New Mexico Philharmonic Program Book • 2023/24 Season • Volume 12 • No. 6

23/24 VOLUME 12 / NO. 6

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EXPERIENCE

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

TABLE OF CONTENTS PROGRAMS

April 28, 2024 May 3, 2024 May 4, 2024 May 18, 2024 Program Notes

nmphilfoundation.org STRATEGIES FOR

WISE GIVING

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

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

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

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

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

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

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Roberto Minczuk Elinor Rufeizen Na’Zir McFadden Anthony Ratinov Michael Krajewski Mick Wilson Gordy Marshall Anna Tifu

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YOUR NMPHIL

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

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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

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

PLAN A WISE GIVING STRATEGY

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CONCERT PROGRAM .

AFTERNOON CLASSICS

Schubert the Great!

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Sunday, April 28, 2024, 3 p.m.

Volcano Vista High School (Performing Arts Center)

Elinor Rufeizen conductor

Symphony No. 8 in b minor, “Unfinished,” D. 759 I. Allegro moderato II. Andante con moto

Franz Schubert (1797–1828)

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

Symphony No. 9 in C Major, “The Great,” D. 944 I. Andante—Allegro, ma non troppo II. Andante con moto III. Scherzo. Allegro vivace IV. Allegro vivace

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Schubert

MAKING A DIFFERENCE

This performance is made possible by: The Meredith Foundation

CONCERT PROGRAM .

COFFEE CONCERT

Early Beethoven

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Friday, May 3, 2024, 10:45 a.m.

South Broadway Cultural Center: The John Lewis Theatre

Na’Zir McFadden conductor Anthony Ratinov piano

Overture to The Creatures of Prometheus, Op. 43 Ludwig van Beethoven

(1770–1827)

Piano Concerto No. 3 in c minor, Op. 37 I. Allegro con brio II. Largo III. Rondo. Allegro—Presto Anthony Ratinov piano

Beethoven

MAKING A DIFFERENCE

This performance is made possible by: The Meredith Foundation Additional support provided by: The City of Albuquerque

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

Symphony No. 2 in D Major, Op. 36 I. Adagio molto—Allegro con brio II. Larghetto III. Scherzo. Allegro vivo IV. Allegro molto

The New Mexico Philharmonic

Beethoven

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CONCERT PROGRAM .

ROCK & POPS

GO NOW! A TRIBUTE TO THE MUSIC OF THE MOODY BLUES

Saturday, May 4, 2024, 8 p.m.

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Popejoy Hall

GO NOW! Michael Krajewski guest conductor Mick Wilson lead vocals Gordy Marshall drums

The New Mexico Philharmonic performs the Music of The Moody Blues featuring the band GO NOW! Including Michael Krajewski, guest conductor; Mick Wilson (known from 10cc), lead vocals; and Gordy Marshall (known from The Moody Blues), drums.

Join your NMPhil and experience this timeless music live, performed by GO NOW!, led by Gordy Marshall, 25-year drummer with Rock and Roll Hall of Famers The Moody Blues.

This is an incredible tribute to the greatest classic rock band of a generation. Gordy presents a super-group of world-class musicians, singers, and songwriters, including Mick Wilson, lead singer with 10cc for more than 25 years, who, between them, perform the Moodies’ legendary and timeless catalogue of songs and hits. These include “Tuesday Afternoon,” “Go Now,” “Legend of a Mind (Timothy Leary’s Dead),” “I Know You’re out There Somewhere,” “Question,” “Isn’t Life Strange,” plus “Forever Autumn” and a show-stealing rendition of “Nights in White Satin.”

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MAKING A DIFFERENCE

This performance is made possible by: Bernalillo County

CONCERT PROGRAM .

POPEJOY CLASSICS

Roman Echoes

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Saturday, May 18, 2024, 6 p.m.

5 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Anna Tifu violin

Overture to Ruslan and Lyudmila

Mikhail Glinka (1804–1857)

Violin Concerto in d minor Aram Khachaturian I. Allegro con fermezza (1903–1978) II. Andante sostenuto III. Allegro vivace Anna Tifu violin

MAKING A DIFFERENCE

This performance is made possible by: The Albuquerque Community Foundation PRE-CONCERT TALK

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

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

Spartacus Suite No. 2 I. Adagio of Spartacus and Phrygia II. Entrance of the Merchants—Dance of a Roman Courtesan III. General Dance IV. Entrance of Spartacus—Quarrel V. Treachery of Harmodius VI. Dance of the Pirates

Khachaturian

Pines of Rome, P. 141 I. I pini di Villa Borghese (“The Pines of the Villa Borghese”) II. Pini presso una catacomba (“Pines Near a Catacomb”) III. I pini del Gianicolo (“The Pines of the Janiculum”) IV. I pini della via Appia (“The Pines of the Appian Way”)

Ottorino Respighi (1879–1936)

The New Mexico Philharmonic

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

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

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

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

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

Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone Award of Excellence in 2012 for best recording of this repertoire.

His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin GRAMMY in 2004 and was nominated for an American GRAMMY in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released

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

a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 5, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prizewinner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album.

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

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

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

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Award for Outstanding Achievement, Morse Teaching Fellowship Award, and scholarships from the American-Israel Cultural Foundation. Initially a clarinetist, she received a Bachelor’s degree at the Cleveland Institute of Music and studied at the Conservatoire Nationale Supérieur de Musique et de Danse de Paris. ●

Elinor Rufeizen conductor Rising Israeli conductor Elinor Rufeizen has distinguished herself as a compelling presence on the podium and in the opera pit. She was recently named an Equilibrium Young Artist and will be working with her mentor, singer-conductor Barbara Hannigan, throughout the 2022/2023 season, in addition to making her debut at the Stadttheater Giessen, and serving brief stints as an assistant conductor for the New York Philharmonic and National Symphony Orchestra (Washington, D.C.).

Elinor has conducted the Haifa Symphony, New Jersey Symphony, Orchestre de Chambre de Paris, Juilliard Orchestra, Bridgeport Symphony, and Metropolis Ensemble. She was also a conducting fellow at the Dallas Opera and was selected to work with Riccardo Muti and conduct Nabucco with Orchestra Giovanile Luigi Cherubini in Fondazione Prada, Milan.

She has collaborated with many artists, among them Emanuel Ax, Daniil Trifonov, and Susan Graham; members of the Ébène, Kronos, Juilliard, and Cleveland Quartets; and living composers Jörg Widmann, Shulamit Ran, Steven Stucky, Steven Mackey, Philippe Hersant, and Andrew Norman.

Elinor graduated from The Juilliard School with a Master’s degree in orchestral conducting, studying with Alan Gilbert and David Robertson. She is a recipient of the Bruno Walter Memorial Scholarship, Charles Schiff Conducting

Na’Zir McFadden conductor American conductor Na’Zir McFadden is the Assistant Conductor and Phillip & Lauren Fisher Community Ambassador of the Detroit Symphony Orchestra, under the guidance of Music Director Jader Bignamini. McFadden also serves as Music Director of the Detroit Symphony Youth Orchestra.

Establishing his presence on the classical music scene, McFadden’s 2023/24 season includes debuts with the North Carolina Symphony, New Mexico Philharmonic, and a return to the Philadelphia Ballet; he will also serve as a guest cover conductor for the Baltimore Symphony Orchestra, in addition to maintaining several ongoing engagements with the Detroit Symphony Orchestra.

The Boston Symphony Orchestra recently announced McFadden as one of the 2024 TMC Conducting Fellows.

As a fellow, McFadden will conduct the Tanglewood Music Center Orchestra in numerous performances and participate in masterclasses led by Andris Nelsons, Alan Gilbert, and Dima Slobodeniouk.

In the 2022/23 season, he made his subscription debut with the Detroit Symphony Orchestra, alongside bass-

baritone Devóne Tines and clarinetist Anthony McGill. In March 2024, he will conduct the DSO’s Classical Roots program, premiering two new works by composers Billy Childs and Shelly Washington.

Other career highlights have included debuts with the Utah Symphony Orchestra, Kalamazoo Symphony Orchestra, and Philadelphia Ballet.

Additionally, McFadden led a recording project with the Civic Orchestra of Chicago—featuring Hilary Hahn as cocollaborator and soloist.

In 2020, McFadden was named the inaugural Apprentice Conductor of the Philadelphia Ballet, a position he held until 2022. He also served as the Robert L. Poster Conducting Apprentice of the New York Youth Symphony from 2020 to 2021.

At the age of 16, Na’Zir conducted his hometown orchestra—The Philadelphia Orchestra—in their “Pop-Up” series, meeting their Music Director Yannick Nézet-Séguin, who has been a mentor ever since. The Philadelphia Inquirer praised his “great stick [baton] technique and energetic presence on the podium” in their concert review. ●

Anthony Ratinov piano Award-winning pianist Anthony Ratinov has been praised internationally for his “precision, crystalline sharpness, and great inner energy” (L’Ape Musicale) as well as his “class, style, technical mastery, and solo prowess” (Beckmesser). Anthony is the recent winner of Second Prize at the prestigious continued on 10

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64th Ferruccio Busoni International Piano Competition in Bolzano, Italy, where his performance of Prokofiev’s Third Piano Concerto was lauded for “sporting a pianism at the highest level … with admirable dexterity and with stainless precision” (L’Ape Musicale).

Anthony has won top prizes at many other international competitions, including First Prize at the 2023 Ricard Viñes International Piano Competition, Second Prize and the Audience Favorite Prize at the 2023 València Iturbi International Piano Competition, and Second Prize at the 2022 Olga Kern International Piano Competition.

His performances of Spanish works have also been recognized by special prizes at competitions across Spain, including awards at both the València Iturbi Competition and the Maria Canals Competition for the best performance of Spanish music.

Anthony began studying piano at the age of 4 with his grandmother, Edit Ratinova, who taught at the renowned Gnessin Music School in Moscow, Russia, for 45 years and was a student of the school’s founder, Elena Fabianovna Gnesina. Anthony was recently accepted into the highly selective and prestigious Artist Diploma program at The Juilliard School and joined the studio of Robert McDonald in fall 2023. He completed his graduate studies at the Yale School of Music, studying with Boris Berman and Boris Slutsky, and previously studied at Yale University, where he majored in chemical engineering and graduated with honors, in addition to studying piano with Wei-Yi Yang.

This past season, Anthony has appeared as a soloist with orchestras across Spain, Italy, and the United States, performing concertos such as Brahms No. 2, Prokofiev No. 3, and Beethoven No. 3.

He has given solo concert tours across the Netherlands and South Florida, and performed at such prominent venues as The Royal Concertgebouw in Amsterdam, the ORF RadioKulturhaus performance hall in Vienna, and the Kennedy Center for the Performing Arts. Highlights of the upcoming season include a solo concert tour in València and a concert tour as

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a soloist with the Orquestra Simfònica del Vallès across Spain, including a performance at the Palau de la Música in Barcelona. Anthony’s debut CD will also be released next year on KNS Classical, featuring works by Albéniz, Scriabin, Chopin, and Bach.

A celebrated and sought-after chamber musician, Anthony has won several prestigious chamber music competitions as a member of the piano trio Trio Ondata—recently winning First Prize and the Audience Favorite Prize at the 2023 Chamber Music in Yellow Springs Competition and the Silver Medal at the 2022 Fischoff Chamber Music Competition. Anthony actively performs and participates in summer festivals, including the Taos School of Music Chamber Music Festival, the Bowdoin International Music Festival, the Mimir Chamber Music Festival, the Semaine Internationale de Piano in Switzerland, the Virtuoso & Belcanto Festival in Italy, the International Holland Music Sessions, and the International Summer Academy in Vienna, where he was featured on the highlight performances CD from the festival’s recent years.

Anthony also enjoys exploring new music and working with composers, having commissioned several piano solo and chamber music works, and has performed as part of new music programs such as the Gamper Contemporary Music Festival at the Bowdoin International Music Festival, the New Music New Haven series at the Yale School of Music, and the “Just Composed” program at the International Summer Academy in Vienna. ●

Michael Krajewski guest conductor Known for his entertaining programs and engaging personality, Michael Krajewski is a much sought-after pops conductor in the U.S., Canada, and abroad.

His twenty-year relationship with the Houston Symphony included seventeen years as Principal Pops Conductor. He also served as Principal Pops Conductor of the Long Beach Symphony for eleven years, Principal Pops Conductor of Atlanta Symphony for eight years, Music Director of the Philly Pops for six years, and Principal Pops Conductor of the Jacksonville Symphony for twenty-five years.

Krajewski’s busy schedule as a guest conductor includes concerts with major and regional orchestras across the United States. In Canada, he has appeared with the orchestras of Toronto, Ottawa, Vancouver, Calgary, Edmonton, Winnipeg, Regina, and KitchenerWaterloo. Overseas, he has performed in Ireland, Spain, the Czech Republic, Iceland, Malaysia, and China.

Krajewski has conducted concerts featuring notable musicians and entertainers from many diverse styles of music. He has worked with such classical luminaries as vocalist Marilyn Horne, flutist James Galway, pianist Alicia de Larrocha, and guitarists Pepe and Angel Romero.

In the field of popular music, he has performed with Roberta Flack, Judy Collins, Art Garfunkel, Kenny Loggins, Ben Folds, Rufus Wainright, Jason Alexander, Patti Austin, Sandi Patty,

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Megan Hilty, Matthew Morrison, Doc Severinsen, the Preservation Hall Jazz Band, The Chieftains, Chicago, Pink Martini, and Big Bad Voodoo Daddy.

Born in Detroit, Krajewski studied music education at Wayne State University and conducting at the Cincinnati College-Conservatory of Music. He was an Antal Dorati Fellowship Conductor with the Detroit Symphony Orchestra and subsequently served as the DSO’s assistant conductor for four years. Krajewski now lives in Florida with his wife, Darcy. In his spare time, he enjoys travel, photography, and solving crossword puzzles. ●

Mick Wilson lead vocals As a vocalist and percussionist, Mick has performed with artists such as Lionel Ritchie, Kylie Minogue, Gary Barlow, Cher, Ellie Goulding, Paloma Faith, Chris Rea, Smokey Robinson, Jessie J, Robin Gibb, Lulu, and the KLF. Mick was also honored to be a part of the band for Jeff Lynne’s ELO concert in London’s Hyde Park.

Joining Graham Gouldman for an acoustic set in London some time ago, Mick soon became a regular in that incarnation of 10cc, taking on lead vocal duties and playing percussion, guitar, and keyboards. Graham and the band have performed extensively in Europe and toured Australia, Japan, New Zealand, and the U.S. He is also a regular member of The SAS Band, which play all over the world, with guest performers such as Brian May,

The New Mexico Philharmonic

Roger Daltrey, Roger Taylor, Kiki Dee, and Tony Hadley.

Mick has his own recording and production facility where he has produced and composed music for various TV and live events for companies such as Sky, BBC, ITV, McDonalds, BT, X-Factor, Levi’s, Toyota, Mercedes, and Ford, most recently providing the music for this year’s Volvo Ocean Race.

His debut solo album, So the Story Goes, was co-produced and co-written with Graham Gouldman. His latest release in 2022, Chameleon, is a collection of twelve of Mick’s favorite cover songs that he has performed over the years at his solo acoustic shows. To quote Mick: “Some of them are just a joy to sing and others I wish I had written, but either way, they all have a special connection for me.

I hope that everyone enjoys them.”

Mick continues to be much in-demand as a session vocalist in and around London and can be heard on various TV and film productions, including the recent Cilla miniseries and Sunshine On Leith motion picture.

Most recently, Mick was the “singing voice” in the Academy Award-winning movie Bohemian Rhapsody for the actor who portrayed Queen’s drummer.

We are absolutely delighted he is singing and playing with us in GO NOW!— The Music of The Moody Blues. ●

Gordy Marshall drums Gordy toured the world with The Moody Blues for 25 years. For six of those years, he also toured with Justin Hayward on the arena tours of Jeff Wayne’s The War of the Worlds.

As a session musician, the list of artists on his CV include Sir Cliff Richard, Rod Stewart, Mariah Carey, Emma Bunton (Spice Girls), Joss Stone, Gary Barlow, Ricky Wilson (Kaiser Chiefs), Mike Batt, Katie Melua, Chris Spedding, Herbie Flowers, Level 42’s Mike Lindup, Chris Thompson, Russell Watson, Jason Donovan, and Asia’s John Payne.

In 2012, Splendid Books published Gordy’s first travel book, Postcards from a Rock & Roll Tour. It’s available on the GO NOW! website, Amazon, iTunes, Kindle, and as an audio book. Sections of the audio book have been serialized on BBC Radio.

In addition to his pop and rock work, Gordy has been involved in many West End musicals, including Fame, Grease, We Will Rock You, Mamma Mia!, Rent, Whistle Down The Wind, Thriller Live!, Wicked, and Hamilton. ●

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Anna Tifu violin Winner of the 2007 George Enescu Competition in Bucharest, Anna Tifu is considered one of the leading violinists of her generation.

Born in Cagliari, she began playing the violin at the age of 6, under the guidance of her father, and began performing in public when she was only 8 years old, winning First Prize with special honors at the Vittorio Veneto concert series. At the age of 11, Anna made her debut as soloist with the Orchestre National des Pays de la Loire and at 12 years old, she performed the Bruch Violin Concerto at La Scala in Milan. At 14, she won First Prize at the Viotti Valsesia International Competition as well as in Stresa, where she won the Marcello Abbado International Competition. Anna received her Music Diploma in Cagliari at the age of 15 with special honors. Anna studied with Salvatore Accardo at the Academy Walter Stauffer in Cremona and at the Academy Chigiana of Siena where, in 2004, she obtained the Certificate of Honor. She was supported by the Mozart Gesellschaft Dortmund and at the age of 17, Anna was accepted to the Curtis Institute of Music in Philadelphia where she studied with Aaron Rosand, Shmuel Ashkenzay, and Pamela Frank. Later, she was awarded a scholarship from the International Music Academy in Cagliari to study in Paris where she received the Diplome Superieur de Concertiste at the Ecole Normale.

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Anna has appeared with many of the world’s finest orchestras and chamber ensembles, including Orchestra Nazionale di Santa Cecilia, Orchestra Nazionale della RAI di Torino, Orchestra della Fondazione Arena di Verona, Orchestra del Teatro Carlo Felice di Genoa, Orchestra Filarmonica Arturo Toscanini, Orchestra Haydn di Bolzano e Trento, Orchestra del Teatro La Fenice di Venezia, Simòn Bòlivar Orchestra of Venezuela, Stuttgarter Philarmoniker, Dortmunder Philharmoniker, George Enescu Philarmonic Orchestra and Radio Orchestra of Bucharest, Lithuanian Chamber Orchestra, Munich Chamber Orchestra, KZN Philarmonic of Durban, Israel Philharmonic, Prague Chamber Orchestra, and Orchestra Filarmonica del Qatar.

She has worked with conductors such as Yuri Temirkanov, Gustavo Dudamel, Diego Matheuz, David Afkham, Juraj Valcuha, Mikko Franck, Daniele Gatti, Christoph Poppen, Justus Frantz, Cristian Mandeal, Horia Andreescu, Sergiu Commissiona, Lü Jia, Julian Kovatchev, Hubert Soudant, Gèrard Korsten, and Gabor Ötvös.

Highlights of her recent and upcoming engagements include performances at the George Enescu International Festival of Bucharest with Orchestra RAI of Torino and Juraj Valcuha; a tour in Russia with Orchestra RAI; a concert with Gustavo Dudamel and the Simòn Bòlivar Orchestra; season-opening concerts with the Orchestra del Teatro Carlo Felice di Genoa, where she played on the famous violin Guarneri del Gesù “IL CANNONE” of Niccolò Paganini, in Venice for the Teatro La Fenice with Diego Matheuz, in Milano for Società dei Concerti, where she is regularly invited, in Verona for Amici della Musica, and in Paris with Orchestre Philarmonique de Radio France, under the baton of Mikko Franck; a performance at the Stradivari Festival in Cremona, where she performed with the Etoile Carla Fracci; concerts in Rome with Yuri Temirkanov and Orchestra Accademia Santa Cecilia.

Most recently, she made her debut for Warner Classics where she recorded with Italian pianist Giuseppe Andaloro.

She has collaborated with musicians such as Maxim Vengerov, Yuri Bashmet, Ezio Bosso, Enrico Dindo, Julien Quentin, Giuseppe Andaloro, Mario Brunello, Michael Nyman, the Etoile Carla Fracci, the actor John Malkovich, and Andrea Bocelli, who invited Anna as a special guest for concerts in Italy, Egypt, and the United States.

She has performed in famous festivals such as the Tuscan Sun Festival, Festival de Musique Menton, Ravello Festival, Al Bustan in Beirut, and the George Enescu Festival, where she is regularly invited, as well as in some of the best-known institutions and concert halls including, La Scala di Milano, Auditorium Parco della Musica di Roma, Sala Verdi di Milano, Great Hall of Saint Petersburg, Tchaikovsky Concert Hall of Moscow, Konzerthaus of Dortmund, Konzerthaus of Berlino, Beethoven-Saal of Stuttgart, Teatro La Fenice di Venezia, Rudolphinum Dvořák Hall of Prague, Ateneo and sala Palatului of Bucharest, Madison Square Garden of New York, Staples Center of Los Angeles, and Simòn Bòlivar Hall of Caracas.

Anna Tifu has been a spokesperson for the Italian airline Alitalia, along with Riccardo Muti, director Giuseppe Tornatore, and dancer Eleonora Abbagnato. In celebration of the 2020 summer solstice, the Orchestra Accademia Nazionale di Santa Cecilia and Anna Tifu— who wore three Fendi Couture dresses for the occasion—performed “Summer” from The Four Seasons by Antonio Vivaldi for the Anima Mundi project for Maison Fendi online streaming. In 2020, she was awarded a Paul Harris Fellow from the Rotary Club Milano Sempione.

Anna plays the 1783 “Kleynenberg” Giovanni Battista Guadagnini on loan from the Canale Foundation of Milan. ●

PROGRAM NOTES .

NOTES BY CHARLES GREENWELL

Franz Schubert

Symphony No. 8 in b minor, “Unfinished,” D. 759 (1822) Franz Schubert was born on January 31, 1797, in Vienna, Austria, and died on November 19, 1828, in Vienna. Symphony No. 8 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings.

Approximately 26 minutes.

This famous symphony was started

by Schubert in 1822 but left with only two movements, even though he lived for another six years. To this day, musicologists and historians have no real answer as to why he failed to complete the symphony. As a result, this twomovement torso has achieved almost mythical status, and is normally viewed as a one-off occurrence. In fact, Schubert was a chronic un-finisher of compositions, and these include symphonies, piano sonatas, string quartets, and even some songs. He was also notoriously absentminded, and it is well-established that he actually lost quite a number of movements and shorter pieces. As to this work and its incompletion, there have been a number of theories advanced, among them: He was distracted by the inspiration of his Wanderer Fantasy for solo piano, which occupied his time right after writing the two movements; the first two movements are both in triple meter (3/4 for the first and 3/8 for the second), and having the third movement also in triple meter, the usual rhythm for a scherzo, may have made him lose interest in the project; that year of 1822 was when he was diagnosed with the illness that would eventually take his life, and perhaps there were bad associations as a result; and the late Nikolaus Harnoncourt has stated, “I am convinced that Schubert found it impossible to continue after the second movement.

There came a time when he thought this cannot be continued: The form is perfect, and there is simply nothing else to say.”

“The form is perfect, and there is simply nothing else to say.”

—Nikolaus Harnoncourt This probably makes the most sense: We know that he intended to finish the symphony, as there exists a virtually complete third movement in a piano sketch with about 20 bars of orchestration.

However, the musical quality of the third movement is so far inferior to the two completed ones, that it is possible he just gave up, realizing that he had run out of inspiration. Some have argued that the b minor entr’acte in the Rosamunde music is the completed but discarded finale, but musically this holds little water.

Another interesting idea, proposed in 1938 by the German musicologist Arnold Schering, is that the two completed movements form a musical setting of Schubert’s own 1822 fantasy-romance story entitled Mein Traum (My Dream), and that there was nothing more to say.

Whatever the reasons might be, these two completed movements complement each other perfectly, and together form one of the supreme masterpieces in music history. A new world of sound is created here with harmony finely graded to the color of each instrument, melody shaded to an extraordinary degree, and the whole written in a style of vast range and tremendous power. There is as well a depth of feeling that had earlier appeared mainly in his songs. (For the record, in 1928, the Columbia Gramophone Company of England actually considered hosting a competition for the best completion of the symphony! Fortunately, this never happened.)

When the 25-year-old Schubert began writing this symphony, he was charting new musical terrain. His first six symphonies, wonderfully joyous works influenced by Haydn and Mozart, were in the past, and he simply was unable to return to that style. So instead of trying to compete with Beethoven on his own ground, Schubert found a new way of shaping time and tonality that no other

symphonic composer up to then had managed. In the history of the symphony, this music was unprecedented. There is also a fearlessness and directness about the symphony that might have come from his experience of a world of darkness and pain following the diagnosis in 1822 of the disease that would kill him six years later. One can say that the gulf between the Sixth Symphony and the “Unfinished” was to some extent bridged by the symphony sketches from 1818 and 1821 that he never completed. The story behind this symphony’s creation is just as fascinating. In 1823, the Graz Music Society gave Schubert an honorary diploma, and he felt obligated to dedicate a symphony to them in return. He then sent to his friend Anselm Huttenbrenner, a leading member of the Society, the two completed movements plus the first two pages of the beginning of the scherzo.

The existence of this score was public knowledge from at least 1836, but the manuscript remained in the Huttenbrenner family until 1865—why is uncertain— when the conductor Johann von Herbeck retrieved it and subsequently gave the work its first performance in December of that year. On that occasion, the bubbly finale of Schubert’s Third Symphony was added as a totally incongruous finale. Nevertheless, the performance was received with great enthusiasm by the audience. In the final analysis, this extraordinary two-movement torso is one of the wonders of the music world, and we simply need to be grateful that it exists.

As in much of Schubert’s instrumental music, this symphony’s melodic invention demonstrates his remarkable skills as a songwriter. Departing from models of Haydn and Beethoven, who often would thoroughly explore a few themes and then navigate long and ingenious paths between sections, Schubert keeps the focus concentrated on an exquisite continued on 14

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succession of melodies. Moreover, the subdued ending after the two movements is certainly not the way one would normally end a symphony in that era, but right from the start this unique creation demonstrates a reluctance to conform to the Beethoven model of a symphony, and here, tacking on additional movements would have served no purpose. From an early age, its composer pursued his ambitious goals in the face of discouragements that would have deterred lesser men, and a close study of his life reveals a tenacity of purpose that is quite amazing.

In the words of one of his close friends, “Schubert was a little man physically, but musically he was a giant.” ●

NOTES BY DAVID B. LEVY

Franz Schubert

Symphony No. 9 in C Major, “The Great,” D. 944 (1825–1826) Schubert composed a wide variety of music, but his most enduring contributions were to the repertory of song for voice and piano. As best as can be determined, Schubert composed more than 600 accompanied songs in his brief life, as well as a large number of solo piano compositions, operas, sacred vocal works, and chamber music. His gift as a lyrical composer may also be heard in his purely instrumental music, including his chamber music and symphonies. The Symphony No. 9 remained unperformed during Schubert’s lifetime. The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 55 minutes.

Establishing an accurate chronology for Schubert’s symphonies has been difficult. The tedious and gruesome details for this need not be reviewed here, but for our purposes, it is safe to assert that the work before us is, indeed, Schubert’s Ninth Symphony. One also can report with certainty that Schubert worked on it from 1825–1826, with some possible revisions dating as late as 1827, and that this work is the very same one referred

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Schubert’s Eighth and Ninth Symphonies are truly revolutionary works whose influence on the next generation of composers might nearly have been as wideranging as Beethoven’s. to in some historical sources as the “Gastein” Symphony. It is intriguing that the library of Vienna’s Gesellschaft der Musikfreunde contains a complete set of parts dating from that year, an indicator that a performance of the work was contemplated at that time. Performance conditions for orchestral music in Vienna at the time were woefully inadequate, as both Beethoven and Schubert were painfully aware. The first performance of the Ninth Symphony had to wait until Felix Mendelssohn conducted it at Leipzig’s Gewandhaus Concert on March 21, 1839. The first Viennese performance of Schubert’s Ninth took place later that year.

(Schubert’s more popular “Unfinished” Symphony No. 8 did not come to performance until 1865!)

It is fascinating to contemplate where Schubert stood as a composer of symphonies in relation to the career of his contemporary Ludwig van Beethoven.

From our modern standpoint, we can now recognize that Schubert’s Eighth and Ninth Symphonies are truly revolutionary works whose influence on the next generation of composers might nearly have been as wide-ranging as Beethoven’s towering masterpieces. In what ways was Schubert breaking new ground? How did he differ from his more famous contemporary?

Without getting too technical, the answer lies in three principal areas: melody, harmony, and tone color.

Schubert, the unchallenged master of the art song, or lied, brought a new kind of lyricism to instrumental music in which Beethoven seldom indulged.

While Schubert’s fondness for using

close-formed melodies sometimes stood in opposition to the exigencies of classical structure, who even now would be willing to sacrifice their beauties at the altar of the necessities of sonataform development sections? Who, moreover, would want to live without the melodiousness of the Andante con moto (so reminiscent of the opening song of Schubert’s song cycle Winterreise) or the intoxicating waltz theme that forms the trio section of the Ninth Symphony’s scherzo? Schubert’s melodic gifts meant that his instrumental movements would run at greater length than those by his peers. Robert Schumann, whose honor it was to discover the Ninth Symphony from among the composer’s affects left in the possession of Schubert’s brother, Ferdinand, acknowledged this fact and wrote of the Ninth Symphony’s “heavenly lengths.” In the realm of harmony, Schubert proved to be far more adventurous than Beethoven. Schubert loved, for example, to explore harmonic and tonal by-paths, on both the short-term and long-term levels. Passages in the exposition and recapitulation sections of the outer movements of Schubert’s Ninth Symphony demonstrate this splendidly.

No less impressive is Schubert’s innovative use of orchestral color. Note, for example, the beautiful scoring of the opening theme for two unaccompanied horns and the pianissimo entrances of the trombones—instruments hitherto used to add volume and power to the orchestra.

One must not be left with the impression, however, that Schubert could not rise to the occasion when he needed

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to create Beethovenian drama in his Ninth Symphony. The passages in the first movement referred to earlier, with their strange harmonic excursions and soft trombone entrances, move inexorably toward triumphant climaxes that are no less exhilarating than those encountered in Beethoven’s Seventh Symphony. So, it is, too, with the shattering climax of the second movement. And speaking of Beethoven: Am I the only one who hears an echo of the “Ode to Joy” in the clarinets in the finale of Schubert’s own Ninth Symphony? ●

Ludwig van Beethoven

Overture to The Creatures of Prometheus, Op. 43 (1801) Ludwig van Beethoven, one of history’s pivotal composers, was born on December 15 or 16, 1770, in Bonn, Germany, and died in Vienna on March 26, 1827. His Overture to the ballet The Creatures of Prometheus (Die Geschöpfe von Prometheus) was one of the composer’s early successes in the sphere of public performances after his move to Vienna from his native Bonn.

Based upon a libretto by Salvatore Viganò, who was also a dancer, its premiere took place in the Burgtheater on March 28, 1801, and went on to enjoy more than twenty performances. The work is dedicated to Maria Christiane Fürstin von

Lichnowsky. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings.

Approximately 5 minutes.

Beethoven wrote only one complete ballet score, the product of his early years in Vienna. The commission offered him the opportunity to try out orchestral effects that proved useful as he continued turning his attention to the composition of symphonies. The first chords we hear in the introduction to his Symphony No. 1, Op. 21, which had its premiere in 1800, are reused in the Adagio opening of the Overture to The Creatures of Prometheus.

The music for the ballet itself includes a thunderstorm in its opening scene, and we can hear in this the origins of Beethoven’s even more effective storm in his “Pastoral” Symphony. The original scenario for Viganò’s ballet is lost, but a note in the program describes the title character as “an exalted spirit, who found the humans of his time in a condition of ignorance, refined them through science and art, and brought to them civilized manners, customs, and morals … Two statues have been brought to life and introduced into this ballet, and these, through the power of harmony, are made sensible to the passions of human life. Prometheus leads them to Parnassus so that Apollo, God of the arts, might enlighten them.

Apollo gives them Amphion, Arion, and Orpheus to instruct them in music; Melpomene to teach them tragedy; Thalia, comedy; Terpsichore and Pan, the dance of shepherds; and Bacchus, the heroic dance.” The work, in short, reflects ideals

“Two statues have been brought to life and introduced into this ballet, and these, through the power of harmony, are made sensible to the passions of human life.”

—Salvatore Viganò

consistent with those associated with the Enlightenment (Aufklärung), a movement with which Beethoven had great empathy.

More specifically, the idea of the arts as a humanizing agent was one articulated most powerfully by Friedrich Schiller in his Letters on the Aesthetic Education of Man, published in 1794. As we know, Schiller again loomed large in Beethoven’s thinking in his setting of this poet’s “An die Freude” (“Ode to Joy”) in the finale of his Ninth Symphony. Indeed, Beethoven (along with many other composers) was drawn to Schiller’s poem soon after its publication in 1786, and Beethoven’s earliest ideas for his setting stem from the 1790s, even though they did not achieve fruition until 1824.

After the introduction of the Overture, with its surprising opening chord and noble oboe theme, the tempo shifts to an Allegro molto e con brio, which rushes along with tremendous energy, following the traditional structure of sonata form but filled with early signs of the audacity that form the hallmark of the Beethoven “Eroica” Symphony, such as bold syncopations (off-beat accents). ●

Beethoven

Piano Concerto No. 3 in c minor, Op. 37 (1800) Beethoven’s Third Piano Concerto is dated 1803, although the earliest concept sketch dates back as far as 1796. The score was published in 1804, with a dedication to the Prussian Prince Louis Ferdinand. It received its first performance at Beethoven’s Akademiekonzert on April 5, 1803, in Vienna’s Theater an der Wien, sharing the program with Beethoven’s first two symphonies and his oratorio Christus am Oelberge. The composer wrote his own cadenza for the first movement of the work in 1809. The Concerto is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 34 minutes.

The start to Beethoven’s career in Vienna was a good one. His reputation as continued on 16

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a brilliant pianist was quickly established and commissions poured in steadily. His first two concertos for piano demonstrated clearly that he had learned well from the models offered by Mozart’s masterpieces of the 1780s. He also composed several sonatas and sets of variations during these early stages of his Viennese career.

The Piano Concerto No. 3 in c minor, Op. 37, is a work whose boldness was inspired in no small part to the availability of an instrument built by the French manufacturer Erard that boasted a wider range than the five-octave fortepiano heretofore at his disposal. Beethoven, upon hearing a performance of Mozart’s c minor Piano Concerto (K. 491) remarked to the English composer and pianist J.B. Cramer, “Ah, dear Cramer, we shall never be able to do anything like that.” Another influence may have been a sonata by Johann F.X. Sterkel, whose theme bears an uncanny similarity to the second theme in the first movement of Op. 37. Beethoven’s concerto in turn inspired subsequent piano concertos

by Louis Spohr, Johann Nepomuk Hummel, Frédéric Chopin, and the young Johannes Brahms.

The serious demeanor of Op. 37, Beethoven’s only concerto in a minor key, is its most distinguishing trait, making it kin to his other stormy c-minor compositions such as the Piano Sonatas Op. 10, No. 1, and Op. 13 (“Pathétique”); the String Quartet, Op. 18, No. 4; and the Symphony No. 5, to name but a few. The imposing first movement, marked Allegro con brio, signals a newer “symphonic” mode of expression not found in his first two concertos. Even when faced with a viable model, as was the case with this work, Beethoven had

the rare gift of absorbing it and then turning it to his unique creative purpose.

Among this movement’s several magical moments, the listener is advised to pay close attention to the return of the orchestra following the cadenza.

Normally at this point in the structure of a concerto, the soloist stops playing.

Mozart’s K. 491 is an exception to this rule. Beethoven, however, heightens the dramatic effect even more than his idol could ever imagine.

The opening of the second movement, Largo, still has the ability to take the listener by surprise, despite the tranquility of its principal theme. The reason is Beethoven’s choice of a remote tonality—E Major (four sharps)—inserted between two movements in c minor (three flats). But, as usual, Beethoven is thinking along the lines of long-term strategic planning. The final chord of the Largo is marked forte (meaning “loud” or “strong”), which is no small surprise in its own right given how the music had been winding down in dynamics. The highest pitch in the final chord is a G-sharp, which Beethoven ingeniously reinterprets enharmonically as A-flat, forming the apex of the Rondo’s Allegro opening theme. Even for those of us who know the piece well, the effect of this juxtaposition of G-sharp and A-flat strikes the ear as freshly today as it surely must have done for those in attendance at its premiere in 1804. ●

Beethoven

Symphony No. 2 in D Major, Op. 36 (1802) The Symphony No. 2 is a relatively early work that consolidates Beethoven’s

“… it seemed to me impossible to leave this world until I have produced everything I feel it has been granted to me to achieve.”

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growing mastery of the genre. It received its first performance on April 5, 1803, at Vienna’s Theater an der Wien. This historic venue still exists and is the home for concerts and operas. Beethoven’s Symphony No. 2 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Approximately 32 minutes.

Three years separate Beethoven’s First and Second Symphonies. The intervening period witnessed an impressive outpouring of new compositions, including important works such as the Third Piano Concerto, Op. 37, the ballet The Creatures of Prometheus, Op. 43, seven Piano Sonatas, Opp. 26, 27/1 & 2, 28, and 31/1–3, the String Quintet, Op. 29, the Sonatas for Violin and Piano, Opp. 23, 24 (“Spring”), and 30/1–3, the Bagatelles for Piano, Op. 33, and numerous smaller works for an astonishing variety of media. Clearly, the young Beethoven’s career was now in full sail. The composer spent the summer of 1802 in the village of Heiligenstadt, which at that time was far removed from the cramped squalor and noise of the city of Vienna. It was here that Beethoven worked on the Sonatas for Violin and Piano, Op. 30, a set of Bagatelles for piano, the first two (probably) of the Piano Sonatas, Op. 31, as well as putting the finishing touches on the Second Symphony, which he dedicated to one of his patrons, Prince Karl Lichnowsky.

The issue of Vienna’s noisiness is not irrelevant, as these months also marked the period when Beethoven came to the realization that his hearing, in a state of deterioration since 1796 (so scholars surmise, as the precise setting of the date when his hearing began to fail is impossible to determine), was incurable. Beethoven confided in only a few of his friends, notably his physician friend Dr. Franz Wegeler and Karl Amenda. The previous year’s agony was exacerbated by the rejection of Beethoven’s proposal of marriage to the 17-year-old Countess Giulietta Guicciardi. The full force of Beethoven’s crisis is revealed in the famous “Heiligenstadt Testament,” penned in October 1802, in which Beethoven writes

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to his brothers, [Caspar] Carl and Johann (whose name, perplexingly, is missing from the document). The “Heiligenstadt Testament” has been parsed in various ways, and it is clear that Beethoven’s despondency over his deafness was so deep that he had contemplated taking his own life. I quote the relevant excerpts: Although born with a fiery and lively temperament, and even fond of the distractions of society, I soon had to cut myself off and live in solitude. When, occasionally, I decided to ignore my infirmity, ah, how cruelly I was then driven back by the doubly sad experience of my poor hearing, yet I could not find it in myself to say to people: “Speak louder, shout, for I am deaf.” Ah, how could I possibly have referred to the weakening of a sense which ought to be more perfectly developed in me than in other people …

What humiliation [I felt] when someone, standing beside me, heard a flute from afar off while I heard nothing, or when someone heard a shepherd singing, and again I heard nothing! Such experiences have brought me close to despair, and I came near to ending my own life—only my art held me back, as it seemed to me impossible to leave this world until I have produced everything I feel it has been granted to me to achieve.

—From Ludwig van Beethoven, ed. Joseph Schmidt-Görg & Hans Schmidt (1970) Nothing in the Second Symphony reveals any of this despair, however. One could, I suppose, read defiance in this work’s audacious virtuosity. Note, for example, the length and complexity of its opening Adagio molto introduction and the lightning speed and brilliance with which the first violins play in the ensuing Allegro con brio! The closest precedent, and possible model for this might have been Mozart’s “Prague” Symphony, although Haydn’s Symphonies Nos. 86 and 104 may also have proved influential (all of these predecessors are in D Major).

Astute listeners also will not fail to take note of the introduction’s imposing descending d-minor arpeggio—a figure that will instantly be recognized by those

Glinka has been acknowledged as one of history’s first important Russian composers and is generally considered to be the founder of the Russian national style. familiar with the principal theme of the first movement of the Ninth Symphony. The development section reaches its climax on c-sharp major harmony (functionally, the dominant of f-sharp minor). Note how cleverly Beethoven surrounds the C-sharp with pitches needed to lead smoothly back to the home key of D Major.

The droll Scherzo: Allegro (no feigned Menuetto this time!) is easily distinguishable by its alternating loud and soft dynamics. The finale, Allegro molto, is an interesting case of Beethoven’s humor, filled with many surprises and false endings. Its opening theme, one of Beethoven’s most sharply chiseled motives, may be seen as kin to the “short-long” figuration (ta-dah!) that opens, and may be found throughout, the first movement. The overall scope of the work led one Leipzig critic writing for the Zeitung für die Elegante Welt to observe that “[the Second Symphony] is a gross enormity, an immense wounded snake, unwilling to die, but writhing in its last agonies, and (in the Finale) bleeding to death.” ●

Mikhail Glinka

Overture to Ruslan and Lyudmila (1837–1842) Russian composer Mikhail Glinka was born on June 1, 1804, in Novopasskoye (District of Smolensk) and died on February 15, 1857, in Berlin. His opera Ruslan and Lyudmila received its first performance on December 9, 1842, at Saint Petersburg’s Bolshoi Theater. The opera is set in Kiev

(Kyyv, now the capital of Ukraine). While the opera is rarely performed in modern times, its overture remains a popular favorite. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. Approximately 5 minutes.

Glinka’s second opera, Ruslan and Lyudmila, was composed in 1842. His first effort, A Life for the Tsar (1836), was based on a historical subject, but for Ruslan and Lyudmila he turned to a fairy tale-poem by Alexander Pushkin, a work recognized as a masterpiece of Russian literature. Unfortunately, the celebrated poet and playwright died before he could help Glinka develop the story into a satisfying opera libretto. The title characters are an ardent suitor and the daughter of the Grand Duke of Kiev. In the story, Ruslan is forced to vie not only with two other suitors, but evil wizards and fairies, too. In the end, however, he is victorious. Glinka’s librettists, not knowing how to weave the several episodes of Pushkin’s tale into a coherent dramatic unit, ended up creating an unwieldy text, which kept the opera from enjoying the success it might otherwise have had.

Stylistically, Glinka’s operas succeeded in synthesizing Italian bel canto qualities, the German Romantic style (exemplified by Carl Maria von Weber), and Russian folk material.

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The musical style of the Overture to Ruslan and Lyudmila, however, can hardly be deemed representative of indigenous Russian music, although this is the music by which Glinka is best known in the West. One may hope that the overture’s popularity might spark sufficient curiosity in Glinka’s music so that his “Russian” side will become better known. Whether this happens anytime soon or not, the Overture to Ruslan and Lyudmila, with its sparkling Italianate energy and attractive melodies—the lyrical second theme is derived from Ruslan’s aria, “O Ludmilla, See, the Gods Smile Upon Us”—will continue to enjoy a secure place in the repertory of symphony orchestras. ●

Aram Khachaturian

Violin Concerto in d minor (1940) Spartacus Suite No. 2 (1950–1954) Armenian-Soviet composer, conductor, and educator Aram Il’yich Khachaturian was born on June 6, 1903, in Tbilisi and died on May 1, 1978, in Moscow. He is best known internationally for his Piano Concerto (1936), the Violin Concerto (1940), and two of his ballet scores— Gayne (1942) and Spartacus (1950–4), excerpts of which have been used in numerous ways, including film scores

such as in Stanley Kubrick’s 2001: A Space Odyssey. Along with Prokofiev and Shostakovich, Khachaturian was a leading figure during the Soviet Era. Although his music received a rebuke from the Stalinist regime, he suffered fewer consequences than his fellow composers. Unlike many of the works of his colleagues, Khachaturian’s most popular works made no pretense of hiding their folkloric origins in Georgian and Armenian soil, couched in colorful, and even exotic, orchestrations.

The Violin Concerto is scored for solo violin, 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, suspended cymbals, tambourine), harp, and strings. Approximately 35 minutes.

The Spartacus Suite No. 2 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, and strings.

Approximately 21 minutes.

Dedicated to David Oistrakh, and first performed by him on November 16, 1940, Khachaturian’s Violin Concerto has become one of the most popular works of its kind composed in the twentieth century. This piece arises, as the case with so much of Khachaturian’s music, out of the folkloric soil of his native Armenia. But more than this, the Violin Concerto is unabashedly obedient to the tradition of its Romantic forerunners.

Khachaturian’s Violin Concerto has become one of the most popular works of its kind composed. This piece arises, as the case with so much of Khachaturian’s music, out of the folkloric soil of his native Armenia.

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One need not listen very long before perceiving the influence of Mendelssohn, and, even more clearly, that of Tchaikovsky. Khachaturian’s eclecticism seems as much a virtue as a vice in his Violin Concerto. Who, after all, can argue with a successful mixture of virtuosity, dance-like qualities, and tunefulness such as one finds in the three movements of this work? Added to these features are its surety of form and colorful orchestration, and its popularity with violinists and audiences vouches for its success.

The first movement, Allegro con fermezza, skillfully balances two main themes. The first of these, introduced by the soloist after a bumptious orchestral introduction, combines a vigorous repeated rhythmic figure with a dance melody. The second theme is a reverie clearly inspired by the model of the nineteenth-century Russian master Aleksandr Borodin. One clear sign of Khachaturian’s debt to Mendelssohn’s Violin Concerto lies in the placement of the cadenza between the end of the development section and the recapitulation.

The second movement, marked Andante sostenuto, begins with a spectral introduction in the lower strings and bassoon. The main theme is a slow and mournful waltz that builds to climaxes of great intensity. The jovial finale, Allegro vivace, is a rondo whose principal theme in D Major evokes memories of the violin concertos of Tchaikovsky and Sibelius. The Borodinlike theme of the first movement makes a reprise in the finale, and the work ends with a contrapuntal joining of this melody and the main rondo idea.

The ballet Spartacus is based loosely on the deeds of the leader of the slave uprising against the Romans during the Third Servile (Gladiator) War (ca.

73 BCE) described by Plutarch. The score won Khachaturian the Lenin Prize for composition in 1954, and the ballet was first staged in Leningrad on December 27, 1956, with choreography

by Leonid Yakobson. The ballet’s principal characters are the Roman consul Crassus, his concubine, Aegina,

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Spartacus, and his wife Phrygia. In 1955, Khachaturian arranged his music into four suites, the second of which will be performed this evening. ●

NOTES BY CHARLES GREENWELL

Ottorino Respighi

Pines of Rome, P. 141 (1924) Ottorino Respighi was born on July 9, 1879, in Bologna, Italy, and died on April 18, 1936, in Rome, Italy. Pines of Rome is scored for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 4 trombones, timpani, percussion, harp, celesta, piano, organ, nightingale recording, and strings.

Approximately 23 minutes.

In 1830, the Russian composer Mikhail Glinka (1804–1857, often referred to as the Father of Russian music) went to Milan, Italy, to absorb the musical culture of the day, and brought back to Russia elements of the bel canto (beautiful singing) style of vocal composition, a new kind of lyricism that would influence the writing of opera in Russia for most of the next 100 years. In 1900, Respighi did the reverse, traveling to Russia where he was to spend the next two years playing viola in the Imperial Theatre Orchestra and studying composition and orchestration with the great and influential Nikolai Rimsky-Korsakov. From this tenure, Respighi was able to put into his compositions a good deal of Rimsky’s kaleidoscopic sense of color and sonority and his amazing capacity for descriptive instrumentation. Respighi thus became one of the most imaginative masters of orchestration in the first half of the 20th century, while at the same time adhering to his late-Romantic roots with very little influence from the revolutionary changes and experimentation that were going on in European music at that time. To many observers during this time, Italian music meant opera, with such greats as Rossini, Verdi, and Puccini leading the

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“Pines of Rome […] uses nature as a point of departure, to recall memories and visions.

The century-old trees that dominate so characteristically the Roman landscape become testimony for the principal events in Roman life.”

—Ottorino Respighi way. Although Respighi did write operas, he became the first Italian composer of the period who achieved popularity, fame, and considerable financial rewards from writing purely orchestral works, the most famous of which, Fountains of Rome, Pines of Rome, and Roman Festivals, are emblematic of the colorful, powerful style that won him worldwide popularity. In this regard, one of the man’s hallmarks was an ability to go what many people consider “over the top” in his use of orchestral color and power— consider the endings of Pines of Rome and Roman Festivals as prime examples.

One other thing that set Respighi apart from his fellow countrymen was a great love of early Italian music, and to this end he set about trying to revive Italy’s musical heritage by, among other things, transcribing and arranging music of the 17th and 18th centuries. This spilled over into his compositions, among them the delightful works for chamber orchestra such as The Birds and the three suites of Ancient Airs and Dances. In 1913, Respighi settled in Rome, was appointed Professor of Composition at the prestigious Accademia di Santa Cecilia, and began a lifelong love/hate affair with The Eternal City. When he died, he was given a state funeral attended by Italy’s foremost musicians, the King, and Premier Mussolini.

In 1920, Respighi began writing down some ancient children’s songs that his wife used to sing and hum around their house. Imagine her surprise when some of these songs turned up in the first movement of Pines of Rome, the second work in the Roman trilogy. It was written in 1923, and once again it was the Augusteo in Rome that housed its premiere the following year. Again, to quote Respighi, “While in Fountains of Rome, the composer sought to reproduce by means of tone an impression of nature, in Pines of Rome, he uses nature as a point of departure, to recall memories and visions.

The century-old trees that dominate so characteristically the Roman landscape become testimony for the principal events in Roman life.” Pines was a huge success at its premiere, and performances all over the world followed rapidly. This is still the most popular and often-performed work of the trilogy, and contains in the third section something that was a remarkable innovation in its day: the use of a recording of the song of a nightingale as a part of the orchestral fabric. ●

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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.

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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 Estate of Charles Stillwell

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

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Donation of $10,000–$24,999 Meg Aldridge Anonymous City of Albuquerque Bob & Greta Dean 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 Fritz Eberle & Lynn Johnson 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

Estate of Joyce Kaser Edward J Kowalczyk 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

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Donation of $3500–$4999 Albuquerque Community Foundation, NDB & CEB Fund Estate of Evelyn Patricia Barbier Ron Bronitsky, MD David & Shelly Campbell Club Culturale Italiano Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin 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

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 Bueno Foods 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 Deborah 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 Roberto Minczuk

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The New Mexico Philharmonic

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DONOR CIRCLES continued from 21 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 Carol Callaway 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

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Mary Hermann Hughes Betty Humphrey Marilyn & Walt Johnson Robert & Mary Julyan John & Mechthild Kahrs Norty & Summers Kalishman Margaret Keller 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 Reverb & Young the Giant Bradford Richards Paul Rodriguez Catalin Roman Carole Ross Socorro Kiuttu Ruddy Carey Salaz

2023/24 Season / Volume 12 / No. 6

Sandia Resort & Casino Sarafian’s Oriental Rugs Anjella Schick Brigitte Schimek & Marc Scudamore John & Karen Schlue Laura Scholfield Rahul Sharma 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 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 FryeMason 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

THANK YOU .

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 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 & Alexandra Steen Theodore & Imogen Stein Dorothy Stermer & Stacy Sacco Brent & Maria Stevens Elizabeth Stevens & Michael Gallagher Stone Age Climbing Gym Marty & Deborah Surface 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 3/15/2024

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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 3/15/2024

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 3/15/2024

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THANK YOU .

New Mexico Philharmonic Foundation DONORS & TRUSTEES The McKinnon Family Foundation Lee Blaugrund Charles, Trustee, & Eugenia Eberle Barbara Rivers, Trustee Robert & Frances Fosnaugh Thomas Martin, Trustee, & Cynthia Phillips Stephen, Trustee, & Maureen Baca Estate of Marian Ausherman Chavez Dr. Dean Yannias William E. Cates Mary Baca (aka Betty) Christine Kilroy Keith Gilbert Ann & Robert Boland Thomas & Edel Mayer Robert Milne David Northrop John & Karen Schlue Susan Spaven Tyler M. Mason Jerald Parker Richard VanDongen Roland Gerencer, MD Jonathan Hewes George Thomas Richard Zabell & Teresa Apple Scott Obenshain Sydney (Al) & Melissa Stotts Marian & Jennifer Tanau Charles & Judith Gibbon Alice J. Wolfsberg Scott & Carol Schaffer Joel & Sandra Baca Dorothy M. Barbo Henry & Jennifer Bohnhoff Clarke & Mary Cagle Kenneth Conwell II Bob & Greta Dean Howard & Debra Friedman Robert & Jean Gough Justin Griffin Mike & Blanche Griffin Mary Herring Elisa Kephart Alan Lebeck Sonnet & Ian McKinnon James O’Neill W. Pierce & Joyce Ostrander Clifford Richardson III Jacquelyn Robins Jay Rodman & Wendy Wilkins John Rogers Heinz & Barbara Schmitt Michael & Janet Sjulin Peter & Judy Weinreb Sue Johnson & Jim Zabilski Marlin E. Kipp Thomas & Greta Keleher Lawrence & Deborah Blank Susanne Brown

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Michael Dexter Thomas M. Domme Martha Egan David Espey John Homko Frances Koenig Letitia Morris Michael & Judy Muldawer Ken & Diane Reese Jeff Romero Nancy Scheer Neda Turner Michael Wallace Thomas & Ann Wood Anonymous Maria Stevens John & Julie Kallenbach Kay F. Richards Stan & Gay Betzer Kenneth & Jane Cole Leonard Duda Mary E. Lebeck Robert & Judy Lindeman Martha A. Miller Betsy Nichols Lee Reynis Warren & Rosemary Saur John & Patricia Stover Leonard & Stephanie Armstrong Robert Bower & Kathryn Fry Christopher Calder & Betsey Swan Judith & Thomas Christopher Fran DiMarco Dr. Lauro G. Guaderrama Lawrence & Anne Jones Karen Lanin Geri Newton Edward Rose, MD Christine Sauer James Sharp & Janice Bandrofchak Rae Lee Siporin Bruce Thompson & Phyllis Taylor Lawrence & Katherine Anderson Douglas & Dianne Bailey Edie Beck Jeffrey Bridges A.J. Carson Thomas & Elizabeth Dodson Harry & June Ettinger Helen Feinberg Carl Glenn Guist Fletcher & Laura Hahn Robert & Linda Malseed Robert & Rebecca Parker Elizabeth Perkett Shelley Roberts Thomas Roberts & Leah Albers Gruia-Catalin Roman Donald & Carol Tallman Peter & Mary Tannen Rosario Fiallos James & Ann Breeson Carl & Jeannette Keim Andrea Kilbury Linda McNiel Albert & Shanna Narath David & Cynthia Nartonis

2023/24 Season / Volume 12 / No. 6

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

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

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

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

Noel Pugach Bonnie Renfro Elizabeth Stevens Arthur Alpert Stanley & Helen Hordes Edward & Carol Ann Dzienis Bob Crain Denise Fligner & Terry Edwards Stephen Schoderbek Krys & Phil Custer Deborah Peacock & Nathan Korn Rita Leard Carol Diggelman Paul Isaacson Sarah Barlow Martin & Ursula Frick Robert & Phyllis Moore Gary & Nina Thayer Sharon Moynahan & Gerald Moore Jeffrey West Ina Miller Bruce Miller Julie Kaved Jeffery & Jane Lawrence Dolores Teubner Ronald & Sara Friederich Helen Feinberg Volti Subito Productions Melbourn & Dorothy Bernstein 3/15/2024

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THANK YOU .

Steinway Society Piano Fund Steinway Society members make dedicated donations for current and future purchases and maintenance of our Steinway & Sons Grand Piano Model D. Please consider joining the Steinway Society at the donor level that is best for you and be part of your New Mexico Philharmonic by helping us to produce excellence through our music. View benefits online at nmphil.org/steinway-society.

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

WHITE KEYS LEVEL Donation of $6000–$19,999 David Gay Dal & Pat Jensen Michael & Roberta Lavin Diane & William Wiley Dr. Dean Yannias

BLACK KEYS LEVEL Donation of $2000–$5999 Meg Aldridge Carl & Linda Alongi Joel & Sandra Baca Stephen & Maureen Baca William & Paula Bradley Clark & Mary Cagle Phillip & Christine Custer Art Gardenswartz & Sonya Priestly Robert & Jean Gough Helen Grevey Bill & Carolyn Hallett Stephen & Aida Heath Christine Kilroy Dwayne & Marj Longenbaugh Jan Elizabeth Mitchell Jacquelyn Robins Jay Rodman & Wendy Wilkins Albert Seargeant III, in memory of Ann Seargeant Terrence Sloan, MD

PEDAL LEVEL Donation of $500–$1999 Ron Bronitsky, MD Michael & Cheryl Bustamante, in memory of Cheryl B. Hall Daniel & Brigid Conklin, in memory of Marina Oborotova Richard & Peg Cronin Mr. & Mrs. Robert Duff Custer Leonard & Patricia Duda David Foster Peter Gould Elene & Robert Gusch Jonathan & Ellin Hewes Robert & Toni Kingsley Dr. Herb & Shelley Koffler Tyler M. Mason Thomas & Edel Mayer

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

The New Mexico Philharmonic

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 3/15/2024

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

●

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Behind every music performance is a strategy for success Every great music program has a well-designed plan to succeed. At RBC Wealth Management, we take the same approach to helping you meet your financial needs and goals. Proud to support the New Mexico Philharmonic!

The Cates-Romero Team 6301 Uptown Blvd. NE, Suite 100 | Albuquerque, NM 87110 Office: (505) 872-5909 | Toll free: (866) 998-0279 www.catesteamrbc.com

Investment and insurance products: • Not insured by the FDIC or any other federal government agency • Not a deposit of, or guaranteed by, the bank or an affiliate of the bank • May lose value © 2024 RBC Wealth Management, a division of RBC Capital Markets, LLC, registered investment adviser and Member NYSE/FINRA/SIPC.

24-AL-00697 (03/24)

NMPHIL RAFFLE 2024

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NMPHIL .

New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca

The Musicians FIRST VIOLIN Cármelo de los Santos

Karen McKinnon Concertmaster Chair

Sarah Tasker •••

Assistant Concertmaster

Ana María Quintero Muñoz Joan Wang + Heidi Deifel ++ Juliana Huestis Barbara Rivers Nicolle Maniaci Barbara Scalf Morris

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

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

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

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

PICCOLO Esther Fredrickson

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

OBOE Kevin Vigneau • Amanda Talley

Chair

Al Stotts

Vice Chair

David Peterson Secretary

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

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

President & CEO

Roberto Minczuk Music Director

Christine Rancier

Vice President of Business

Matt Hart

Vice President of Operations

Ian Mayne-Brody Personnel Manager

Nancy Naimark

Director of Community Relations & Development Officer

Crystal Reiter

Terry Pruitt

Office Manager

Genevieve Harris

Young Musician Initiative Program Manager

Principal Librarian Assistant Librarian

The New Mexico Philharmonic

Mary Montaño Grants Manager

Joan Olkowski

Design & Marketing

Lori Newman Editor

Laurieanne Lopez

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IF A SYMPHONY WAS A CAR...

Thomas Bohlman, Managing Partner

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