New Mexico Philharmonic Program Book • 2023/24 Season • Volume 12 • No. 4

23/24 VOLUME 12 / NO. 4

Congratulations TO

Roberto Minczuk ON

Years ON THE

podium!

Maestro, we celebrate you and thank you for your unparalleled musicianship and stalwart leadership.

HERE’S TO MANY MORE YEARS OF MUSIC MAKING!

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2023/24 SEASON

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TABLE OF CONTENTS PROGRAMS

March 9, 2024 March 10, 2024 March 15, 2024 March 16, 2024 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.

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

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ARTISTS

Roberto Minczuk Raven Chacon Yoonshin Song Michelle Merrill Jason Altieri

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YOUR NMPHIL

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

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

PLAN A WISE GIVING STRATEGY

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CONCERT PROGRAM .

POPEJOY CLASSICS

Song Plays Beethoven

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Saturday, March 9, 2024, 6 p.m.

5 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Yoonshin Song violin

Ashdla’

Raven Chacon (b. 1977)

Violin Concerto in D Major, Op. 61 Ludwig van Beethoven I. Allegro ma non troppo (1770–1827) II. Larghetto III. Rondo. Allegro

MAKING A DIFFERENCE

This performance is made possible by: Albuquerque Community Foundation Additional support is provided by: Singleton Schreiber

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

Yoonshin Song violin

Hosted by KHFM’s Alexis Corbin I N T E R M I S S I O N

Symphony No. 1 in c minor, Op. 68 I. Un poco sostenuto—Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio—Più andante—Allegro non troppo, ma con brio

The New Mexico Philharmonic

Johannes Brahms (1833–1897)

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CONCERT PROGRAM .

POWER CONCERT:

Germany & Austria Sunday, March 10, 2024, 3 p.m.

Roberto Minczuk Music Director

The NMPhil Power Concerts series is geared toward introducing young audience members and their families to classical music, the orchestra, and the instruments that make it all possible.

We close out the Power Concerts series with a celebration of the symphonic tradition in all its glory! Germany and Austria were the cultural hotspots of the day and the birthplace of Western classical music as we know it, and today, we honor some masters. The orchestra and its power and beauty will be on full display in a veritable cornucopia of works by Bach, Mozart, Brahms, and Johann Strauss.

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Immanuel Presbyterian Church

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 • Councilor Dan Lewis

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2023/24 Season / Volume 12 / No. 4

CONCERT PROGRAM .

COFFEE CONCERT

A Spring Thaw

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Friday, March 15, 2024, 10:45 a.m.

First United Methodist Church

Michelle Merrill conductor

Siegfried Idyll, WWV 103 Richard Wagner (1813–1883)

Symphony No. 1 in B-flat Major, “Spring,” Op. 38 I. Andante un poco maestoso—Allegro molto vivace II. Larghetto III. Scherzo. Molto vivace IV. Allegro animato e grazioso

The New Mexico Philharmonic

MAKING A DIFFERENCE

This performance is made possible by: Meredith Foundation

Robert Schumann (1810–1856)

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CONCERT PROGRAM .

ROCK & POPS

Hooray for Hollywood!

Saturday, March 16, 2024, 6 p.m.

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Jason Altieri conductor

Popejoy Hall

Hooray for Hollywood

Johnny Mercer/Richard A. Whiting arr. Williams

“Superman March” from Superman

John Williams

Pirates of the Caribbean

Klaus Badelt arr. Ricketts

The Sea Hawk: Suite for Orchestra

Erich Wolfgang Korngold arr. Brubaker

Music From How to Train Your Dragon

John Powell

Theme from Mission: Impossible

Lalo Schifrin

“Gabriel’s Oboe” from The Mission

Ennio Morricone arr. Longfield

Harry Potter Symphonic Suite

John Williams

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

Overture to West Side Story

Leonard Bernstein

The Magnificent Seven Symphonic Suite Themes from Psycho

Elmer Bernstein Bernard Hermann (“Prelude,” “The City,” “The Murder”)

Music from The Incredibles

Michael Giacchino arr. Holcombe

Adagio for Strings

Samuel Barber

“Raiders March” from Raiders of the Lost Ark

John Williams

“Adventures on Earth” from E.T.

John Williams

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MAKING A DIFFERENCE

This performance is made possible by: Albuquerque Community Foundation

ARTISTS .

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

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

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

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. continued on 10

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Congratulations TO

Roberto Minczuk ON

Years ON THE

podium!

NMPhil President & CEO Marian Tanau sat down with Music Director Roberto Minczuk to discuss his 30 years on the podium.

MT: Maestro, congratulations on your 30year conducting career! It’s an amazing honor, and we are so fortunate to be among the many groups you have led.

RM: Thank you, Marian.

MT: So, I’d like to ask you some questions about your time in the field. I think our marvelous New Mexico Philharmonic audience would be interested in some facts about you that can’t be found in your bio. Would that be OK? RM: Of course, ask away.

MT: Growing up, you were a talented hornist. What prompted you to make the leap into conducting?

RM: My father is a conductor. Out of his eight children, he chose me to be the conductor. I dutifully obeyed.

MT: With which orchestra did you make your conducting debut?

RM: The Ribeirão Preto Symphony in the State of São Paulo.

MT: Of the more than 130 orchestras you have conducted in your storied history, which are the most memorable?

RM: So many fond memories of so many orchestras and musicians. But if I had to choose the highlights, I would say: the New York, Los Angeles, Israel, Tokyo,

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2023/24 Season / Volume 12 / No. 4

London, Oslo, Helsinki, and Buenos Aires Philharmonics and the Cleveland, Philadelphia, National de France, Detroit, Houston, San Francisco, Dallas, BBC, and New Zealand Symphony Orchestras. And of course, the New Mexico Philharmonic!

MT: Do you have a favorite or most memorable soloist story?

RM: A soloist once had a memory lapse in a concert and stopped playing. To try and help him find his place, I started singing his part in solfège, which thankfully worked, and he was able to begin playing again. The audience laughed, thinking it was rehearsed and part of the “show.” It was not.

MT: What was your scariest moment on the podium?

RM: My goodness, my scariest moment was when I was conducting the Elgar Cello Concerto at the Royal Concertgebouw.

My heavy music stand started to fall, and I had to conduct the entire first movement holding the top of the stand up with my left leg.

MT: What was your funniest moment on the podium?

RM: I think my funniest story from the podium was when in the first concert of a two-concert cycle, my baton hit the music stand and fell to the ground. We conductors try to never let that happen!

A musician graciously picked it up and handed it to me. On the second night, it incredibly happened again! But I had learned my lesson and had placed a spare baton in my jacket pocket. When the same musician went to grab the baton from the floor, I flashed him the spare, and the entire orchestra started to laugh.

MT: These are great stories! Maestro, thank you for your time, and once again, congratulations on 30 wonderful years of conducting.

RM: My pleasure. ●

Raven Chacon composer Raven Chacon is a composer, performer, and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009–2018, he co-created artworks presented at the Whitney Biennial, documenta 14, and Carnegie International 57, as well as the 2-mile-long land art installation Repellent Fence.

A recording artist over the span of 22 years, Chacon has appeared on more than 80 releases on various national and international labels. In 2022, he was awarded the Pulitzer Prize in Music for his composition Voiceless Mass. His 2020 Manifest Destiny opera, Sweet Land, co-composed with Du Yun, received critical acclaim from The LA Times, The New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America.

Since 2004, he has mentored more than 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists Fellowship in Music, the Creative Capital Award in Visual Arts, the Native Arts and

ARTISTS .

Cultures Foundation Artist Fellowship, the American Academy’s Berlin Prize for Music Composition, the Bemis Center’s Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022), the Pew Fellow-in-Residence (2022), and is a 2023 MacArthur Fellow.

His solo artworks are in the collections of the Whitney Museum of American Art, the Smithsonian’s American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the University of New Mexico Art Museum, and various private collections. ●

Yoonshin Song violin Acclaimed as “a wonderfully talented violinist … whose sound and technique go well beyond her years,” Yoonshin Song was born in South Korea, where she began her musical studies at age 5. Making her solo debut with the Seoul Philharmonic at age 11, she has since built a successful performing career internationally.

Yoonshin was appointed as concertmaster of the Houston Symphony in August 2019. Prior to that, she held the same position with the Detroit Symphony Orchestra for seven seasons. Yoonshin has also served as guest concertmaster of the Budapest Festival Orchestra under Iván Fischer.

Beyond her first-chair duties, Yoonshin has performed as a soloist with many orchestras around the world, including the Houston Symphony, the Detroit

Symphony Orchestra, the Utah Symphony, the New Mexico Philharmonic, the Bayreuth Festival Orchestra, the Paul Constantinescu Philharmonic Orchestra, the Seoul Philharmonic Orchestra, and the KBS Philharmonic Orchestra, among many others.

She has also participated as a soloist and chamber musician in numerous leading music festivals, including the Marlboro, Deer Valley, Great Lakes, and Aspen Music Festivals in the United States; the Miyazaki Chamber Music Festival in Japan; and the Verbier, Lucerne, and Bayreuth Festivals in Europe.

Yoonshin has earned many prestigious prizes throughout her career, including top-prize awards in the Lipizer International Violin Competition in Italy, the Lipiński and Wieniawski International Violin Competition in Poland, the Henry Marteau International Violin Competition in Germany, and first prize at the Stradivarius International Competition in the United States. She studied under the tutelage of Donald Weilerstein at the New England Conservatory and continued her studies with Robert Mann and Glenn Dicterow at the Manhattan School of Music. ●

Michelle Merrill conductor Michelle Merrill has been inspiring audiences throughout the country with her sharply detailed and vibrant performances. A passionate and dynamic artist, she is the newly named Music Director of the Winston-Salem Symphony and also serves as the Music Director of the Coastal Symphony of Georgia, where

she has ignited the growth and expansion of the orchestra’s offerings both on and off the stage.

Ms. Merrill’s growing guest conducting schedule includes recent and upcoming engagements with the National Symphony Orchestra, San Francisco Opera, National Arts Centre Orchestra (Ottawa), Minnesota Orchestra, Dallas Symphony Orchestra, River Oaks Chamber Orchestra, Cincinnati Pops Orchestra, Milwaukee Symphony Orchestra, Iceland Symphony Orchestra, Toledo Symphony Orchestra, Sarasota Orchestra, West Virginia Symphony, Symphoria (Syracuse), Princeton Symphony Orchestra, and the Round Top Music Festival Institute. In past seasons, she has conducted concerts with the Indianapolis Symphony Orchestra, Toronto Symphony Orchestra, Jacksonville Symphony, Oklahoma City Philharmonic, Louisiana Philharmonic, Orlando Philharmonic, Sacramento Philharmonic & Opera, Boise Philharmonic, New Music Detroit, and the Northeastern Pennsylvania Philharmonic, where she formerly served as the Assistant Conductor from 2012–2015.

During her four-year tenure from 2014–2018 as the Assistant and then Associate Conductor of the Detroit Symphony Orchestra under Leonard Slatkin, Ms. Merrill helped plan a wide variety of concerts each season, including the renowned educational webcasts, which have reached over 100,000 students to date in classrooms throughout the nation. Holding the title of Phillip and Lauren Fisher Community Ambassador, Ms. Merrill also gave pre-concert lectures, led adult music education seminars, engaged with students and adults in and around metro Detroit, spoke on behalf of the DSO throughout the community, and participated in hosting Live from Orchestra Hall, the DSO’s free concert webcast that launched in 2011 and is now watched in more than 100 countries.

Ms. Merrill is a proud recipient of a 2016 Solti Foundation U.S. Career Assistance Award as well as the prestigious 2013 Ansbacher Conducting Fellowship as awarded by members of the Vienna continued on 12

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Philharmonic and the American Austrian Foundation, which enabled her to be in residence at the world-renowned Salzburg Festival. Born in Dallas, Texas, she studied conducting with Dr. Paul C. Phillips at Southern Methodist University’s Meadows School of the Arts, where she holds a Master of Music degree in conducting and a Bachelor of Music in performance. Apart from music, she loves cooking, running, hiking, and spending time outdoors with her husband, Steve Merrill, who serves as the principal percussionist of the Jacksonville Symphony, and their two sons, Davis and Emmett. ●

Jason Altieri conductor Jason Altieri is the current associate conductor for the Reno Philharmonic and music director of the Atlanta Pops Orchestra in Atlanta, Georgia.

Prior to his work in Reno and Atlanta, he spent time on the road as music director of the New Sigmund Romberg Orchestra and the Hollywood Film Orchestra. Having led the New Sigmund Romberg Orchestra on seven national tours, Altieri has the distinction of having conducted in every state but three and in most of the major performing venues in the United States.

With the Hollywood Film Orchestra, he led several tours in mainland China and Japan where performance venues included The People’s Hall in Beijing, China, and Suntory Hall in Tokyo, Japan.

Numerous guest conducting engagements include regular collaborations with the Duluth Superior Symphony in Minnesota,

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2023/24 Season / Volume 12 / No. 4

the Santa Fe Symphony, and the New Mexico Philharmonic. In July 2012, he was the orchestra conductor for the annual International Double Reed Society Conference. During this conference, he collaborated on 16 separate works with internationally renowned soloists from all over the world.

In addition to his orchestral work, Altieri is also an accomplished conductor of opera. Currently, he is working on his seventh collaboration as music director of the Nevada Chamber Opera Theatre.

Previous opera engagements include three North American tours with London’s Royal Carl Rosa Opera Company and an associate music directorship with the Ohio Light Opera Company in the summer of 2006. His work in Ohio saw him conducting six productions and more than 40 performances during their 29th season.

In addition, Altieri has released two recordings with the OLO on Albany Records. In 2002, he worked as an assistant to the late Valery Vatchev of the National Bulgarian Opera.

This rare experience led to guest conducting engagements of Verdi’s La traviata, Il trovatore, and Rigoletto in the Czech Republic.

While Altieri enjoys a busy career working with professional performing organizations, he is also a fierce advocate for young musicians and music education. This is evidenced by his position as director of orchestras at the University of Nevada, Reno, and the directorship of the Reno Philharmonic Youth Symphony. Under his leadership, the Reno Philharmonic Youth Symphony has become an increasingly visible component in Reno’s cultural life, and has embarked on performance tours that have included guest appearances at Carnegie and Disney halls. As a result of his tireless work with young musicians, Altieri was invited to conduct at Nevada’s Small School All-State Festival in April 2017.

His educational outreach has extended nationally as well as through numerous clinics with young ensembles all over the country in addition to faculty appointments at the Interlochen Center for the Arts and the Sewanee Summer Music Center.

A native of Atlanta, Georgia, Altieri grew up in a musical family with both parents being former members of the Atlanta Symphony Orchestra. He received a Bachelor’s degree in music education from the University of Georgia. He then went on to pursue advanced degrees in conducting from Michigan State University, where he received additional mentorship from Neeme Jarvi of the Detroit Symphony Orchestra and Gustav Meier of the Peabody Conservatory. Altieri currently resides in Reno, Nevada. ●

PROGRAM NOTES .

NOTES BY LORI NEWMAN/ RAVEN CHACON

Raven Chacon

Ashdla’ (2022) Pulitzer Prize-winning composer Raven Chacon was born in Fort Defiance, Arizona, within the Navajo Nation in 1977.

He holds degrees from the University of New Mexico (BA in Fine Arts) and the California Institute of the Arts (MFA in music composition). In 2022, he became the first Native American to win the Pulitzer Prize for Music for his work Voiceless Mass. Written in 2022, Chacon’s Ashdla’ was commissioned by I Musici de Montréal. The work is scored for string orchestra. Approximately 7 minutes.

About Ashdla’: “Chacon has a series of compositions that are titled after Navajo words for numbers. The works in the series are musical studies, but the sequence of the numbered titles does not follow a chronological order. Numbers are assigned to the compositions according to formal considerations, effects, or instruments used; spatial relations between players; and other musical or non-musical factors. Ashdla’ (five) is the fourteenth composition in this series.” ●

NOTES BY DAVID B. LEVY

Ludwig van Beethoven

Violin Concerto in D Major, Op. 61 (1806) Ludwig van Beethoven was born on December 15 or 16, 1770, in Bonn, Germany, and died in Vienna, Austria, on March 26, 1827. His Violin Concerto, Op. 61 was composed in 1806, a particularly productive year that also yielded the three String Quartets, Op. 59 (“Razumovsky”),

the Fourth Symphony, Op. 60, and the Fourth Piano Concerto, Op. 58. The work received its first performance in Vienna on December 23, 1806, with Franz Clement as soloist. Beethoven dedicated the work to his friend Stephan von Breuning. It is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 45 minutes.

Beethoven completed only one violin concerto, although among the surviving fragments from his youth in Bonn is an incomplete Concerto in C Major. Two Romances, Op. 40 and 50, and the “Triple” Concerto for Piano, Violin, and Cello complete the résumé of Beethoven’s compositions for violin and orchestra.

Composed in 1806, Beethoven’s Violin Concerto stands in solitary splendor, not only among his own works, but among all other works in the genre. Even its closest rival, the Violin Concerto by Johannes Brahms, was modeled closely on Beethoven’s towering example.

Beethoven himself had several models from which to work, including the violin concertos of Mozart and Haydn. Works for violin, including concertos, by Kreutzer, Rode, and Viotti also were important models. These violinist-composers are better known by pupils of the violin than by the general public, but they were most certainly known by Beethoven, who, although not primarily a violinist, had a working knowledge of the instrument.

Thanks to the research of Clive Brown and a subsequent recording by Rachel Barton Pine, we now know that Beethoven had a more direct model for his Violin Concerto. The work owes its existence to an 1806 commission from Franz Clement (1780–1842), a Viennese musical prodigy and virtuoso who was the concertmaster of Vienna’s Theater an der Wien with whom Beethoven had previously worked on other projects. Clement’s virtuosity

“Concerto, composed with mercy, for Clement, first violinist at the Theater an der Wien.”

—Ludwig van Beethoven

was matched by a phenomenal memory, and he was alleged to have been able to commit to memory large-scale choral works and operas, including Haydn’s The Creation and Beethoven’s Fidelio, upon only one hearing. Two important compositions were featured on a concert organized by Clement that took place in the Theater an der Wien of April 7, 1805. One of them was the first public performance of Beethoven’s mighty “Eroica” Symphony, Op. 55, under the composer’s direction. The other was a Violin Concerto in D Major composed and performed by Clement—a work whose outer movements were a clear influence on Beethoven’s own concerto in the same key. Clive Brown’s research reveals that Clement most likely played a role in the evolution of Beethoven’s masterpiece.

Curiously, many details of the solo part were left undecided and unwritten, even after Clement gave the work its first performance on December 23, 1806. The fact that Beethoven wrote the following pun on the autograph of the score, “Concerto par Clemenza pour Clement, primo violino al Theatro a Vienne, dal L. v.

Bthvn. 1806” (Concerto, composed with mercy, for Clement, first violinist at the Theater an der Wien), strongly suggests Beethoven’s respect for Clement and his own concerto.

The earliest Viennese critics had a difficult time coming to terms with the lofty vision expressed in Beethoven’s Violin Concerto. This is understandable in part because its first movement alone is one of the longest and most symphonically conceived works of its kind. The immense and tuneful orchestral ritornello that begins the work, with its five taps on the kettledrum, immediately reveal the scope of Beethoven’s sublime plan, a work characterized by Maynard Solomon as filled with “inner repose,” despite its moments of real drama and (in the development section) pathos. No less sublime is the exquisite dialogue between soloist and orchestra that defines the second movement, a serene Larghetto that is loosely structured along the lines of a theme and variations. A brief cadenza (Eingang) for the soloist at the continued on 14

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end connects the Larghetto to the final movement, a Rondo (Allegro), a vigorous and pastoral piece whose overall ethos evokes the spirit of the hunt (a common device in many finales in the classical style). A moment that rarely fails to delight audiences is the two pizzicato notes (plucking the open A and D strings with the fingers). As best as has been determined, this is the first major violin concerto to call upon this technique. This gesture, as well as many other passages that exhibit the idiomatic nature of the violin as a bowed string instrument, render Beethoven’s own transcription of this piece as a concerto for piano, a request that came in 1807 from his contemporary Muzio Clementi, rather unsatisfactory. The Violin Concerto, a work that cast a long shadow on subsequent generations, stands as the first work of its kind in the grand style and the true queen of its genre. ●

Johannes Brahms

Symphony No. 1 in c minor, Op. 68 (1855–1876) Johannes Brahms was born on May 7, 1833, in Hamburg, Germany, and died in Vienna, Austria, on April 3, 1897.

One of the dominant composers of the late nineteenth century, Brahms greatly enriched the repertory for piano, organ, chamber music, chorus, art song, and orchestra. His Symphony No. 1 was composed between 1855 and 1876

and received its first performance in Karlsruhe on November 4, 1876, under the direction of Felix Otto Dessoff. The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 45 minutes.

The four symphonies of Johannes Brahms stand as monuments to Beethoven. No composer of symphonies after Beethoven could escape the shadow of his nine masterpieces. Mendelssohn’s solution to the problem was to circumvent them by returning to a Mozartian ideal.

Robert Schumann struggled consciously to measure up by attempting to synthesize a historical perspective with novel innovations. Berlioz and Liszt followed the path of the “program” symphony, attaching extra-musical ideas to their purely musical inventions, while Richard Wagner self-servingly decreed that after the choral Ninth Symphony of Beethoven, purely instrumental symphonies were an impossibility. Musicians such as Joachim Raff, Niels Gade, or Louis Spohr also penned symphonies, but these are regarded nowadays as historical curiosities. Some composers, such as Chopin, became specialists who avoided the issue entirely by writing no symphonies at all.

Brahms was so acutely aware of the problem, that for a long time it seemed that he, too, would avoid composing symphonies. His sketches for the Piano Concerto No. 1 indicate that the first movement of that mighty work was at one

Brahms was roundly criticized by some for cribbing […] from Beethoven’s Ninth Symphony, to which the composer replied in his typically gruff manner: “Any jackass can see that!”

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time intended to belong to a symphony.

His subsequent works for orchestra—A German Requiem, the two Serenades (Op. 11 and 16), and the Variations on a Theme of Haydn (St. Anthony Chorale), and other choral works—all veered away from the title symphony. In the early 1860s, Brahms began to sketch ideas for what would emerge as his Symphony No. 1, but he did not finish work on it until 1876.

(Sketches from the mid–1850s also were implemented.) An early draft of the first movement omitted the powerful Un poco sostenuto introduction, one of the many great inspirations of the work. But now in his forties, Brahms felt confident enough to take the plunge.

The wait was worthwhile. Few first attempts at composing a symphony, except, perhaps the one by Gustav Mahler, were as imposing as this one.

Sure of his craft and purpose, Brahms approached the Beethovenian model head on. The most obvious points of reference for this symphony were Beethoven’s Symphonies Nos. 5 and 9. The latter must be included for the obvious similarity between the melody of Beethoven’s “Ode to Joy” and the principal theme in the finale of Brahms’s Symphony. Brahms was roundly criticized by some for cribbing this tune directly from Beethoven’s Ninth Symphony, to which the composer replied in his typically gruff manner: “Any jackass can see that!” More recently, musicologist Mark Evan Bonds has suggested that Brahms’s purely instrumental finale represented an alternative to Beethoven’s choral last movement, i.e., a melody akin to the “Ode to Joy” without the need for words. As was the case in Beethoven’s Symphonies Nos. 5 and 9, Brahms begins his symphony with a dramatic and tragic first movement, ending in a triumphant finale representing the victory of light over dark.

Brahms’s Symphony No. 1 begins solemnly with a slow introduction that presents not only the main ideas of the first movement, but those of the entire work—two chromatic lines that pull in contrary motion. At the outset, the descending line is heard in the winds,

PROGRAM NOTES .

while the strings surge upward. The tension that this creates is intensified by the throbbing pulse of the timpani that tenaciously hangs on to one note, refusing to yield ground. These frictions are exploited in the sonata-form Allegro, but now these opposing lines are given an angular rhythmic profile. The movement concludes with a shortened version of the introduction, with the minor mode yielding, almost in exhaustion, to the parallel C Major (a characteristic found at the end of the first movement of Beethoven’s final Piano Sonata, Op. 111). The Andante sostenuto that follows offers relief from the first movement’s tension in a serene distant key of E Major, well prepared by the first movement’s last-moment shift to C Major. Its mood derives from the hymnal quality of its opening theme. A particularly beautiful timbre is created by the oboe, horn, and solo violin at the end of the movement. Once again, the composer prepares the ear for a shift to a foreign tonality (A-flat Major) by having the solo violin cling to the note G sharp (G sharp=A flat) at the end of the Andante sostenuto.

The third movement, Un poco allegretto, provides further contrast of mood and tonality (A-flat Major, with a central section in B Major). Brahms wisely avoids the demonic energy of a Beethovenian scherzo at this point, saving that energy for the finale to come. The final movement begins with a moody Adagio, reminiscent of the introduction to the first movement.

Listeners should pay close attention to its first few notes, as they are a minormode prefiguration of the wonderful and familiar tune that will dominate the finale.

As the introduction builds to a climax, a Piu andante ensues with a new—and brighter—theme in the horns, presented over rustling string accompaniment. The trombones then intone a noble and solemn “chorale.” Now follows the famous Allegro non troppo, ma con brio that comprises the main body of the finale, as the listener luxuriates in the affirmative tune that the opening of the introduction had prefigured.

The Symphony closes with a jubilant coda, crowned by a powerful restatement of the trombone “chorale.” ●

“As I awoke my ear caught a sound, which swelled fuller and fuller; no longer could I imagine myself to be dreaming; music was sounding, and such music!”

–Cosima Wagner

Richard Wagner

Siegfried Idyll, WWV 103 (1869–1870) [Wilhelm] Richard Wagner was born on May 22, 1813, in Leipzig, Germany, and died in Venice, Italy, on February 13, 1883.

His early operas represented the high point of German Romantic opera. His later operas, including the cycle The Ring of the Nibelung, charted new paths for the development of music drama that was to have a profound impact on the history of opera and beyond. Siegfried Idyll is a work that was first performed on Christmas Day 1870 at his home, Triebschen, in the canton of Lucerne, Switzerland. Originally written for a small chamber ensemble, Wagner later expanded its orchestration to include flute, oboe, 2 clarinets, bassoon, 2 horns, trumpet, and strings. Approximately 17 minutes.

Siegfried Idyll offers a chance to hear some of the gentler moments from Wagner’s epic operatic cycle The Ring of the Nibelung. Even more, it offers a fascinating glance inside the private domestic life of the composer, his wife, Cosima (the daughter of Franz Liszt and former wife of the famous conductor Hans von Bülow), and their children, Isolde, Eva, and their youngest, Siegfried (Fidi), who was born in June 1869. These offspring all were born while Cosima technically was still married to von Bülow. The conductor finally agreed to a divorce and Cosima and Richard got married on August 25, 1870. When Wagner’s affair began, he

was still married, albeit unhappily, to Minna (née Planer), but the two had long been separated. Almost by a stroke of convenience, Minna died in 1866.

The piece at hand, originally titled Triebschen Idyll with Fidi’s Birdsong and the Orange Sunrise, was written later that year as a birthday gift to Cosima (she was born on December 24 but always celebrated her birthday on Christmas Day). It also was a personal expression of Richard’s personal happiness at his newly found domestic bliss. Its musical content is a blending of themes and motives from Act III of the opera Siegfried, which is the third part of the Ring cycle. The themes from the opera are first sung by Brünnhilde (“From Eternity to Eternity Am I” and “Siegfried, You Glorious Protector of the World”), and the references to the Wagners’ son is unmistakable. The piece also contains snatches of the “Forest Murmurs” from Act II of the same opera.

Another theme, played by the oboe, is a German cradle song, “Sleep, Little Baby, Sleep.” Wagner biographer Ernest Newman takes this to be a reference to the couple’s daughter, Eva. Because the family was strapped for cash, Wagner agreed in 1878 to sell the piece, with expanded orchestration, to the publisher B. Schott Söhne.

Cosima’s diary offers a vignette of the impact that Siegfried Idyll made upon her and the family: As I awoke [on December 25, 1870] my ear caught a sound, which swelled fuller and fuller; no longer could I imagine myself to be dreaming; music was sounding, and such music! When it died away, Richard continued on 16

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PROGRAM NOTES . continued from 15

came into my room with the children and offered me the score of the symphonic birthday poem. I was in tears, but so was all the rest of the household. Richard had arranged his orchestra on the staircase, and thus was our Triebschen consecrated forever. … After lunch, the orchestra came into the house downstairs, and now the Idyll was heard once again, to the profound emotion of us all. ●

Robert Schumann

Symphony No. 1 in B-flat Major, “Spring,” Op. 38 (1841) Robert Schumann was born on June 8, 1810, in Zwickau, Germany (Saxony), and died on July 29, 1856, at the Endenich asylum, near Bonn. His Symphony No. 1 was composed between January 23 and February 20, 1841. Felix Mendelssohn conducted its first performance on March 31 of that year at a concert of the Gewandhaus Orchestra of Leipzig. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings.

Approximately 30 minutes.

There may be some truth to the notion that says that when one is in love, everything looks fresh and springlike.

The period of 1840–41 was very much a springtime in the life of Robert Schumann, who, after the wintery disapproval of Friedrich Wieck, had finally been joined in wedlock to Wieck’s daughter Clara.

No wonder then that these words from a poem by Adolf Böttger resonated in Schumann’s very soul: O wende, wende deinen Lauf, O turn, turn from thy course, Im Tale blüht der Frühling auf!

In the valley the springtime blooms forth!

The rhythm of Böttger’s poetry fits perfectly to the horn and trumpet motto that opens Schumann’s inaugural effort as a symphonist.

Robert and Clara could barely restrain their enthusiasm for Robert’s venture into

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“When Shakespeare called springtime ‘the only pretty ring time,’ he obviously referred to Schumann’s happy use of the triangle in the lighter passages of [the Allegro molto vivace].”

—Donald Francis Tovey what for him was a brave new world. The mantle of symphonist did not fall easily on Schumann’s shoulders, as witnessed by his frequent revisions of his three other symphonies. But a sheer sense of exhilaration somehow carries his First Symphony on its wings, and this “Spring” Symphony (Schumann’s own name for it) was launched into the world some six weeks after its completion at a concert of the Gewandhaus Orchestra of Leipzig “with the greatest love and care” under the direction of Felix Mendelssohn.

The first movement begins, as indicated above, with a motto whose rhythmic pattern perfectly matches the words of Böttger’s poetry. The Andante un poco maestoso awakens the forces of the new season, which finally bursts forth, Allegro molto vivace, with a sped-up version of the motto as its principal theme. This movement is filled with many felicitous touches, not least of which is the delicate color of the triangle, an instrument that had never been used in quite this way.

I cannot resist quoting the charmingly anachronistic and tongue-in-cheek observation of conductor and analyst Donald Francis Tovey here: “When Shakespeare called springtime ‘the only pretty ring time,’ he obviously referred to Schumann’s happy use of the triangle in the lighter passages of this [movement].”

The second movement is a beautiful Larghetto in triple meter. Its straightforward form is that of a five-part rondo, with the first theme presented with ever-new embellishments upon its

reprises. Toward the end, Schumann introduces the trombones within a quiet dynamic, and in a quite unexpected manner, and the movement moves directly into the scherzo, Molto vivace. By this time, we realize that the composer had been foreshadowing the principal theme of his third movement, which now aggressively presents itself. The tonality, d minor, of the scherzo also comes as something of a surprise. Two distinct trio sections are introduced, the first of which is a duple-meter affair in D Major and is the essence of simplicity. The second trio is in the home key of B-flat.

The finale is marked Allegro animato e grazioso. Graciousness indeed is its principal quality. An interesting event is the moment when Schumann quotes the finale of his solo piano work Kreisleriana, which itself is based on the character created by E. T. A. Hoffmann. Robert and Clara were quite fond of epigrams, and this reference surely bore some special significance for the pair, just as it brings pleasure to those who recognize it. ●

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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 Sue Johnson & Jim Zabilski Marlin E. Kipp Thomas & Greta Keleher Lawrence & Deborah Blank Susanne Brown

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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

2023/24 Season / Volume 12 / No. 4

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 1/24/2024

●

THANK YOU .

Steinway Society Piano Fund Steinway Society members make dedicated donations for current and future purchases and maintenance of our Steinway & Sons Grand Piano Model D. 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. View benefits online at nmphil.org/steinway-society.

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 David Gay Dal & Pat Jensen Michael & Roberta Lavin Diane & William Wiley Dr. Dean Yannias

BLACK KEYS LEVEL

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 Christine Kilroy 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 Ron Bronitsky, MD Michael & Cheryl Bustamante, in memory of Cheryl B. Hall Daniel & Brigid Conklin, in memory of Marina Oborotova Richard & Peg Cronin Mr. & Mrs. Robert Duff Custer Leonard & Patricia Duda David Foster Peter Gould Elene & Robert Gusch Jonathan & Ellin Hewes Robert & Toni Kingsley Dr. Herb & Shelley Koffler Tyler M. Mason Thomas & Edel Mayer

Jon McCorkell & Dianne Cress Bob & Susan McGuire David & Audrey Northrop James P. O’Neill & Ellen Bayard Gary & Carol Overturf Ruth Ronan Edward Rose, MD Marian & Howard Schreyer Bruce & Sandra Seligman Frederick & Susan Sherman David & Heather Spader Al & Melissa Stotts

PIANO FRIENDS LEVEL

Donation of $50–$499 Wanda Adlesperger Fran A’Hern-Smith Joe Alcorn & Sylvia Wittels Dennis Alexander Anonymous Elizabeth Bayne Judy Bearden-Love Karen Bielinski-Richardson Sheila Bogost Robert Bower & Kathryn Fry Stephen & Heidi Brittenham 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

The New Mexico Philharmonic

Tom & Constance Matteson Jane McGuigan Martha Ann Miller & Henry Pocock Robert & Phyllis Moore Cary & Evelyn Morrow Katarina Nagy 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 1/24/2024

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SPONSOR

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

SPONSOR TODAY

(505) 323-4343 DWAYNE & MARJORIE LONGENBAUGH Principal Viola Sponsorship: LAURA CHANG Principal Cello Sponsorship: AMY HUZJAK

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21

THANK YOU .

Sponsors & Grants

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.

Sound Applause

Bernalillo County bernco.gov

Albuquerque Community Foundation albuquerquefoundation.org

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

GARDENSWARTZ REALTY Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

David S. Campbell, Attorney davidscampbell.com

Gardenswartz Realty

HOLMANS USA CORPORATION holmans.com

Hunt Family Foundation huntfamilyfoundation.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

Optum nm.optum.com

RBC Wealth Management rbcwealthmanagement.com

Urban Enhancement Trust Fund cabq.gov/uetf

Verdes Cannabis verdesfoundation.org

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SUPPORT YOUR NMPHIL CMYK (full color in print) C:0 M:0 Y:0 K:0 Interested in becoming a sponsor of the NMPhil?

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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 Joan Wang + Heidi Deifel Juliana Huestis Barbara Rivers Nicolle Maniaci Barbara Scalf Morris

CELLO Amy Huzjak • Jonathan Flaksman ••• Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps Lisa Collins Elizabeth Purvis BASS Mark Tatum ••• Katherine Olszowka Terry Pruitt Marco Retana Frank Murry

SECOND VIOLIN Rachel Jacklin • Carol Swift ••• Julanie Lee Jessica Retana ++ Liana Austin Lidija Peno-Kelly Sheila McLay Brad Richards

FLUTE Valerie Potter • Esther Fredrickson Jiyoun Hur ••+ Noah Livingston ••++

VIOLA Laura Chang • Kimberly Fredenburgh ••• Allegra Askew Christine Rancier Laura Steiner Michael Anderson Lisa DiCarlo Joan Hinterbichler Laura Campbell

PICCOLO Esther Fredrickson

E-FLAT CLARINET Lori Lovato BASS CLARINET Jeffrey Brooks BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb •+ Allison Tutton Andrew Meyers Maria Long •••• TRUMPET John Marchiando • Brynn Marchiando Sam Oatts •• TROMBONE Aaron Zalkind • Byron Herrington BASS TROMBONE David Tall + Robinson Schulze ++

OBOE Kevin Vigneau • Amanda Talley

Chair

Al Stotts

Vice Chair

David Peterson Secretary

Joel Baca Ron Bronitsky, MD David Campbell Thomas Domme Fritz Eberle Robert Gough Idalia Lechuga-Tena Roberto Minczuk Jeffrey Romero Edward Rose, MD Terrence Sloan, MD Marian Tanau Tatiana Vetrinskaya Michael Wallace ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Roland Gerencer, MD William Wiley

TUBA Richard White •

ENGLISH HORN Melissa Peña ••+ Rebecca Ray ••++

TIMPANI Micah Harrow •+

CLARINET Marianne Shifrin • Lori Lovato ••• Jeffrey Brooks

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

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

STAFF Marian Tanau

Ian Mayne-Brody

Crystal Reiter

Joan Olkowski

Roberto Minczuk

Terry Pruitt

Luis DeVargas

Lori Newman

Christine Rancier

Genevieve Harris

Laurieanne Lopez

Matt Hart

Nancy Naimark

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The New Mexico Philharmonic

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