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

23/24 VOLUME 12 / NO. 5

MAR

24

APR

6

APR

20

2023/24 SEASON

nmphil.org

APR Roberto Minczuk Music Director

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

21

APR

27

TABLE OF CONTENTS PROGRAMS

March 24, 2024 April 6, 2024 April 20, 2024 Program Notes

4 5 6 11

ARTISTS

Roberto Minczuk Rafael Ingliss Gabriel Ingliss Anna Bridge Natalie Sedillo Stephanie Karr New Mexico Ballet Company Anna Dmytrenko

Saturday, April 27, 2024 5:30–9:30 p.m.

THE VIEW EVENT CENTER 1550 Tramway Blvd NE Albuquerque, NM 87112

$175/PERSON • $50 fair market value

Dinner • Wine • Music Cocktail Hour Live & Silent Auction (505) 323-4343 nmphil.org

7 8 8 8 8 9 9 9

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

17 19 19 20 21 21 22 23 23

NEW MEXICO PHILHARMONIC OFFICES

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

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

nmphil.org

• TITLE SPONSOR •

3

CONCERT PROGRAM .

AFTERNOON CLASSICS

A Glimpse of the Future

MAR

24

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

Volcano Vista High School (Performing Arts Center)

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) I. Allegro

Mozart

Rafael Ingliss piano

Violin Concerto in e minor, Op. 64 Felix Mendelssohn I. Allegro molto appassionato (1809–1847) Gabriel Ingliss violin

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

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

4

2023/24 Season / Volume 12 / No. 5

MAKING A DIFFERENCE

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

CONCERT PROGRAM .

BALLET

The Wizard of Oz Ballet Saturday, April 6, 2024, 6 p.m.

APR

6

Popejoy Hall

Roberto Minczuk Music Director Anna Bridge NMBC Artistic Director and School Director Natalie Sedillo Choreographer Stephanie Karr Dorothy New Mexico Ballet Company

ACT I

MAKING A DIFFERENCE

Overture On the Farm Glinda and the Munchkins Scarecrow Evil Trees Tin Man Wicked Witch of the West Cowardly Lion

This performance is made possible by: Albuquerque Community Foundation

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

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.

The New Mexico Philharmonic

nmphil.org

5

CONCERT PROGRAM .

POPEJOY CLASSICS

Rhapsody on a Theme of Paganini & The Rite of Spring

APR

20

Popejoy Hall

Saturday, April 20, 2024, 6 p.m.

5 p.m. Pre-Concert Talk Roberto Minczuk Music Director Anna Dmytrenko piano Scythian Suite, Op. 20 I. The Adoration of Veles and Ala II. Chuzhbog and the Dance of the Evil Spirits III. Night IV. The Glorious Departure of Lolli and the Procession of the Sun

Sergei Prokofiev (1891–1953)

Rhapsody on a Theme of Paganini, Op. 43 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

Anna Dmytrenko piano PRE-CONCERT TALK

Sponsored by: Menicucci Insurance Agency

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

Hosted by KHFM’s Alexis Corbin The Rite of Spring (Le Sacre du printemps)

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

6

2023/24 Season / Volume 12 / No. 5

Igor Stravinsky (1882–1971)

ARTISTS .

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

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

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

The New Mexico Philharmonic

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

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

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

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

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

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

a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 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. ●

nmphil.org

7

ARTISTS .

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. ●

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,

8

2023/24 Season / Volume 12 / No. 5

Anna Bridge NMBC Artistic Director & School Director 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

ARTISTS .

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. ●

New Mexico Ballet Company 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. ●

Anna Dmytrenko piano 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.

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 continued on 10

The New Mexico Philharmonic

nmphil.org

9

ARTISTS . continued from 9

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. ●

EXPERIENCE

IN LEARNING Now accepting applications for 2024-2025 1801 Central Avenue NW - 505.243.6659 manzanodayschool.org

10

2023/24 Season / Volume 12 / No. 5

PROGRAM NOTES .

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 continued on 12

The New Mexico Philharmonic

nmphil.org

11

PROGRAM NOTES . continued from 11

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

12

2023/24 Season / Volume 12 / No. 5

… 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

PROGRAM NOTES .

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 continued on 14

The New Mexico Philharmonic

nmphil.org

13

PROGRAM NOTES . continued from 13

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

14

2023/24 Season / Volume 12 / No. 5

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

PROGRAM NOTES .

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-thecontinued on 16

The New Mexico Philharmonic

nmphil.org

15

PROGRAM NOTES . continued from 15

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

16

2023/24 Season / Volume 12 / No. 5

“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. ●

DONOR CIRCLES

Donor Circles THANK YOU FOR JOINING A CIRCLE BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund Eugenia & Charles Eberle New Mexico Philharmonic Foundation

BEETHOVEN CIRCLE

Donation of $25,000–$49,999 Anonymous Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Jay & Janet Grear The Meredith Foundation

MOZART CIRCLE

Donation of $10,000–$24,999 Meg Aldridge Anonymous Bernalillo County Commission City of Albuquerque Art Gardenswartz & Sonya Priestly Keith Gilbert Mary Herring Jonathan & Ellin Hewes Robert & Elisa Hufnagel Christine Kilroy Walter & Allene Kleweno Dwayne & Marjorie Longenbaugh Terri L. Moll Karl & Marion Mueller Music Guild of New Mexico & Jackie McGehee Young Artists' Competition for Piano & Strings Optum Bob & Bonnie Paine Cynthia Phillips & Thomas Martin Estate of George Richmond Barbara Rivers Sandia Foundation, Hugh & Helen Woodward Fund Terrence Sloan, MD Dr. Dean Yannias

BRAHMS CIRCLE

Donation of $5000–$9999 Carl & Linda Alongi Anonymous Mary "Betty" Baca Paula & William Bradley The Cates Team/RBC Wealth Management City of Rio Rancho Richard & Margaret Cronin ECMC Foundation Bob & Fran Fosnaugh Helen Fuller

David Gay Gerald & Lindy Gold Chris & Karen Jones Harry & Betsey Linneman Myra & Richard Lynch Menicucci Insurance Agency George & Mary Novotny S. Scott Obenshain Dick & Marythelma Ransom Sandra P. & AFLt/Col (r.)

Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson, Jr., & Josephine A. & Angelo "A.J." Asciolla Robertson & Sons Violin Shop Sandia Laboratory Federal Credit Union Melissa & Al Stotts John Wronosky & Lynn Asbury

CHOPIN CIRCLE

Donation of $3500–$4999 Albuquerque Community Foundation, NDB & CEB Fund Estate of Evelyn Patricia Barbier Ron Bronitsky, MD Club Culturale Italiano Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Fritz Eberle & Lynn Johnson French Funerals & Cremations Charles & Judith Gibbon A. Elizabeth Gordon Madeleine Grigg-Damberger & Stan Damberger Hank & Bonnie Kelly Michael & Roberta Lavin Bob & Susan McGuire James O'Neill & Ellen Bayard Deborah Ridley & Richard S. Nenoff Edward Rose, MD Marian & Jennifer Tanau

GRACE THOMPSON CIRCLE

Donation of $1933–$3499 Albuquerque Community Foundation, The Ties Fund Anonymous Thomas Bird & Brooke Tully Ann Boland Clarke & Mary Cagle Century Bank David & Ellen Evans Firestone Family Foundation Frank & Christine Fredenburgh Cynthia Fry & Daymon Ely Roland Gerencer, MD Hancock Family Foundation Harris Hartz The Hubbard Broadcasting Foundation Rosalyn Hurley JHKM Lawyers Sue Johnson & Jim Zabilski Estate of Joyce Kaser Linda S. Marshall

Tyler M. Mason Edel & Thomas Mayer Foundation Jon McCorkell & Dianne Cress Ed & Nancy Naimark David & Audrey Northrop David Peterson Jacquelyn Robins Joan Robins & Denise Wheeler Jay Rodman & Wendy Wilkins Vernon & Susannah Smith Rogan & Laurie Thompson The Verdes Foundation Tatiana Vetrinskaya Betty & Luke Vortman Endowment Kathleen & David Waymire Diane Chalmers Wiley & William Wiley

BACH CIRCLE

Donation of $1000–$1932 Anonymous Richard & Linda Avery Joel & Sandra Baca Tonianne Baca-Green William Bechtold Richard & Maria Berry Ruth Bitsui Lawrence & Deborah Blank Rod & Genelia Boenig Dennis & Elizabeth Boesen James Botros & Jeremy Wirths Robert Bower & Kathryn Fry Michael & Cheryl Bustamante Butterfield's Jewelers Margaret Casbourne Edwin Case Brian & Aleli Colón The Coracle Fund Phil & Krys Custer Marjorie Cypress & Philip Jameson D’Addario Foundation Thomas & Martha Domme Leonard & Patricia Duda Robert Godshall Yvonne Gorbett Marcia Gordon Nancy Elizabeth Guist Roger & Katherine Hammond Stephen & Aida Ramos Heath Nataliya & Daniel Higbie Donna Hill Hal Hudson Stephanie & David Kauffman Thomas & Greta Keleher, in memory of James A. Parker Dave Leith Judith Levey John & Brynn Marchiando Jean Mason Richard & Melissa Meth Ina S. Miller Miller Stratvert, P.A. Robert Milne & Ann DeHart Mark Moll David & Alice Monet Charles Olguin Jerald & Cindi Parker Stuart & Janice Paster Mary Raje

Dr. Barry & Roberta Ramo Ruth Ronan Dr. Harvey Ruskin Howard & Marian Schreyer Barbara Servis Richard & Janet Shagam Singleton Schrieber LLP/Brian Colón William E. Snead Jane & Doug Swift Fund for Art & Education Michael Wallace Bill Wingate & Emily Rogers Linda Wolcott Alice Wolfsberg David & Evy Worledge

CONCERTMASTER CIRCLE

Donation of $500–$999 Marsha Adams, in honor of Dorothy Morse Albuquerque Community Foundation, Maisel/Goodman Charitable Endowment Fund Anonymous Marguerite Baca Michael & Leanore Baca Daniel Balik Dave Barney Eileen Barrett Benevity Fund Stan Betzer Sheila Bogost, in memory of David Bogost Carolyn R. Brown & William Ranken Edward Cazzola Paul Clem Douglas Collister James Connell John Crawford & Carolyn Quinn Michael Dexter Garrett F. & Alma J. Donovan Trust Jackie Ericksen Roberta Favis Richard & Virginia Feddersen Denise Fligner & Terry Edwards Howard & Debra Friedman Carolyn Gerhard George F. Gibbs Dennis & Opal Lee Gill Howard & Janis Gogel Drs. Robert & Maria Goldstein Berto & Barbara Gorham Jean & Bob Gough Justin M. & Blanche G. Griffin Kathleen Hammar Kory & Roseann Hoggan, CPA Marlin Kipp Noel & Meredith Kopald Stephanie & Kenneth Kuzio Nick & Susan Landers Ronald Lipinski Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Marcia Lubar Martha Ann Miller & Henry Pocock

Christine & Russell Mink Claudia Moraga Dorothy White Morse Ed Muller Mark Napolin Ruth & Charles Needham Claire Nelson Betsy Nichols Opera Southwest Richard & Susan Perry John Provine Estate of Shirley Puariea, in memory of Shirley Puariea Quantum Healing Energy LLC Lee Reynis & David Stryker Aaron & Elizabeth Robertson Robin Jackson Photography John & Faye Rogers Christine Sauer Daniel & Barbara Shapiro Susan D. Sherman Ronald Shettlesworth George & Vivian Skadron Suzanne Slankard Mark & Maria Stevens Sarah Stevens-Miles Charles Stillwell Robert Taylor Ken & Annie Tekin George Thomas Tamara Tomasson Total Wine & More Margaret Vining Peter & Judy Basen Weinreb Jeffrey West Tad & Kay West Bill & Janislee Wiese Charles & Marcia Wood Judith Woods Paula Wynnyckyj Diana Zavitz

PRINCIPALS CIRCLE

Donation of $125–$499 Robert & Nancy Agnew Gerald Alldredge Jo Anne Altrichter & Robin Tawney William Anderson & Paula Baxter Anonymous Barbara Baca David Baca Sally Bachofer Charlene Baker Barbara Barber Harold & Patricia Baskin Elizabeth Bayne Susan Beard Steven Belinsky David & Judith Bennahum Barry Berkson David Bernstein & Erika Rimson Betty's Bath & Day Spa Dusty & Gay Blech J.M. Bowers & B.J. Fisher Terry Brownell & Alpha Russell The Bruckner Society of America, Inc. Marcia Bumkens Caliber's

continued on 18

The New Mexico Philharmonic

nmphil.org

17

DONOR CIRCLES continued from 17 Carol Callaway David & Shelly Campbell David C. Carr Ann Carson Camille Carstens Casa Verde Spa Robert E. & Shirley Case Dan & Tina Chan Richard Chapman & Jan Biella Olinda Chavez Victor Chavez Wayne & Elaine Chew Lance & Kathy Chilton Thomas & Judith Christopher Donna Collins Marcia Congdon Bob Crain John & Sally Curro Stephen & Stefani Czuchlewski Kathleen Davies Jerry & Susan Dickinson Raymond & Anne Doberneck Stephen R. Donaldson Gale Doyel Deann Eaton, in memory of Diann B. Bourget, a great pianist Gary Echert & Nancy Stratton Michael & Laurel Edenburn The Eichel Family Charitable Fund Richard & Mildred Elrick Robert & Dolores Engstrom David & Frankie Ewing David & Regan Eyerman Peggy Favour Elen Feinberg Helen Feinberg Mary Filosi Lori Finley Heidi Fleischmann & James Scott Mark Fleisher & Merle Pokempner Diane Fleming Fogo de Chao Brazilian Steakhouse David Foster Thomas & Linda Grace Alfred & Patricia Green Stanley & Sara Griffith Patricia B. Guggino Robert & Elene Gusch J. Michele Guttmann Lee & Thais Haines Ron & Nancy Halbgewachs Bennett A. Hammer Darren Hayden Bruce & Ann Hendrickson Pamelia Hilty (Snow Blossom Gift Fund) Toppin & Robert Hodge Diane Holdridge Bernhard E. Holzapfel John Homko Mary Hermann Hughes Betty Humphrey Marilyn & Walt Johnson Robert & Mary Julyan John & Mechthild Kahrs Norty & Summers Kalishman Margaret Keller

18

Nancy Kelley Ann King Phil Krehbiel Jennifer C. Kruger Elizabeth Kubie Woody & Nandini Kuehn Karen Kupper Jeffery & Jane Lawrence Jae-Won & Juliane Lee Robert Lindeman & Judith Brown Lindeman William & Norma Lock Joan M. Lucas & David Meyerhofer Ruth Luckasson & Dr. Larry Davis Robert & Linda Malseed The Man's Hat Shop Jeffrey Marr Walton Marshall Carolyn Martinez Kathy & John Matter Sallie McCarthy, in memory of Virginia Flanagan Roger & Kathleen McClellan C. Everett & Jackie McGehee Jane McGuigan Linda McNiel Edward McPherson Chena Mesling Jerry & Azantha Middleton Ross & Mary Miesem Bruce & Jill Miller Jim Mills & Peggy Sanchez Mills Louis & Deborah Moench Dr. William Moffatt Jim & Penny Morris Cary & Eve Morrow Ted & Mary Morse Karen Mosier & Phillip Freeman Melissa Nunez Rebecca Okun Joyce & Pierce Ostrander Outpost Productions, Inc. Geri Palacios Pavlos & Nicolette Panagopoulos Alan & Ronice Parker Lang Ha Pham & Hy Tran Judi Pitch Placitas Artists Series Dan & Billie Pyzel Jane Rael Ray Reeder Loretta Reeves Robert Reinke Bradford Richards Paul Rodriguez Catalin Roman Carole Ross Socorro Kiuttu Ruddy Carey Salaz Sandia Resort & Casino Sarafian's Oriental Rugs Anjella Schick Brigitte Schimek & Marc Scudamore John & Karen Schlue Laura Scholfield Rahul Sharma

2023/24 Season / Volume 12 / No. 5

Silk Road Connection R.J. & Katherine Simonson Rae Siporin Lillian Snyder Steven & Keri Sobolik Stan & Marilyn Stark Jennifer Starr Joseph & Carol Stehling John & Patricia Stover Jonathan Sutin Betsey Swan Larry & Susan Tackman Gary Talda & Cyndia Choi Gary & Nina Thayer Maxine Thévenot & Edmund Connolly, in honor of Laurence Titman Laurence Titman Dr. Steven Tolber & Louise Campbell-Tolber Jacqueline Tommelein Arthur Vall-Spinosa & Sandra Louise Nunn Charles & Barbara Verble Chuck & Jean Villamarin John Vittal & Deborah Ham William & Cynthia Warren Wolfgang & Carol Wawersik Iris Weinstein & Steven Margulin Kevin & Laurel Welch Lawrence Wells Margaret Wente Marybeth White Bronwyn Willis Willow, Women's Clothing Adam Wright

FRIENDS OF THE PHILHARMONIC

Donation of $25–$124 Harro & Nancy Ackermann David & Elizabeth Adams Natalie Adolphi & Andrew McDowell Albuquerque Little Theatre Amazon Smile Judith Anderson Anonymous Maria Archuleta-Gabriele & Peter Gabriele Julie Atkinson Kathleen Austin Jackie Baca & Ken Genco Thomas J. & Helen K. Baca Douglas Bailey Jan Bandrofchak & Cleveland Sharp Rom Barnes Graham Bartlett Edie Beck Michael Bencoe Helen Benoist Kirk & Debra Benton Dorothy & Melbourne Bernstein Marianne Berwick Nancy & Cliff Blaugrund Thomas & Suzanne Blazier Elaine Bleiweis & Karen Hudson Bookworks

Henry Botts Marilyn Bowman Richard & Iris Brackett Stephen & Heidi Brittenham Douglas Brosveen James & Jan Browning Alfred Burgermeister Robert & Marylyn Burridge Douglas & Ann Calderwood California Pizza Kitchen Dante & Judith Cantrill James Carroll Bradley & Andrea Carvey Joseph Cella Robert & Sharon Chamberlin Roscoe & Barbara Champion Frank Chavez & Steven Melero Sharon Christensen Barry Clark Brian & Aleli Colón, in honor of Maureen Baca Lloyd Colson III Lawrence & Mary Compton Abel Cuevas & Thi Xuan Mark A. Curtis Cara & Chad Curtiss The Daily Grind/Caruso's Hubert Davis Debby De La Rosa Mary Ann & Michael Delleney Thomas & Elizabeth Dodson Sandy Donaldson Carl & Joanne Donsbach Michael & Jana Druxman Jeff & Karen Duray Reverend Suzanne & Bill Ebel John Eckert Martha Egan Lester & Eleanor Einhorn Sabrina Ezzell B.J. & R.L. Fairbanks Jane Farris & Mike Pierson, in honor of Sally & Tom Hinkebein Jane Farris & Mike Pierson, in honor of Brent & Maria Stevens Howard Fegan Jon & Laura Ferrier Mary Filosi, in honor of Susan & Jerry Dickinson Carol Follingstad, in honor of Sandy Seligman William & Cheryl Foote Joseph Freedman & Susan Timmons Martin & Ursula Frick Greg & Jeanne Frye-Mason Eric & Cristi Furman Mary Day Gauer Ilse Gay Lawrence Jay Gibel, MD Great Harvest Bakery Ann Green Charles & Kathleen Gregory Ginger Grossetete Mina Jane Grothey Marilyn Gruen & Douglas Majewski Kevin & Teresa Grunewald Stan & Janet Hafenfeld Fletcher & Laura Hahn

Leila Hall Michael Harrison Havanna House Cigar Shop John & Diane Hawley Douglas & Willie HaynesMadison Marvin & Anne Hill Ursula Hill Fred Hindel Stephen Hoffman & James McKinnell Steven Homer Julia Huff Greggory Hull Stephanie Hurlburt Ralph & Gay Nell Huybrechts Jerry & Diane Janicke Gwenellen Janov Michael & Sandra Jerome Lori Johnson Lynn Kearny Gerald Kiuttu & Candace Brower Barbara Kleinfeld, in memory of Judith Lackner Gerald Knorovsky Katherine Kraus Hareendra & Sanjani Kulasinghe Marshall Lambert Molly "Mary" Lannon Rita Leard Rebecca Lee & Daniel Rader LeRoy Lehr Daniel Levy Virginia Loman Los Pinos Fly & Tackle Shop Mary Loughran Suzanne Lubar & Marcos Gonzales, in memory of Larry Lubar Robert Lynn & Janet Braziel Frank Maher Shila Marek Elizabeth Marra April & Benny Martinez Yilian Martinez Tom & Constance Matteson Janet Matwiyoff Peter & Lois McCatharn Marcia McCleary David & Jane McGuire Moses Michelsohn Kathleen Miller Robert F. Miller Ben Mitchell Bryant & Carole Mitchell Robert & Phyllis Moore Roy & Elizabeth Morgan Letitia Morris Shirley Morrison Baker H. Morrow & Joann Strathman John & Patsy Mosman Brian Mulrey Andrea Mungle Katarina Nagy Jim & Beth Nance Daniel & Patricia Nelson Ronald & Diane Nelson Richard & Marian Nygren Ruth Okeefe

THANK YOU .

Peter Pabisch Eric Parker Robert Parker Howard Paul Brian Pendley Oswaldo Pereira & Victoria Hatch P.F. Chang's Barbara Pierce Daniel Puccetti Therese Quinn Jerry & Christine Rancier Range Cafe John Rask Kay Richards Donna Rigano Margaret Roberts Gwenn Robinson, MD, & Dwight Burney III, MD Glenn & Amy Rosenbaum Christopher Rosol Miranda Roy, in memory of Ruth "Mombo" Schluter Charles Rundles Robert Sabatini & Angela Bucher Debra Saine Evelyn E. & Gerhard L. Salinger Katherine Saltzstein Savoy Bar & Grill Peter & Susan Scala Leslie Schumann Timothy Schuster Jane & Robert Scott Kendra Scott Seasons 52 Seasons Rotisserie & Grill Robert & Joy Semrad Arthur & Colleen Sheinberg Joe Shepherd Beverly Simmons John Simpson Norbert F. Siska Bob & Cynthia Slotkin Stephen Smith Catherine Smith-Hartwig Smith's Community Rewards Allen & Jean Ann Spalt Charlie & Alexandera Steen Theodore & Imogen Stein Dorothy Stermer & Stacy Sacco Brent & Maria Stevens Elizabeth Stevens & Michael Gallagher Stone Age Climbing Gym Gary Swanson Texas Roadhouse Julie Tierney Dave Tighe Valerie Tomberlin John & Karen Trever Sally Trigg Caren Waters Elaine Watson & David Conklin Dale A. Webster Tom Wheatley Leslie White Lisa & Stuart White, in honor of Thomas Martin's op-ed Robert & Amy Wilkins

Kathryn Wissell Daniel & Jane Wright Kenneth Wright Kari Young Zinc Wine Bar & Bistro 2/20/2024

●

The New Mexico Philharmonic

Thank You for Your Generous Support

Legacy Society

Volunteers, Expertise, Services, & Equipment

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

The New Mexico Philharmonic would like to thank the following people for their support and inkind donations of volunteer time, expertise, services, product, and equipment.

CITY & COUNTY APPRECIATION Mayor Tim Keller & the City of Albuquerque Trudy E. Jones & the Albuquerque City Council The Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Amanda Colburn & the Bernalillo County Special Projects Councilor Tammy Fiebelkorn Councilor Renee Grout Councilor Dan Lewis

BUSINESS & ORGANIZATION APPRECIATION The New Mexico Philharmonic Foundation The Albuquerque Community Foundation HOLMANS USA CORPORATION

INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Ian McKinnon & The McKinnon Family Foundation Billy Brown Alexis Corbin Anne Eisfeller Chris Kershner Jackie McGehee Brad Richards Barbara Rivers Emily Steinbach Brent Stevens

VOLUNTEERS HOSTING VISITING MUSICIANS Don & Cheryl Barker Ron Bronitsky, MD, & Jim Porcher Tim Brown Isabel Bucher & Graham Bartlett Mike & Blanche Griffith Suzanne & Dan Kelly Ron & Mary Moya Steve & Michele Sandager 2/20/2024

Giving for the future

Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier Edie Beck Nancy Berg Sally A. Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Eugenia & Charles Eberle Bob & Jean Gough Peter Gregory Ruth B. Haas Howard A. Jenkins Joyce Kaser Walter & Allene Kleweno Louise Laval Julianne Louise Lockwood Dr. & Mrs. Larry Lubar Joann & Scott MacKenzie Margaret Macy Thomas J. Mahler Gerald McBride Shirley Morrison Betsy Nichols Cynthia Phillips & Thomas Martin George Richmond Eugene Rinchik Barbara Rivers Terrence Sloan, MD Jeanne & Sid Steinberg Charles Stillwell William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Charles E. Wood Dot & Don Wortman 2/20/2024

●

●

nmphil.org

19

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

20

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. 5

Ray Reeder Charles & Ruth Snell Henry & Ettajane Conant Nancy Hill Daniel T. O’Shea Charles & Linda White Dal Jensen Charlotte McLeod David Peterson 505 Southwest Auto Ninon Adams David Baca Mark & Beth Berger Charleen Bishop John Bowers & B.J. Fisher Eric R. Brock & Mae S. Yee Camille Carstens Joseph Cella Robert Chamberlin Dennis Chavez Development Corp.

Olinda Chavez Helene Chenier Hugh & Kathleen Church James Cole Barbara L. Daniels Drina Denham Jerry & Susan Dickinson Vicky Estrada-Bustillo Alfred & Patricia Green Peter Gregory Karen Halderson Samuel & Laila Hall Herman Haase Jo Ellen Head Kiernan Holliday Michael & Sandra Jerome Robert H. & Mary D. Julyan Julia Kavet Henry Kelly Robert & Toni Kingsley Walter & Allene Kleweno, in memory of Pegg Macy Gerald Knorovsky L.D. & Karen Linford Betty Max Logan Douglas Madison Elizabeth Davis Marra Salvatore Martino Donald McQuarie Dr. William Moffatt James B. & Mary Ann Moreno Cary & Evelyn Morrow Karen Mosier David & Marilyn Novat Richard & Dolly O'Leary Maureen Oakes Eric P. Parker Michael Pierson & Jane Ferris Karla Puariea Russell & Elizabeth Raskob George & Sheila Richmond Margaret E. Roberts Matthew Roberts Judith Roderick Marian Schreyer Drs. M. Steven Shackley & Kathleen L. Butler Joseph Shepherd & Julie Dunleavy Lillian Snyder Julianne Stangel

Ronald T. Taylor Marta Terlecki Betty Tichich Marvin & Patricia Tillery Robert Tillotson Jorge Tristani (President, Dennis Chavez Development Corp.)

Harold & Darlene Van Winkle Lana Wagner Dale Webster Kevin & Laurel Welch Liza White Marc & Valerie Woodward Diana Zavitz Michael & Jeanine Zenge Linda R. Zipp, MD Jeffrey G. Allen Marilyn Bowman Stephen & Merilyn Fish Lorraine B. Gordon Hareendra & Sanjani Kulasinghe David C. McGuire Jr. William & Cynthia Warren John Vittal Margaret Lieberman Judith Anderson Marcia Congdon Genevieve Davidge Winnie Devore Karen Duray Jackie Ericksen John & Nancy Garth Allison Gentile Andrea Granger Fred & Joan Hart Edgarton (E.R.) Haskin Jr. Theresa Homisak Stephanie Kauffman Basil Korin Frederic & Joan March Cristina Pereyra Luana Ramsey J. Sapon & Allison Gentile Michael & Lisa Scherlacher John & Sherry Schwitz Beverly Simmons Alexandra Steen Kathleen Stratmoen Dean Tooley Kenneth Wright Kenneth & Barbara Zaslow Andrew & Lisa Zawadzki Peter & Ann Ziegler Mary J. Zimmerman Alvin Zuckert Dante & Judie Cantrill Lori Johnson Douglas Cheney Martha Corley Barbara Killian Gary Mazaroff Theodore & Sue BradiganTrujillo Christopher Behl Mary Compton Henry Daise Arthur Flicker Andrew McDowell & Natalie Adolphi Claude Morelli

Noel Pugach Bonnie Renfro Elizabeth Stevens Arthur Alpert Stanley & Helen Hordes Edward & Carol Ann Dzienis Bob Crain Denise Fligner & Terry Edwards Stephen Schoderbek Krys & Phil Custer Deborah Peacock & Nathan Korn Rita Leard Carol Diggelman Paul Isaacson Sarah Barlow Martin & Ursula Frick Robert & Phyllis Moore Gary & Nina Thayer Sharon Moynahan & Gerald Moore Jeffrey West Ina Miller Bruce Miller Julie Kaved Jeffery & Jane Lawrence Dolores Teubner Ronald & Sara Friederich Helen Feinberg Volti Subito Productions Melbourn & Dorothy Bernstein 2/20/2024

●

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 Ruth Ronan Edward Rose, MD Marian & Howard Schreyer Bruce & Sandra Seligman Frederick & Susan Sherman David & Heather Spader Al & Melissa Stotts Charles & Marcia Wood

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 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

nmphil.org

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 foundation.daddario.com

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

BRAND ONE SHEET

March 20, 2023 | Version 1.0

Mission

Values

We are dedicated to achieving justice for each client to improve lives and our communities.

Fearlessness For Individual and Community Justice To Hold the Harmful Accountable

New Mexico Philharmonic Foundation Inc. nmphilfoundation.org

Excellence In Professionalism In Knowledge In Results and Continous Improvement

Collaboration With Clients

With Each Other Olga Kern International With Empathy, Compassion, and Integrity PianoRespect, Competition olgakerncompetition.org

Main Logo

Logo Variants

The full color lockup should be used on solid, light backgrounds on print and digital collateral where the tagline is completely legible.

The full white lockup should be used on solid,

backgrounds on print and digital collateral Robertson & Sons dark Violin Shop where the tagline is completely legible. robertsonviolins.com

The full gray lockup should be used on solid, light backgrounds on grayscale collateral where the tagline is completely legible.

Singleton Schreiber singletonschreiber.com

Colors

CMYK (full color in print) C:86 M:80 Y:42 K:37

CMYK (full color in print) C:81 M:62 Y:0 K:0

CMYK (full color in print) C:4 M:47 Y:100 K:0

RGB (full color on screen) R:47 G:51 B:81

RGB (full color on screen) R:66 G:103 B:176

RGB (full color on screen) R:238 G:151 B:33

Pantone (spot color in print) 534 C

Pantone (spot color in print) 7455 C

Pantone (spot color in print) 7408 U

Hex (full color on web) #2F3351

Hex (full color on web) #4267B0

Hex (full color on web) #EE9721

#0C515A

#137E8D

#6B8AC7

#BE750E

Typography

Collateral

Noto Serif is used for main headers (h1, h2).

All print and online collateral, such as fliers and

22

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

RGB (full color on screen) R:255 G:255 B:255 Call today! (505) 323-4343 Pantone (spot color in print) 000 C

Hex (full color on web) #FFFFFF

#F5C27A

pitch presentations, should use the new 12 brand. / No. 5 2023/24 Season / Volume If you need a template or have a question,

Helvetica Neue is for subheaders (h3, h4, etc.) and body copy (p), including in email correspondence.

please email person@singletonschreiber.com.

The new brand should also appear in your email signature. A sample of what it should look like is to the right.

#F9DCB3

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

Al Stotts

Vice Chair

David Peterson Secretary

Fritz Eberle Treasurer

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

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

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

President & CEO Music Director

Vice President of Business Vice President of Operations

Personnel Manager Principal Librarian Assistant Librarian

Director of Community Relations & Development Officer

The New Mexico Philharmonic

Office Manager

Front of House Manager

Design & Marketing Editor

Young Musician Initiative Program Manager

Mary Montaño Grants Manager

nmphil.org

23

2024 E-Class

Evolves With You

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