New Mexico Philharmonic Program Book • 2023/24 Season • Volume 12 • No. 5

Musical Fiestas

MEET THE ARTIST: ANNA DMYTRENKO

Sunday, April 21, 2024, 4:00 p.m.

MUSIC • DINNER • WINE • We are pleased to present award-winning pianist Anna Dmytrenko, winner of the 2016 OKIPC Audience Choice award, in a performance hosted by Dr. Ron Bronitsky at his North Valley arts-and-crafts-inspired home. Enjoy an afternoon of brilliant piano performance, dinner, and wine.

$200/PERSON • Dinner and wine included. Tax-deductible to the extent allowed by law. Fair market value of the event $50.

RSVP ONLINE BY APRIL 18, 2024 nmphil.org

AFTERNOON CLASSICS

A Glimpse of the Future

Sunday, March 24, 2024, 3 p.m.

Roberto Minczuk Music Director

Rafael Ingliss piano

Gabriel Ingliss violin

Overture to The Impresario (Der Schauspieldirektor), K. 486 Wolfgang Amadeus Mozart (1756–1791)

Piano Concerto No. 12 in A Major, K. 414 (385p) Mozart

I. Allegro

Violin Concerto in e minor, Op. 64

Rafael Ingliss piano

Felix Mendelssohn

I. Allegro molto appassionato (1809–1847)

Gabriel Ingliss violin

INTERMISSION

Symphony No. 88 in G Major, Hob. I:88 Joseph Haydn

I. Adagio—Allegro (1732–1809)

II. Largo

III. Menuetto: Allegro

IV. Finale. Allegro con spirito

MAR 24

Volcano Vista High School (Performing Arts Center)

MAKING A DIFFERENCE

This performance is made possible by: The Music Guild of New Mexico’s Jackie McGehee Young Artists’ Competition

BALLET

The Wizard of Oz Ballet

Saturday, April 6, 2024, 6 p.m.

Roberto Minczuk Music Director

Anna Bridge NMBC Artistic Director and School Director

Natalie Sedillo Choreographer

Stephanie Karr Dorothy

New Mexico Ballet Company

ACT I

Overture

On the Farm

Glinda and the Munchkins

Scarecrow

Evil Trees

Tin Man

Wicked Witch of the West

Cowardly Lion

APR 6

Popejoy Hall

MAKING A DIFFERENCE

This performance is made possible by: Albuquerque Community Foundation

INTERMISSION

ACT II

Field of Poppies

Emerald City

The Witch’s Castle

Return to Emerald City

Back in Kansas

Performed to the music of Ludwig van Beethoven, Gioachino Rossini, Paul Dukas, Modest Mussorgsky, and Hector Berlioz.

Rhapsody on a Theme of Paganini & The Rite of Spring

Saturday, April 20, 2024, 6 p.m. 5 p.m. Pre-Concert Talk

Roberto Minczuk Music Director

Anna Dmytrenko piano

Scythian Suite, Op. 20

APR 20

Popejoy Hall

Sergei Prokofiev

I. The Adoration of Veles and Ala (1891–1953)

II. Chuzhbog and the Dance of the Evil Spirits

III. Night

IV. The Glorious Departure of Lolli and the Procession of the Sun

Rhapsody on a Theme of Paganini, Op. 43

Anna Dmytrenko piano

INTERMISSION

Sergei Rachmaninoff (1873–1943)

MAKING A DIFFERENCE

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

Additional support provided by: The Cates Team/RBC Wealth Management

PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

Hosted by KHFM’s Alexis Corbin

The Rite of Spring Igor Stravinsky (Le Sacre du printemps) (1882–1971)

Part I: The Adoration of the Earth

Introduction

Augurs of Spring, Dance of the Young Girls

Game of Abduction

Spring Round Dances

Games of the Rival Tribes

Procession of the Sage

Adoration of the Earth: The Sage

Dance of the Earth

Part II: The Sacrifice

Introduction

Mystic Circles of the Young Girls

Glorification of the Chosen One

Evocation of the Elders

Ritual Performance of the Elders

The Chosen One: Sacrificial Dance

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.

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

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. ●

Roberto Minczuk Music Director

ARTISTS

Rafael Ingliss piano

Rafael is 13 years old and began studying piano at the age of 4 with his mother, Yuko Shimokawa, and since 2020 with Lois Shapiro. He performs repertoire from Bach to Debussy in family house concerts. Rafi also plays the violin and studies voice. He appeared as a Page in the 2022 Santa Fe Opera production of Falstaff and as a Party Boy and a Chef in Aspen Santa Fe Ballet’s The Nutcracker Rafi has an avid interest in herpetology and is a student at La Mariposa Montessori School in Santa Fe. ●

Gabriel Ingliss violin

Gabriel Ingliss, age 16, started to play the violin at age 4, guided by his mother, Yuko Shimokawa. He now studies with violist Toby Appel. Gabe is also a serious pianist studying with Prof. Falko Steinbach at UNM and with Lois Shapiro. Gabe has performed extensively in New Mexico,

New Jersey, and in Germany. He was the 2022 first-place winner of the Music Guild of New Mexico’s Jackie McGehee Young Artists’ Competition in piano and performed with the New Mexico Philharmonic as part of his prize. Born and raised in Santa Fe, Gabe attends Santa Fe Preparatory School. ●

Anna grew up in Los Alamos, New Mexico, and trained at New Mexico Dance Theater & Performance Company under the artistic direction of Susan Baker-Dillingham. She continued her training at the School for Classical & Contemporary Dance at Texas Christian University (TCU), where she graduated summa cum laude with a BFA in ballet and modern dance and a minor in arts administration. While at TCU, Anna received the Nordan Fine Arts Scholarship and the Walt Steimel Dance Scholarship. Anna went on to pursue her professional career in Denver, Colorado, where she performed with Zikr Dance Ensemble, Dawson|Wallace Dance Project, and BRIAH Danse. Anna had the pleasure of serving as rehearsal assistant to Zikr Dance Ensemble’s artistic director David Taylor for many seasons. She has taught and choreographed for schools across Colorado and New Mexico, including Colorado Ballet Academy (Denver), A Time to Dance (Monument), Littleton Ballet Academy (Littleton), Metropolitan Academy of Dance (Centennial), New Mexico Dance Theater (Los Alamos), NDINew Mexico (Albuquerque), and more.

Anna is also a Body Arts and Science International (BASI) Pilates graduate and instructor. Anna joined NMBC as the School Director in 2018, and was named Artistic Director in 2021. She has enjoyed directing NMBC productions of Alice in Wonderland and The Nutcracker ballets, and is honored to be celebrating NMBC’s 51st season with a talented company of dancers. ●

Natalie Sedillo Choreographer

Natalie Sedillo first fell in love with the art of ballet at New Mexico Ballet Company’s production of The Nutcracker She began her training locally with Lana Kroth, Suzanne Johnston, Wendy Rubin, and Jolie Sutton-Simballa. In 2007, she accepted an apprenticeship with Ballet Quad Cities in Rock Island, Illinois. While there, she danced lead roles in The Nutcracker and Coppélia. After a year, Ms. Sedillo was offered a full scholarship with the Joffrey Ballet School in New York City. There, she trained with Davis Robertson, Brian McSween, Francesca Corkel, Era Jouravlev, Nicole Duffy, and guest teachers such as Desmond Richardson, Maria Kowroski, Daniel Ulbricht, Africa Guzman, and more. While in New York, she had the opportunity to perform as a guest artist with Urban Ballet Theatre in their production of Nutcracker in the Lower. Ms. Sedillo continued her training with the Joffrey Ballet School and was appointed Company Manager of the first Joffrey Concert Group company tour. After her time in New York, she returned home to New Mexico and started teaching

Anna Bridge NMBC Artistic Director & School Director

at local schools as well as coaching, choreographing, and serving as NMBC’s Artistic Director. Along with putting on the production of The Nutcracker ballet, Ms. Sedillo has choreographed full-length Alice in Wonderland, Wizard of Oz, Aladdin and the Magic Lamp, and Phantom of the Opera ballets. ●

Stephanie Karr Dorothy

Born and raised in New Mexico, Stephanie Karr began her training with Celia Dale at Hayden School of Ballet. At 13, she began studying ballet at the University of New Mexico with NMBC founder Suzanne Johnston, who later invited her to join the company. Stephanie continued her training in New Mexico under the direction of Jolie Sutton-Simballa, Vladimir Conde Reche, Wendy Rubin, and David Chavez. She attended summer intensives on scholarship at the Jillana School, Walnut Hill, San Diego City Ballet, Joffrey Ballet, Central Pennsylvania Youth Ballet, and Nashville Ballet. Stephanie graduated summa cum laude from UNM before joining Nashville Ballet’s second company. During her time with Nashville Ballet, some of Stephanie’s favorite roles included demi-soloist in “Waltz of the Flowers” from Tchaikovsky’s The Nutcracker, the fourth movement of George Balanchine’s Western Symphony, and Shy Girl in Paul Vasterling’s Frank. She also had the privilege of working with many talented coaches and choreographers, including Paul Vasterling, Nick Mulikin, Christopher Stuart, Vicky Simon, and Dawn Scannell.

During her time with New Mexico Ballet Company, Stephanie has performed many roles, most recently including Snow Queen, Dew Drop, Lead Mirliton, and Arabian in The Nutcracker, the lead in Peter Pucci’s Somebody to Love, soloist in Vladimir Conde Reche’s Resilience, Aegina in Spartacus, and Cheshire Cat in Alice in Wonderland. She also performed for TedX Albuquerque with Sparrow Dance Company, and was a featured dancer in the film A Million Ways to Die in the West In addition to dancing, Stephanie is a Balanced Body-certified Pilates instructor, ACE-certified personal trainer, and founder of 505 Pilates LLC. She believes that movement is for everybody and loves to share her passion for dance, Pilates, and fitness with others. When she’s not at the studio, Stephanie enjoys spending time climbing, hiking, and adventuring with her husband and their three rescue pups, Toast, Bodhi, and Cinnamon. ●

Ukrainian-American pianist Anna Dmytrenko has dedicated her life to music from a young age, starting piano lessons at age 4. Described as “a fine combination of keyboard mastery and elegant refinement,” she has performed extensively all over the world at such renowned venues as Auditorium Gaber, Carnegie Hall, Granados Auditorium, Hammer Theater, Kimmel Center of Performing Arts, Lincoln Center, Paris Philharmonie, Salle Cortot, Teatro Sociale di Como, and Temple Emanu-El, among others.

New Mexico Ballet Company

Anna has won prizes in many international piano competitions including second prize, the Audience Choice Award, and Best Contemporary Piece prize at the first Olga Kern International Piano Competition; first prize at the Cantu International Piano Competition; third prize at the Ricard Viñes International Piano Competition; first prize at the Manhattan International Music Competition; first prize at the Viardo International Piano Competition; and third prize at the New York International Piano Competition.

Orchestral collaborations include projects with the Amman Chamber Orchestra, Bacau Philharmonic Orchestra, KwaZulu-Natal Philharmonic, New Mexico Philharmonic, Orquestra Simfonica del Valles, Orquestra Sinfônica Munipal, and Orchestre de Chambre de Paris (conducted from the keyboard). Ms. Dmytrenko also recorded her debut album in 2018, titled Anna Dmytrenko: Live in

New Mexico Ballet Company (NMBC) is the state’s leading nonprofit professional dance company, founded by Suzanne and Sidney Johnston in 1972. For the past 50 years, NMBC has supported the local arts community by providing the highest-quality productions for New Mexican audiences, and currently offers affordable dance education and performance opportunities to aspiring students and professionals. ● continued on 10

nmphil.org 9

Anna Dmytrenko piano

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Recital, performing works by Medtner, Rachmaninoff, and Barber. In recent years, she has actively participated in fundraising concerts for Ukraine, such upcoming events include solo recitals for Classical Movements in Virginia and a concerto performance in the Smetana Hall in Prague.

Anna studied at The Juilliard School with Oxana Yablonskaya, the Royal Academy of Music in London with Christopher Elton, and the University of the Arts in Berlin with Pascal Devoyon. In addition to her performance activities, she is currently teaching at Riverside Music Studios and is working on a Doctor of Musical Arts degree at the Manhattan School of Music with Olga Kern. ●

NOTES BY CHARLES GREENWELL

Wolfgang Amadeus Mozart Overture to The Impresario (Der Schauspieldirektor), K. 486 (1786)

Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria, and died on December 5, 1791, in Vienna, Austria. The Impresario is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 5 minutes.

In early January of 1786, while he was working on The Marriage of Figaro, Mozart received a commission from the Holy Roman Emperor Joseph II to write a singspiel (a play with music) that would be performed in February at a special and elaborate reception honoring the Governor-General of the Austrian Netherlands. This was all part of the Emperor’s plans to make Germanlanguage operas as common and wellliked as those in Italian. Following the festivities, there was to be a musical competition for which two composers would write works: one a singspiel and the other an Italian-style opera. The rival composer in this instance was none other than Antonio Salieri, whose comic opera First the Music, Then the Words would be the other half of the competition. This extravaganza would take place at the famous Schönbrunn Palace in Vienna, where the Orangerie (a kind of greenhouse or conservatory) was one of the few green places in Vienna at that time of the year. The banquet was to have the finest food for the 80 guests; the decorations in the Orangerie would include exotic flowers, blossoms, and fruits; and while the guests were dining, they would be serenaded by a wind band playing excerpts from another Salieri opera, La grotta di Trofonia. This commission came at a very busy and creative period in Mozart’s life, and his feelings about the whole affair were mixed. On the one hand, writing operas was his highest goal, with the idea that one day he

The overture to this dramatic cream-puff is much more grandiose than might be expected for such a work, and its short five minutes are filled with remarkable energy, effervescence, and wit.

might even take over Salieri’s position as court composer, and this opportunity to compose something for the Emperor was very appealing. On the other hand, he had just finished writing two piano concertos, was in the process of writing two more for his Lenten programs in Vienna, along with several other major works, and was up to his ears with preparations for The Marriage of Figaro, which was to receive its premiere in Vienna on May 1. Nevertheless, he deemed this opportunity to be so important that he briefly interrupted work on Figaro to compose the musical portions of The Impresario, which consisted of an overture, two soprano arias, a trio, and an ensemble finale—all completed between January 18 and February 3. These numbers were surrounded by a lot of spoken dialogue, which was the typical plan for a singspiel at the time. To write the libretto, Mozart enlisted the help of the writer Johann Gottlieb Stephanie the Younger, with whom he had worked earlier to great success on the opera The Abduction from the Seraglio. Mozart described the one-act opera as “a comedy with music” and “a parody on the vanity of singers,” and is a farcical behind-the-scenes look at an opera production in which the title character has just founded a new company and finds himself dealing with rival diva sopranos and every complication imaginable. So, it was on the afternoon of February 7, 1786, the two “competing” operas were performed on two stages that had been constructed

at opposite ends of the Orangerie, and were then performed on three subsequent occasions at a well-known theater in Vienna. The overture to this dramatic cream-puff is much more grandiose than might be expected for such a work, and its short five minutes are filled with remarkable energy, effervescence, and wit. Not surprisingly, it bears considerable resemblance to the overture to The Marriage of Figaro, the two scores having been written contemporaneously. ●

NOTES BY DAVID B. LEVY

Wolfgang Amadeus Mozart Piano Concerto No. 12 in A Major, K. 414 (385p) (1782)

The Piano Concerto No. 12 in A Major, K. 414 (385p), is, along with two other keyboard concerti (K. 387a and b), dated autumn/winter 1782. It was originally performed on one of a series of concerts in Vienna in early 1783. 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 Wolfgang Amadé Mozart in 1862. The Köchel catalogue has been updated and revised many times to keep pace with musicological revelations. The 6th edition lists this concerto as K. 385p. The work is scored for solo piano, 2 oboes, 2 horns, and strings, although Mozart specified that it could also be

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performed with the accompaniment of a “quattro,” i.e., strings only without the oboes and horns.

Mozart’s interest in the genre of the piano (or rather, keyboard) concerto began when he was a mere 12-yearold who made arrangements of sonata movements by various composers. While many concertos were being composed in the mid-eighteenth century by a wide variety of German-speaking and Italian composers, Mozart may have been most directly influenced by examples by Johann Christian Bach (1735–82), the youngest son of Johann Sebastian and half-brother to Carl Phillip Emanuel, himself the author of several concertos and one of the classic treatises on keyboard technique.

Mozart wrote 28 keyboard concertos throughout his life, in addition to isolated rondos and two concertos for two or three keyboard instruments. Of these, 21 of them are original and complete compositions. The fact that fully onethird of these were published during the composer’s lifetime is the surest indicator of the success that these concertos enjoyed. The kind of piano for which Mozart composed is vastly different from the modern piano in many respects. Modern scholars often refer to this instrument as the fortepiano. More flexible in its dynamic range than the harpsichord, the fortepiano had an extremely light and fast action. The frame of the instrument was much smaller and was constructed mostly out of wood. The tone of the fortepiano decayed far more quickly than that of a modern piano. These instruments were also equipped to produce effects that simply do not exist on modern pianos. Achieving the proper balance between solo instrument and orchestra using modern instruments poses special challenges in this repertoire. Mozart’s concertos, however, like all works of transcendent genius, move and thrill audiences regardless of whatever tools are used in their transmission—be they replicas of Johann Walter fortepianos or modern Steinway grands.

A holdover from its Baroque origins lies in the first movement’s structure, whereby

… some ideas for a concerto running constantly through [my] head, “the beginning of which gives me no peace.”

—Felix Mendelssohn

the formal organization of ritornello form (the alteration between passages for the orchestra, known as ritornello [little return], and solo passages, lightly accompanied by the orchestra) is melded with the dialectical contrast of themes and key centers of sonata form.

As Mozart scholar Neal Zaslaw has astutely observed, Mozart’s concertos for piano were the “popular” entertainment of their time, and not viewed as “classics.” We also know full well the significant contribution Mozart made to the repertoire of opera in Italian; audiences would do well to link the two genres—concerto and opera—in mind as we enjoy them today. ●

NOTES BY CHARLES GREENWELL

Felix Mendelssohn

Violin Concerto in e minor, Op. 64 (1844)

Felix Mendelssohn was born on February 3, 1809, in Hamburg, Germany, and died on November 4, 1847, in Leipzig, Germany. The Violin Concerto in e minor is scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The first movement is approximately 14 minutes.

This beloved concerto was Mendelssohn’s last large-scale orchestral work. It forms an important part of the violin repertoire and is one of the most popular and frequently performed violin concertos ever written. Although Mendelssohn was himself an excellent violinist, he did not compose this work to display his own talents. Instead, it was written for his long-time friend and colleague violin virtuoso Ferdinand David. When Mendelssohn was in his

mid-teens he met David, one year his junior, who was already a prodigious and famous soloist who had appeared with several leading orchestras, among them the Leipzig Gewandhaus Orchestra, and was held in the highest regard as a model concertmaster, quartet leader, and teacher. Later on, in 1836, when Mendelssohn was appointed director of the Gewandhaus, he quickly secured the appointment of David as the orchestra’s concertmaster, and when he founded the Leipzig Conservatory in 1843, David became the first head of the violin faculty. In the creation of this concerto, David played a role comparable to that taken a generation later by Joseph Joachim with the Brahms Violin Concerto. In 1838, Mendelssohn wrote to David that he had some ideas for a concerto running constantly through his head, “the beginning of which gives me no peace.” The concerto took the normally prolific composer another six years to complete, and during those years the two men kept up a regular correspondence, with Mendelssohn seeking technical and compositional advice. The autograph score is dated September 16, 1844, but Mendelssohn was still seeking advice from David right up until the premiere, which took place in Leipzig in March of 1845. Mendelssohn is often thought of as a facile composer whose work came to him without much effort, but he was in fact a compulsive reviser. David was of course the soloist, but due to illness Mendelssohn was unable to conduct, so the premiere was conducted by the Danish composer and conductor Niels Wilhelm Gade. Mendelssohn and David collaborated for the first time on the work in October of that year. Composed

at the height of Mendelssohn’s brilliant but short-lived career, the concerto was met with rapturous applause, became an instant classic, and remains one of the cornerstones of the violin repertoire. Mendelssohn’s music is most clearly influenced by Mozart and Beethoven, and his use of harmony and form is rooted in the Classical period. However, he developed a clear and characteristic style of his own, and there are many innovations in the concerto. He had recently discovered the music of J.S. Bach, and in this work his own style of writing achieved a new elegance. ●

NOTES BY DAVID B. LEVY

Joseph Haydn

Symphony No. 88 in G Major, Hob. I:88 (1787)

[Franz] Joseph Haydn was born in Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. His long and productive career spanned the end of the Baroque era to the onset of the Romantic. Famed for his incomparable contribution to the development of the symphony and string quartet, Haydn composed an enormous amount of music in other genres, including sacred choral music. The Symphony No. 88 in G Major, composed in 1787, was the first of two symphonies composed for a violinist member of the Esterhazy orchestra, Johann Tost. Tost, an aficionado of Haydn’s chamber music, was also the

dedicatee of twelve of the composer’s string quartets. Symphony No. 88 falls between the six “Paris” symphonies (Nos. 82–87) and the final twelve symphonies (Nos. 93–104) composed for the composer’s two tours of London. The work is scored for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 20 minutes.

Joseph Haydn did not invent the symphony, as implied by the popular idea that he was the “father” of the genre (as well as the string quartet), but he certainly played a key role in its development. Haydn was one of the most fortunate composers of the late-eighteenth and early-nineteenth centuries in that, starting in 1761, he enjoyed the steady patronage of the wealthy and powerful Esterhazy family of Hungarian princes, for whom he composed an astonishingly large number of compositions. It mattered little to the younger Haydn that his workload was exceedingly heavy and that his compositions became the sole property of his employer unless the composer received express permission from the Esterhazy prince to have his works performed and published.

The first movement of Symphony No. 88, Adagio-Allegro, begins with a short introduction leading into a bouncy Allegro in duple meter. As is quite common in Haydn’s sonata-form movements, this one is essentially monothematic, deriving nearly all of its motivic content from its folk-like opening theme. Haydn’s playful wit is also found in abundance, displaying a youthful spirit that one might not expect

Joseph Haydn did not invent the symphony, as implied by the popular idea that he was the “father” of the genre, but he certainly played a key role in its development.

from a composer who was now is his mid-fifties. The second movement, an exquisite Largo in D Major, offers a contrast in tempo as well as tonality. Its principal theme is presented by the oboe, doubled by a solo cello. Its hybrid structure combines variation and rondo. Among the movement’s remarkable features are the ways in which Haydn varies each appearance of the theme with new orchestrations and counterpoint. No less remarkable are the unexpected violent outbursts that come between reprises of the opening melody. The third movement is a vigorous Minuet (and Trio), composed in a kind of miniature sonata form. The central Trio section is a gentle Austrian Ländler that features a folksy drone in the lower strings and winds. The finale, Allegro con spirito, evokes the ebullient feel of the main part of the first movement. This rondo contains all the wit and humor we associate with much of Haydn’s music. One passage in particular—a transition from an episode to the return of the principal theme—is noteworthy for the way in which the composer keeps the listener in suspense. ●

NOTES BY NEW MEXICO BALLET

COMPANY

The Wizard of Oz Ballet

Synopsis

Dorothy lives on a farm in Kansas with her Auntie Em, Uncle Henry, and her faithful dog, Toto. One day, Dorothy and Toto are caught up in a powerful tornado and dropped in the middle of the strange and magical Land of Oz. Unbeknownst to Dorothy, the house lands on the Wicked Witch of the East. Dorothy and Toto are greeted by Glinda the Good Witch of the North and the Munchkins, who praise Dorothy for killing the Wicked Witch of the East. Glinda instructs Dorothy to follow the yellow brick road to the Emerald City where the great and powerful Wizard of Oz can help her return home to Kansas. On her journey, Dorothy is joined by a Scarecrow who only wants a brain, a Tin Man who only wants a heart, and a Cowardly Lion who only wants a little

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courage. They are challenged by many obstacles including evil apple trees and poisonous poppies, but none are more fearsome than the Wicked Witch of the West. After finally reaching the Emerald City, the powerful Wizard of Oz demands Dorothy and her friends bring him the Witch’s broom before he will grant their wishes. With quick wits, compassion, and courage, the group faces the swarm of Flying Monkeys and eventually defeats the Wicked Witch of the West. Back in the Emerald City, Dorothy presents the broom to the Wizard who in turn grants each wish. Dorothy and Toto then return home to Kansas, safe and sound. ●

Sergei Prokofiev

Scythian Suite, Op. 20 (1915)

Sergei Prokofiev, one of the twentieth century’s leading composers, was born in Sontsovka (Ukraine) on April 27, 1891, a date that fell toward the end of the era of Tsarist rule. At the time of his birth, Ukraine was part of the Tsarist Russian Empire, but by the time of his death it was a state within the Soviet Union. It is one of history’s greatest ironies that Prokofiev died on March 5, 1953, the same day as the notorious Communist dictator Joseph Stalin. His Scythian Suite began its life as a scenario for a ballet in 1914, and was completed the next year. Its first performance took place in Saint Petersburg’s Maryinsky Theater under the direction of the composer on January 29, 1916. It is scored for piccolo, 3 flutes, alto flute, 3 oboes, English horn, 3 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 3 trumpets, small trumpet in E-flat, alto trumpet, 4 trombones, tuba, timpani, a large array of percussion instruments, 2 harps, piano, and strings. Approximately 20 minutes.

Sergei Prokofiev was ever the audacious fellow, brimming over with immense talent as a composer and a brilliant pianist. His earliest serious studies as a pianist were under the tutelage of the pianist and composer Reinhold Glière. Encouraged by the composer Sergei Taneyev, Prokofiev

Prokofiev found his inspiration in the tales of the Slavic characters Ala and Lolli derived from the primitive and savage Scythians.

entered the Saint Petersburg Conservatory as a student of Aleksandr Glazunov, later studying with Nikolai Tcherepnin, the teacher who encouraged him to study the works of Mozart and Haydn—guidance that eventually led to the composition of the composer’s Symphony No. 1, “Classical” (1916–17).

Prokofiev was one of the towering Eastern European figures of the early- to mid-twentieth century, the others being the Hungarian Béla Bartók (b. 1881) and the two Russians, Igor Stravinsky (b. 1882) and Dmitri Shostakovich (b. 1906). One of the many strands of compositional styles explored by Bartók and Stravinsky in the early decades of the 1900s was a savage vocabulary sometimes identified as barbarism. Indeed, this word makes its way into the title of one of Bartók’s most important works for solo piano, the Allegro barbaro, composed in 1911. Such savage, driving rhythmic properties also are to be heard in Stravinsky’s sensational ballet, composed for Diaghilev’s troupe, The Rite of Spring (Le Sacre du printemps), of 1913. The ever-audacious Prokofiev did not wish to miss out on this shockingly “primitive” style, which led him to imagine a ballet for Diaghilev based on ancient folklore, not far removed from the scenario for Le sacre’s “Portraits of Pagan Russia.”

Prokofiev found his inspiration in the tales of the Slavic characters Ala and Lolli derived from the primitive and savage Scythians, a culture that ruled over the region ranging from the North Sea to the Carpathian Mountains. Diaghilev rejected the ballet scenario, but the undeterred Prokofiev fashioned his musical ideas into a loosely narrative four-movement orchestral suite. The resulting work proved rather scandalous, although not to the

extent of Stravinsky’s more frequently performed score. Prokofiev provided programmatic titles for each of the Scythian Suite’s movements. The robust first movement, “The Adoration of Veles and Ala,” invokes the Sun God, Veles, and a sacrifice offered to his daughter, Ala. The second movement, “Chuzhbog and the Dance of the Evil Spirits,” is the shortest of the four and is reminiscent of the hypnotic qualities that are a hallmark of Stravinsky’s more popular ballets, but without the metric displacement. The third movement, “Night,” comes closer to an idiom of atmospherics found in some of the eerier moments in Bartók’s music. Here Chuzhbog menacingly approaches Ala in an attempt to cast an evil spell on her, as the moon maidens offer her solace. The last movement, “The Glorious Departure of Lolli and the Procession of the Sun,” depicts the battle in which Lolli fights Chuzhbog. As night breaks into day, the Sun God, Veles, intervenes, winning the struggle for Lolli, thus ending the Scythian Suite in triumph. ●

Sergei Rachmaninoff Rhapsody on a Theme of Paganini, Op. 43 (1934)

Sergei Rachmaninoff was born in Oneg, Russia, on March 20/April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. A virtuoso pianist of the highest order, as a composer, Rachmaninoff represents one of the final expressions of Russian Romanticism. The Rhapsody on a Theme of Paganini was composed in 1934 and received its first performance on November 7 of that same year in Baltimore

with the composer as soloist and the Philadelphia Orchestra under the baton of Leopold Stokowski. The piece is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, triangle, glockenspiel), harp, and strings. Approximately 23 minutes.

The grand nineteenth-century tradition of virtuoso pianism lasted well into the twentieth century, extending, it may be argued, uninterrupted through the career of Vladimir Horowitz, and beyond. Rachmaninoff, however, stood uncontested as a towering example of the state of the art at the beginning of our own century. As has been the case with so many other virtuosos, Rachmaninoff was far more than a brilliant technician and one of the greatest pianists of his generation, but proved to be a thoroughly accomplished musician, skilled in composition as well as conducting.

The Rhapsody on a Theme of Paganini, composed in 1934, is a work that remains conscious of the virtuoso tradition from which it sprang. The great Italian violinist Niccolò Paganini (1782–1840) was the individual who set the standard for all instrumental virtuosity in the nineteenth century, including for pianists, most notably Franz Liszt. Paganini’s most influential work was his Twenty-Four Caprices, the last of which is a theme with variations. This theme has fired the imagination of many other composers, a more recent example being the Caprice Variations for solo violin of George

Rochberg (1970), and Rachmaninoff’s Rhapsody is one of the best. Its structure is that of introduction, theme, and twenty-four(!) variations. Each variation puts the pianist’s skill to the test. Two musical features, however, stand out as particularly memorable. The first is his use of the medieval “Dies irae” plainchant in Variations 7, 10, and 24. This melody is sequence from the Catholic funeral liturgy, used famously by Hector Berlioz in the finale of his Symphonie fantastique and again by Rachmaninoff in his Isle of the Dead, a symphonic poem inspired by Arnold Böcklin’s painting. Rachmaninoff may have been seeking to evoke memories of Liszt’s Totentanz here, but this tune had long been associated with the concept of the demonic and the supernatural—the very attributes of virtuosity itself. Indeed, legend had it that Paganini had sold his very soul to the devil in order to acquire his uncanny superhuman skills (one is reminded of Stravinsky’s A Soldier’s Tale as well as the popular ballad “The Devil Went Down to Georgia”). The second feature is the Andante cantabile eighteenth variation, whose tune is so appealing that one might fail to notice how cleverly the composer has inverted the intervals of Paganini’s theme in deriving its shape. Fans of the 1993 hit film starring Bill Murray and Andie MacDowell, Groundhog Day, may recognize this variation, where the television meteorologist Phil Collins (played by Murray), having mastered the art of piano playing as he changes his ways from cynical boor to nice guy,

“I have never again been that angry. The music was so familiar to me; I loved it, and I could not understand why people who had not yet heard it wanted to protest in advance.”

—Igor Stravinsky

performs this music in a jazzy arrangement at a party in the Punxsutawney, Pennsylvania, hotel. ●

NOTES BY LORI NEWMAN

Igor Stravinsky

The Rite of Spring (Le Sacre du printemps) (1910–1913; rev. 1947)

Igor Stravinsky was born on June 17, 1882, in Oranienbaum, near Saint Petersburg, Russia, and died on April 6, 1971, in New York City, New York. The Rite of Spring is scored for piccolo, 3 flutes (3rd = 2nd piccolo), alto flute, 4 oboes (4th = 2nd English horn), English horn, 3 clarinets (3rd = 2nd bass clarinet), E-flat clarinet, bass clarinet, 4 bassoons (4th = 2nd contrabassoon), contrabassoon, 8 horns (7th and 8th = Wagner tuba), piccolo trumpet, 4 trumpets, 3 trombones, bass trombone, 2 tubas, 2 sets of timpani, percussion (antique cymbals, bass drum, cymbals, guiro, tam-tam, tambourine, and triangle), and strings. Approximately 33 minutes.

Classical music’s equivalent of the “date which will live in infamy” is May 29, 1913. On this date, Stravinsky’s ballet The Rite of Spring premiered in Paris’s Théâtre des Champs-Elysées, and many mark this date as the true inauguration of 20th-century music. The main players in this groundbreaking production were the famed Ballet Russes and Sergei Diaghilev, producers; Vaslav Nijinsky, choreographer; Nicholas Roerich, designs and costumes; Pierre Monteux, conductor; and of course, Igor Stravinsky, composer.

The riot that ensued at the work’s premiere is a widely chronicled event with many eyewitnesses to the chaos of the evening. It is indeed true that a riot broke out on opening night, but what is most misunderstood about this event is that the riot had little, or anything, to do with Stravinsky’s score. It was the dancing, not the music, that first inflamed the audience at the premiere. The crowd quickly became frenzied by the ballet’s primitive, common, and low-to-the-

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ground choreography. This was not The Nutcracker, and the audience was not ready for this style of dancing, especially as it accompanied the subject matter of a sacrificial rite. During the melee, the music was almost completely drowned out by the shouting, fistfights erupted in the theater, there are tales of Nijinsky calling out numbers for the dancers so they could follow the choreography since the music was inaudible over the din of the rioting audience, and Diaghilev resorted to flipping the house lights on and off to try and restore order. Pierre Monteux, completely unfazed by the commotion, continued conducting as if nothing were wrong. Stravinsky was furious by the premiere’s disruption and stormed out, slamming the door behind him. He said of the event, “I have never again been that angry. The music was so familiar to me; I loved it, and I could not understand why people who had not yet heard it wanted to protest in advance.”

The Rite of Spring was the third Stravinsky/Diaghilev collaboration, behind The Firebird of 1910 and Petrushka of 1911. All three of Stravinsky’s famous ballets were written during what historians refer to as his “Russian” period, with The Rite of Spring being an imagined fertility ritual from pre-historic Russia. The image came to Stravinsky in a daydream about which he had said, “I saw in my imagination a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.”

The work is divided into two main sections, played without pause: I. The Adoration of the Earth and II. The Sacrifice. Each part is further segmented into sections that help to depict the story. It is scored for a massive orchestra, employing most of the available wind auxiliary instruments, a large complement of brass and strings, and an expansive percussion section. Stravinsky’s main innovations in The Rite of Spring are rhythmic in nature, the stratospheric opening bassoon solo notwithstanding. Stravinsky strove to blur the lines of rhythmic pulse, which is obvious in the work’s most famous

“I saw in my imagination a solemn pagan rite: wise elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of spring.”

—Igor Stravinsky

section, the “Augurs of Spring.” The accents are so displaced in this movement that it is hard to decipher in what meter the music is written. Other Stravinsky trademarks include: dissonances based on Russian scales, such as the octatonic scale, and some polytonality; layering, as in stacking two or more independent pieces of music on top of one another; use, and some would say abuse, of ostinati, which are repeated patterns that form a sense of consistency, but in Stravinsky’s hands begin consistently and then are mutated; and sound blocking, which is a technique of creating blocks of sound that act as unifying elements, as opposed to melodic repetition or harmonic development doing the heavy lifting.

The riot at the premiere of The Rite of Spring was long forgotten when a year later the music was performed, minus the dancing, and was so well-received that Stravinsky was carried from the concert hall on the shoulders of his supporters. ●

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Lee

Charles,

Barbara

Robert

Thomas

Stephen,

Estate

William

Mary

Sydney

Peter & Mary Tannen

Rosario Fiallos

James & Ann Breeson

Carl & Jeannette Keim

Andrea Kilbury

Linda McNiel

Albert & Shanna Narath

David & Cynthia Nartonis

Ray Reeder

Charles & Ruth Snell

Henry & Ettajane Conant

Nancy Hill

Daniel T. O’Shea

Charles & Linda White

Dal Jensen

Charlotte McLeod

David Peterson

505 Southwest Auto

Ninon Adams

David Baca

Mark & Beth Berger

Charleen Bishop

John Bowers & B.J. Fisher

Eric R. Brock & Mae S. Yee

Camille Carstens

Joseph Cella

Robert Chamberlin

Dennis Chavez Development Corp.

Olinda Chavez

Helene Chenier

Hugh & Kathleen Church

James Cole

Barbara L. Daniels

Drina Denham

Jerry & Susan Dickinson

Vicky Estrada-Bustillo

Alfred & Patricia Green

Peter Gregory

Karen Halderson

Samuel & Laila Hall

Herman Haase

Jo Ellen Head

Kiernan Holliday

Michael & Sandra Jerome

Robert H. & Mary D. Julyan

Julia Kavet

Henry Kelly

Robert & Toni Kingsley

Walter & Allene Kleweno, in memory of Pegg Macy

Gerald Knorovsky

L.D. & Karen Linford

Betty Max Logan

Douglas Madison

Elizabeth Davis Marra

Salvatore Martino

Donald McQuarie

Dr. William Moffatt

James B. & Mary Ann Moreno

Cary & Evelyn Morrow

Karen Mosier

David & Marilyn Novat

Richard & Dolly O'Leary

Maureen Oakes

Eric P. Parker

Michael Pierson & Jane Ferris

Karla Puariea

Russell & Elizabeth Raskob

George & Sheila Richmond

Margaret E. Roberts

Matthew Roberts

Judith Roderick

Marian Schreyer

Drs. M. Steven Shackley &

Kathleen L. Butler

Joseph Shepherd & Julie

Dunleavy

Lillian Snyder

Julianne Stangel

Ronald T. Taylor

Marta Terlecki

Betty Tichich

Marvin & Patricia Tillery

Robert Tillotson

Jorge Tristani (President, 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

Arthur Alpert

Edward

Bob Crain

Denise Fligner

Stephen Schoderbek

Krys

Deborah

Rita Leard

Carol Diggelman

Paul Isaacson

Sarah Barlow

Martin & Ursula Frick

Robert & Phyllis Moore

Gary & Nina

Sharon Moynahan & Gerald

Ronald

Helen Feinberg

Volti

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

Al

Donation

Fran A'Hern-Smith

Joe

John

Martin

Robert

George

Bryan "Lance"

Morgan MacFadden

James & Marilyn Mallinson

Nicholle Maniaci & John Witiuk

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 2/20/2024

●

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

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.

New Mexico Philharmonic

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

SECOND VIOLIN

Rachel Jacklin •

Carol Swift •••

Julanie Lee

Jessica Retana ++

Liana Austin

Lidija Peno-Kelly

Sheila McLay

Brad Richards

VIOLA

Laura Chang •

Kimberly Fredenburgh •••

Allegra Askew

Christine Rancier

Laura Steiner

Michael Anderson

Lisa DiCarlo

Joan Hinterbichler

Laura Campbell

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

FLUTE

Valerie Potter •

Esther Fredrickson

Jiyoun Hur ••+

Noah Livingston ••++

PICCOLO

Esther Fredrickson

OBOE

Kevin Vigneau •

Amanda Talley

ENGLISH HORN

Melissa Peña ••+

Rebecca Ray ••++

CLARINET

Marianne Shifrin •

Lori Lovato •••

Jeffrey Brooks

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 ++

TUBA

Richard White •

TIMPANI

Micah Harrow •+

PERCUSSION

Jeff Cornelius •

Kenneth Dean

Emily Cornelius

Principal •

Associate Principal ••

Assistant Principal •••

Assistant ••••

Leave +

One-year position ++

Half-year position +++

STAFF

Marian Tanau

President & CEO

Roberto Minczuk

Music Director

Christine Rancier

Vice President of Business

Matt Hart

Vice President of Operations

Ian Mayne-Brody Personnel Manager

Terry Pruitt Principal Librarian

Genevieve Harris Assistant Librarian

Nancy Naimark

Director of Community Relations & Development Officer

Crystal Reiter Office Manager

Luis DeVargas

Front of House Manager

Laurieanne Lopez Young Musician Initiative Program Manager

Mary Montaño Grants Manager

Joan Olkowski Design & Marketing

Lori Newman Editor

BOARD OF DIRECTORS

Maureen Baca

Chair

Al Stotts

Vice Chair

David Peterson

Secretary

Fritz Eberle

Treasurer

Joel Baca

Ron Bronitsky, MD

David Campbell

Thomas Domme

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