2025-2026 Program Book 1

25/26 VOLUME 14 / NO. 1

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2025/26 15TH-ANNIVERSARY SEASON

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THE NEW MEXICO PHILHARMONIC FOUNDATION HAS ACHIEVED APPROXIMATELY $2.5 MILLION IN ASSETS.

Please be a part of our success and join our family of donors.

New Mexico Philharmonic Foundation Inc. PO Box 16422 Albuquerque, NM 87191

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 highincome years (for any number of reasons), accelerate your deductions, avoid capital gains, and spread out gifts through a Donor-Advised Fund.

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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WELCOME LETTER FROM THE

MUSIC DIRECTOR DEAR FRIENDS,

TABLE OF CONTENTS

It is with great joy that I welcome you to this milestone season—our 15th anniversary! For fifteen years, the NMPhil has brought music to our community, and this season we celebrate with performances that reflect both our history and our future.

Our Classics Series shines with timeless masterworks, including Mahler’s radiant and monumental Fourth and Fifth Symphonies.

The Afternoon Classics and Coffee Concerts invite you to experience more intimate musical journeys, from Schubert’s “Tragic” Symphony to the whimsy of Saint-Saëns’s Carnival of the Animals.

And our Rock, Pops, & Movies Series promises joy for all ages with upcoming performances of Home Alone in concert, our beloved Holiday Pops, and the thrilling Music of the Knights.

Thank you for being part of the NMPhil family—your support makes this orchestra possible! Together, we celebrate 15 years and counting of music that inspires, uplifts, and unites us all.

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). ●

PROGRAMS

Oct 5, 2025 Oct 11, 2025 Oct 19, 2025 Program Notes

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ARTISTS

François López-Ferrer Ella Tasker Sean Choi Roberto Minczuk Meghan Kasanders Nimrod David Pfeffer

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YOUR NMPHIL

Steinway Society Sponsor a Musician NMPhil Foundation Donors & Trustees NMPhil Donor Circles Legacy Society Thank You Sponsors Business Circle 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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read full bio on page 10

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Photo Credit: Dry Heat Photography

Proud sponsor of the performing arts Nusenda Credit Union is happy to support The New Mexico Philharmonic in its mission to embrace diversity and enrich lives through music, community engagement, and educational opportunities. Together, we can set the stage for positive change in our communities.

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CONCERT PROGRAM .

AFTERNOON CLASSICS:

Schubert’s Tragic Symphony

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Sunday, October 5, 2025, 2 p.m.

National Hispanic Cultural Center

François López-Ferrer conductor Ella Tasker violin Sean Choi piano

Overture to Don Giovanni, K. 527

Violin Concerto No. 4 in D Major, K. 218 I. Allegro

Wolfgang Amadeus Mozart (1756-1791) Mozart MAKING A DIFFERENCE

Ella Tasker violin Piano Concerto No. 4 in G Major, Op. 58 Ludwig van Beethoven III. Rondo: Vivace (1770-1827)

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

Sean Choi piano

The City of Albuquerque I N T E R M I S S I O N

Symphony No. 4 in c minor, “Tragic,” D. 417 I. II. III. IV.

Franz Schubert (1797-1828)

Adagio molto—Allegro vivace Andante Menuetto. Allegro vivace Allegro

The New Mexico Philharmonic

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For the love of music, the Music Guild of New Mexico supports, promotes, and encourages nonprofit musical organizations that will educate, enhance, engage, and enrich the quality of our New Mexico community, especially its youth. musicguildofnewmexico.org

al

e

Pu

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

Casual and 2 left feet welcome.

No partner needed, just you.

We are a fun & non-judgemental community here in Albuquerque at Las Puertas 1500 1st st. NW

Musical Fiesta

An evening of exquisite music, food, and wine

Sunday, Nov. 2 4:00 pm •

$200 per person, $150 fair market value

Join us for an intimate performance

by Steven Moeckel, a violinist who is known for his effortless virtuosity, vivid characterization and uncanny ability to capture the very essence of a work. Hosted by Pia and Jesus Salazar at their stunningly beautiful Tuscan-inspired home off Rio Grande Blvd. Wine, appetizers, and dinner included.

TICKETS: Call 505.908.9648 or nmphil.org

CONCERT PROGRAM .

POPEJOY CLASSICS:

Mahler’s Fourth

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Saturday, October 11, 2025, 6 p.m.

Popejoy Hall

Roberto Minczuk Music Director Meghan Kasanders soprano

Threnody to the Victims of Hiroshima

Four Last Songs, Op. posth.

I. II. III. IV.

Krzysztof Penderecki (1933-2020)

MAKING A DIFFERENCE

This performance is made possible by: Art Gardenswartz & Sonya Priestly

Richard Strauss (1864-1949)

Frühling September Beim Schlafengehen Im Abendrot Meghan Kasanders soprano

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

Symphony No. 4 in G Major I. II. III. IV.

Gustav Mahler (1860-1911)

Bedächtig, nicht eilen In gemächlicher Bewegung, ohne Hast Ruhevoll, poco adagio Sehr behaglich

The New Mexico Philharmonic

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CONCERT PROGRAM .

AFTERNOON CLASSICS:

Olga Kern International Piano Competition Finals Sunday, October 19, 2025, 2 p.m.

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National Hispanic Cultural Center

Nimrod David Pfeffer conductor

Join us for a thrilling afternoon of music and discovery as emerging pianists from around the globe take the stage for the final round of the prestigious Olga Kern International Piano Competition. Conductor Nimrod David Pfeffer leads the NMPhil in an evening of electrifying performances and unforgettable artistry. The next great piano star could be discovered today!

MAKING A DIFFERENCE

This performance is made possible by: Olga Kern International Piano Competition ADDITIONAL SUPPORT:

The City of Albuquerque

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ARTISTS .

François López-Ferrer conductor Spanish-American conductor François López-Ferrer has carved an impressive path in the world of classical music, distinguished by his dynamic artistry and compelling performances. Recipient of the prestigious 2024 Sir Georg Solti Conducting Award, his international career has been marked by recent debuts with esteemed orchestras worldwide, including the Chicago Symphony Orchestra, Los Angeles Philharmonic (LA Phil) at the Hollywood Bowl, Hong Kong Philharmonic, Orquesta Nacional de España, Orquesta Sinfónica de Galicia, Orquesta Sinfónica Radio Televisión Española, Verbier Festival Orchestra, Ensemble intercontemporain, Opéra de Lausanne, and George Enescu Philharmonic.

Upcoming engagements include debuts with the Detroit Symphony Orchestra, Opéra de Paris conducting a new production of Haydn’s L’isola disabitata, Orquesta de la Comunidad de Madrid, Orquesta Sinfónica de Puerto Rico, and The Orchestra San Antonio, as well as returns to the Orquesta Sinfónica de Navarra, Orquesta Sinfónica de Castilla y León, and the Philharmonisches Orchester Hagen.

His journey began as Associate Conductor of the Cincinnati Symphony (CSO) and May Festival, where he made a significant impact on audiences and critics alike. In January 2022, he seamlessly stepped in for Louis Langrée with the CSO for the U.S. premiere of Mark Simpson’s Violin Concerto, featuring Nicola Benedetti. López-Ferrer’s artistry was further refined during his tenure as a 2021/22 Dudamel Fellow with the LA Phil, as well as Resident Conductor of the Opéra de Paris’s

The New Mexico Philharmonic

Académie. He was a featured conductor in the 2022 Bruno Walter National Conductor Preview alongside the Louisiana Philharmonic.

Early career achievements include serving as Associate Conductor of the Orquesta Sinfónica Nacional de Chile and Principal Conductor of the Ballet Nacional Chileno. As a 2018 Verbier Festival Conducting Fellow, he made a memorable debut stepping in for Iván Fischer in a shared program alongside Sir Simon Rattle and Gábor Takács Nagy.

Furthermore, he is a two-time recipient of the Solti Foundation U.S. Career Assistance Award, winner of the inaugural 2015 Neeme Järvi Prize at the Menuhin Gstaad Festival, and former member of the Deutsche Dirigentenforum.

López-Ferrer holds a Master’s degree in orchestral conducting from the Haute École de Musique de Lausanne and a Bachelor’s degree in composition from the University of Cincinnati College-Conservatory of Music.

Born in Switzerland and raised in the United States, he embodies a rich multicultural lineage, with a Cuban mother and Spanish father, and speaks six languages fluently. ●

Ella Tasker violin Ella is 11 years old and in the 6th grade.

She grew up surrounded by music. Her mother and aunt are violinists, sister and brother cello students, grandmother a violin teacher, and father an appreciative listener and purchaser of the family stringed instruments. Ella joined the family ensemble with lessons starting at age 3. Under tutelage of teachers Deborah Moench and Susan Kempter, she has ascended the stairs to the solo performance stage twice at the Intermountain Suzuki String

Institute and three times with the New Mexico Philharmonic. She reads avidly, cooks happily, draws colorfully, builds things imaginatively, and hopes to keep building her violin skills and opportunities to bring others into the community of music lovers. ●

Sean Choi piano Sean began learning piano at age 6 with Tatyana Bayliyeva in Albuquerque. His love for classical music and piano was evident early and continues today. He has excelled in solo and duo performance, winning several first prizes in the 2019 and 2021 Carmel Klavier International Piano Competition, plus the Judges Recognition Award for perfect scores, the 2020 Bellagrande International Music Competition, and the 2021 Clavis International Piano Competition. He received multiple grand prizes in the 2022 Royal Sound Music Competition in Canada and in the 2022 Brooklyn Music Teachers’ Guild International Piano Competition. He was invited to perform in Toronto, Canada, and at Carnegie Hall. He also won the 2021 G-Clef International Music Competition in South Korea and Second Prize in the 2023 Jackie McGehee Young Artists’ Competition. In 2024, he was the Music Teachers National Association’s (MTNA) New Mexico State winner plus the Southwest Division winner in the Senior Piano Duet category. This historic win marked the first time competitors from New Mexico advanced to the MTNA national round. Sean represented New Mexico as the Senior Performance National Finalist at the MTNA National Competition 2024 and won second place. He performs at churches, nursing homes, and various events as he strives to gift music to the community. ● continued on 10

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ARTISTS . continued from 9

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

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

In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires.

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

He has since conducted more than 100 orchestras worldwide, including the New York,

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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 Villa-Lobos 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. ●

ARTISTS .

Meghan Kasanders soprano Soprano Meghan Kasanders has been hailed by Opera News as “a wonderfully promising, rich dramatic soprano.” In the 2025/26 season, she returns to The Dallas Opera for Don Carlo (A Heavenly Voice/ Elisabetta cover). On the concert stage, Meghan returns to the Dallas Symphony Orchestra in Mahler’s Symphony No. 8, and she debuts with Collaborative Arts Institute of Chicago in their opening season concert. A passionate supporter of contemporary works, she also will participate in several opera workshops with the Chicago Opera Theater.

Last season, she debuted with the Arizona Opera in La finta giardiniera (Arminda) and returned to Chicago Opera Theater for a concert titled “Bohème and Beyond: The Legacy of Puccini.” She also returned to Opera Saratoga in a workshop of Robert Whalen, Mark Steidl, and Katherine Skovira’s The Other Side of Silence (Grace).

In the 2023/24 season, Meghan debuted with The Dallas Opera in Elektra (Fünfte Magd), Lyric Opera of Kansas City in Journey to Valhalla (Sieglinde), and the Dallas Symphony Orchestra in Das Buch mit sieben Siegeln, conducted by Fabio Luisi. Meghan also presented a recital produced by Carnegie Hall Citywide in New York City and took part in the workshop Working for the Macbeths (Lady Macbeth) with American Lyric Theater.

Past highlights include debuts at Virginia Opera in Die Walküre (Sieglinde), Opera Columbus in Don Giovanni (Donna Anna), and Baltimore Concert Opera as the title role in Anna Bolena. She also made her European debut in Hänsel und Gretel (Gertrud) with Staatsoper Hannover. Meghan has recently

The New Mexico Philharmonic

returned to Opera Columbus for Fellow Travelers (Mary Johnson) and Opera Theatre of St. Louis for Gianni Schicchi (Nella) and The Magic Flute (First Lady). On the concert stage, Meghan made her debut with the Lubbock Symphony in Beethoven’s Symphony No. 9 and returned to Des Moines Metro Opera as guest soloist in “A Concert for Robert.”

Ms. Kasanders is a 2019 Grand Finalist in the Metropolitan Opera National Council Auditions and both the First Prize and Audience Choice Winner in the Dallas Opera Guild Vocal Competition. She has also been recognized by the Gerda Lissner Foundation, the Opera Birmingham Vocal Competition (Second Prize and Audience Choice), and the Mildred Miller International Voice Competition, where she won First Prize in 2017 as the youngest competitor. ●

Nimrod David Pfeffer Praised for the depth and fresh insights of his interpretations of great masterpieces as well as contemporary repertoire, Nimrod David Pfeffer has performed with orchestras such as the San Francisco Symphony, Mariinsky Theatre Orchestra, Hungarian State Opera Orchestra, and Hungarian National Philharmonic Orchestra and has conducted opera productions at distinguished venues including the Metropolitan Opera, Komische Oper Berlin, Palau de les Arts Reina Sofía in Valencia, the Juilliard Opera, the Polish National Opera, and the Israeli Opera.

At the Metropolitan Opera, Pfeffer made his debut in 2022 conducting Le nozze di Figaro and returned in 2024/25 to lead the Julie Taymor production of The Magic Flute. He has also been a frequent guest at

the Israeli Opera, where he has led productions of Don Giovanni, Idomeneo, Simon Boccanegra, Die Zauberflöte, and Theodor, a new opera by Yonatan Cnaan and Ido Ricklin, in which he was involved throughout the creative process. The opera was met with critical and audience acclaim, was featured in subsequent seasons, and was adapted into a film production that is screened internationally and available on VOD. Pfeffer has conducted at the Komische Oper Berlin, Polish National Opera, and the Juilliard Opera, where he made his debut with Così fan tutte in 2019 and returned in 2023/24 to conduct La Clemenza di Tito.

He made his debut with the Polish National Opera conducting Die Zauberflöte in 2023/24 and will return in 2025/26 to conduct it again.

He also conducted Aida at the 52nd May Opera Evenings in Macedonia.

Beyond his work as a conductor, Pfeffer is an acclaimed concert pianist, regularly performing as a soloist, recitalist, chamber musician, and vocal accompanist. He has appeared as soloist in renowned venues such as New York’s Carnegie Hall, Alice Tully Hall, and The Metropolitan Opera, as well as the Warsaw Philharmonic Hall, Franz Liszt Academy in Budapest, and other major stages in the USA, Europe, and Asia.

Pfeffer studied orchestral conducting at The Juilliard School under Alan Gilbert, receiving the Bruno Walter Scholarship, Charles Schiff Conducting Prize, and Norman Benzaquen Career Advancement Grant. He also trained at Mannes College of Music and was a fellow of the Metropolitan Opera’s Lindemann Young Artist Development Program. He has received grants from the Bagby Foundation for the Musical Arts and the America-Israel Cultural Foundation.

He studied with esteemed musicians such as Pnina Salzman, Vadim Monastyrski, Gideon Hatzor, Michael Wolpe, André Hajdu, Victor Rosenbaum, Carl Schachter, Claude Frank, Byron Janis, Alan Gilbert, James Levine, and Richard Goode. ●

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PROGRAM NOTES .

__________________________________ NOTES BY CHARLES GREENWELL

Overture to Don Giovanni, K. 527

Wolfgang Amadeus Mozart (1787) Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria, and died on December 5, 1791, in Vienna, Austria. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Approximately 7 minutes.

This powerful opera is based on the legends of Don Juan, a fictional libertine and seducer, and it can be said that the Don and Faust were created by the Counter-Reformation as warnings against exceeding the boundaries set for man: Faust for seeking metaphysical knowledge and power; Don Juan for living in unbounded sensuality without any spiritual belief. In the end, both are overtaken by divine retribution. Created by Mozart and his librettist Lorenzo da Ponte in 1787, Don Giovanni brought all of these old popular legends to the stage in what was the most complex and modern music of its time. Commissioned by an Italian opera company in Prague, the opera blended elements of high tragedy with the low and frequently risqué humor of the opera buffa, or opera with humorous subject matter. The role of Don Giovanni embraces this duality by depicting an aristocratic gentleman whose sexual adventures and

open philosophy lead him to disavow the dignity of his class, transgress society’s moral codes, and cross the line from pleasurable risk to destruction and death. Looked at another way, the Don is everything and nothing who dominates every moment of the action, even when he is not on stage. In the process, the opera blends comedy, melodrama, and supernatural elements. Don Giovanni was performed in October 1787 for a visit to Prague by the Archduchess Maria Theresa of Austria, niece of the Emperor Joseph II. It was a huge success, as was often true of Mozart’s work in Prague. The opera’s final ensemble (the scene after the Don is dragged down to hell by demons) was generally omitted until the early 20th century, a tradition that appears to have begun very early on, and was sanctioned

by Mozart himself. Nowadays, of course, that final ensemble—which is a kind of morality lesson—is always performed. For Mozart, it was an unusually intense work, and was not entirely understood in his time, but by the middle of the 19th century was recognized as one of the greatest of all operas. The opening section of the overture is taken almost entirely from the scene in which the statue of the slain Commendatore confronts the Don, and in doing so, Mozart daringly anticipates the crucial event of the whole opera. In performances of the opera, the end of the overture slows down and blends into the beginning of the first act, but in concert, it is usual to use the ending created by Johann Andre. ●

... the Don is everything and nothing who dominates every moment of the action, even when he is not on stage. In the process, the opera blends comedy, melodrama, and supernatural elements.

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______________________________________ NOTES BY DAVID B. LEVY

Violin Concerto in D Major, K. 218 Mozart I. ALLEGRO (1775)

The Concerto for Violin in D Major, K. 218 [No. 4], was composed in Salzburg in October of 1775 and was most likely first performed by the young composer himself, although upon leaving the service of the Prince-Archbishop’s orchestra, he revised it for his successor, Antonio Brunetti. The “K” number used for Mozart’s works refers to the name Ludwig Ritter von Köchel, who first issued the Chronological-Thematic Catalogue of the Complete Works of Wolfgang Amadé Mozart in 1862. The Köchel catalogue has been updated and revised many times to keep pace with musicological revelations.

The autograph manuscript of the score now resides in the Jagiellonian Library of the University of Kraków. The work is scored for solo violin, 2 oboes, 2 horns, and strings. Approximately 8 minutes.

Given the fact that Mozart’s father, Leopold, was the author of one of the most important treatises on playing the violin, it is hardly a surprise that his son authored several violin concertos, five of which are authentic—K. 207, 211, 216, 218, and 219. He possibly may have composed two others—K. 268/ C14.04 and K. 271a/271i—but these have survived in either fragmentary form or are of doubtful authenticity. The fact that the five authentic violin concertos all emerged between April and December of a single year—1775—is less easy to explain.

There is reason to believe that these concertos were written for Brunetti, the concertmaster of the Salzburg Court.

Evidence for this is provided by an alternate finale for K. 207 (K. 261a) and a substitute second movement for K. 219 (K. 261). This latter movement was described

by Leopold as a new “Adagio for Brunetti, since the one was too studied for him.” Be that as it may, one can hardly imagine how anyone could have been unhappy with the

PROGRAM NOTES .

original Adagio, whose melodiousness, grace, and expressivity is unsurpassed by any of its sister concertos.

The opening of the first movement of K. 218, Allegro, is a charming work that opens in the style of a military march. ●

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Franz Peter Schubert was born in Vienna on January 21, 1797, and died there on November 19, 1828. He 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. His Symphony No. 4 was composed in 1816 when the composer was only nineteen years old.

For unknown reasons, he later added the

Piano Concerto No. 4 in G Major, Op. 58 Ludwig van Beethoven III. RONDO: VIVACE (1806)

Ludwig van Beethoven was born on December 17, 1770, in Bonn, Germany, and died on March 26, 1827, in Vienna, Austria. 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 Fourth Piano Concerto received its first performance at Prince Lobkowitz’s palace in Vienna sometime in March 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 10 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.

In contrast to the expansive first two movements, the finale of the Fourth Piano Concerto takes on a lighter spirit. Cast in a traditional rondo form, it is driven by a buoyant, rhythmic main theme. This theme is first presented quietly by the orchestra in the unexpected key of C Major before the piano playfully redirects the music back home to G Major. ●

Symphony No. 4 in c minor, “Tragic,” D. 417 Franz Schubert (1816)

Symphony No. 4, had already composed eight of his nine monumental symphonies.

Schubert’s lyrical gift and harmonic ingenuity in some respects outstripped that of the elder master, to whom he looked up and without whose influence, Schubert could not entirely escape.

One additional interesting aspect of this symphony is that it was not published until 1884, and at that edited by none other than Johannes Brahms, who may have inserted some of his own emendations.

Only since 1965 are we seeing new critical editions of Schubert’s works that come closer to the original conception of this and other compositions. A new critical edition of Symphony No. 4 was issued in 1999.

In any event, symphonic music in early 19th-century Vienna took a back seat to other genres, most notably opera. There was not even an established orchestra that existed for the sole purpose of

The history of symphonic music might have changed significantly had Franz Schubert’s contributions to the genre stood in the foreground of his Vienna. title, “Tragic,” perhaps to render it more marketable. It was not performed in public until November 19, 1849, in Leipzig. The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Approximately 30 minutes.

The history of symphonic music might have changed significantly had Franz Schubert’s contributions to the genre stood in the foreground of his Vienna. The dominant figure of his time, of course, was none other than Ludwig van Beethoven, who, by the time Schubert composed his

performing concert pieces for orchestra.

Public performances of symphonies relied on the composer being able to marshal the personnel from opera orchestras and securing a suitable venue. There was no Musikverein (built in 1870) and no Vienna Philharmonic (established in 1842). Symphonies, therefore, were often performed in smaller venues for private audiences and such was the case with most of those composed by Schubert. It was characteristic of this composer, who most of his short life shunned the public spotlight, to play down his achievements continued on 14

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as a composer of symphonies. Time has proven that even his earliest efforts are meritorious beyond his self-assessment.

The first movement of Schubert’s Fourth Symphony begins with a dramatic introduction (Adagio molto), which could have been inspired by the “Depiction of Chaos” opening of Joseph Haydn’s oratorio, The Creation, but that also carries traces of the influence of Christoph Willibald Gluck. The ensuing Allegro vivace shows the possible influence of the first

No. 5, it could be the gently lyrical Andante in A-flat Major second movement. This rondo on occasion attempts to equal Beethoven’s boldness, especially in its second and fourth sections, but falls back mainly on its more serene tunefulness.

The third movement is labeled Menuetto.

Allegro vivace and is notable for several reasons. As is the case with Beethoven’s Symphony No. 1, the title, “Menuetto” is deceptive, as it is in fact closer to the spirit of a scherzo than a courtly dance.

If any movement hints at the possibility of the influence of Beethoven’s Symphony No. 5, it could be the gently lyrical Andante in A-flat Major second movement. This rondo on occasion attempts to equal Beethoven’s boldness, especially in its second and fourth sections, but falls back mainly on its more serene tunefulness. movement of Beethoven’s String Quartet, Op. 18, No. 4—a work in the same key of c minor with which Schubert surely could have been familiar (Beethoven’s “Pathétique” Sonata, also in c minor, cannot be eliminated as another possible inspiration). Unlike Beethoven’s penchant for ending the movement in a minor key, Schubert elects, Haydn-like, to allow the brighter major mode to hold sway.

If any movement hints at the possibility of the influence of Beethoven’s Symphony

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Another unusual feature is Schubert’s choice of tonality: E-flat Major. Normally the third movement of a symphony would return to the home key of the first movement—in this case c minor. Finally, the movement’s high level of chromaticism and brief excursions into foreign keys show an adventurous nature of Schubert’s harmonic muse. The energetic final movement, Allegro, brings us back home to c minor as well as the piquant chromatic inflections that are a hallmark of the first

and third movements. The symphony ends optimistically in C Major, but not without the signature chromaticism that permeates so much of the work. ● ______________________________________

Threnody to the Victims of Hiroshima Krzysztof Penderecki (1961)

Polish composer Krzysztof Penderecki was born in Dębica, Poland, on November 23, 1933, and died in Kraków on March 29, 2020. His musical studies were at the Jagiellonian University and Academy of Music in Kraków. He composed a wide variety of works, including operas, symphonies and other orchestral pieces, concertos, sacred choral works, and chamber music. He is best known for his St. Luke Passion, Symphony No. 3, and Threnody to the Victims of Hiroshima.

Its first performance took place on September 22, 1961, at the Warsaw Autumn Festival with Andrzej Markowski leading the Kraków Symphony Orchestra.

The Threnody was composed in 1961 and is written for 52 string instruments: 24 violins, 10 violas, 10 cellos, and 8 double basses. Approximately 8.5 minutes.

The world has recently observed the 80th anniversary of the fateful atomic bombing of Hiroshima and Nagasaki, Japan, on the 6th and 9th of August, 1945. To date, these are the only wartime applications of these weapons of mass destruction, although we still live in the shadow of these events. Originally titled 8’37”, Penderecki’s Threnody makes use of a unique manner of scoring that lends itself to the unorthodox way in which the instruments are used. The word “sonorism” has been associated with the composer’s music. In accordance with the horrific event inflicted on the victims of the Hiroshima bombing, Penderecki exposes his audience to a host of sonorities—highpitched screams, percussive effects, pizzicato, bending of pitches, clusters, to name but a few. Uncomfortable as many of the sounds may be, one must

PROGRAM NOTES .

acknowledge the dramatic effectiveness of the composition, which has been used in other media. To name but two, filmmaker Alfonso Cuarón cited excerpts from Threnody in Children of Men (2006), as did Wes Craven in The People Under the Stairs (1991). ● ______________________________________

Four Last Songs, Op. posth.

Richard Strauss (PUB. 1950)

Richard Strauss was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. He was not related to the Viennese Strauss family of waltz fame, although he composed some impressive waltzes that are incorporated in his larger works. A brilliant conductor and composer, Strauss first came to public attention as a composer because of his sensational symphonic poems composed during the 1880s. Among Strauss’s crowning achievements are the repertory of more than 200 songs for voice accompanied by piano or orchestra. Published as a set in 1950 by the composer’s friend Ernst Roth, his Four Last Songs (Vier letzte Lieder) are a product of what biographers identify as his “Indian Summer.”

The songs were given their premiere performance at London’s Royal Albert Hall on May 22, 1950, by soprano Kirsten Flagstad and the Philharmonia Orchestra, conducted by Wilhelm Furtwängler. The set is orchestrated for piccolo, 3 flutes (3rd doubling second piccolo), 2 oboes, English horn, clarinet in E-flat, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp, celesta, and strings.

Approximately 25 minutes.

Richard Strauss remains one of history’s most enigmatic composers, and nowhere does this come into sharper relief than during the later stages of his life and work (1930-1949). Until 1933, Strauss had been wary of politics and was no fan of the National Socialists and their agenda.

Nevertheless, when Hitler came to power, Strauss accepted the appointment as president of the Reichsmusikkammer (Ministry of Music), thinking that this would further his artistic goals. Even though he resigned from this honorary post, in part because he chose to stand by his Jewish librettist, Stefan Zweig, he could never fully escape the stigma of his former association with the Nazis. It should be added that the composer’s daughter-inlaw was also Jewish and Strauss sought to protect her and his grandsons from the fate that awaited Jews during the Third Reich. In fairness, one might conclude that

Many of the final works of Strauss exhibit a kind of neoclassicism, as found in his lovely Concerto for Oboe and Orchestra (1945, rev. 1948), composed at the request of the American virtuoso John DeLancie.

both the composer and the Nazis were using each other for selfish purposes, but it is clear that Strauss’s ambition and ego clouded his judgment. Strauss was officially “de-Nazified” after the war, and his despair over what had become of Germany found musical voice in his Metamorphosen for 23 Strings (1945).

Many of the final works of Strauss exhibit a kind of neo-classicism, as found in his lovely Concerto for Oboe and Orchestra (1945, rev. 1948), composed at the request of the American virtuoso John DeLancie. The Four Last Songs were his final compositions and the poems he chose—and the manner in which he set them—expressed his feelings about death and resignation. The songs are couched in the harmonic vocabulary of late-Romanticism and are exquisitely orchestrated. They also gloriously reflect Strauss’s uncanny genius in writing for the soprano voice that is exhibited in so many of his earlier operas. The first three songs, as printed by the publisher Boosey & Hawkes, are settings of poems by Hermann Hesse (1877-1962), the author of Steppenwolf and Siddhartha, and recipient in 1946 of the Nobel Prize in Literature.

These songs are titled “Frühling” (Spring), “September,” and “Beim Schlafengehen” (Going to Sleep). The first two make for a logical pair as they reflect on nature, represented by a garden, from the awakening of blossoms to their withering moments. The third song expresses a desire for the end of yearning and thought, only to lose oneself in the eternity of a gentle night. An interlude for solo violin is especially poignant. The final song, “Im Abendrot” (At Sunset), uses a poem by the great Romantic Joseph Freiherr von Eichendorff (1788-1857), whose poetry was among the most frequently set in the 19th century. Against the backdrop of nature, the poet writes of two travelers weary of their wanderings, longing for rest. The poetic image of a pair of larks is evoked musically by trills in the piccolos.

The final couplet reads, “How tired we are of travelling—is this perchance death?”

Strauss follows this with a self-quotation of the transformation theme from his

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symphonic poem Tod und Verklärung (Death and Transfiguration) composed between 1888-1889. The peroration in the orchestra is one of the most beautiful and moving passages ever composed. ● ______________________________________

Symphony No. 4 in G Major Gustav Mahler (1899-1900)

Gustav Mahler was born May 7, 1860, in Kalischt, near Iglau [now Kaliště, Jihlava], Bohemia, and died May 18, 1911, in Vienna. His Symphony No. 4 was first performed in Munich on November 25, 1901. It is scored for 4 flutes (2 piccolos), 3 oboes (1 English horn), 3 clarinets (1 E-flat clarinet, 1 bass clarinet), 3 bassoons (1 contrabassoon), 4 horns, 3 trumpets, timpani, sleighbells, cymbals, glockenspiel, triangle, tam-tam, bass drum, harp, and strings. Approximately 55 minutes.

The fourth of Mahler’s nine completed symphonies was begun in the summer of 1899 and completed the next year.

It received its first performance on November 25, 1901, in Munich, where it met with vicious attacks from the audience. Its Viennese premiere occurred in 1902, and on that occasion the audience was deeply divided between opponents and enthusiasts. The work is in four movements and takes less than one hour to perform—a stark contrast to the more than 90 minutes it takes to perform Mahler’s Symphony No. 3.

“My time will yet come,” said the famous conductor/composer about the fate of his compositions. “One need not be present when one becomes immortal.” In retrospect, these comments have proven to be remarkably prophetic. Mahler’s time has come. The truth of this statement has been borne out by the veritable explosion of interest in his songs and symphonies since the 1960s. Part of this interest may be attributed to the persistent enthusiasm of Leonard Bernstein, but credit is due to conductors of an earlier

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generation—especially Willem Mengelberg and Mahler’s disciple, Bruno Walter—who championed his music, often in the face of a hostile public and unsympathetic critics.

Mahler’s music represents both a beginning and an end. The fin-de-siecle world in which he lived and worked was politically and ideologically falling apart, and it is hardly coincidental that Mahler and Freud were children of the same epoch. Mahler knew the “psychological man,” but still yearned for a purer innocence of the earlier Romantic era. This yearning was graphically demonstrated by his profound interest in the collection of folk poetry amassed by Achim von Arnim and Clemens Brentano around 1808 and published under the title Des Knaben Wunderhorn (The Youth’s Magic Horn).

the Wunderhorn poem is the basis for the work’s last, and shortest, movement. The poem in question is an alleged Bavarian folksong titled “Der Himmel hängt voll Geigen” (later retitled “Das himmlische Leben” [Heavenly Life]). Mahler gives this text a charming setting for soprano and orchestra. Interestingly, this poem and its setting were under consideration for the finale of Mahler’s Third Symphony, and listeners familiar with both works will note thematic connections between them.

“Das himmlische Leben” also has a poetic antithesis in the Arnim and Brentano anthology. This poem is called “Das irdische Leben” (Earthly Life), and Mahler’s setting of it forms part of his Wunderhorn cycle. “Das irdische Leben” tells the grim story of poverty as a hungry child begs

Mahler’s Symphony No. 4 contains some of his loveliest melodic ideas. As is typical of his style, these melodies are placed into sharp juxtaposition with brilliant, nervous passages of orchestral counterpoint, abrupt modulations, and unusual instrumental colors.

Mahler responded to the Wunderhorn anthology by setting several of these German-Austrian folk poems to music for voice and orchestra. They also found their way into Mahler’s symphonies. The Second, Third, and Fourth Symphonies each contain one movement in which a vocal-orchestral setting of a Wunderhorn poem can be found.

In the case of the Fourth Symphony,

its mother for food. Each plea for food is deflected by the mother. Sadly she waits too long, and by the time the bread is ready, the child has died of starvation.

“Das himmlische Leben,” by contrast, describes a heavenly banquet as a child might envision it. But even here, the imagery is not without its disturbing moments. Why, for example, is the “butcher Herod” lying in wait for the

PROGRAM NOTES .

lamb, or St. Luke slaughtering an ox?

The benevolent sleighbells from the first movement turn menacing as each scene is described. But all turns to bliss and dream as the text ends with a depiction of Saint Cecilia’s heavenly court music.

The three movements that precede the finale, each in its own way, point toward the naive vision of life in heaven.

Mahler achieves this through a network of thematic interrelations among the four movements that the careful listener can apprehend. The sound of sleighbells that open the first movement, as mentioned above, returns in the finale. But there are other links. An unusual feature of the second movement (In gemächlicher Bewegung) is the spectral quality of the

solo violin, whose strings are deliberately mistuned a whole step higher than normal—an effect known as scordatura.

The resulting sound evokes a medieval fiddle. The third movement is one of Mahler’s most sublime creations, a Poco adagio marked Ruhevoll (Restful). Near its end, Mahler reveals, in a blaze of glory, a foreshadowing of “Das himmlische Leben” in the horns.

Mahler’s Symphony No. 4 contains some of his loveliest melodic ideas. As is typical of his style, these melodies are placed into sharp juxtaposition with brilliant, nervous passages of orchestral counterpoint, abrupt modulations, and unusual instrumental colors. Mahler’s experience as a master conductor is

witnessed by the meticulous detail etched into every instruction to conductor and performer that permeates the score. Less “cosmic” in scope than many of his other works, Mahler’s Fourth Symphony takes its place as the one by which his music, aesthetic, and philosophy are most easily approached. ●

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Text Translation “Das himmlische Leben” (aus Des Knaben Wunderhorn)

“The Heavenly Life” (from Des Knaben Wunderhorn)

Wir genießen die himmlischen Freuden, We enjoy heavenly pleasures D’rum tun wir das Irdische meiden. and therefore avoid earthly ones.

Kein weltlich’ Getümmel No worldly tumult Hört man nicht im Himmel! is to be heard in heaven.

Lebt alles in sanftester Ruh’.

All live in greatest peace.

Wir führen ein englisches Leben, We lead angelic lives, Sind dennoch ganz lustig daneben; yet have a merry time of it besides.

Wir tanzen und springen, We dance and we spring, Wir hüpfen und singen, We skip and we sing.

Sankt Peter im Himmel sieht zu.

Saint Peter in heaven looks on.

Johannes das Lämmlein auslasset, John lets the lambkin out, Der Metzger Herodes d’rauf passet. and Herod the Butcher lies in wait for it.

Wir führen ein geduldig’s, We lead a patient, Unschuldig’s, geduldig’s, an innocent, patient, Ein liebliches Lämmlein zu Tod. dear little lamb to its death.

Sankt Lucas den Ochsen tät schlachten Saint Luke slaughters the ox Ohn’ einig’s Bedenken und Achten. without any thought or concern.

Der Wein kost’ kein Heller Wine doesn’t cost a penny Im himmlischen Keller; in the heavenly cellars; Die Englein, die backen das Brot.

The angels bake the bread.

Gut’ Kräuter von allerhand Arten, Good greens of every sort Die wachsen im himmlischen Garten, grow in the heavenly vegetable patch, Gut’ Spargel, Fisolen good asparagus, string beans, Und was wir nur wollen. and whatever we want.

Ganze Schüsseln voll sind uns bereit!

Whole dishfuls are set for us!

Gut’ Äpfel, gut’ Birn’ und gut’ Trauben; Good apples, good pears and good grapes, Die Gärtner, die alles erlauben. and gardeners who allow everything!

Willst Rehbock, willst Hasen, If you want roebuck or hare, Auf offener Straßen on the public streets Sie laufen herbei! they come running right up.

Sollt’ ein Fasttag etwa kommen, Should a fast day come along, Alle Fische gleich mit Freuden angeschwommen! all the fishes at once come swimming with joy.

Dort läuft schon Sankt Peter There goes Saint Peter running Mit Netz und mit Köder with his net and his bait Zum himmlischen Weiher hinein. to the heavenly pond.

Sankt Martha die Köchin muß sein.

Saint Martha must be the cook.

Kein’ Musik ist ja nicht auf Erden, There is just no music on earth Die unsrer verglichen kann werden. that can compare to ours.

Elftausend Jungfrauen Even the eleven thousand virgins Zu tanzen sich trauen. venture to dance, Sankt Ursula selbst dazu lacht. and Saint Ursula herself has to laugh.

Kein’ Musik ist ja nicht auf Erden, There is just no music on earth Die unsrer verglichen kann werden. that can compare to ours.

Cäcilia mit ihren Verwandten Cecilia and all her relations Sind treffliche Hofmusikanten! make excellent court musicians.

Die englischen Stimmen The angelic voices Ermuntern die Sinnen, gladden our senses, Daß alles für Freuden erwacht. so that all awaken for joy.

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Donation of $25,000–$49,999 Meg Aldridge Bernalillo County Commission Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Eugenia & Charles Eberle The Meredith Foundation Clara M. Young

MOZART CIRCLE

Donation of $10,000–$24,999 Anonymous Anonymous Ron Bronitsky, MD, in honor of the NMPhil Musicians Howard & Debra Friedman Frontier Restaurant/Golden Pride Chicken Art Gardenswartz & Sonya Priestly Keith Gilbert Helen Grevey Madeleine Grigg-Damberger & Stan Damberger Mary Herring Jonathan & Ellin Hewes Peter Hyde Dal & Pat Jensen Thomas & Greta Keleher Christine Kilroy Dwayne & Marjorie Longenbaugh Terri L. Moll, in honor of Mark Moll Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings Optum Cynthia Phillips & Thomas Martin Sandia Foundation, Hugh & Helen Woodward Fund Terrence Sloan, MD Joseph & Carol Stehling

BRAHMS CIRCLE

Donation of $5000–$9999 Carl & Linda Alongi Anonymous Anonymous Margaret Ann Augustine & A. Elizabeth Gordon Ann Boland The Cates-Romero Team/RBC Wealth Management Richard & Margaret Cronin Fritz Eberle & Lynn Johnson ECMC Foundation

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Fran Fosnaugh David Gay Hancock Family Foundation Margaret Harvey & Mark Kilburn The Hubbard Broadcasting Foundation Chris & Karen Jones Harry & Betsey Linneman Myra & Richard Lynch Bob & Susan McGuire Menicucci Insurance Agency Karl & Marion Mueller Ed & Nancy Naimark New Mexico Arts David & Audrey Northrop George & Mary Novotny S. Scott Obenshain Bob & Bonnie Paine David & Jill Patterson John Wronosky & Lynn Asbury Dr. Dean Yannias

CHOPIN CIRCLE

Donation of $3500–$4999 Albuquerque Community Foundation, NDB & CEB Fund Brian & Laura Bloomquist D’Addario Foundation David & Ellen Evans Charles & Judith Gibbon Hal Hudson Hank & Bonnie Kelly Patricia “Pat” Kneen Laura Sanchez & Kenny Lipe Melissa & Al Stotts Marian & Jennifer Tanau Michael Wallace & Carey Salaz

GRACE THOMPSON CIRCLE Donation of $1933–$3499 Albuquerque Community Foundation, The Ties Fund AmFund Anonymous Anonymous Henry & Jennifer Bohnhoff Bright Ideas/Frank Rowan Butterfield’s Jewelers David & Shelly Campbell Margaret Casbourne Edwin Case Century Bank Daniel & Brigid Conklin Marjorie Cypress & Philip Jameson Leonard & Patricia Duda Richard & Virginia Feddersen Firestone Family Foundation Frank & Christine Fredenburgh George F. Gibbs Yvonne Gorbett Maria Griego-Raby & Randy Royster Deborah Hanna Rosalyn Hurley The Immaculata Fund Allene Kleweno KOAT News Judith Levey Tyler M. Mason Thomas & Edel Mayer Mary E. Mills Robert Milne & Ann DeHart Mark Moll

2025/26 Season / Volume 14 / No. 1

Diane M. Mueller Ruth & Charles Needham Noel Company/Phillip Noel James O’Neill & Ellen Bayard Jerald & Cindi Parker Dick & Marythelma Ransom Robertson & Sons Violin Shop Jacquelyn Robins Jay Rodman & Wendy Wilkins Edward Rose Vernon & Susannah Smith Phyllis Taylor & Bruce Thomson

BACH CIRCLE

Donation of $1000–$1932 Perri & Neil Altomare Anonymous Joel & Sandra Baca Gregory Barnes, in memory of Judith Chant Nancy M. Berg Nancy & Cliff Blaugrund Robert Bower & Kathryn Fry Sandy Buffett Michael Bustamante Kathleen Butler & Steven Shackley Brian & Aleli Colón Philip Custer Jeff & Ashlee Dauenhauer Cynthia Fry & Daymon Ely Jerry & Susan Dickinson Robert Godshall Jean & Bob Gough Jean & Bob Gough, in memory of Joy Eaton Nancy Elizabeth Guist David & Judith Harris JKW Lawyers Sue Johnson & Jim Zabilski Stephanie & David Kauffman Noel & Meredith Kopald Kathy & John Matter Roberto Minczuk David & Alice Monet Ed Muller Janice Parker, in memory of Judge James A. Parker Stuart & Janice Paster Mary Raje Sandra P. & AFLt/Col (r.) Clifford E. Richardson III Karl Ricker Aaron & Elizabeth Robertson Ruth Ronan Jasmine Sanchez & Avery Johnson, in honor of their nuptials Howard & Marian Schreyer Barbara Servis Frederick & Susan Sherman Mark & Maria Stevens George Thomas Rogan & Laurie Thompson Rita Villa Kathleen Waymire Judy Basen Weinreb Jeffrey West David & Evy Worledge Diana Zavitz

CONCERTMASTER CIRCLE Donation of $500–$999 Fay Abrams Albuquerque Community Foundation, Lee Blaugrund Endowment Fund Albuquerque Community Foundation, Maisel/Goodman Charitable Endowment Fund Lawrence & Katherine Anderson Anonymous Michael & Leanore Baca Tonianne Baca-Green Daniel & Barbara Balik Elizabeth Bayne Stan Betzer Thomas Bird & Brooke Tully Lawrence & Deborah Blank Ross Blankinship Rod & Genelia Boenig Charles & Aziza Chavez Paul Clem Marcia Congdon James Connell Bob Crain John Crawford & Carolyn Quinn Stephen & Stefani Czuchlewski Michael Dexter Michael & Laurel Edenburn James & Teresa Edens Roberta Favis Heidi Fleischmann & James Scott Denise Fligner & Terry Edwards Joseph Freedman & Susan Timmons Reese Gateley Roland Gerencer, MD Dennis & Opal Lee Gill Howard & Janis Gogel Laurence Golden Drs. Robert & Maria Goldstein Berto & Barbara Gorham Thomas & Linda Grace Justin M. & Blanche G. Griffin Harris Jewelers Harris Hartz Stephen & Aida Ramos Heath Donna Hill Pamelia Hilty (Snow Blossom Gift Fund) John Homko Betty Humphrey Tatiana Hunter Patrick & Elois Hurley Stephen Ingram & Amparo Maria Garcia Ingram Edwin & Nikolene Isely Jerry & Diane Janicke Barbara Johnson Harrison & Patricia Jones Marlin Kipp Stephanie & Kenneth Kuzio Nick & Susan Landers Alan & Kathleen Lebeck Thomas Lenzer Joe & Pam Limke Robert Lindeman & Judith Brown Lindeman John Linder & Margaret Chaffey Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Marcia & Suzanne Lubar

DONOR CIRCLES

Anthony Lupinetti & Joanna Fair, in memory of Janet Fair Bruce F. Malott Roger & Kathleen McClellan Jon McCorkell & Dianne Cress Linda McNiel Richard & Melissa Meth Ross & Mary Miesem Christine & Russell Mink Napoli Coffee Mark Napolin Betsy Nichols Richard & Susan Perry Mike Provine Dr. Barry & Roberta Ramo Barbara Rivers Justin Robertson Robin Jackson Photography Catalin Roman & Sarita Cargas Christine Sauer Sally Schwartz Jane & Robert Scott Albert Seargeant Gretchen Seelinger Sandy Seligman Dorothy Stermer & Stacy Sacco David Stryker Tamara Tomasson Total Wine & More Arthur Vall-Spinosa & Sandra Louise Nunn James Vaughn Margaret Vining Lauren Wilber Janice & Harvey Yates

PRINCIPALS CIRCLE

Donation of $125–$499 Dr. Fran A’Hern-Smith Lisa Aimone, in memory of Pauline Jones Leah Albers & Thomas Roberts Albuquerque Little Theatre Gerald Alldredge Anonymous Sally Bachofer Douglas & Kathleen Bailey Jan Bandrofchak & Cleveland Sharp Aimee Barabe William Barber Harold & Patricia Baskin Susan Beard Edie Beck Michael Bencoe David & Judith Bennahum Mark & Beth Berger Beso Jewels Gregg & Amy Bogost, in memory of Sheila Bogost Walter & Celia Bolic Carolyn R. Brown & William Ranken Terry Brownell & Alpha Russell Jonathan & Caroline Bull Carol Callaway Luana Carey Casa Verde Spa Dan & Tina Chan Robert & Olinda Chavez Lance & Kathy Chilton Beth Clark

Jeff Collins Mark Compton Amy Couch Elizabeth Davis-Marra Mary Ann & Michael Delleney Raymond & Anne Doberneck Thomas & Martha Domme Carl & Joanne Donsbach Martin J. Doviak Jeff & Karen Duray Reverend Suzanne & Bill Ebel Enchanted Mesa Robert & Dolores Engstrom Jackie Ericksen David & Frankie Ewing Mary Filosi Ralph Garza & Kris Williams Mary Day Gauer Rod & Maria Geer Alfred & Patricia Green Paul & Marcia Greenbaum Mina Jane Grothey Jim & Renee Grout Regina Guest Lee & Thais Haines Matt Tyler Hart John & Diane Hawley Robert & Angela Hawthorne Darren Hayden Toppin & Robert Hodge Hughes Homestead Designs Paul Isaacson Gwenellen Janov Ann King Richard Kozoll & Sally Davis, in memory of Dr. Steven Jubelirer Phil Krehbiel Jennifer C. Kruger Elizabeth Kubie Erik Kuhlmann Karen Kupper Janice Langdale Michael & Roberta Lavin Jeffery & Jane Lawrence Honorable Idalia Lechuga-Tena & Marco Gonzales Jae-Won & Juliane Lee Betty Logan Daniel Lopez & Linda Vigil Lopez Ruth Luckasson & Dr. Larry Davis Robert Lynn & Janet Braziel Gloria Mallory Robert & Linda Malseed The Man’s Hat Shop Jeffrey Marr Marcia McCleary Jane McGuigan Don McGuire Chena Mesling Bruce Miller Jim Mills & Peggy Sanchez Mills Ben Mitchell Jan Mitchell 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 Mr. Tux Sharon Mullis Kindred & Michael Murillo Nambé NMPhil Audience $5 to Thrive Janeth Nunez del Prado Rebecca Okun Del Packwood & Barbara Reeback Kyle & Letita Peterson Lang Ha Pham & Hy Tran Placitas Artists Series Popejoy Presents Dan & Billie Pyzel Robert Reinke Tim Renk Lawrence & Joyce Reszka Kathryn & Chris Rhoads Cynthia Risner Jeff Romero Charles Rumbaugh Donald & Loraine Sanchez Patrycia Sanchez Sarafian’s Oriental Rugs John & Karen Schlue Laura Scholfield Daniel & Barbara Shapiro Dean Sherer Rich Signe Beverly Simmons R.J. & Katherine Simonson R.J. & Katherine Simonson, in memory of Bill Bradley Ann Singer Rae Siporin George & Vivian Skadron Steven & Keri Sobolik Susan Spaven, in honor of Valerie Potter Jennifer Starr Luis & Patricia Stelzner John & Patricia Stover Larry & Susan Tackman Tea’ze A More Gourmet Teas Laurence Titman Dr. Steven Tolber & Louise Campbell-Tolber Sally Trigg Frank & Claire Trujillo Jay Ven Eman Tatiana Vetrinskaya Lawrence Wells Bronwyn Willis Linda Wolcott Uwe Wrede & Michelle Michael Brian Young & Jennifer Perret Kari Young Alvin Zuckert & Louise Martin, in memory of Sam & Mimi Zuckert

FRIENDS OF THE PHILHARMONIC

Donation of $25–$124 Harro & Nancy Ackermann David & Elizabeth Adams Natalie Adolphi & Andrew McDowell Albuquerque Auto Outlet, Paul Cervantes Jeffrey Allen Jo Anne Altrichter & Robin Tawney

Anonymous David Baca Jackie Baca & Ken Genco Jennifer Bachus Charlene Baker Bark Box Graham Bartlett Kenneth Beebe David & Betty Begeal Laura Bemis Kirk & Debra Benton Laura Bernay Melbourne Bernstein Marianne Berwick Betty’s Bath & Day Spa Dusty & Gay Blech Henry Botts California Pizza Kitchen Camille Carstens Joseph Cella Cindy Chapman & Bill Harris Cheesecake Factory Douglas Cheney Barry Clark Lisa Collins Douglas Collister, in memory of Judy Chant Lawrence & Mary Compton Martha Corley Edward Curtis & Alfred Papillon Cara & Chad Curtiss Daily Grind/Caruso’s Hubert Davis Darryl Domonkos Lisa Donald Michael & Jana Druxman D. Reed Eckhardt Lester & Eleanor Einhorn Bradley Ellingboe Matthew Estlack Vicky Estrada-Bustillo & Juan Bustillo Peter & Janet Fagan Farm & Table Howard Fegan Jon & Laura Ferrier Patrick & Elizabeth Finley Daniel & Marissa Finnegan Susan Fitch Rabbi Arthur Flicker Karin Frings James & Cynthia Frost Greg & Jeanne Frye-Mason Eric & Cristi Furman Debra Jane Garrett Lawrence Jay Gibel, MD Candace Gordon Great Harvest Bakery Matthew & Amy Greer Stanley & Sara Griffith Kevin Grunewald, in memory of Quay Ann Benton Kenneth Guthrie & Doni Lazar J. Michele Guttmann Ronald Halbgewachs Leila Hall Nancy Hamilton Rachel Hance, in memory of Dolores Hance Frank & Sue Hardesty Gloria B. Hawk Revocable Trust

continued on 24

The New Mexico Philharmonic

nmphil.org

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DONOR CIRCLES continued from 23 Ursula Hill Kristin Hogge Kendell Holmes Steven Homer Christopher Isham Larry James Lori Johnson Ruth Johnson Barbara Jones Lawrence & Anne Jones Brenda Jozwiak Joel & Debbie Karasik Ty Kattenhorn Kelly Jo Designs by Wine Margaret Knapp John & Gretchen Kryda Dana Lambe Larry W. Langford Molly “Mary” Lannon Lorin Larson Paul & Julie Laybourne Rita Leard Daniel Levy Claire Lissance Larry & Shirlee Londer, in memory of Bill Bradley Suzanne Lubar & Marcos Gonzales, in memory of Dr. Larry Lubar Joan M. Lucas & David Meyerhofer Sam Lucero & Ron Lahti Joan A. March Elliot S. Marcus, MD Carolyn Martinez Carolyn Martinez, in memory of Judy Chant Robert & Anne Martinez Denis & Sallie McCarthy Moses Michelsohn George Mikkelsen Kathleen Miller Martha Miller Rachel & John Miller Mister Car Wash Bryant & Carole Mitchell Annette Montoya Letitia Morris Baker H. Morrow & Joann Strathman John & Patsy Mosman Sharon Moynahan

Brian Mulrey Alice Myers Bette Myerson Albert & Shanna Narath Ann & James Nelson, in memory of Louise Laval New Mexico Museum of Natural History & Science Jennifer Newton & Aaron Chacon NM Escape Room Ruth O’Keefe Katherine Ott-Warner Peter Pabisch Eric Parker Howard Paul David & Martha Peercy Barbara Pierce Judi Pitch Veronica Potts Daniel Puccetti Ray Reeder Mark Regazzi Reincarnation INC Carol Renfro Kerry Renshaw Donna Rigano Margaret Roberts Gwenn Robinson, MD, & Dwight Burney III, MD Glenn & Amy Rosenbaum Michelle Rossbach Michael & Joan Rueckhaus Shannon Runyon Patricia Ryan Peter & Susan Scala Screen Images, Inc., Maria Cordova-Barber Robert & Joy Semrad Sheehan Winery Arthur & Colleen Sheinberg Joe Shepherd Rebecca Shores Glen & Barbara Smerage Carl & Marilyn Smith Catherine Smith-Hartwig Smith’s Community Rewards Jan & Teresa Sole Allen & Jean Ann Spalt Laurel Srite Stan & Marilyn Stark Charlie & Alexandra Steen

Theodore & Imogen Stein Elizabeth Stevens & Michael Gallagher Robert & Jacqueline Sutton Gary Swanson Michael Thompson Valerie Tomberlin Top Golf John & Karen Trever Jorge Tristani Tom Vosburgh & Jeannie Forrester John & Karin Waldrop Elaine Watson, in memory of William Seymour Dale A. Webster Weem’s Gallery & Framing Kathryn Wissel Charles & Linda White Marybeth White Daniel & Jenny Worledge, in honor of David Worledge Kenneth Wright

BUSINESS CIRCLE Bontina Bright Ideas The Noel Company Senspex Incorporated 8/28/2025

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2025-26 SEASON Catalyst Quartet Danish String Quartet Joseph Lin Beethoven Celebration Curtis on Tour with Roberto Diaz Academy of St. Martin in the Fields Wind Ensemble Viano Quartet with Avi Avital So Percussion with Caroline Shaw

84 years strong bringing exceptional ensembles to New Mexico

For tickets and info. go to chambermusicabq.com

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2025/26 Season / Volume 14 / No. 1

THANK YOU .

Legacy Society Giving for the future 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.

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 Ron Lahti Louise Laval Julianne Louise Lockwood Dr. & Mrs. Larry Lubar Sam Lucero Joann & Scott MacKenzie Margaret Macy Thomas J. Mahler Gerald McBride Shirley Morrison Betsy Nichols Cynthia Phillips & Thomas Martin George Richmond Eugene Rinchik Barbara Rivers Gary and Kathy Singer 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 8/28/2025

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Thank You for Your Generous Support Volunteers, Expertise, Services, & Equipment The New Mexico Philharmonic would like to thank the following people for their supportand in-kind 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 Brook Bassan Councilor Tammy Fiebelkorn Councilor Renee Grout Councilor Dan Lewis

BUSINESS & ORGANIZATION APPRECIATION The New Mexico Philharmonic Foundation The Albuquerque Community Foundation

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 and Cheryl Barker Ron Bronitsky, MD, & Jim Porcher Chris and Tom Brown Isabel Bucher & Graham Bartlett Mike & Blanche Griffith Emily Cornelius Amy Huzjak Rita Leard Nicolle Maniaci Sarah Manthey Ron & Mary Moya Steve & Michele Sandager 8/28/2025

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The New Mexico Philharmonic

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

Albuquerque Community Foundation albuquerquefoundation.org

Bernalillo County bernco.gov

Century Bank mycenturybank.com

Computing Center Inc. cciofabq.com

D’Addario Foundation foundation.daddario.com

David S. Campbell, Attorney davidscampbell.com

KOAT koat.com

Menicucci Insurance Agency mianm.com

City of Albuquerque cabq.gov

GARDENSWARTZ REALTY Gardenswartz Realty

Meredith Foundation

BRAND ONE SHEET

Music Guild of New Mexico musicguildofnewmexico.org

New Mexico Arts nmarts.org

Olga Kern International Piano Competition olgakerncompetition.org

RBC Wealth Management rbcwealthmanagement.com

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26

2025/26 Season / Volume 14 / No. 1

Senspex Incorporated

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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

Elizabeth Young ••

Associate Concertmaster

Sarah Tasker •••

Assistant Concertmaster

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

CELLO Amy Huzjak • Carla Lehmeier-Tatum Ian Mayne-Brody Dana Winograd David Schepps Lisa Collins Elizabeth Purvis BASS Joe Weldon Ferris • Mark Tatum ••• Katherine Olszowka Terry Pruitt Marco Retana Frank Murry FLUTE Valerie Potter • Esther Fredrickson Noah Livingston •• PICCOLO Esther Fredrickson OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Peña •• CLARINET Marianne Shifrin • Lori Lovato ••• Jeffrey Brooks E-FLAT CLARINET Lori Lovato

BASS CLARINET Jeffrey Brooks BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Allison Tutton Maria Long •• Andrew Meyers 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 Robert Gough Idalia Lechuga-Tena Roberto Minczuk Jeffrey Romero Terrence Sloan, MD Marian Tanau Michael Wallace

ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Kory Hoggan William Wiley

TIMPANI Tyler Brown • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Carla Fabris •

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

STAFF Marian Tanau

Terry Pruitt

Roberto Minczuk

Genevieve Harris

Christine Rancier

Nancy Naimark

President & CEO Music Director

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Skye Stone

Personnel Manager

Julian Kley

Principal Librarian Assistant Librarian

Director of Community Relations & Development Officer

Laurieanne Lopez

Young Musician Initiative Program Manager

Mary Montaño Grants Manager

Lori Newman Editor

Crystal Reiter Office Manager

Production Manager

The New Mexico Philharmonic

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“An Orchestra of Precision.”

- Thomas Bohlman, Managing Partner

’26 GLA 250

Alameda & Pan American (505) 821-4000 • mercedesabq.com