evoke the spirit of something extra-musical (a poem, painting, landscape, or drama). Because the extra-musical references are vague, however, concert overtures need to stand on their own feet, structurally speaking.

More often than not, these pieces make use of classical sonata-form design, such as one encounters in the first movement of symphonies.

Mendelssohn’s Fair Melusine Overture is one such work, standing alongside his more popular Hebrides Overture (Fingal’s Cave) and the one composed when he was only 17 years old for Shakespeare’s comedy A Midsummer Night’s Dream. The title of the overture derives from a German legend of Melusine, a water nymph, who marries a human Count Raimund. Literary forms of this story were written by Ludwig Tieck (1800) and Friedrich de la Motte Fouqué, using the name Undine (1811), were generally well-known in Germany. An opera based on the subject titled Melusina was composed by Conradin Kreutzer to a libretto by the Viennese poet and friend of Beethoven Franz Grillparzer. Many other musical compositions inspired by the legend include, among others, Antonín Dvořák’s opera Rusalka, and a Sonata for Flute and Piano (“Undine”) by Carl Reinecke. Mendelssohn’s Overture does not attempt to follow the plotline of the story, but it does suggest the essence of the title character by its gentle opening theme in a lilting 6/4 meter, whose rhythm and arpeggios suggest flowing water.

PROGRAM NOTES .

A more robust theme in the contrasting parallel minor key can be interpreted as the presence of her husband, Count Raimund. Mendelssohn, ever self-critical of his compositions, made revisions to the score in 1835 before it appeared in print the next year. ●

CHARLES GREENWELL

Edward Elgar Born June 2, 1857, in Broadheath, England Died February 23, 1934, in Worcester, England

Cello Concerto in e minor, Op. 85 (1919) Scored for solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings.

(Approx. 30 minutes)

For people here in the U.S. with no direct experience of the First World War, it is virtually impossible to comprehend what that “War to End All Wars” was about. Many historians are of the opinion that World War I was the most traumatic event in the history of Western civilization. Certainly, there had been wars, religious conflicts, plagues, earthquakes, and disasters of every kind that regularly tore Europe apart, many of them changing political and geographical boundaries, changing ruling houses, or even significantly altering basic philosophies. However, nothing that had occurred prior to The Great War had so drastically altered the fundamental assumptions about how our civilization functioned. In just the four years between 1914 and 1918, the fearful destructiveness of modern instruments of war became frighteningly apparent, the fragile nature of human life and our institutions, culture, and civilized order was brought home as never before, and it can be said with reasonable certainty that World War I shaped the modern world, in the process virtually wiping out an entire generation of young European men. One prominent English writer summed it up like this: The scale of the war was apocalyptic, and before it happened few people had

thought that such destruction was even possible. In Britain, the public’s notion of “modern” warfare had been formed by the Second Boer War (1899–1902), in which 22,000 British troops had died during that two-and-a-half-year conflict.

In this new war, nearly that many soldiers were killed in a single day in July of 1916 on the first day of the Battle of the Somme. Over the course of four years, nearly one million people from Britain and the Empire countries lost their lives: not only men, but women, too, serving as nurses. Even as the conflict raged, many people realized that they were now living in a changed society.

In 1916, the celebrated writer D.H. Lawrence wrote, “… so much beauty and pathos of old things passing away and no new things coming: My God, it breaks my soul.” The massive and pervasive effects of the conflict profoundly touched practically everyone in the West, with artists of all sorts feeling those effects with unique sensitivity. Edward Elgar was no exception to this, having been devastated by the loss of many close friends in the conflict, and writing afterwards, “Everything pleasant and promising in my life is dead: I no longer have the happiness of friends to console me as I had 50 years ago. I feel that life has gone back so far when I was alone and there was no one to stand between me and disaster … now that has come back and I feel more alone and the prey of circumstances than ever before.” This outpouring of his feelings is underscored by the fact that the Cello Concerto was the last major work he wrote. Moreover, the warmth and confidence that had been in evidence in the Enigma Variations and the Cockaigne Overture were now severely diminished, and never fully returned. Elgar became the voice for those composers who longed for the comfortable optimism of the past but realized that it was gone forever, replacing it with sadness, introspection, and pessimism.

Compared with most of Elgar’s works, the Cello Concerto is a sudden departure from what had gone before, not just in stylistic terms, but also with regard to

the basic music materials and overall mood. Elgar was famous for the sense of dignity, order, and pride in his music, and that in turn was a reflection of the English aristocracy and the whole concept of an orderly and stable civilization.

This, however, is a concerto of sadness and disillusionment, that owes a great deal to Dvořák’s great concerto for the instrument, particularly in regard to technical matters. Elgar wanted the cello to dominate the proceedings, and while the orchestra here is sizable, the writing is almost always economical and transparent and never overpowers the soloist. In addition to the psychological and emotional traumas that Elgar was dealing with in the aftermath of the war, his health was also becoming unstable, and so, realizing that her husband needed someplace to recapture a sense of solitude and peace, Lady Elgar—who was also having health issues—found a lovely cottage in rural Sussex with a studio in the garden and a surrounding area perfect for taking long walks. In March 1918, Elgar had a septic tonsil removed (a dicey operation for a 61-year-old man), and on the day he left the nursing home he asked for pencil and paper and immediately wrote down the opening theme of the Cello Concerto. The following summer, in the house that was named Brinkwells, Elgar began work in earnest on the concerto. It was sadly to be the last summer that he and his wife spent together. As he recalled, she “… grew mysteriously smaller and more fragile, and seemed to be fading away before one’s very eyes.” The work was finished and delivered to the publisher in early August, and the premiere was scheduled for the opening concert of the London Symphony Orchestra’s 1919/1920 season in October 1919 with Elgar conducting. Elgar asked the distinguished English cellist Felix Salmond to be the soloist, and worked with him closely at Brinkwells during that summer.

Unfortunately, the premiere was a disaster because the performers were denied adequate rehearsal time. The performance was scheduled so that Elgar would conduct the concerto and the continued on 22

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rest of the program would be led by the orchestra’s Russian-born chief conductor, Albert Coates, noted for being something of an egotistical tyrant. In the rehearsal, Coates went well over his scheduled time, leaving Elgar with very little time to do anything other than simply read through the new work. By the time Coates was finished rehearsing, Elgar—who had been waiting patiently offstage— uncharacteristically lost his temper at this breach of manners. In her diary, Lady Elgar referred to Coates as “… that brutal, selfish, ill-mannered bounder … who went on and on rehearsing.” As might be imagined, the premiere was a shamble and received mostly scathing reviews.

The celebrated critic Ernest Newman observed, “The orchestra was often virtually inaudible, and when just audible was merely a muddle. No one seemed to have any idea of what the composer wanted. The sad fact remains that never, in all probability, has so great an orchestra made so lamentable an exhibition of itself.” For the record, Elgar was actually a very fine conductor, particularly of his own music. Elgar put no blame whatsoever on Salmond, and later said that if it had not been for the cellist’s diligent and excellent work in preparing the concerto, he would have removed the work from the concert.

In a traditional concerto, the orchestra introduces the work with statements of the first movement’s principal themes, after which the soloist enters and takes it from there. In this concerto, the cello plays right at the outset, placing the listener in the middle of the musical argument from the very beginning. Moreover, the work is cast in four movements instead of the usual three. The first movement is bold and powerful, with two contrasting themes. The whimsical scherzo is like a lovely and fleeting dance, holding three separate themes and with the orchestral accompaniment of the utmost delicacy. In his program note for the premiere of the First Symphony, Elgar described the work (which was popular right from the start and played frequently) as “… a composer’s outlook on life.” In his final years, when asked about the “meaning” of the Cello Concerto, he called it “a man’s attitude

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“This is music that our own unsettled age might do well to experience with a receptive heart.”

2022/23 Season / Volume 11 / No. 6

—Michael Kennedy to life.” Elgar’s beloved wife passed away in April 1920, and in August of that year the composer wrote, “I am lonely now and do not see music in the old way and cannot believe that I shall complete any new work … sketches I still make but there is no inducement to finish anything … of ambition, I have none …” In his definitive biography of Elgar, the English writer Michael Kennedy summed up this extraordinary concerto in these words: Here is the elegy for an age. The slaughter of war … had grieved Elgar, but this requiem is not a cosmic utterance on behalf of mankind, it is wholly personal …

There is no massive hope for the future in this music, only the voice of an aging, embittered man, a valediction to an era and to the powers of music that he knew were dying with him. This is music that our own unsettled age might do well to experience with a receptive heart. ●

DAVID B. LEVY

Sergei Rachmaninoff

Piano Concerto No. 2 in c minor, Op. 18 (1900–1901) Sergei Vassilevich Rachmaninoff was born in Oneg, Novgorod, on March 20/ April 1, 1873, and died in Beverly Hills, California, on March 28, 1943.* Famed as both pianist and composer, Rachmaninoff left Russia after the Revolution of 1917, eventually taking up residence in the United States. His Piano Concerto No. 2 was composed in 1900-01 and received the first performance of its last two movements in Moscow on December 2/15, 1900, in Moscow. The first performance of the entire piece took place on October 27/ November 9, 1901.* On both occasions,

the composer himself was the soloist with Alexander Siloti conducting the Moscow Philharmonic. The Concerto No. 2 is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings. [*NB: The variation of dates reflects the difference between the Julian and Gregorian calendars.]

The Russian-born pianist and composer Rachmaninoff falls into the tradition of the great performercomposers of the Romantic style that included figures such as Niccolo Paganini and Franz Liszt. Like his great predecessors at their best, his music avoids the self-indulgent kind of virtuosity-for-its-own-sake practiced by less gifted musicians. His music often is quite sentimental, but his melodic gifts were more than sufficient to prevent it from becoming maudlin. Although Rachmaninoff composed a wide variety of music, he is best known for his works for the piano, and his Concerto No. 2 is by far the most frequently performed of the four that he composed. His Rhapsody on a Theme of Paganini is also a popular favorite.

After the failure of his First Symphony in Saint Petersburg, Rachmaninoff recorded in his Recollections that he lost all hope for any future success. In 1900, he sought psychiatric assistance from Dr. Nikolai Dahl, who, according to the composer, hypnotically persuaded him to continue work on a new piano concerto. Dr. Dahl’s positive approach seems to have worked, and he became the recipient of the dedication of the Piano Concerto No. 2.

The work received its first performance in 1901 in Moscow, and it was greeted with both critical and popular acclaim.

The work is in three broad movements.

The first of these, Allegro moderato,

PROGRAM NOTES .

begins quietly with chords solemnly played by the unaccompanied soloist. These grow in intensity, ushering in the lush first theme in the strings. A lyrical second theme emerges from the soloist, followed by a proper development section and a stirring recapitulation in martial style. ●

Ludwig van Beethoven

Symphony No. 1 in C Major, Op. 21 (1799–1800) One of history’s pivotal composers, Ludwig van Beethoven was born on December 16 or 17, 1770, in Bonn, and died in Vienna on March 26, 1827. His Symphony No. 1, Op. 21, was composed in 1799–1800 and was first performed in Vienna’s Burgtheater on April 2 of that same year. Both the autograph and manuscript orchestral parts are lost. The work was published (in parts) in 1801. The symphony is dedicated to Baron Gottfried van Swieten, one of Vienna’s most prominent musical patrons. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Beethoven’s genius in strategic planning was not solely limited to his abilities as a composer. Known throughout Vienna since his arrival in 1792 as a virtuoso pianist and composition student of Haydn, the young apprentice took his time before launching his own works in the very genres in which his teacher was the acknowledged master. It is no accident that Beethoven’s first efforts as a composer of string quartets (Op. 18) were published well after he was certain that Haydn was no longer interested in composing quartets. Indeed, Beethoven’s hasty issuance of his official Opus 1, a set of three trios for piano, violin, and cello—another favorite genre of Haydn— led to some friction between teacher and pupil, particularly regarding the third Trio in c minor. By the middle of the last decade of the eighteenth century, 1795 to be precise, Haydn had authored and premiered his final twelve symphonies for London. This marked the end of an

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extraordinary career that produced 107 symphonies over a period of nearly 40 years, and which witnessed the growth of a relatively modest piece intended for princely amusement into a sonata writ large intended for a broader and larger paying public. ● When one takes measure of the reputation Beethoven carved out for himself during his first eight years as a resident of Vienna, his ever-growing admirers were most deeply impressed by his earliest Piano Sonatas (ten of which predate the First Symphony), the aforementioned Piano Trios, assorted chamber music, and above all, his Septet, Op. 20, a work that shared the program with the premiere of his First Symphony along with a symphony (unidentified) by Mozart, excerpts from Haydn’s Creation, and an improvisation at the piano and the first performance of either his C Major Piano Concerto, Op. 15, or the earlier (despite its higher opus number) Piano Concerto No. 2 in B-flat Major, Op. 19.

Much to his annoyance, the Septet proved to be more popular than the Symphony, yet the latter work did not fail to make an impression on a critic writing for the Leipzig Allgemeine musikalische Zeitung: [Beethoven] … improvised in a masterly way, and at the end a symphony of his composition was performed in which there was very much art, novelty, and a wealth of ideas. However, the wind instruments were used far too much so that there was more music for wind instruments than for a full orchestra.

—From The Critical Reception of Beethoven’s Compositions by His German Contemporaries, vol. 1, ed. Wayne M. Senner, Robin Wallace, and William Meredith (U Nebraska Press, 1999).

The review goes on to sternly criticize the poor performance by the orchestra, citing that “in the second part of the symphony [the players] became so lax that in spite of all efforts, no fire could any longer be brought forth in their playing, particularly not in the wind instruments.” It was a sad fact that Beethoven’s Vienna was poorly equipped for performing symphonies.

Donald Francis Tovey categorized Beethoven’s First Symphony as a “comedy of manners” that inherited much from the wit of Haydn’s music and Mozart’s comic operas and lighter instrumental music. The notorious use of heavy wind scoring, however, reminds us that Beethoven was every bit the ill-mannered “unlicked bear cub,” a sobriquet coined later by the composer Luigi Cherubini. The audacious “off-key” beginning of the Adagio molto, brilliantly scored for winds and pizzicato strings (a trick he used again almost immediately in his Overture to the ballet The Creatures of Prometheus) immediately announces the composer’s humor. The dramatic and thoroughly Beethovenian fury that marks the climax of the development section reminds us that all great comedy is ultimately about something important. The fugato exposition of the Andante cantabile con moto second movement begs comparison with the Andante scherzoso quasi Allegretto of the String Quartet in c minor, Op. 18, No. 4. The fact that Beethoven calls the third movement Allegro molto e vivace a Menuetto is in itself a kind of joke (the translation of the word scherzo).

The mere fact that Beethoven wrote Menuetto in the score may be taken as further evidence of his irreverence for convention. The trio section, with its static harmonic motion, may have been inspired by the analogous passage in Haydn’s Symphony No. 101 (“Clock”).

The introduction to the finale also has been cited by many writers, particularly for the Beethovenian surprise of making a crescendo, only to drop back the softer dynamic of piano at the end. Tovey’s image for this Adagio introduction of a cat being let out of a bag is especially appropriate. But Tovey also reminds his reader that young lions and tigers are kittens, too, and the young kitten named Beethoven certainly has an opportunity to roar in the Allegro molto e vivace comedy that brings the First Symphony to its merry conclusion. ●

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THANK YOU .

New Mexico Philharmonic Foundation DONORS & TRUSTEES The McKinnon Family Foundation Lee Blaugrund Charles, Trustee, & Eugenia Eberle Barbara Rivers, Trustee Robert & Frances Fosnaugh Thomas Martin, Trustee, & Cynthia Phillips Stephen, Trustee, & Maureen Baca Estate of Marian Ausherman Chavez Dr. Dean Yannias William E. Cates Mary Baca (aka Betty) Christine Kilroy Keith Gilbert Ann & Robert Boland Thomas & Edel Mayer Robert Milne David Northrop John & Karen Schlue Susan Spaven Tyler M. Mason Jerald Parker Richard VanDongen Roland Gerencer, 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 Lawrence & Deborah Blank 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 David & Cynthia Nartonis

The New Mexico Philharmonic

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 3/17/2023

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THANK YOU .

Steinway Society

Steinway Society

Piano Fund

Members

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

HOROWITZ LEVEL

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

WHITE KEYS LEVEL

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

BLACK KEYS LEVEL HOROWITZ LEVEL

$20,000–$50,000

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

WHITE KEYS LEVEL

$6000–$19,999

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

BLACK KEYS LEVEL

$2000–$5999

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

PEDAL LEVEL

$500–$1999

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

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

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2022/23 Season / Volume 11 / No. 6

$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 Elene & Robert Gusch Jonathan & Ellin Hewes Christine Kilroy 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 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 3/17/2023

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The New Mexico Philharmonic

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

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

Margaret Macy Thomas J. Mahler Shirley Morrison Cynthia Phillips & Thomas Martin Eugene Rinchik Barbara Rivers Terrence Sloan, MD Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Charles E. Wood Dot & Don Wortman 3/17/2023

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Thank You for Your Generous Support Volunteers, Expertise, Services, & Equipment The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment.

CITY & COUNTY APPRECIATION Mayor Tim Keller & the City of Albuquerque Trudy Jones & the Albuquerque City Council The Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Hakim Bellamy & the Albuquerque Cultural Services Department Amanda Colburn & the Bernalillo County Special Projects

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

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Ian McKinnon & The McKinnon Family Foundation 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 3/17/2023

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THANK YOU .

Sponsors & Grants Sound Applause

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

Albuquerque Community Foundation albuquerquefoundation.org

Hotel Andaluz hotelandaluz.com

Bernalillo County bernco.gov

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

David S. Campbell, Attorney davidscampbell.com

GARDENSWARTZ REALTY French Funerals & Cremations frenchfunerals.com

Gardenswartz Realty

HOLMANS USA CORPORATION holmans.com

Hunt Family Foundation huntfamilyfoundation.com

John Moore Associates johnmoore.com

Jennings Haug Keleher McLeod jhkmlaw.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

Olga Kern International Piano Competition olgakerncompetition.org

RBC Wealth Management rbcwealthmanagement.com

Robertson & Sons Violin Shop robertsonviolins.com

Scalo Italian Restaurant scaloabq.com

Urban Enhancement Trust Fund cabq.gov/uetf

Verdes Cannabis verdesfoundation.org

New Mexico Philharmonic Foundation Inc. nmphilfoundation.org

Sandia Laboratory Federal Credit Union slfcu.org

SUPPORT YOUR NMPHIL Interested in becoming a sponsor of the NMPhil? Call today! (505) 323-4343.

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2022/23 Season / Volume 11 / No. 6

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

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

TROMBONE Aaron Zalkind • Byron Herrington BASS TROMBONE David Tall TUBA Richard White •

OBOE Kevin Vigneau • Amanda Talley

SECOND VIOLIN Carol Swift ••• Julanie Lee Gabriela Fogo + Heidi Deifel ++ Liana Austin Lidija Peno-Kelly Sheila McLay Brad Richards Eric Sewell

TRUMPET John Marchiando • Brynn Marchiando Sam Oatts •••

ENGLISH HORN Melissa Pena ••+ Lauren Keating ••++ CLARINET Marianne Shifrin • Lori Lovato ••• Timothy Skinner

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

E-FLAT CLARINET Lori Lovato

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

BASS CLARINET Timothy Skinner + Cory Tamez ++

Chair

Al Stotts

Vice Chair

David Peterson Secretary

Kory Hoggan Treasurer

Joel Baca Ruth Bitsui David Campbell Thomas Domme Fritz Eberle Roberto Minczuk 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

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

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

STAFF Marian Tanau

Leif Atchley

Crystal Reiter

Joan Olkowski

Roberto Minczuk

Dasa Silhova

Luis DeVargas

Lori Newman

Christine Rancier

Terry Pruitt

Grace Marks

Matt Hart

Nancy Naimark

Mary Montaño

President & CEO Music Director

Vice President of Business Vice President of Operations

Production Manager Personnel Manager Principal Librarian Director of Community Relations & Development Officer

The New Mexico Philharmonic

Office Manager

Front of House Manager

Design & Marketing Editor

Intern

Grants Manager

nmphil.org

31

CONCERT PROGRAM .

The EQS.

Attentive, Responsive, Imaginative.

It’s like no electric car you’ve seen or felt.

Proud Sponsor of New Mexico Philharmonic Alameda & Pan American (505) 821-4000 • mercedesabq.com 32

2022/23 Season / Volume 11 / No. 6