New Mexico Philharmonic Program Book • 2024/25 Season • Volume 13 • No. 4

24/25 VOLUME 13 / NO. 4

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2024/25 SEASON

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WELCOME LETTER FROM THE

MUSIC DIRECTOR The 2024/25 Season of Your New Mexico Philharmonic Continues!

PROGRAMS

DEAR FRIENDS,

I hope you have had a wonderful start to a promising new year!

I am excited to continue to accompany you on a wonderful musical journey with your NMPhil. We are halfway through the 2024/2025 season and have some amazing concerts remaining.

In the Coffee Concerts series, we welcome Benedictine Monk Seán Duggan in an all-Bach concert featuring the Harpsichord Concertos Nos. 1 and 2 as well as the Brandenburg Concerto No. 5. We continue with an evening of Pops celebrating love and Valentine’s Day featuring soprano Donata Cucinotta.

Then, we welcome back virtuoso American pianist Michelle Cann performing Beethoven’s Piano Concerto No. 4, and great Americana orchestral music by Barber and Copland.

The New Mexico Philharmonic is the place to be to celebrate the beauty of life through music. I hope we continue to inspire, move, uplift, and create unforgettable experiences for you.

Thank you for being a part of our musical family—let’s make the 2024/25 season one to remember.

Wishing you a happy and healthy new year!

Roberto Minczuk Music Director

TABLE OF CONTENTS

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). ● read full bio on page 10

February 7, 2025 February 15, 2025 March 1, 2025 Program Notes

5 7 9 15

ARTISTS

Roberto Minczuk Oriol Sans Seán Duggan Jason Altieri Donata Cucinotta Michelle Cann

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YOUR NMPHIL

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

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The New Mexico Philharmonic

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Photo credit: Kim Jew

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CONCERT PROGRAM .

The Heavenly Harpsichord

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Friday, February 7, 2025, 10:45 a.m.

Oriol Sans conductor Seán Duggan harpsichord

First United Methodist Church

Harpsichord Concerto No. 1 in d minor, BWV 1052 I. Allegro II. Adagio III. Allegro

Johann Sebastian Bach (1685–1750)

Seán Duggan harpsichord

Harpsichord Concerto No. 2 in E Major, BWV 1053 I. [Allegro] II. Siciliano III. Allegro

MAKING A DIFFERENCE

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

Bach

Seán Duggan harpsichord

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

Brandenburg Concerto No. 5 in D Major, BWV 1050 I. Allegro II. Affettuoso III. Allegro

The New Mexico Philharmonic

Bach

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CONCERT PROGRAM .

POPEJOY ROCK & POPS

Love, Love, Love

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Saturday, February 15, 2025, 8 p.m.

Popejoy Hall

Jason Altieri conductor Donata Cucinotta soprano

Overture to West Side Story

Bernstein

“Blue Tango”

Anderson

“I Could Have Danced All Night”

Loewe

“So in Love”

Porter

“Si. Mi chiamano Mimi” from La bohème

Puccini

“Intermezzo” from Cavalleria rusticana

Mascagni

Tango in D

Albéniz

“Clair de lune”

Debussy

“Voices of Spring” Waltz

J. Strauss

“The Walk to the Paradise Garden” “Love Stinks” “Sicilienne” from Pelléas et Mélisande

This performance is made possible by: New Mexico Philharmonic Foundation

Delius Wolf/Justman Fauré

“Méditation” from Thaïs

Massenet

“All the Things You Are”

Kern

“Ebben? Ne andrò lontana” from La Wally

Catalani

“Intermezzo” from Manon Lescaut

Puccini

“Happy”

Williams/Bachalis

“La cumparsita”

Rodríguez/Mcleod

The New Mexico Philharmonic

MAKING A DIFFERENCE

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Free introductory classes starting Dec.1st on Sundays (3pm) & Mondays (6pm)

Casual and 2 left feet welcome.

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CONCERT PROGRAM .

POPEJOY HALL CLASSICS

Barber’s Adagio

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Saturday, March 1, 2025, 6 p.m.

5 p.m. Pre-Concert Talk

Popejoy Hall

Roberto Minczuk Music Director Michelle Cann piano

Adagio for Strings (1910–1981)

Samuel Barber

Piano Concerto No. 4 in G Major, Op. 58 I. Allegro moderato II. Andante con moto III. Rondo (Vivace)

Ludwig van Beethoven (1770–1827)

MAKING A DIFFERENCE

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

Sponsored by: Menicucci Insurance Agency

Michelle Cann piano

Hosted by KHFM’s Alexis Corbin

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

Suite from Billy the Kid I. Introduction: The Open Prairie II. Street Scene in a Frontier Town III. Mexican Dance and Finale IV. Prairie Night: Card Game V. Gun Battle VI. Celebration: After Billy’s Capture VII. Billy’s Death VIII. The Open Prairie (Reprise)

El Salón México

The New Mexico Philharmonic

Aaron Copland (1900–1990)

Copland

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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,

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

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

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

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

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

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

a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, 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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Oriol Sans conductor Oriol Sans, a Catalan conductor renowned for his “refreshing and expressive” handling of the orchestra, has captivated audiences and inspired musicians across North America and Europe. His extensive repertoire includes performances with esteemed orchestras and ensembles such as the Detroit Symphony Orchestra, the Santa Fe Symphony, the Michigan Chamber Winds and Strings, the New Mexico Philharmonic, the San Juan Symphony (Colorado), the Orquesta Filarmónica de Jalisco in Guadalajara (Mexico), the Flint Symphony Orchestra, the Sheboygan Symphony, the New Bedford Symphony, the International Contemporary Ensemble, and the Four Corners Ensemble.

Recently, Sans served as the conductor of an exploratory recording project featured in the Oscar-winning film Zone of Interest by Jonathan Glazer. Initiated in 2017, this project unearthed, assembled, and recorded music the Auschwitz I Men’s Orchestra performed in the concentration camp. Collaborating with University of Michigan professor Patricia Hall, Sans embarked on a national tour of the Midwest and New York City, concluding in May 2024 with an international tour of Austria and Poland.

As an opera conductor, his repertoire encompasses a diverse range of works, including Verdi’s Falstaff, Mozart’s Marriage of Figaro and Così fan tutte, Tchaikovsky’s Eugene Onegin, Verdi’s La traviata, and Britten’s Albert Herring and A Midsummer Night’s Dream. In 2018, he The New Mexico Philharmonic

led a production of Menotti’s Amahl and the Night Visitors at the Michigan Opera Theatre, collaborated with the Opera Theatre of St. Louis on a production of Awakenings—a groundbreaking opera by composer Tobias Picker—and more recently lead a performance of Puccini’s Gianni Schicchi with the Tulsa Opera.

Mr. Sans, Associate Professor and Director of Orchestral Activities at the University of Wisconsin-Madison, oversees musical responsibilities that include directing the Symphony Orchestra, conducting opera productions, and mentoring graduate conducting students.

Under his guidance, University of Wisconsin-Madison opera productions of Così fan tutte, Sweeney Todd, and Out of Darkness: Two Remain have received awards from the National Opera Association, with Sweeney Todd also being recognized with The American Prize. Prior to joining the University of Wisconsin-Madison, Mr. Sans served as Associate Director of Orchestras at the University of Michigan in Ann Arbor, where he directed both the University Philharmonia Orchestra and the Contemporary Directions Ensemble (CDE).

With the CDE, Mr. Sans spearheaded projects with renowned composers such as John Luther Adams, Ted Hearne, Julia Wolfe, David T. Little, Tyshawn Sorey, and Augusta Read-Thomas.

As Music Director of the Detroit Symphony Youth Orchestra, a position he held from 2016 to 2022, Mr. Sans fostered collaborations with other musical institutions within the community, including the Young Artists Program through Michigan Opera Theater.

Additionally, Mr. Sans was a finalist for the position of Music Director with the Ann Arbor Symphony Orchestra.

His extensive experience collaborating with musicians of diverse ages has garnered numerous invitations to serve as conducting faculty at prestigious educational institutions, such as the Interlochen Summer Academy and the Sewanee Summer Music Festival.

As a highly sought-after conducting clinician and guest conductor, he has engaged with numerous youth ensembles across North America.

Sans has collaborated with a varied list of renowned soloists, including Anthony McGill, Pacho Flores, Yoonshin Song, Wey Yu, Tony Arnold, Amy Porter, Aaron Berofsky, Jourdan Urbach, Álvaro Bitrán, Íride González, Alan Pingarrón, Jason Vieaux, Alexander Gavrylyuk, the Anderson & Roe Piano Duo, Alon Goldstein, and Wu Han. A native of Catalonia, Spain, Mr. Sans pursued his studies in orchestral and choral conducting at the Barcelona Conservatory, where he received the school’s Honors Award in both specialties upon graduation.

Subsequently, he continued his musical education at the University of Michigan, where he earned his Master’s degree in Orchestral Conducting and his Doctorate of Musical Arts. In addition to his academic achievements in music, Mr. Sans holds a degree in humanities from the Pompeu Fabra University in Barcelona. He resides in Madison, Wisconsin, with his wife, Chelsea. ●

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piano at SUNY Fredonia. During the fall semester of 2008, he was also a guest professor of piano at the Eastman School of Music. He has been a guest artist and adjudicator at the Chautauqua Institution for several summers, and is also a faculty member of the Golandsky Institute in Princeton, New Jersey. He continues to study the Taubman approach with Edna Golandsky in New York City. ●

Seán Duggan harpsichord Pianist Seán Duggan, OSB, is a monk of St. Joseph Abbey in Covington, Louisiana.

He obtained his music degrees from Loyola University in New Orleans and Carnegie Mellon University, and received a Master’s degree in theology from Notre Dame Seminary in New Orleans. From 1988 to 2001, he taught music, Latin, and religion at St. Joseph Seminary College in Louisiana and was director of music and organist at St. Joseph Abbey.

In September 1983, he won first prize in the Johann Sebastian Bach International Competition for Pianists in Washington, D.C., and again in August 1991. Having a special affinity for the music of Bach, he performed the complete cycle of Bach’s keyboard works eight times in various American and European cities in 2000. For seven years, he hosted a weekly program on the New Orleans NPR station titled “Bach on Sunday.” He is presently in the midst of recording the complete cycle of Bach’s keyboard (piano) music, which will comprise 24 CDs. Before he joined the Benedictine Order, he was pianist and assistant chorus master for the Pittsburgh Opera Company for three years. He has performed with many orchestras including the Louisiana Philharmonic, the Buffalo Philharmonic, the Leipzig Gewandhaus Orchestra, the Leipzig Baroque Soloists, the Prague Chamber Orchestra, the American Chamber Orchestra, and the Pennsylvania Sinfonia. From 2001 to 2004, he was a visiting professor of piano at the University of Michigan. Currently, he is professor of

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

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

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

Numerous guest conducting engagements include regular collaborations with the Duluth Superior Symphony in Minnesota, the Santa Fe Symphony, and the New Mexico Philharmonic. In July 2012, he was the orchestra conductor for the annual International Double Reed Society Conference. During this conference, he collaborated on 16 separate works with

internationally renowned soloists from all over the world.

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

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

In addition, Altieri has released two recordings with the OLO on Albany Records. In 2002, he worked as an assistant to the late Valery Vatchev of the National Bulgarian Opera. This rare experience led to guest conducting engagements of Verdi’s La traviata, Il trovatore, and Rigoletto in the Czech Republic.

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

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

A native of Atlanta, Georgia, Altieri grew up in a musical family with both parents being former members of the Atlanta Symphony Orchestra. He received a Bachelor’s degree in music education from the University of Georgia. He then went on

ARTISTS .

to pursue advanced degrees in conducting from Michigan State University, where he received additional mentorship from Neeme Jarvi of the Detroit Symphony Orchestra and Gustav Meier of the Peabody Conservatory. Altieri currently resides in Reno, Nevada. ●

Donata Cucinotta soprano American soprano Donata Cucinotta has been recognized for her versatile and powerful performances on opera, musical, and concert stages. Recent career highlights include performances with Michael Tilson Thomas and the Louisville Orchestra, a Lincoln Center debut with the Queens Symphony Orchestra, and multiple performances with Jack Everly and the Indianapolis Pops, where Tom Alvarez of the Indy Star noted her “jaw-dropping solo during ‘O Holy Night.’ [Her] performance was one of the most breathtaking I have seen on any stage anywhere, anytime.”

Recent engagements include a return to the Indianapolis Symphony Orchestra as a featured soloist in their From Vienna to Broadway concerts, Yuletide Celebration, and Spotlight on ISO Musicians concerts featuring highlights from Tosca and La bohème; Opera Ithaca as Countess Almaviva in Le nozze di Figaro; and Knoxville Opera for their Merry Widow, as well as a return to Indianapolis Opera as Donna Elvira in Don Giovanni. Ms. Cucinotta’s additional appearances include Candice in the world premiere of Stay by John Glover and Kelley Rourke with On Site Opera, Musetta in La bohème with

Indianapolis Opera, Donna Elvira in Don Giovanni with Opera Ithaca, Countess in ¡Figaro! (90210) with Morningside Opera, Josephine in H.M.S. Pinafore at Knoxville Opera, Erste Dame in Die Zauberflöte at Opera Tampa, Die Fledermaus with Amarillo and Knoxville Opera, Nina in The Firefly with Ohio Light Opera, and Nedda in Pagliacci with Opera in the Heights, where D.L Groover of the Houston Press noted “Cucinotta’s fiery soprano [that] opened up with a blistering top, square on, raising goose bumps in the best possible way.”

A frequent performer and recitalist, last season she made her debut with the Jackson Symphony Orchestra in Mahler’s 3rd Symphony, and looks forward to her debut this season with the New Mexico Philharmonic on their “Love, Love, Love” concert with Jason Altieri, presenting highlights from La Wally and La bohème.

She has sung several concerts with the Terre Haute Symphony Orchestra, and the Columbus Indiana Philharmonic as a featured soloist, where Henry Upper of The Republic praised her “…inner feeling for the text, where time and again she showed her heart and her soul through the words She is a superb talent whom we know we will hear from more.” She has also been heard in the Mozart Mass in C, Bach’s Magnificat, and the Dvořák Requiem with the Denver Choral Fest.

With the Indianapolis Symphonic Choir, she has sung the soprano solo in Vaughn Williams’s Dona nobis pacem. She has also sung the soprano solos in Bach’s in Die Elenden sollen essen, Mendelssohn’s Elijah, Dave Brubeck’s To Hope! (A Celebration), and Handel’s Messiah. As a recitalist, she will be touring her #MeToo program in conjunction with Sing for Hope and has performed as a guest artist with On Site Opera. donatacucinotta.com ●

Michelle Cann piano Lauded as “exquisite” by The Philadelphia Inquirer and “a pianist of sterling artistry”

by Gramophone, Michelle Cann is one of the most sought-after pianists of her generation. Recent engagements include appearances with the Chicago Symphony Orchestra, the Cleveland Orchestra, the Philadelphia Orchestra, the Los Angeles Philharmonic, the National Symphony Orchestra, and the Orquestra Sinfônica Municipal de São Paulo. Her honors include the Sphinx Medal of Excellence and the Andrew Wolf Chamber Music Award. In 2024, she was named the inaugural Christel DeHaan Artistic Partner of the American Pianists Association, responsible for artistic oversight of the American Pianists Awards.

Highlights of Cann’s 2024/25 season include appearances with the San Francisco Symphony, the Cincinnati Symphony, and London’s Philharmonia Orchestra. She performs collaboratively with the Dover Quartet, the Imani Winds, and cellist Tommy Mesa. Her solo and collaborative recital appearances include the 92nd Street Y, New York; University of Chicago Presents; Northwestern University’s Bienen School of Music; Duke Arts at Duke University; the Royal Conservatory of Music; Shriver Hall Concert Series; and Spivey Hall. She also performs a recital as the headline artist at the National Conference of the Music Teachers National Association.

Recognized as a leading interpreter of the piano music of Florence Price, Cann performed the New York City premiere of continued on 14

The New Mexico Philharmonic

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Price’s Piano Concerto in One Movement with The Dream Unfinished Orchestra in July 2016 and the Philadelphia premiere with the Philadelphia Orchestra and Music Director Yannick Nézet-Séguin in February 2021. Her recording of the concerto with the New York Youth Symphony won a Grammy Award in 2023 for Best Orchestral Performance. Her acclaimed debut solo album, Revival, featuring music by Price and Margaret Bonds, was released in May 2023 on the Curtis Studio label. With soprano Karen Slack, she recorded Beyond the Years, released in July 2024, featuring 19 unpublished songs composed by Price.

She has also recorded two Price piano quintets with the Catalyst Quartet as part of the quartet’s UNCOVERED series. A champion of emerging talent, Cann and cellist Tommy Mesa recorded Our Stories, an album of new works by five living composers of color, which was released in November 2023.

A celebrated chamber musician, Cann has collaborated with leading artists including the Catalyst, Dover, and Juilliard string quartets; violinists Timothy and Nikki Chooi; soprano Karen Slack; and mezzo-soprano J’Nai Bridges. She regularly performs duo piano repertoire with her sister, pianist Kimberly Cann, as the Cann Duo. She has appeared as cohost and collaborative pianist with NPR’s From the Top, collaborating with actor/ conductor Damon Gupton, violinist Leila Josefowicz, and violinist and MacArthur Fellow Vijay Gupta. Cann’s numerous media appearances include PBS Great Performances’ Now Hear This hosted by Scott Yoo and Living the Classical Life with host Zsolt Bognár.

Embracing a dual role as performer and pedagogue, Cann is frequently invited to teach master classes, give lecture-demonstrations, and lead teaching residencies. Recent residencies include the Gilmore International Keyboard Festival and the National Conference of the Music Teachers National Association. She has recorded lessons for tonebase, the popular piano lesson platform. She has also served on the juries of the Cleveland International

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Piano Competition, the Kauffman Music Center International Youth Piano Competition, and the piano competition of the Music Academy of the West.

Cann holds Bachelor’s and Master’s degrees in piano performance from the Cleveland Institute of Music, where she studied with Paul Schenly and Dr. Daniel Shapiro, and an Artist’s Diploma from the Curtis Institute of Music, where she studied with Robert McDonald. She joined the Curtis piano faculty in 2020 as the inaugural Eleanor Sokoloff Chair in Piano Studies. She is also on the piano faculty of the Manhattan School of Music. ●

PROGRAM NOTES .

NOTES BY DAVID B. LEVY

Johann Sebastian Bach

Harpsichord Concerto No. 1 in d minor, BWV 1052/ Harpsichord Concerto No. 2 in E Major, BWV 1053 (c. 1729–1741) Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig, Germany, on July 28, 1750. He looms as one of history’s pivotal figures whose music is venerated and admired by many composers who followed him, from Haydn to Bartók and beyond. During his own lifetime, Bach was more revered as an organist and keyboard virtuoso than as a composer.

His enormous output covers virtually every genre of the Baroque era, except for opera. But even here, the drama found in much of his sacred choral music (Church Cantatas, Passion Oratorios, Magnificat, and Mass in b minor) and other works showed considerable dramatic flair. The Harpsichord Concertos Nos. 1 (BWV 1052) and 2 (BWV 1053) are thought to have been composed during Bach’s employment in Leipzig, perhaps for use at the Collegium Musicum concerts. Precise dating of the seven complete concertos for harpsichord (BWV 1052-58) is difficult to ascertain. They are scored for solo harpsichord and string orchestra, with harpsichord also serving as a member of the continuo group. BWV 1052 is approximately 22 minutes, and BWV 1053 is approximately 20 minutes.

We know that Bach wrote many instrumental works during his period in Cöthen, where his duties did not call for the composition of sacred music for the church. We know that the popular six Brandenburg Concertos belong to this period, three of which (Nos. 2, 4, and 5) fall into the category of “concerto

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The inspiration for nearly all of Bach’s concertos came from the Venetian master Antonio Vivaldi, himself the composer of nearly 600(!) concertos. grosso,” i.e., concertos for two or more solo instruments. We also know that Bach remained active in his composition of secular music, including concertos, when he took up his final position as Kantor for two Lutheran (Evangelical) churches in Leipzig, as well as his directorship of Leipzig’s Collegium Musicum.

The inspiration for nearly all of Bach’s concertos came from the Venetian master Antonio Vivaldi, himself the composer of nearly 600(!) concertos. Bach’s admiration for Vivaldi presents itself in his transcriptions of the Italian’s violin concertos into works for solo organ, as well as for harpsichord (in one case, Vivaldi’s Concerto in b minor for Four Violins was transcribed for four harpsichords).

Following Vivaldi’s model, Bach’s solo concertos comprise three movements.

The first movements typically are cast in ritornello form, whereby the (string) orchestra makes an initial statement (ritornello), followed by a passage where the soloist steps into the foreground, lightly accompanied by the orchestral “ripieno” group. Shortened versions of the opening ritornello are interspersed with additional solo episodes, with the movement ending with a final ritornello. The second movements are slower in tempo than the first and last ones.

Regarding the concertos on this program that feature the harpsichord as the lone solo instrument, the first two, BWV 1052 and 1053, contain material also found in the opening instrumental “sinfonia” of Bach’s church cantatas, each of which makes use of the organ as the solo instrument. In the case of the

Harpsichord Concerto in d minor, BWV 1052, Bach borrows from the sinfonia of cantata Wir müssen durch viel Trübsal (We Must Pass Through Much Sadness, 1726), BWV 146. The second movement of the same concerto derives from the opening chorus of the same cantata. The last movement of the concerto takes its material from the sinfonia from another church cantata, Ich habe meine Zuversicht (I Have Placed My Confidence,1728), BWV 188. Regarding the Harpsichord Concerto in E Major, BWV 1053, Bach again reuses material from cantatas Gott soll allein meine mein Herze haben (God Alone Has My Entire Heart), BWV 169, and Ich geh und suche mit Verlangen (I Go and Seek With Longing), BWV 49. Some Bach scholars, particularly Christoph Wolff, speculate that Bach may have composed these concertos for his primary instrument, the organ. Others have speculated that the violin was the original solo instrument for the Concerto in d minor.

An additional note regarding the ordering of Bach’s works is in order here.

The German musicologist, Wolfgang Schmieder, published a Bach Works Catalogue (BWV=Bach Werke Verzeichnis) in 1950 (it was updated and enlarged in 1990). Unlike Ludwig Köchel’s more famous catalogue of Mozart’s music, the Schmieder catalogue is not arranged in chronological order, but rather by type of work. One often sees works by Bach on printed programs identified by its “BWV” (in German, Bach Werke Verzeichnis) number. Some writers, however, choose to give Professor Schmieder his due recognition by substituting an “S.” ●

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PROGRAM NOTES .

NOTES BY CHARLES GREENWELL

Bach

Brandenburg Concerto No. 5 in D Major, BWV 1050 (c. 1721) Scored for solo harpsichord, flute, violin, and strings. Approximately 21 minutes.

Few works in music history are as beloved as these six instrumental concertos, which display a somewhat lighter side of Bach’s extraordinary genius.

Sent to the Margrave of Brandenburg in 1721, there is no way that Bach could have known that these works would become a benchmark of Baroque music, and that almost 300 years later they would still have the power to move listeners with their extraordinary musical substance. Bach thought of them as a set (even though they did not acquire their title until years later), compiling them from instrumental sinfonias and concerto movements he had already written, reworking and elaborating the music as he saw fit. Each of the six concertos requires a different combination of instruments along with some very skilled soloists. The Margrave had a small court orchestra in Berlin, but they were not first-rate performers. What we know indicates that these concertos were tailored for the excellent musicians that Bach had in Anhalt-Cöthen, which brings up the question, how did this small provincial town get so many first-rate performers?

Just before Bach arrived in Cöthen in 1717, a new king came to the throne

in Prussia: He was Friedrich Wilhelm I, known as the “Soldier King” because he was more interested in military matters than in artistic endeavors. He immediately disbanded the very prestigious Berlin court orchestra, which threw many fine musicians out of work, and as luck would have it, at least seven of the finest ones were instantly hired by the music-loving Prince Leopold in Cöthen. That is why Bach found such a splendid music scene there, and it gave him the ability to write for virtuosos who in turn inspired him to push the boundaries of his fertile creativity.

Over the years, scholars have had to fill in a lot of gaps in dealing with Bach’s music: Nearly half of his output is considered lost, and many of the concertos exist only in later arrangements and dubious copies.

However, these six concertos survive in his original manuscript, which is one of the most beautiful examples of Bach’s calligraphy that has come down to us.

In 1721, Bach was in his fourth year as Prince Leopold’s musical director, and all was going well until the Prince decided to marry his cousin that year.

She is known to have disliked music, and we know that Bach certainly disliked her!

Toward the end of March, he began to feel an urgent need to leave Cöthen, and so he sent these concertos, along with a very servile dedication letter, to Margrave Christian Ludwig of Brandenburg whom he had met a couple of years earlier, and who he thought might be interested in hiring him. The meeting referred to took place in March 1719 in Berlin, where Bach had gone to approve and bring home a marvelous new harpsichord for Prince Leopold. At the time, Bach is reputed to

Few works in music history are as beloved as these six [Brandenburg] concertos, which display a somewhat lighter side of Bach’s extraordinary genius.

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have played for the Margrave, who was quite impressed and requested some music to add to his meager library. Bach obviously did so, but no one can figure out why it took him two years to send the music off. Clearly, in 1721 these concertos were a reminder to the Margrave, and were meant to serve as a résumé for a new job. It was once held that the Margrave never performed the concertos—almost certainly because his instrumental forces could not handle the technical demands of the music—and possibly never even looked at the score (remember what pristine condition it was in), and that Bach never even received an acknowledgment.

In addition, it was felt that the works were considered so worthless that they were sold for a pittance when the Margrave died in 1734. However, modern scholarship suggests that a performance would have used individual parts rather than the score, that the absence of a response could simply mean that it might have been lost, and that the score was not sold, but was given a nominal value in order to assure that the Margrave’s estate was evenly divided among his heirs. Whatever the case, in the estate inventory there is no specific mention of the concertos or even of Bach’s name, but they appear to have been put in a bulk lot of 177 concertos as being worth very little, and eventually were passed on to the heirs. The set then gathered dust until 1849 when it was discovered in the Brandenburg archives, and was published the following year to mark the 100th anniversary of Bach’s death. As if this wasn’t enough, the manuscript was nearly lost during World War II, as it was being transported for safekeeping to Prussia by train in the care of a librarian. The train came under aerial bombardment, but happily the librarian escaped unharmed into a nearby forest, with the scores hidden under his coat!

Bach’s own title for the set was Six Concertos for Several Instruments, and they are simply one of the great glories of Baroque instrumental music. These works have become so familiar that it is difficult for modern audiences to appreciate just how revolutionary they were. ●

PROGRAM NOTES .

NOTES BY LORI NEWMAN

Samuel Barber

Adagio for Strings (1936) Samuel Barber was born on March 9, 1910, in West Chester, Pennsylvania, and died on January 23, 1981, in New York City. The Adagio for Strings is scored for string orchestra and is approximately 9 minutes.

Dear Mother: I have written this to tell you my worrying secret. Now don’t cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet [sic]. I was meant to be a composer, and will be I’m sure. I’ll ask you one more thing. Don’t ask me to try to forget this unpleasant thing and go play football … please.

The preceding was written by nine-yearold Samuel Barber, who very clearly knew what he wanted his future to hold, and that future did not include football. Born into a musical family, Barber began singing and playing the piano at an early age, composing by age 7, and at the tender age of 14, he entered the prestigious Curtis Institute of Music, studying piano, voice, and composition.

The Adagio for Strings is Barber’s most celebrated and famous work. The piece originated as the second movement of his String Quartet, Op. 11, which was written in 1936 while Barber traveled throughout Europe accompanied by his longtime companion and fellow composer Gian Carlo Menotti. The same year, Barber arranged the movement for string orchestra. In 1938, he sent the version for string orchestra (along with his First Essay) to Arturo Toscanini, as Toscanini had recently made a call for new music to be performed at the Salzburg Festival. Both scores were returned to Barber without any comment from Toscanini. Barber was irritated, but soon all was forgiven when he got word that Toscanini planned to perform both works, not only in Salzburg, but he would also premiere them in South

“Now don’t cry when you read it because it is neither yours nor my fault. I was meant to be a composer, and will be I’m sure.”

—Samuel Barber America and throughout a European tour.

The premiere of the Adagio for Strings took place on November 5, 1938, with Toscanini conducting the NBC Orchestra at Studio 8H in Rockefeller Center. The concert was a live radio broadcast in front of an invited audience.

The work is written in arch form (i.e., ABCBA), and is characterized by impossibly long phrases, harmonic suspensions, and frequent meter changes.

Its aching beauty has made it a popular choice for funerals and memorial services, including for luminaries such as Franklin Delano Roosevelt, Albert Einstein, and Princess Grace of Monaco. The Monday after the assassination of John F. Kennedy Jr., Jackie Kennedy organized a concert with the National Symphony Orchestra that included the Barber, a favorite of the slain president; the concert was played to an empty concert hall and was broadcast over the radio. The Adagio for Strings was also famously used for memorials and tributes of the September 11th terrorist attacks.

The work has also made it into both film and television, making it a musical popculture mainstay, appearing in serious films such as Platoon and The Elephant Man and in comedic turns such as in Seinfeld, The Simpsons, and South Park. ●

NOTES BY DAVID B. LEVY

Ludwig van Beethoven

Piano Concerto No. 4 in G Major, Op. 58 (1806) One of history’s pivotal composers, Ludwig van Beethoven was born on December 16 or 17, 1770, in Bonn,

and died in Vienna on March 26, 1827.

Beethoven’s Fourth Piano Concerto was composed in 1806, a particularly productive year that also yielded the three String Quartets, Op. 59 (“Razumovsky”); the Fourth Symphony, Op. 60; and the Violin Concerto, Op. 61. The work received its first performance at Prince Lobkowitz’s palace in Vienna sometime in March of 1807. Its first public performance (also in Vienna), with Beethoven as soloist, took place on December 22, 1808. It is scored for solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 35 minutes.

Like so many of its sister works from 1805 to 1806, Beethoven’s Fourth Piano Concerto revels in lyricism and expansiveness of form. It is interesting to note, however, that the harmonic confrontations found in this piece are, if anything, even more radical than those found in Beethoven’s previous works.

The first and most striking example is the haunting B-Major response by the orchestra to the unaccompanied soloist’s G-Major opening. Indeed, the tonal restlessness of the music— modulating frequently from key center to key center—provides the necessary forward momentum to propel the first movement through its otherwise thematically serene journey.

It has long been suspected that the second movement of this concerto, Andante con moto, was inspired by the confrontation of Orpheus and the Furies at the gates of Hades from mythology. The legendary Orpheus was so accomplished a performer on the lyre and as a singer, that none could remain unmoved by his music. Bereaved at the death of his consort, Eurydice, on their wedding continued on 18

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PROGRAM NOTES . continued from 17

day, Orpheus resolves to enter Hades to win her back from death itself. In the scene at the gates of Hades, Orpheus’s musical powers charm the demons who would bar his way. The late distinguished musicologist Owen Jander, Professor Emeritus of Music at Wellesley College, projected a specific scenario and program for Beethoven’s Andante based on a German adaptation of the legend as transmitted by Virgil and Ovid. Jander has gone on to argue—not without provoking some controversy—that the first and last movements also are linked to the Orpheus myth (“The Song of Orpheus” and “Orpheus and the Bacchantes,” respectively). Jander cited, among other evidence, that the opening period of the unaccompanied piano that starts the concerto represents Orpheus testing the strings of his lyre, while the hushed, foreign-key answer in the orchestra depicts the “amazement of Nature in response to the magical sound of the Orphic lyre.” We have it on the authority of Beethoven’s pupil Carl Czerny that Beethoven arpeggiated the opening chord of the piece (as in Orpheus strumming his lyre) when he performed it. This fact may lend further support to Jander’s theory.

Less convincing, perhaps, is the notion that the addition of trumpets and timpani to the Fourth Concerto’s finale (the only movement in which these instruments are used) represents the punishment of Orpheus by the Bacchantes. It may be true that Beethoven had “pumped up the

volume” in this raucous finale (note also how frequently the music is marked fortissimo [very loud]), but the spirit of the music remains too joyful to convince this listener that such violent actions are being depicted. It is intriguing to note, however, that a portrait of Beethoven by Joseph Willibrord Mähler dating from the period in which the composer worked on the Fourth Piano Concerto, depicts him in an Arcadian setting, holding a lyre in his left hand. ●

Aaron Copland

Suite from Billy the Kid (1939) Aaron Copland was born in Brooklyn, NY, on November 14, 1900, and died in North Tarrytown, NY, on December 2, 1990. In addition to his distinguished accomplishments as a composer, he was an important author on musical topics, as well as a gifted pianist and conductor.

Furthermore, he was a mentor to at least two generations of important American composers. Copland, more than any composer in the 20th century, gave classical music a distinctly “American” voice that created a model that inspired future composers. Included in this voice is an evocation of the American West, as found in his 1938 ballet for impresario Lincoln Kirstein and choreographer Eugene Loring’s Billy the Kid, which received its premiere in a two-piano

Copland, more than any composer in the 20th century, gave classical music a distinctly “American” voice that created a model that inspired future composers.

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version with the Ballet Caravan Company at Chicago’s Civic Opera House on October 16, 1938. The orchestral version received its first performance in New York City on May 24, 1939. Rodeo, another Western-themed ballet by Copland, was composed for Agnes de Mille in 1942. Billy the Kid is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, a large percussion section, harp, and strings.

Approximately 20 minutes.

In the earliest stages of Copland’s compositional career, he was very much the modernist and like many other expatriots, he traveled to Paris to take in the exciting cultural milieu of Debussy, Ravel, Stravinsky, and others. He was the first of several Americans to study with the legendary Nadia Boulanger. Copland eventually saw a possible new path forward by tapping into American history and folklore. His three popular ballet scores— Billy the Kid, Rodeo, and Appalachian Spring—each reflect his success in weaving modernist techniques together with folk melodies. Of these scores, Rodeo leans most heavily on borrowed tunes, some of which were suggested by choreographer Agnes de Mille. Billy the Kid similarly makes use of cowboy and folk tunes, including “Great Grandad,” “Git Along, Little Dogies,” “The Old Chisholm Trail,” and “Goodbye Old Paint.”

The scenario for the ballet is set in the 1870s and 80s in New Mexico and Arizona. The first movement of the Suite is called “Introduction: The Open Prairie,” which sets the scene, at first gently, then more boldly. The following movement, “Street Scene in a Frontier Town,” places the listener more specifically in the American West, as does the “Mexican Dance and Finale” that ensues. After a gentle “Prairie Night,” an exciting “Gun Battle” follows—a movement that makes effective use of the orchestra’s percussion section. A satirical “Celebration” illustrates the joy of townspeople after Billy’s capture. The Suite ends with “Billy’s Death” at the hand of sheriff Pat Garrett, and a reprise of “The Open Prairie.” ●

PROGRAM NOTES .

“… the atomic sense one sometimes gets in far-off places, of suddenly knowing the essence of a people— their humanity, their separate shyness, their dignity, and unique charm.”

—Aaron Copland

Aaron Copland

El Salón México (1932–1936) In addition to his distinguished accomplishments as a composer, Aaron Copland was an important author on musical topics as well as a gifted pianist and conductor. Furthermore, as the “Dean of American composers,” he was a mentor to at least two generations of important American composers. His one-movement orchestral piece El Salón México was composed between 1932 and 1936 and first performed in Mexico City’s Palacio de Bellas Artes under the direction of Carlos Chávez on August 27, 1937. The piece was given its first performance in the United States on May 14, 1938, with Adrian Boult leading the NBC Symphony Orchestra. The work is dedicated to the composer’s travel companion, the violinist Viktor Kraft. It is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, güiro, snare drum, suspended cymbal, temple blocks, tambourine, wood block, and xylophone), piano, and strings.

Approximately 10 minutes.

There is a long history of musical works in which a composer imitates the style of a nation to which s/he does not belong. Tchaikovsky’s Capriccio

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Italien and Rimsky-Korsakov’s Capriccio espagnol are but two examples familiar to concert audiences. When a composer of a particular nationality writes a work that is self-consciously in the style of another country, however, s/he runs the risk, even if intended as a wellintentioned remembrance or tribute, of being criticized for either stealing, or even worse, parodying. Aaron Copland, who had visited Mexico in 1932, was aware of the risks he took in composing El Salón México, as revealed in his article, “The Story Behind My El Salón México” published in July 1939 in the journal Tempo. The relevant passage, which recalls Copland’s trepidations about the work’s premiere, reads as follows: To the customary misgivings any composer has at the thought of a première, there was added my natural fear as to what the Mexicans might think of a “gringo” meddling with their native melodies. At the first of the final rehearsals that I attended, an unexpected incident took place that completely reassured me. As I entered the rehearsal hall, the orchestral players, who were in the thick of a Beethoven symphony, suddenly stopped what they were doing, and began to applaud vigorously. What they were expressing, I soon realized, was not so much their appreciation of one composer’s work, as their pleasure and pride in the fact that a foreign composer had found their

own familiar tunes worthy of treatment. I shall always remember that gesture.

The work’s title refers specifically to a dance hall in Mexico City, which he learned about in a guidebook and visited with his host, the Mexican composer and conductor Carlo Chávez.

Again, let’s permit Copland to explain in his own words: Perhaps my piece might never have been written if it hadn’t been for the existence of the Salón México. I remember reading about it for the first time in a tourist guidebook: “Harlem-type nightclub for the peepul [sic], grand Cuban orchestra.

Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.”

When I got there, I also found a sign on the wall which said: “Please don’t throw lighted cigarette butts on the floor so the ladies don’t burn their feet.” … In some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people—the atomic sense one sometimes gets in far-off places, of suddenly knowing the essence of a people—their humanity, their separate shyness, their dignity, and unique charm.

Despite its immediate audience appeal, El Salón México is filled rhythmic and metrical complexity that Copland learned from the groundbreaking music he experienced during his studies in Paris in the 1920s, including the early ballets of Igor Stravinsky (especially Petrouchka and The Rite of Spring). These modernistic traits stand side by side with the quotation of authentic Mexican tunes (“El palo verde,” “La Jesusita,” “El mosco,” and “El malacate”). ●

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Robert & Dolores Engstrom Jackie Ericksen David & Frankie Ewing Peggy Favour Helen Feinberg Mary Filosi Ralph Garza & Kris Williams Mary Day Gauer Rod & Maria Geer Cynthia Gray Paul & Marcia Greenbaum Stanley & Sara Griffith Mina Jane Grothey Jim & Renee Grout Regina Guest Elene Gusch Gyros Mediterranean Lee & Thais Haines Bennett A. Hammer Matt Tyler Hart John & Diane Hawley Robert & Angela Hawthorne Darren Hayden Heidi Hilland, in memory of Madeline Lindstrom Brittenham Heidi Hilland, in memory of Carl & Nancy Hilland Toppin & Robert Hodge Hughes Homestead Designs Gwenellen Janov Robert & Mary Julyan Margaret Keller Ann King Richard Kozoll & Sally Davis, in momory of Dr. Steven Jubelirer Phil Krehbiel Jennifer C. Kruger Elizabeth Kubie Woody & Nandini Kuehn Hareendra & Sanjani Kulasinghe Karen Kupper Janice Langdale Jeffery & Jane Lawrence Honorable Idalia LechugaTena & Marco Gonzales Jae-Won & Juliane Lee LeRoy Lehr Thomas Lenzer William & Norma Lock Betty Logan Joan M. Lucas & David Meyerhofer Ruth Luckasson & Dr. Larry Davis Mary C. Lybrand Robert Lynn & Janet Braziel Gloria Mallory Robert & Linda Malseed The Man’s Hat Shop Mariachi Spectacular de Albuquerque Jeffrey Marr Kathy & John Matter Sallie McCarthy

Jane McGuigan David & Jane McGuire Edward McPherson Chena Mesling John & Kathleen Mezoff Ross & Mary Miesem Bruce Miller Jim Mills & Peggy Sanchez Mills Louis & Deborah Moench Dr. William Moffatt Danny & Kristin Montes Robert & Phyllis Moore Jim & Penny Morris Shirley Morrison Cary & Eve Morrow Ted & Mary Morse Karen Mosier & Phillip Freeman Kindred & Michael Murillo Melissa Nunez Rebecca Okun Del Packwood & Barbara Reeback Bob & Bonnie Paine Kyle & Letita Peterson Lang Ha Pham & Hy Tran Judi Pitch Placitas Artists Series Popejoy Presents Portmeirion Group Dan & Billie Pyzel Therese Quinn Dr. Barry & Roberta Ramo Robert Reinke Lawrence & Joyce Reszka Reverb & Young the Giant Karl Ricker Cynthia Risner Sherrick Roanhorse Justin Robertson Carole Ross Dick & Mary Ruddy Carey Salaz Sarafian’s Oriental Rugs Brigitte Schimek & Marc Scudamore John & Karen Schlue Kem & Louis Schmalzer Jane & Robert Scott Richard & Susan Seligman Daniel & Barbara Shapiro Rahul Sharma Beverly Simmons R.J. & Katherine Simonson R.J. & Katherine Simonson, in memory of Bill Bradley Ann Singer Rae Siporin George & Vivian Skadron Lillian Snyder Steven & Keri Sobolik Susan Spaven, in honor of Valerie Potter Jennifer Starr Luis & Patricia Stelzner Dorothy Stermer & Stacy Sacco John & Patricia Stover Jonathan Sutin Betsey Swan

Larry & Susan Tackman Gary & Nina Thayer Maxine Thévenot & Edmund Connolly Laurence Titman Dr. Steven Tolber & Louise Campbell-Tolber Sally Trigg Jay Ven Eman Kevin & Laurel Welch Lawrence Wells Jeffrey West Bronwyn Willis Uwe Wrede & Michelle Michael Kari Young

FRIENDS OF THE PHILHARMONIC

Donation of $25–$124 Harro & Nancy Ackermann David & Elizabeth Adams Jack Aderhold Natalie Adolphi & Andrew McDowell Dr. Fran A’Hern-Smith Albuquerque Auto Outlet, Paul Cervantes Albuquerque Little Theatre Jeffrey Allen Jo Anne Altrichter & Robin Tawney Amazon Smile Judith Anderson Julie Atkinson David Baca Jackie Baca & Ken Genco Thomas J. & Helen K. Baca Maurizio & Jennie Baccante Douglas & Kathleen Bailey Charlene Baker Bark Box Graham Bartlett Laura Bemis Kirk & Debra Benton Laura Bernay Suzanne Bernhardt Melbourne Bernstein Marianne Berwick Betty’s Bath & Day Spa Henry Botts David & Erin Bouquin J.M. Bowers & B.J. Fisher Douglas Brosveen Alfred Burgermeister Robert & Marylyn Burridge California Pizza Kitchen Dante & Judith Cantrill David & Laura Carlson Joseph Cella Robert & Sharon Chamberlin Roscoe & Barbara Champion Cheesecake Factory Chile Traditions Barry Clark Lloyd Colson III Lawrence & Mary Compton

continued on 22

The New Mexico Philharmonic

nmphil.org

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THANK YOU . continued from 21 Martha Corley Cara & Chad Curtiss The Daily Grind/ Caruso’s Rosalie D’Angelo Hubert Davis Mary Ann & Michael Delleney Thomas & Elizabeth Dodson Darryl Domonkos Sandy Donaldson Michael & Jana Druxman Jeff & Karen Duray D. Reed Eckhardt Martha Egan Bradley Ellingboe James Erdelyi, in memory of Robert Fosnaugh Vicky Estrada-Bustillo & Juan Bustillo Sabrina Ezzell Rita Fabrizio Peter & Janet Fagan Farm & Table Jane Farris & Mike Pierson Jane Farris & Mike Pierson, in honor of Brent & Maria Stevens Howard Fegan J. Fenstermacher Jon & Laura Ferrier Patrick & Elizabeth Finley Rabbi Arthur Flicker Carol Follingstad Karin Frings Greg & Jeanne FryeMason Eric & Cristi Furman Debra Jane Garrett Allison Gentile & Joan Sapon Lawrence Jay Gibel, MD Great Harvest Bakery Alfred & Patricia Green Charles & Kathleen Gregory Ginger Grossetete Marilyn Gruen & Douglas Majewski Kenneth Guthrie & Doni Lazar J. Michele Guttmann Leila Hall Rachel Hance, in memory of Dolores Hance Frank & Sue Hardesty Michael Harrison Gloria B. Hawk Ursula Hill Fred Hindel Stephen Hoffman & James McKinnell Kristin Hogge Steven Homer

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Julia Huff Ralph & Gay Nell Huybrechts Jerry & Diane Janicke Michael & Sandra Jerome Ruth Johnson Barbara Jones Lawrence & Anne Jones Ty Kattenhorn Julia Kavet Lynn Kearny Margaret Knapp Gerald Knorovsky Katherine Kraus Michael & Bethann Krawczyk John & Gretchen Kryda Larry W. Langford Molly Mary Lannon Lorin Larson Paul & Julie Laybourne Janice Leach Rita Leard Rebecca Lee & Daniel Rader Larry & Shirlee Londer, in memory of Bill Bradley Los Pinos Fly & Tackle Shop Suzanne Lubar & Marcos Gonzales, in memory of Dr. Larry Lubar Sam Lucero & Ron Lahti Frank Maher Elliot S. Marcus, MD Mark Pardo Salon & Spa April & Benny Martinez Carolyn Martinez Robert & Anne Martinez Janet Matwiyoff Peter & Lois McCatharn Marcia McCleary Mark Menicucci Moses Michelsohn George Mikkelsen Beth Miller, in memory of William Benz Kathleen Miller Martha Miller Mister Car Wash Ben Mitchell Bryant & Carole Mitchell Letitia Morris Baker H. Morrow & Joann Strathman John & Patsy Mosman Sharon Moynahan Brian Mulrey Bette Myerson Jim & Beth Nance Albert & Shanna Narath Ann & James Nelson, in memory of Louise Laval Ronald & Diane Nelson Ruth O’Keefe Peter Pabisch

2024/25 Season / Volume 13 / No. 4

Eric Parker Howard Paul Oswaldo Pereira & Victoria Hatch Gwen Peterson, in memory of Robert Fosnaugh Barbara Pierce Ray Reeder Reincarnation INC Crystal Reiter Carol Renfro Kerry Renshaw Kay Richards Margaret Roberts Gwenn Robinson, MD, & Dwight Burney III, MD Susan Rogowski Glenn & Amy Rosenbaum Michael & Joan Rueckhaus Evelyn E. & Gerhard L. Salinger Anne Salopek Sandia Peak Tramway Peter & Susan Scala Ronnie Schelby Leslie Schumann Timothy Schuster Screen Images, INC., Maria Cordova-Barber Seasons 52 Robert & Joy Semrad Arthur & Colleen Sheinberg Joe Shepherd Rebecca Shores Norbert F. Siska Glen & Barbara Smerage Carl & Marilyn Smith Catherine SmithHartwig Smith’s Community Rewards Amy Snow Allen & Jean Ann Spalt David & Laurel Srite Charlie & Alexandra Steen Theodore & Imogen Stein Brent & Maria Stevens Elizabeth Stevens & Michael Gallagher Stone Age Climbing Gym SumCaterpillar Marty & Deborah Surface Gary Swanson John Taylor Texas Roadhouse Valerie Tomberlin Top Golf Trader Joe’s John & Karen Trever Jorge Tristani

Bryon & Jill Vice Mary Voelz, in memory of Robert Fosnaugh John & Karin Waldrop Caren Waters Elaine Watson, in memory of William Seymour Dale A. Webster Weck’s V. Gregory Weirs Doug Weitzel & Luke Williams Charles & Linda White Leslie White Lisa & Stuart White Marybeth White Bill & Janislee Wiese Robert & Amy Wilkins Daniel Worledge, in honor of David Worledge James & Katie Worledge, in honor of David Worledge Kenneth Wright Michael & Anne Zwolinski 1/7/2025

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

Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Evelyn Patricia Barbier 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 1/7/2025

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NMPHIL .

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

CITY & COUNTY APPRECIATION Mayor Tim Keller & the City of Albuquerque The Albuquerque City Council Aziza Chavez, City Council Special Projects Analyst Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Amanda Colburn & the Bernalillo County Special Projects Barbara Baca, Commission Chair, Bernalillo County Board of Commissioners Walt Benson, Commissioner, Bernalillo County Board of Commissioners Steven Michael Quezada, Commissioner, Bernalillo County Board of Commissioners City Councilor Dan Champine City Councilor Tammy Fiebelkorn City Councilor Renee Grout City 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 1/7/2025

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The New Mexico Philharmonic

SPONSORED BY:

CENTURY BANK • ROBERTSON & SONS VIOLINS

saturday, march 15, 2025 5:30–10:00 p.m.

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1550 Tramway Blvd NE • Albuquerque, NM 87112

$175/PERSON ($50 fair market value)

dinner including wine • cash bar silent & live auctions ENTERTAINMENT

rye creek band & mcteggart irish dancers (505) 323-4343 nmphil.org nmphil.org

23

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

2024/25 Season / Volume 13 / No. 4

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

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

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

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

Noel Pugach Bonnie Renfro Elizabeth Stevens Arthur Alpert Stanley & Helen Hordes Edward & Carol Ann Dzienis Bob Crain Denise Fligner & Terry Edwards Stephen Schoderbek Krys & Phil Custer Deborah Peacock & Nathan Korn Rita Leard Carol Diggelman Paul Isaacson Sarah Barlow Martin & Ursula Frick Robert & Phyllis Moore Gary & Nina Thayer Sharon Moynahan & Gerald Moore Jeffrey West Ina Miller Bruce Miller Julie Kaved Jeffery & Jane Lawrence Dolores Teubner Ronald & Sara Friederich Helen Feinberg Volti Subito Productions Melbourn & Dorothy Bernstein 1/7/2025

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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.

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

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

BLACK KEYS LEVEL

PIANO FRIENDS LEVEL

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

WHITE 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 Mary E. Mills 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 Edward J. Kowalczyk

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 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

The New Mexico Philharmonic

Larry W. Langford Susan Lentz Claire Lissance Morgan MacFadden James & Marilyn Mallinson Nicholle Maniaci & John Witiuk Tom & Constance Matteson Jane McGuigan Martha Ann Miller & Henry Pocock Robert & Phyllis Moore Cary & Evelyn Morrow Katarina Nagy Edward & Nancy Naimark Geri Newton Bob & Bonnie Paine James Porcher Dan & Billie Pyzel Mary Raje Ray A. Reeder Karl Ricker Judith Roderick Dick & Mary Ruddy John Sale & Deborah Dobransky Katherine Saltzstein Peggy Schey Jane Nicholson Scott & Robert Scott Laurel Sharp & David Smukler Catherine Smith-Hartwig Cynthia Sontag Frances Steinbach Luis & Patricia Stelzner Linda Trowbridge Kevin & Laurel Welch Jeffrey West Charles & Linda White Roland & Wendy Wiele Diane Zavitz, in memory of Pat & Ray Harwick Linda R. Zipp, MD 1/7/2025

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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nmphil.org

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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.

Sound Applause

Bernalillo County bernco.gov

Albuquerque Community Foundation albuquerquefoundation.org

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

GARDENSWARTZ REALTY Computing Center Inc. cciofabq.com

D’Addario Foundation foundation.daddario.com

David S. Campbell, Attorney davidscampbell.com

Gardenswartz Realty

HOLMANS USA CORPORATION holmans.com

Jennings Haug Keleher McLeod jhkmlaw.com

Menicucci Insurance Agency mianm.com

Meredith Foundation

Music Guild of New Mexico musicguildofnewmexico.org

New Mexico Arts nmarts.org

New Mexico Philharmonic Foundation Inc. nmphilfoundation.org

Parnall Law Firm hurtcallbert.com

RBC Wealth Management rbcwealthmanagement.com

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Robertson & Sons Violin Shop robertsonviolins.com

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SUPPORT YOUR NMPHIL Interested in becoming a sponsor of the NMPhil?

Call today! (505) 323-4343

Urban Enhancement Trust Fund cabq.gov/uetf

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2024/25 Season / Volume 13 / No. 4

The Noel Company

Senspex Incorporated

Querque Communications

NMPHIL .

New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca

The Musicians FIRST VIOLIN Cármelo de los Santos

Karen McKinnon Concertmaster Chair

Elizabeth Young

Associate Concertmaster

Sarah Tasker •••

Assistant Concertmaster

Ana María Quintero Muñoz Heidi Deifel Olivia DeSouza Maia Lorenzo Gallegos Juliana Huestis Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Rachel Jacklin • Carol Swift ••• Julanie Lee Lidija Peno-Kelly Megan Lee Karls Liana Austin Sheila McLay Jessica Retana Jocelyn Kirsch Brad Richards VIOLA Laura Chang • Kimberly Fredenburgh ••• Allegra Askew Christine Rancier Laura Steiner Michael Anderson Lisa Di Carlo Joan Hinterbichler Laura Campbell

CELLO Amy Huzjak • Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps Lisa Collins Elizabeth Purvis

BASS CLARINET Jeffrey Brooks

BASS Joe Weldon Ferris • Mark Tatum ••• Katherine Olszowka Terry Pruitt Marco Retana Frank Murry

HORN Peter Erb • Allison Tutton Maria Long Andrew Meyers Katya Jarmulowicz ••••

FLUTE Valerie Potter • Esther Fredrickson Noah Livingston •• PICCOLO Esther Fredrickson OBOE Kevin Vigneau • Amanda Talley Melissa Peña •• ENGLISH HORN Melissa Peña CLARINET Marianne Shifrin • Lori Lovato ••• Jeffrey Brooks

BASSOON Stefanie Przybylska •+ Denise Turner + Zoe SirLouis •++ Avery Dabe ++

TRUMPET John Marchiando • Brynn Marchiando Sam Oatts •• TROMBONE Aaron Zalkind • Byron Herrington BASS TROMBONE David Tall TUBA Richard White •

Chair

Al Stotts

Vice Chair

Fritz Eberle Treasurer

Lauren R. Wilber Secretary

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

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Carla Fabris •

E-FLAT CLARINET Lori Lovato

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

STAFF Marian Tanau

Genevieve Harris

Mary Montaño

Roberto Minczuk

Nancy Naimark

Joan Olkowski

President & CEO Music Director

Christine Rancier

Vice President of Business

Assistant Librarian

Director of Community Relations & Development Officer

Crystal Reiter

Ian Mayne-Brody

Office Manager

Terry Pruitt

Young Musician Initiative Program Director

Personnel Manager Principal Librarian

The New Mexico Philharmonic

Grants Manager

Design & Marketing

Lori Newman Editor

Laurieanne Lopez

nmphil.org

27

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