New Mexico Philharmonic Program Book • 2024/25 Season • Volume 13 • No. 6
THE NEW MEXICO PHILHARMONIC FOUNDATION HAS ACHIEVED APPROXIMATELY $2.5 MILLION IN ASSETS.
THIRD
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 nmphil.org/ways-to-donate
WELCOME LETTER FROM THE MUSIC DIRECTOR
DEAR FRIENDS,
I hope this letter finds you well and enjoying the arrival of spring.
As we approach the end of another remarkable season, I want to take a moment to express my heartfelt gratitude. Your enthusiasm, support, and love for music make you the most welcoming and appreciative audience in the world. It has been an incredible journey sharing these performances with you this season.
Though the season is winding down, we still have a few extraordinary concerts ahead that you won’t want to miss. On April 19, we present a world premiere—The Great Gatsby Ballet. I am especially thrilled that one of our brilliant local composers, Colin Martin, was commissioned to compose the music for this brand-new production. Then, on April 27, guest conductor Chelsea Gallo will lead the NMPhil in a stunning program featuring works by Wagner, Haydn, and Mendelssohn. Finally, we close the season in grand style with Mahler’s Symphony No. 3—a breathtaking masterpiece featuring your NMPhil, the brilliant soprano Liliana Istratii, and both a children’s and women’s choir.
By the time you read this, we will have finalized the repertoire for the 2025/26 season, which promises a spectacular lineup of performances. I can’t wait to share these exciting concerts with you!
If you are not yet a subscriber, I encourage you to consider joining us in this way. Your subscription provides vital support, ensuring the stability and continued excellence of the NMPhil.
The Land of Enchantment continues to inspire me, and I am honored to bring unforgettable musical experiences to this incredible community.
Thank you for being part of this journey. I look forward to seeing you at the concert hall as we celebrate the magic of music together.
Enjoy the music!
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). ●
read full bio on page 9
(505) 323-4343 crancier@nmphil.org nmphil.org/advertise/ CONNECT WITH US nmphil.org
Proud sponsor of the performing arts
Nusenda Credit Union is happy to support The New Mexico Philharmonic and its mission to embrace cultural and musical diversity and enrich lives through music, community engagement, and educational opportunities. Together, we can set the stage for positive change in our communities.
Find a nearby branch, services, and more at nusenda.org
@NusendaCU |
Insured by NCUA | Equal Opportunity Lender
Photo credit: Kim Jew
POPEJOY CLASSICS: BALLET
The Great Gatsby Ballet
Saturday, April 19, 2025, 6 p.m.
Roberto Minczuk Music Director
Kelly Ruggiero NMBC Artistic Director & Choreographer
Kristin Ditlow piano
Colin Martin composer
New Mexico Ballet Company
OVERTURE
1. Nick Reminisces With Therapist
2. Nick Arrives in Manhattan (Rhapsody in Blue by George Gershwin)
3. Tom Buchanan
4. Nick Greets Daisy, Meets Jordan
5. Dinner at the Buchanan’s
6. Nick Notices Gatsby and the Green Light
7. The Valley of Ashes
8. Tom and Myrtle’s Apartment
9. The Invitation
10. Gatsby’s First Party
11. Gatsby Reveals His Secret
NMBC PRINCIPAL DANCERS
Isaac Garcia Nick
Drake Humphreys Gatsby
Nicole Jones Daisy
Robbie Rodriguez Tom
Kira Petersen Jordan
Natalie Marshall Myrtle
MAKING A DIFFERENCE
This performance is made possible by: Bernalillo County
ADDITIONAL SUPPORT:
Kristin Ditlow’s performance is made possible through the generosity of: Jeremiah Moreno & Jacquelyn Wharton
INTERMISSION
12. Gatsby Prepares Nick’s Home
13. Daisy Arrives
14. Gatsby and Daisy’s Reunion (Symphony No. 2 in e minor, Op. 27: III. Adagio by Sergei Rachmaninoff)
15. Wolfsheim in the Speakeasy
16. Gatsby’s Second Party
17. Gatsby and Daisy’s Reprise (Symphony No. 2 in e minor, Op. 27: III. Adagio by Sergei Rachmaninoff)
18. Tom Confronts Gatsby
19. Daisy’s Debacle, Myrtle’s Demise
20. Tom and George Grieve
21. Nick Consoles Gatsby, George’s Revenge
22. Gatsby’s Funeral
*All music composed by Colin Martin unless otherwise noted.
Popejoy Hall
a l Puer t A
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
AFTERNOON CLASSICS
Mendelssohn Goes to Scotland
Sunday, April 27, 2025, 2 p.m.
Chelsea Gallo conductor
Prelude to Act III from Tristan und Isolde, WWV 90
Symphony No. 39 in g minor, “Tempesta di mare,” Hob: 1:39
Richard Wagner (1813–1883)
MAKING A DIFFERENCE
This performance is made possible by: The Albuquerque Community Foundation
Joseph Haydn
I. Allegro assai (1732–1809)
II. Andante
III. Menuet and Trio
IV. Finale: Allegro di molto
INTERMISSION
Symphony No. 3 in a minor, “Scottish,” Op. 56
Felix Mendelssohn
I. Introduction. Andante con moto—Allegro un poco agitato (1809–1847)
II. Scherzo. Vivace non troppo
III. Adagio cantabile
IV. Finale guerriero. Allegro vivacissimo—Allegro maestoso assai
POPEJOY CLASSICS: KAREN MCKINNON SPECIAL CONCERT
Mahler’s Magnum Opus
Saturday, May 31, 2025, 6 p.m.
Roberto Minczuk Music Director
Lilia Istratii mezzo-soprano
Quintessence: A Community of Singers/Matthew Greer director
The Youth Chorus Coalition of Albuquerque/Sharee Gariety director
Symphony No. 3 in d minor Gustav Mahler
Erste Abtheilung (1860–1911)
I. Kräftig. Entschieden (Strong and decisive)
Zweite Abtheilung
II. Tempo di Menuetto Sehr mässig (In the tempo of a minuet, very moderate)
III. Comodo (Scherzando) Ohne Hast (Comfortable (Scherzo), without haste)
IV. Sehr langsam—Misterioso (Very slowly, mysteriously)
V. Lustig im Tempo und keck im Ausdruck (Cheerful in tempo and cheeky in expression)
VI. Langsam—Ruhevoll—Empfunden (Slowly, tranquil, deeply felt)
MAY 31
National Hispanic Cultural Center
MAKING A DIFFERENCE
This performance is made possible by: The McKinnon Family Foundation
The New Mexico Philharmonic Foundation
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, 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. ●
Roberto Minczuk Music Director
Colin Martin composer Colin Martin is a composer from Albuquerque, New Mexico, currently pursuing his Doctor of Musical Arts at the Frost School of Music at the University of Miami. His work for soprano and orchestra, Songs from “By Heart,” premiered with soprano Hannah Stephens and the New Mexico Philharmonic in 2022 and was awarded Second Place in the American Prize for Orchestral Composition, Professional Division, in 2023. The NMPhil also premiered his first symphony, inspired by Leonard Bernstein’s centennial, in 2019. Colin’s 2023 work Amerikinetics for string octet, written for members of the Detroit Symphony Orchestra at the American Romanian Festival, was also named a Finalist Honorable Mention for the 2024 American Prize Charles Ives Award in Instrumental Chamber Music, one of only twelve professional chamber works across the country to receive recognition. Colin has also collaborated with such esteemed performers as pianists Olga Kern, Vladislav Kern, and Anna Dmytrenko, San Francisco Symphony principal trombonist Tim Higgins, soprano Winnie Nieh, timpanist Douglas Cardwell, and conductors Roberto Minczuk and Grant Cooper, among others. His upcoming doctoral dissertation will be a cello concerto composed for 2015 Tchaikovsky Competition Gold Medalist Andrei Ioniță.
An accomplished pianist, Colin has premiered his own piano works at the Southwest Piano Festival in Albuquerque,
where he serves as Vice President and Composer-in-Residence.
Colin graduated with his M.M. in composition from the San Francisco Conservatory of Music in 2018, studying with David Garner. He earned his Bachelor of Arts in Music with Honors from Middlebury College in 2015, with minors in Spanish and Chinese. He has also studied composition with Su Lian Tan, piano with Diana Fanning and Maribeth Gunning, and percussion with Douglas Cardwell. A dedicated educator, Colin teaches music theory as a Graduate Teaching Assistant at the Frost School of Music, along with piano and composition, and has a passion for sharing his love and knowledge of music with the next generation of talented musicians. ●
Kelly Ruggiero NMBC Artistic Director & Choreographer
Kelly Ruggiero studied on a full scholarship and received her BFA from the University of Arizona, where she graduated summa cum laude. While attending, she was featured in Lise Houlton’s Sidetracks, Melissa Lowe’s English Suite, and James Clouser’s Swan Lake as Odette. Upon graduating, Kelly joined David Taylor Dance Theatre, where her repertoire included Sugar Plum and Clara in The Nutcracker, Juliet in David Taylor’s Romeo and Juliet Rocks!, and Tom Ruud’s Mobile Kelly continued her career with Nevada Ballet Theatre, where she performed Balanchine’s Who Cares?, Serenade, and Rubies; Peter Anastos’s Cinderella; Bruce Steivel’s Dracula and Don Quixote; and
James Canfield’s Giselle. Kelly collaborated with Cirque du Soleil and performed in their annual Choreographer’s Showcase at the Mystère Theatre and was offered the esteemed opportunity to perform Canfield’s Equinoxe at the Kennedy Center. Kelly has been with NMBC for 13 seasons, where she has performed the role of Juliet in Romeo and Juliet, Mercedes in Don Quixote, Phrygia in Spartacus, Wicked Witch and Glinda in Wizard of Oz, Madame Giry in The Phantom of the Opera Ballet, and Caterpillar and Mad Hatter in Alice in Wonderland. Kelly is also a certified Comprehensive Pilates Instructor on all equipment and a certified Gyrotonic® Trainer at Momentum Studio. She is honored to lead New Mexico Ballet Company through this season as Artistic Director. ●
Kristin Ditlow piano
Pianist, conductor, and coach Kristin Ditlow is enjoying a performance and teaching career throughout the United States and abroad. She has appeared in concert throughout North America, mainland China, the United Kingdom, France, Germany, Italy, Hungary, Austria, and the Czech Republic.
Her solo debut piano CD, Passages, has received national accolades. Harry Musselwhite of the Rome News-Tribune wrote that “the recording … is sonically breathtaking and her playing ranges from intimate pianistic thoughts to thundering room-shaking outbursts. She is a consummate interpreter.” In a review by musicologist Ralph Locke,
Boston’s The Arts Fuse remarks, “I have played this album repeatedly for weeks … [the performances] are deeply affectionate: I sometimes felt I could hear Ditlow thinking about the (silent) words, noticing a surprising modulation, or responding to the tension-andrelease within a musical phrase.”
Travel, wonder, and exploration are greatly important to this artist—and her playing reflects this. Critics have hailed her performances as “fiery, with great thrusts of energy” (Bethlehem Morning Call) and containing a “burnished color and sense of passion” (The Philadelphia Inquirer). Her foundational training has been as a classical pianist. Yet, she has branched out into conducting, artist teaching, arranging, improvising, and composing. Her love of musical collaborations dovetails into her solo performances, and her virtuoso technique and musicianship inform her presence at the keyboard and on the podium.
She is the co-founder and co-artistic director of Die Liederreise, a unique musical exchange program that takes students to Germany in the summer for two weeks to follow in the footsteps of great Western Classical Music Composers. During the summer of 2025, she will also return to the Festival of International Opera and the Fondazione Pergolesi Spontini to conduct La gare generose (in Italy). In December 2025, she will record a CD of violin and piano music with violinist Guillaume Combet, featuring all women composers, under the Meyer-Media label. She will perform Tchaikovsky’s Concerto No. 1 in B-flat minor several times during the 2025/2026 season.
Ditlow holds degrees from the Oberlin Conservatory of Music, Westminster Choir College, and a Doctorate of Musical Arts from the Eastman School of Music, with further training at the Tanglewood Music Center, San Francisco Opera Center (Merola), and the Franz Schubert Institute. She holds the titles of Associate Professor of Vocal Coaching at the University of New Mexico and Music Director of the University of New Mexico Opera Theatre. ●
Chelsea Gallo conductor Labeled a “rising star” within the conducting world (Associated Press), conductor Chelsea Gallo has been praised for her ability to “lead the orchestra with grace and fiery command” (Michigan Daily). Her conducting style has been described as “fully in control… stylish, skillful, and attentive” (Dallas News). Gallo is principal guest conductor of the Orlando Philharmonic and resident conductor of The Florida Orchestra. She is the recipient of a 2022 Sir Georg Solti Career Assistance Grant and was a 2022 Hart Conducting Fellow with the Dallas Opera. This season, she returns to the New York Philharmonic to serve as an assistant conductor.
Gallo has conducted leading orchestras and opera companies including the Dallas Opera, Louisiana Philharmonic Orchestra, Detroit Symphony Orchestra, the North Carolina Symphony, Sarasota Orchestra, Virginia Symphony, Opera Orlando, Toledo Symphony, Hartford Opera, Missouri Symphony, Marigny Opera, and Slovak Sinfonietta, among others. Recent and upcoming highlights include debuts with the Bozeman Symphony, Sewanee Music Festival, New Mexico Philharmonic, Catapult Opera (NYC), Jackson Symphony, Lancaster Symphony, and the Youngstown Symphony.
An advocate of music by living composers, Gallo gave the Michigan premiere of Esa-Pekka Salonen’s Helix, the American premiere of Michael Gordon’s Bassoon Concerto, and the world premiere of the ballet A Streetcar
Named Desire by Tucker Fuller. Her opera debuts have included productions of Mozart’s Le nozze di Figaro and Don Giovanni, Britten’s A Midsummer Night’s Dream, Verdi’s La traviata, and Shuying Li’s Who Married Star Husbands. Devoted to expanding the reach of classical music, Gallo has collaborated with a variety of organizations, businesses, and companies, including The Walt Disney Company™, The New York Yankees™, National Aeronautics and Space Administration (NASA), and the Lincoln Motor Company™.
Gallo studied conducting in Vienna, Prague, and Banská Štiavnica with Leoš Svárovský and the late Maksimilijan Cenčić. In Vienna, she studied piano with Giorgi Latsabidze and violin with Barbara Gorzynska. Gallo holds a Doctorate of Musical Arts in orchestral conducting from the University of Michigan. She has attended festivals and master classes with conductors such as Sir Simon Rattle and Daniel Barenboim. ●
Lilia Istratii mezzo-soprano
Mezzo-soprano Lilia Istratii was born in the Republic of Moldova in 1994 and is currently a soloist at the Romanian Opera Craiova. She was also a soloist at the National Theatre of Opera and Ballet in Chisinau, the capital of Moldova.
She debuted at the Teatr Wielki Polish National Opera Warsaw in 2019 as Olga in Tchaikovsky’s Eugene Onegin and at the National Opera Bucharest Romania as Maddalena in Verdi’s Rigoletto in 2023. In 2023, Lilia received the Excellence Award “Maria Bieșu,” as the Voice of the
Year, granted by the Ministry of Culture and the Musician’s Union of Moldova.
Her roles include Carmen (Carmen) by Bizet, Polina (The Queen of Spades) by Tchaikovsky, Lyubasha (The Tsar’s Bride) by Rimsky-Korsakov, Suzuki (Madama Butterfly) by Puccini, Maddalena (Rigoletto) and Fenena (Nabucco) by Verdi, Lola (Cavalleria rusticana) by Mascagni, and Orlofsky (Die Fledermaus) by Johann Strauss, as well as solo parts of Stabat Mater by Rossini, Dixit Dominus by Vivaldi, Misa a Buenos Aires by Palmeri, Verdi’s Requiem, and many works by Beethoven, Bach, and Mozart.
Recent performances include Maddalena (Verdi’s Rigoletto) at the National Opera of Bucharest and at the National Opera of Iasi Romania, La Frugola (Puccini’s Il tabarro) at the Varna Summer International Music Festival, and the Verdi Requiem with the Luxembourg Philharmonie, as well as symphonic concerts at the International Festival Vinopera, Musica Ricercata Festival, and a collaboration with FRANCECONCERT performing concerts in Belgium, Netherlands, and France.
Lilia was a finalist at the 4th Eva Marton International Singing Competition in 2021 and at the Opera Crown International Singing Competition 2018 in Tbilisi, Georgia.
She studied at the Academy of Music, Theatre, and Fine Arts in Chisinau, Moldova, between 2013 and 2019, graduating with Bachelor and Master’s degrees, specializing in bel canto. artematriz.com.br/lilia-istratii ●
Quintessence: A Community of Singers/ Matthew Greer director
For almost 40 years, Quintessence: A Community of Singers has been a vibrant part of the Albuquerque musical community. The core of Quintessence’s roster is a select 32-voice chorus that includes both professional singers and highly committed volunteers who perform a four-concert season. Through our Summer Choral Festival and community singing events (Beer Choir, Park Sings), Quintessence also provides a space for singers of all ages and ability levels to create music together. We are proud to have partnered with the VOCES8 Foundation and St. John’s Music Ministries to create “Sing Together Albuquerque,” an initiative that puts our teaching artists into local schools to foster singing in classrooms. ●
Matthew Greer was appointed Artistic Director of Quintessence in 2009. He also serves as Director of Music and Worship Arts at St. John’s United Methodist Church, where he oversees a comprehensive music program. In recent years, he has served on the choral faculty of the University of New Mexico, and as a guest conductor for the New Mexico Philharmonic. In 2012, he was among the recipients of Creative Albuquerque’s Bravos! Awards, honoring artistic innovation, entrepreneurship, and community impact. His teachers have included Alice Parker, Jane Marshall, and Ann Howard Jones. A native of Kansas City, he has degrees in music education and theology from Trinity University and Boston University.
The Youth Chorus Coalition of Albuquerque/Sharee Gariety director
The Youth Chorus Coalition of Albuquerque is a talented ensemble of young singers, aged 8–14, from schools and community choirs across the Albuquerque and Rio Rancho area. Selected for their vocal skill and passion for choral music, these dedicated vocalists have united for this concert and are honored to be performing with the New Mexico Philharmonic on the stage of Popejoy Hall.
Sharee Gariety, a California native, earned a Bachelor of Arts in music from Brigham Young University before relocating to Albuquerque with her husband. For more than two decades, they have made Albuquerque their home
while raising their seven children. An experienced choral director, Sharee has led numerous church and community choirs and holds a Master’s degree in choral conducting from the University of New Mexico. She currently serves as the director of Las Cantantes, UNM’s treble voice choir, and the UNM Children’s Chorus, part of the UNM Music Prep School.
In addition to her university roles, she is an active clinician, adjudicator, and guest conductor, collaborating with middle and high school choral programs throughout Albuquerque and Rio Rancho. For more than 15 years, she has also directed the Children’s Music Theatre summer camp and elementary outreach program helping children gain confidence through introductory experiences in musical theatre. With extensive experience teaching music to all ages—from babies to adults—Sharee is passionate about fostering musical growth through group singing across all stages of life. ●
The Youth Chorus Coalition of Albuquerque/Sharee Gariety director
The Youth Chorus Coalition of Albuquerque is a talented ensemble of young singers, aged 8-14, from schools and community choirs across the Albuquerque and Rio Rancho area. Selected for their vocal skill and passion for choral music, these dedicated vocalists have united for this concert and are honored to be performing with the New Mexico Philharmonic on the stage of Popejoy Hall. ●
Sharee Gariety, a California native, earned a Bachelor of Arts in music from Brigham Young University before relocating to Albuquerque with her husband. For more than two decades, they have made Albuquerque their home while raising their seven children.
An experienced choral director, Sharee has led numerous church and community choirs and holds a Master’s degree in choral conducting from the University of New Mexico. She currently serves as the director of Las Cantantes, UNM’s treble voice choir, and the UNM Children’s Chorus, part of the UNM Music Prep School.
In addition to her university roles, she is an active clinician, adjudicator, and guest conductor, collaborating with middle and high school choral programs throughout Albuquerque and Rio Rancho. For more than 15 years, she has also directed the Children’s Music Theatre summer camp and elementary outreach program helping children gain confidence
through introductory experiences in musical theatre. With extensive experience teaching music to all ages—from babies to adults—Sharee is passionate about fostering musical growth through group singing across all stages of life. ●
The Great Gatsby Ballet
As the story opens, Nick Carraway, a recent Yale graduate, recalls his move to the neighborhood of West Egg on Long Island in 1922 to work as a bond salesman. He rents a home next to a large mansion, owned by a man named Jay Gatsby.
Upon settling into his place, Nick travels across the bay to the upperclass East Egg to visit his cousin, Daisy Buchanan, who is married to the arrogant Tom Buchanan, a former college mate of Nick’s. Daisy introduces Nick to her friend Jordan, a beautiful but cynical professional golfer. The four of them sit down to dinner just as several phone calls for Tom disrupt the evening. Jordan divulges her suspicions of an affair Tom is engaged in. Upon returning home for the evening, Nick makes out a figure on Gatsby’s dock reaching towards a green light across the bay.
Tom invites Nick on an outing, and they reach a train stop in the bleak industrial region of the Valley of Ashes. It is there that Nick quickly confirms Tom’s mistress as Myrtle, a middleclass woman married to George Wilson, a garage shop owner and gas station operator. Tom hastily escorts Myrtle and Nick to a secret apartment in the city, where other crass acquaintances join them. They drink the day away, and Myrtle repeatedly invokes Daisy’s name, spurring Tom to angrily lash out and break her nose.
Following such a tumultuous night, Nick receives an invitation to one of Gatsby’s extravagant parties. Nick encounters Jordan at the party, and they unexpectedly bump into Gatsby, who surprises them with his gracious demeanor. Gatsby requests to speak to Jordan in private, and she divulges the secret that Gatsby and Daisy had a love history, but Gatsby did not have the wealth or status to marry into Daisy’s family. After years of making his
fortune, Gatsby began hosting wild parties in an attempt to attract Daisy back into his arms. Nick agrees to arrange a reunion between the two at his cottage, without disclosing to Daisy that Gatsby will be present. When Gatsby and Daisy first meet each other’s eyes, they slowly begin to rekindle their love.
As the summer ensues, Nick begins to comprehend Gatsby’s involvement in organized crime and meets an associate, Meyer Wolfsheim. Tom grows exceedingly suspicious, both of Daisy’s association with Gatsby and the wealth that Gatsby has attained. He attends one of Gatsby’s parties with Daisy and notices the passion between his wife and Gatsby. In an attempt to expose their relationship, Tom gathers Gatsby, Daisy, Nick, and Jordan, and they drive into the city to try and settle his declining marriage. Daisy is unable to state that she never loved Tom, and as an act of superiority, Tom sends Daisy back to East Egg with Gatsby, attempting to prove that Daisy will always need Tom.
Nick, Jordan, and Tom return home through the Valley of Ashes and discover that Gatsby’s car has struck and killed Myrtle. Tom informs George of the owner of the car that fled the scene, and in doing so, pins all of George’s suspicions of Myrtle’s affair on Gatsby. Nick learns from Gatsby that Daisy was behind the wheel when they hit Myrtle, but Gatsby aims to cover her mistake and take the blame himself. Confused and upset with all the events Nick bids goodbye, as he must
return to work in the morning. Seeking revenge, George goes to Gatsby’s home, shoots Gatsby, and then proceeds to turn the gun on himself.
After Gatsby’s death, Nick stages a small funeral. He is perplexed that no one attends, affirming that no one is troubled by the tragedy after all the entertainment Gatsby provided. Tom and Daisy leave the city with no remorse for the cruel nature in how Gatsby’s life was ended.
Disgusted with the carelessness and the moral decay of life amongst the wealthy in the East, Nick reflects on how Gatsby’s dream of Daisy was blemished by dishonesty and money. In his attempts to secure everlasting love, Gatsby’s hopes and dreams were shattered by reality, just as the American dream of success and happiness have been swallowed by the sheer pursuit of wealth. ●
PROGRAM NOTES BY DAVID
B. LEVY
Richard Wagner
Prelude to Act III of Tristan und Isolde, WWV 90 (1854–1859)
[Wilhelm] Richard Wagner was born in Leipzig, Germany, on May 22, 1813, and died in Venice, Italy, on February 13, 1883. His opera Tristan und Isolde received its first performance on June 10, 1865, at the Imperial and Royal National Theater in Munich conducted by Hans von Bülow.
Wagner’s musical inspiration [was] the opening movement of Beethoven’s String Quartet in c-sharp minor, Op. 131 … of which Wagner himself wrote was “the most melancholy sentiment [ever] expressed in music.”
Both Wagner and Bülow created concert endings for the opera’s Prelude. The idea of joining the Prelude with Isolde’s Transfiguration to form a concert piece was Wagner’s own idea. Franz Liszt’s transcription misnamed the work Prelude and Liebestod, the title by which the orchestral original version is still largely known. Less frequently performed on concert programs is the Prelude to Act III, which we will hear this afternoon. English horn players treasure this music for its extended solo for the instrument. The opera is scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani, cymbals, triangle, harp, and strings. Approximately 8 minutes.
Wagner’s tragic opera Tristan und Isolde, composed between 1854 and 1859, received its first performance in Munich in 1865. It remains one of the pivotal works in the history of music. Many of the reasons for its importance can only be explained using highly technical musical terms, but put in the simplest possible terms, the composer’s extensive use of chromaticism (i.e., all twelve tones within an octave) and his mastery of harmony produced an eroticism that was unheard of in its time. The music’s constant sense of yearning desire fills virtually every page of the score. From a philosophical point of view, the opera was composed while the composer was under the influence of Arthur Schopenhauer’s essay The World as Will and Representation (Die Welt als Wille und Vorstellung) and a Buddhism-inspired search for release from suffering. The title characters’ adulterous love is the cause of their suffering.
While the opera’s Prelude to Act I presents for the listener a glimpse into this world of unfulfilled desire, the Prelude to Act III tells of the hopelessness of desire itself. The deeply expressive opening chords in the lower strings illustrate the agony of the dying Tristan. The violins pick up this melancholy musical thought, ever rising in pitch until dissipating into thin air. A sad response follows in the strings and solo French horn, before
Haydn’s music, to paraphrase the master himself, was “understood by everyone.”
once again descending to the depths of the orchestra. The entrance of the solo English horn represents the sad piping of a distant shepherd, whose “Weise” winds around itself, failing to find resolution—a musical analogue to Tristan’s mood—until its end. Wagner’s musical inspiration for the Prelude to Act III was the opening movement of Beethoven’s String Quartet in c-sharp minor, Op. 131—itself a slow, meandering fugue of which Wagner himself wrote was “the most melancholy sentiment [ever] expressed in music.” It is fair to say that in the final act of his opera, Wagner gave the world a response worthy of the original.
Wagner originally used the opening gesture of the Prelude in the third of his five Wesendonck Lieder, WWV 91. The song, “Im Treibhaus” (“In the Greenhouse”), is a setting of a poem by Mathilde Wesendonck, the wife of Wagner’s patron Otto Wesendonck. The composer identified this song (as well as the fifth of the set, “Träume”) as a “study” for Tristan und Isolde. ●
Joseph Haydn Symphony
No. 39 in g minor, “Tempesta di mare,” Hob: 1:39 (c.
1765–1768)
[Franz] Joseph Haydn was born in Rohrau, Lower Austria, on March 31, 1732, and died in Vienna on May 31, 1809. His long and productive career spanned the end of the Baroque era to the onset of the Romantic. Famed for his incomparable contribution to the development of the symphony and string quartet, Haydn composed an enormous amount of music in other genres, including sacred choral music. His Symphony No. 39 in g minor
dates from his period of employment under the Esterhazy Princes which began in 1761. There is some disagreement among Haydn scholars as to the precise year in which he composed this work, although many place it somewhere between 1765 and 1768. What we do know is that it is one of his earliest symphonies cast in a minor key. It is scored for 2 oboes, 4 horns, and strings. According to evidence we have from the performance practices of the day, it is possible that the bassoons doubled the bass line and that Haydn presided over its performance at the keyboard. Approximately 20 minutes.
Joseph Haydn was one of the most fortunate composers of the late-eighteenth and early-nineteenth centuries in that, starting in 1761, he enjoyed the steady patronage of the wealthy and powerful Esterhazy family of Hungarian princes, for whom he composed an astonishing large number of compositions. It mattered little to the younger Haydn that his workload was exceedingly heavy and that his compositions were the sole property of his employer. Greater artistic freedom would come his way eventually, as he found his music being performed and published throughout Europe, although only with the express permission of the Esterhazy prince. As a result, Haydn became one of Europe’s most celebrated composers, whose music, to paraphrase the master himself, was “understood by everyone.”
For whatever reason, in the mid- to late-1760s, Haydn began composing works in minor keys. The preponderance of his compositions up to this time were written in the more cheerful major mode, and over his long career, the majority of his symphonies and chamber music favored major keys, which undoubtedly his patron found more pleasing. Exploration of the more continued on 16
continued from 15
dramatic and passionate expressive possibilities of the minor key served to expand Haydn’s musical palette. Some scholars have identified these minor-key compositions under the label of Sturm und Drang (Storm and Stress), taking the name from a 1776 play of the same name by Friedrich Maximilian Klinger. His Symphony No. 39 is a fine example of where Haydn was heading. Its first movement, Allegro assai, is filled with lots of nervous energy and sudden changes in dynamics, but what adds piquancy to the mix are its unexpected and disruptive interpolations of silences. Pauses such as these in Haydn’s major key works are often interpreted as examples of the composer’s wit. In this case, however, they offer an element of suspense and drama.
The second movement (Andante, E-flat Major) by way of comparison, seems rather tame were it not again for sudden extreme shifts in dynamics from soft to loud. The oboes and horns are absent here. They return for the third movement (Menuet and Trio), as does the home key of g minor. A special treat comes in the central Trio section, where the spotlight is turned on the oboes and high horns. The finale (Allegro di molto) is a tempestuous affair featuring wide-ranging leaps in the principal theme and nervous sixteenth-note tremolos that accompany it. One expects that it is this movement that led someone to give the symphony
its nickname, “Tempesta di mare” (“Sea Storm”). The title, however, was not bestowed by Haydn. ●
Felix
Mendelssohn Symphony No. 3
in a
minor, “Scottish,” Op. 56 (1829–1842)
(Jacob Ludwig) Felix Mendelssohn(Bartholdy) was born on February 3, 1809, in Hamburg, Germany, and died on November 4, 1847, in Leipzig. Although it bears the title Symphony No. 3, the “Scottish” Symphony was the last composed of Mendelssohn’s five mature symphonies (not counting an unfinished Symphony in C Major that was abandoned after 1845). The Scottish Symphony received its premiere on March 3, 1842, in Leipzig. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Approximately 38 minutes.
Felix Mendelssohn was a frequent visitor (nine trips in all) to the British Isles during his brief lifetime. His first trip—an extended one—took place in 1829, during which time he spent part of the summer in Scotland. Among his ports of call were Edinburgh, Glasgow, Inverness, and the Hebrides islands (including Fingal’s Cave located on the isle of Staffa, a location that inspired Mendelssohn’s overture of the same name). According to Mendelssohn’s
“… at that broken altar Mary was crowned Queen of Scotland. Everything there is ruined, decayed, and open to the clear sky. I believe that I have found there today the beginning of my Scottish Symphony.”
—Felix Mendelssohn
correspondence of July 30, he visited yet another site:
In darkening twilight today, we went to the Palace [of Holyrood] where Queen Mary lived and loved. There is a little room to be seen there with a spiral staircase at its door. That is where they went up and found Rizzio in the room, dragged him out, and three chambers away there is a dark corner where they murdered him. The chapel beside it has lost its roof and is overgrown with grass and ivy, and at that broken altar Mary was crowned Queen of Scotland. Everything there is ruined, decayed, and open to the clear sky. I believe that I have found there today the beginning of my Scottish Symphony. Mendelssohn also jotted down a preliminary form of the theme with which the score of the Scottish Symphony begins.
For various reasons, he would not complete the symphony for another thirteen years. For one thing, a trip to Italy intervened, which produced a different symphony, the one known as the “Italian” Symphony (No. 4). As the composer remarked, “Who can wonder that I find it difficult to return to my misty Scottish mood?” When Mendelssohn returned to Britain in 1842, he conducted the newly completed Scottish Symphony in London in the presence of Queen Victoria and Prince Albert, who granted him his wish to dedicate the work to the royal couple.
Unlike other Scotland-inspired music by composers such as Peter Maxwell Davies and Max Bruch, Mendelssohn was not particularly fond of folk music, and none is quoted in this piece. Nevertheless, there is a movement, the Scherzo, Allegro vivace, that bears many characteristics of traditional Scottish music—a pentatonic (five-note) melody and the “Scotch snap” (short-long) rhythm. Interestingly, musicians also refer to this figure as the “Lombard” rhythm (because of its appearance in much Italian music of the 1740s). No wonder, then, that when Robert Schumann heard the Scottish Symphony, he mistakenly thought it was the Italian—even praising it for being “so
beautiful as to compensate a listener who had never been in Italy.”
Even if the Scottish Symphony’s national character is suspect, it remains a highly innovative work. The piece, for one thing, is cyclic, meaning that thematic recall links its four movements. Furthermore, Mendelssohn wished to have all its movements played with no intervening pauses. Beethoven had broken ground in his Symphony No. 5 by connecting the last two movements without interruption, taking that idea a step further in his Symphony No. 6 (“Pastorale”) in which he connected the scherzo, storm, and finale. Robert Schumann also experimented with composing movements played without pause in his Symphony No. 4 (1841, rev. 1851).
Listeners who are fond of Mendelssohn’s Fingal’s Cave (Hebrides) Overture will find much to relish in the Scottish Symphony. Here again is that somber mood and those crashing waves of crescendo and diminuendo swells. Lovers of those light-as-a-feather Mendelssohnian scherzos will delight in the tuneful and spry second movement. The lovely third movement is as full of song as ever, and the war-like quick march of the finale is sure to stir the blood. To cap it all off, Mendelssohn presents the listener with an apotheosis that transforms the gloom of the first movement into a triumphant hymn. ●
Gustav Mahler Symphony No. 3 in d minor (1895–1897; rev. 1899, 1906)
Gustav Mahler was born on July 7, 1860, in Kalischt, Bohemia, and died on May 18, 1911, in Vienna. He was one of the most gifted conductors of his generation and a musician of unusually passionate conviction. These features manifest themselves vividly in his compositions, which comprise ten symphonies and songs for voice and piano and/ or orchestra. Mahler’s Symphony No. 3 was composed mainly during the summer months of 1895–1897 at his composition hut located in Steinbach on the banks of the Attersee in Austria’s Salzkammergut. Further revisions were made in 1899. The composer made final revisions of the work in 1906. The symphony’s second movement was given its first performance under the title “Blumenstück” on November 9, 1896, with the Berlin Philharmonic under the baton of Arthur Nikisch. On March 9, 1897, Felix Weingartner led the Royal Orchestra Berlin in a performance of movements 2, 3, and 6. The first complete performance, with Mahler conducting, was held on June 9, 1902, at the Festival of the Allgemeiner Deutscher Musikverein in Krefeld. The scoring calls for contralto soloist, women’s chorus, boys’ or children’s chorus, 4
“Mahler became the final gigantic cornerstone of a period which reached a climactic finale with his massive musical canvasses at the sunset of a century, of romanticism, and of a dynasty.”
—Egon Gartenberg
flutes (3rd and 4th doubling on piccolo), 4 oboes (4th doubling English horn), 3 clarinets (3rd doubling bass clarinet), 2 E-flat clarinets, 4 bassoons (4th doubling on contrabassoon), 8 horns, 4 trumpets, off-stage Flugelhorn (Post horn or trumpet), 4 trombones, contrabass tuba, 2 timpani (3 drums each), large percussion section (including off-stage tuned bells and snare drums), 2 harps, and strings. Approximately 1 hour and 40 minutes.
Mahler was the child and beneficiary as well as the captive and victim of … diverse elements; he was Jewish in religious background, German in upbringing, Bohemian by environment, pan-European in his adult thinking. As brilliant artistic, medical, and scientific achievements enhanced the Austrian image in inverse ratio to its political, diplomatic, and military decline, Mahler became the final gigantic cornerstone of a period which reached a climactic finale with his massive musical canvasses at the sunset of a century, of romanticism, and of a dynasty.
Egon Gartenberg, Mahler, the Man and his Music (New York, 1978)
As “massive” as the musical canvases of his Symphonies Nos. 1 (“Titan”) and 2 (“Resurrection”) may have been, his Symphony No. 3, with six movements divided into two parts, exceeds them in both length and scope. Each of Mahler’s first four symphonies are related in one way or another to songs, especially those derived from the folk-like anthology edited by Achim von Arnim and Clemens Brentano titled Des Knaben Wunderhorn (The Youth’s Magic Horn, 1806, 1808). The third movement of Maher’s Symphony No. 3 is based on his setting of the Wunderhorn poem “Ablösung” (renamed “Ablösung im Sommer”). Nicholas Lenau’s poem “Der Postillon” (1833) also served as an inspiration for the central part of this movement. Lenau’s poem describes the scene in which a mail coach driver stops by a cemetery in which a dead colleague lies buried in order to play a song on his post horn. The fifth movement is based on another Wunderhorn poem “Armer Kinder Bettlerlied” (“Poor Children’s Begging Song”). Those who are familiar with
Mahler’s Symphony No. 4 will recognize reminiscences of this song in that work.
The philosophical side of Mahler’s creativity was also indebted to the writings of Arthur Schopenhauer and Friedrich Nietzsche. Schopenhauer’s influential essay The World as Will and Representation (Die Welt als Wille und Vorstellung) in which life’s driving force, the will, is explored in its manifold guises. Nietzsche’s epic literary achievement Also sprach Zarathustra includes a poetic text called “Midnight Song.” Mahler chose these words for the fourth movement’s contralto solo. Another publication by Nietzsche, his The Gay Science, was a title that Mahler at one time had considered giving to the entire work.
The first movement, Kräftig. Entschieden, comprises nearly one third the duration of the nearly hundredminute-long symphony. Past experience had taught Mahler to resist giving programmatic titles to movements of his symphonies, lest they be taken too literally by audiences. Nevertheless, knowing these titles is especially useful in grasping the events of his Third Symphony. Mahler’s autograph score identifies the first movement with the titles “Pan Awakes” and “Summer Marches In (Bacchic Procession).” It opens with a bold theme in the horns, which Mahler labeled “The Awakening Call” (“Der Weckruf”), whose similarity to the main theme of the finale of Brahms’s Symphony No. 1 has not gone unnoticed. The theme immediately dissipates into a stunned silence, followed by deep sighs in the lower brass. The effect is akin to the earth itself breathing. (We will hear these sounds again in the symphony’s fourth movement.) While Mahler was at work on this movement, Bruno Walter came to visit his mentor at his hut. Walter commented about the magnificent craggy mountains found along the banks of the lake. Mahler responded by saying that he had written (Wegkomponiert) these primal edifices into his symphony. A slow-moving and ominous march ensues, punctuated by ominous fanfares in the muted trumpets. Fateful solos for the trombone dominate
the soundscape before yielding to the arrival of summer, represented by a cheerful and faster march. The two elements continue to compete with each other throughout the remainder of this epic movement, with the exuberance of life winning out.
The remaining five movements comprise Part II of the Third Symphony, beginning with a gracious Tempo di Menuetto with the title “What the Flowers in the Meadow Tell Me.” The sweetness of nature’s foliage is only briefly interrupted by a more turbulent middle section before giving way to the gentle innocence of the flowers. The third movement, “What the Animals in the Forest Tell Me,” is a rondeau that begins with a theme taken from Mahler’s setting of the poem “Ablösung im Sommer” found in the Wunderhorn anthology. This ironic poem tells the story of the cuckoo who has fallen to his death. The animals, rather than grieving the loss, wonder who will now entertain them for the remainder of the summer. The answer is “Frau” Nightingale, who, we are told, is all too happy to sing when others fall silent. The moral of this story is that nature is indifferent to death. When one animal dies, another comes along to take its place. Contrasting with this, a human element is introduced by the arrival from the distance of a mail coach accompanied by the sound of the post horn. Mahler was inspired here by Lenau’s poem “Postillon.” At first the animals listen attentively, but once the melody ends, they resume their activity, unmoved, as if nothing had happened. As the movement nears its conclusion, we once again hear the more distant sound of the post horn. The opening tune is transformed into an apocalyptic vision before the rule of indifferent nature brings the movement to its raucous conclusion.
The fourth movement, “What Man Tells Me,” introduces the human element in a literal sense with the contralto singing Mahler’s setting of Nietzsche’s “Midnight Song.” The introduction to the song recalls the deep sighs heard in the first movement. Nietzsche’s words urge mankind to harken to the message of
midnight: “The world is deep, deeper than the day has imagined.” The poem continues: “Deep, deep is suffering! Joy [Lust] still deeper than heart’s sorrow … But all joy desires eternity.” This dark yet hopeful message is answered without interruption by the joyful sounds of the fifth movement, “What the Angels Tell Me.” The words, again derived from Des Knaben Wunderhorn, tell us of the sweet song sung by angels in heaven (Es sungen drei Engel einen süssen Gesang), performed by the women’s choir, with children’s voices imitating the ringing of church bells. The contralto soloist represents the voice of St. Peter, who weeps because he has disobeyed the Ten Commandments. The women, representing Jesus, admonish him to cease his crying, urging him instead to “Fall on your knees and pray to God.” In this way, the gates of salvation lie open for all eternity.
The final movement, Langsam. Ruhevoll. Empfunden. (Slow. Peaceful. With Feeling.) follows without interruption. Titled “What Love Tells Me,” this finale is a purely instrumental prayer. Its hymnal melody, uttered first by the strings, was inspired by similarly profound melodies in several of the last compositions of Beethoven, as well as those found in symphonies by Anton Bruckner, and one composed by Mahler’s colleague Hans Rott. Many have identified a strong kinship of Mahler’s melody to the contour of the third movement from Beethoven’s String Quartet, Op. 135. Mahler’s finale unfolds in wave upon wave, involving the entire orchestra and embracing the audience with a sense of warmth and deep reverence. At moments the music recollects the struggles of the first movement, but ends magnificently as a benediction of hope—and love. ●
Steinway Society
Piano Fund
Steinway Society members make dedicated donations for current and future purchases and maintenance of our Steinway & Sons Grand Piano Model D. Please consider joining the Steinway Society at the donor level that is best for you and be part of your New Mexico Philharmonic by helping us to produce excellence through our music. View benefits online at nmphil.org/steinway-society.
HOROWITZ LEVEL
Donation of $20,000–$50,000
Cliff & Nancy Blaugrund
Lee Blaugrund
Charles & Eugenia Eberle
Roland Gerencer, MD
Dal & Pat Jensen
WHITE KEYS LEVEL
Donation of $6000–$19,999
David Gay
Michael & Roberta Lavin
Diane & William Wiley
Dr. Dean Yannias
BLACK KEYS LEVEL
Donation of $2000–$5999
Meg Aldridge
Carl & Linda Alongi
Joel & Sandra Baca
Stephen & Maureen Baca
William & Paula Bradley
Clark & Mary Cagle
Phillip & Christine Custer
Art Gardenswartz & Sonya
Priestly
Robert & Jean Gough
Helen Grevey
Bill & Carolyn Hallett
Stephen & Aida Heath
Christine Kilroy
Dwayne & Marj
Longenbaugh
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
Tyler M. Mason
Thomas & Edel Mayer
Jon McCorkell & Dianne Cress
Bob & Susan McGuire
David & Audrey Northrop
James P. O’Neill & Ellen Bayard
Gary & Carol Overturf
Ruth Ronan
Edward Rose, MD
Marian & Howard Schreyer
Bruce & Sandra Seligman
Frederick & Susan Sherman
David & Heather Spader
Al & Melissa Stotts
Charles & Marcia Wood
PIANO FRIENDS LEVEL
Donation of $50–$499
Wanda Adlesperger
Fran A’Hern-Smith
Joe Alcorn & Sylvia Wittels
Dennis Alexander
Anonymous
Elizabeth Bayne
Judy Bearden-Love
Karen Bielinski-Richardson
Sheila Bogost
Robert Bower & Kathryn
Fry
Stephen & Heidi Brittenham
Dante & Judie Cantrill
Camille Carstens
Olinda Chavez
Beth L. Clark
Henry & Ettajane Conant
John & Katie Cunningham
Marjorie Cypress & Philip
Jameson
Thomas & Martha Domme
Martin J. Doviak
Robert B. Engstrom
Jackie Ericksen
Elle J. Fenoglio
David Fillmore
Blake & Liz Forbes
George Gibbs
Ginger Grossetete
Kerry L. Harmon
Jo Ellen Head
Heidi Hilland
Glenn & Susan Hinchcliffe
Bryan “Lance” & Debrah
Hurt
Nancy Joste
Julia Kavet
M.J. Kircher
Ralph & Heather Kiuttu
Larry W. Langford
Susan Lentz
Claire Lissance
Morgan MacFadden
James & Marilyn Mallinson
Nicholle Maniaci & John
Witiuk
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
3/28/2025 ●
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
New Mexico
Philharmonic Foundation
CRESCENDO CIRCLE
$1,000,000 +
The McKinnon Family Foundation
MAESTRO’S CIRCLE
$200,000–$999,999
Lee Blaugrund
Charles, Trustee, & Eugenia Eberle
BRAVO BENEFACTORS
$100,000–$199,999
Robert & Frances Fosnaugh
Thomas Martin, Trustee, & Cynthia Phillips
PHILHARMONIC SOCIETY
$50,000–$99,999
Stephen, Trustee, & Maureen Baca
Barbara Rivers, Trustee
HARMONY CIRCLE
$20,000–$49,999
Estate of Marian Ausherman
Chavez
Christine Kilroy
SONATA SUPPORTERS
$10,000–$19,999
Ann & Robert Boland
William E. Cates
Robert Milne
Dr. Gary & Carol Overturf
Dr. Dean Yannias
RESONANCE GUILD
$6000–$9999
Mary Baca (aka Betty)
Dal Jensen
Jerald & Cindi Parker
Susan Spaven
Richard Zabell & Teresa Apple
PUEBLO PATRONS
$3000–$5999
Daniel & Brigid Conklin
Keith Gilbert
Margaret Harvey & Mark Kilburn
Tyler M. Mason
Thomas & Edel Mayer
David Northrop
John & Karen Schlue
George Thomas
Richard VanDongen
Mary Sue Warner
THE OVERTURE CIRCLE
$1000–$2999
Joel & Sandra Baca
Dorothy M. Barbo
Nancy Berg
Henry & Jennifer Bohnhoff
Paula Bradley
Clarke & Mary Cagle
Kenneth Conwell II
Krys & Phil Custer
Bob & Greta Dean
David Espey
Denise Fligner & Terry Edwards
Howard & Debra Friedman
Roland Gerencer, MD
Charles & Judith Gibbon
Marcia Gordon
Robert & Jean Gough
Justin Griffin
Mike & Blanche Griffin
Dr. Lauro G. Guaderrama
Mary Herring
Jonathan Hewes
Sue Johnson & Jim Zabilski
David Kauffman
Elisa Kephart
Alan & Kathleen Lebeck
Judith Levey
Sonnet & Ian McKinnon
Ina Miller
Scott Obenshain
James O’Neill
W. Pierce & Joyce Ostrander
Jill & David Patterson
Clifford Richardson III
Jacquelyn Robins
Jay Rodman & Wendy Wilkins
John Rogers
Christine Sauer
Scott & Carol Schaffer
Heinz & Barbara Schmitt
Richard C. & Eileen J. Simpson
Michael & Janet Sjulin
Terry Sloan
Sydney (Al) & Melissa Stotts
Marian & Jennifer Tanau
Tony & Ann Saiz Trujillo
Rita Villa
Michael Wallace
Peter & Judy Weinreb
Alice J. Wolfsberg
Thomas & Ann Wood
Linda R. Zipp, MD
VISTA VISIONARIES up to $999
505 Southwest Auto
Fay Abrams, in memory of Joseph & Louise Laval
Ninon Adams
Jeffrey G. Allen
Arthur Alpert
Judith Anderson
Lawrence & Katherine Anderson
William Anderson
Anonymous
Leonard & Stephanie Armstrong
David Baca
Thomas J. & Helen K. Baca Family
Fund
Douglas & Dianne Bailey
Fred & Jan Bales
Sarah Barlow
Rom Barnes
Dave Barney
Edie Beck
David & Betty Begeal
Christopher Behl
Mark & Beth Berger
Barry Berkson
Melbourn & Dorothy Bernstein
Stan & Gay Betzer
Charleen Bishop
Lawrence & Deborah Blank
Henry Botts
David & Erin Bouquin
Robert Bower & Kathryn Fry
John Bowers & B.J. Fisher
Marilyn Bowman
Theodore & Sue Bradigan-Trujillo
James & Ann Breeson
W. John Brennan
Jeffrey Bridges
Eric R. Brock & Mae S. Yee
Douglas Brosveen
Susanne Brown
Christopher Calder & Betsey Swan
Dante & Judie Cantrill
A.J. Carson
Ann Carson
Camille Carstens
Robert Case
Joseph Cella
Margaret Chaffey, MD, & John
Linder
Robert Chamberlin
Kyle Champion, in honor of Roscoe & Barbara Champion
Roscoe Champion
Dennis Chavez Development Corp.
Olinda Chavez
Douglas Cheney
Helene Chenier
Edith Cherry & Jim See
Stephen & Judy Chreist, in memory of Judith Chant
Judith & Thomas Christopher
Hugh & Kathleen Church
James Cole
Joan Cole
Kenneth & Jane Cole
Randall & Valerie Cole
Mary Compton
Henry & Ettajane Conant
Marcia Congdon
Mark & Susan Conradi
Martha Corley
Bob Crain
Diane Cress
Mark Curtis
Henry Daise
Barbara L. Daniels
Genevieve Davidge
Sally Davis
Drina Denham
Ronald & Faye Detry
Winnie Devore
Michael Dexter
Jerry & Susan Dickinson
Robert & Carol Diggelman
Fran DiMarco
Thomas & Elizabeth Dodson
Thomas M. Domme
Stephen Donaldson
Garrett & Alma Donovan
Leonard Duda
Jeff & Karen Duray
Edward & Carol Ann Dzienis
Martha Egan
Mary Elrick
Jackie Ericksen
Vicky Estrada-Bustillo
Harry & June Ettinger
Helen Feinberg
Elen A. Feinberg
Rosario Fiallos
Stephen & Merilyn Fish
Diane Linda Fleming
Arthur Flicker
Martin & Ursula Frick
Ronald & Sara Friederich
Marie Fritz
John & Nancy Garth
Allison Gentile
George Gibbs
Bill & Susan Gloyd
Lorraine B. Gordon
Andrea Granger
Alfred & Patricia Green
Peter Gregory
Carl Glenn Guist
Herman Haase
Fletcher & Laura Hahn
Karen Halderson
Samuel & Laila Hall
Fred & Joan Hart
Edgarton (E.R.) Haskin Jr.
Jo Ellen Head
Nancy Hill
Kiernan Holliday
Theresa Homisak
John Homko
Stanley & Helen Hordes
Ralph & Gay Nell Huybrechts
Paul Isaacson
Michael & Sandra Jerome
Lori Johnson
Lawrence & Anne Jones
Robert H. & Mary D. Julyan
John & Julie Kallenbach
Paul Karavas
Stephanie Kauffman
Julia Kavet
Carl & Jeannette Keim
Thomas & Greta Keleher
Henry Kelly
Andrea Kilbury
Barbara Killian
Robert & Toni Kingsley
Marlin E. Kipp
Walter & Allene Kleweno, in memory of Pegg Macy
Gerald Knorovsky
Frances Koenig
Herbert & Michele Koffler
Basil Korin
Hareendra & Sanjani Kulasinghe
Karen Lanin
Rita Leard
Mary E. Lebeck
Margaret Lieberman
Robert & Judy Lindeman
L.D. & Karen Linford
Csaba Linszky
William Lock
Betty Max Logan
Richard & Mary Loyd
Robert Lynn
Douglas Madison
Bruce Malott
Robert & Linda Malseed
Frederic & Joan March
Elizabeth Davis Marra
Salvatore Martino
Janet Matwiyoff
Gary Mazaroff
Joseph McCanna
Andrew McDowell & Natalie Adolphi
David C. McGuire Jr.
Peter McKenna
Charlotte McLeod
Linda McNiel
Donald McQuarie
Eric & Carolyn Metzler
Bruce Miller
Martha A. Miller
Philip Mitchell
Michael Moch
Dr. William Moffatt
Catherine Montgomery
Robert & Phyllis Moore
Claude Morelli
James B. & Mary Ann Moreno
Letitia Morris
Cary & Evelyn Morrow
Guy Frederick & Michelle Morton
Karen Mosier
Sharon Moynahan & Gerald Moore
Michael & Judy Muldawer
Shanna Narath
David & Cynthia Nartonis
Geri Newton
Betsy Nichols
David & Marilyn Novat
Richard & Marian Nygren
Maureen Oakes
Richard & Dolly O’Leary
Daniel T. O’Shea
Eric P. Parker
Robert & Rebecca Parker
Deborah Peacock & Nathan Korn
Cristina Pereyra
Elizabeth Perkett
David Peterson
Michael Pierson & Jane Ferris
Karla Puariea
Noel Pugach
Luana Ramsey
Russell & Elizabeth Raskob
Ray Reeder
Ken & Diane Reese
Bonnie Renfro
Lee Reynis
Kay F. Richards
George & Sheila Richmond
Margaret E. Roberts
Matthew Roberts
Shelley Roberts
Thomas Roberts & Leah Albers
Judith Roderick
Catalin Roman
Jeff Romero
Edward Rose, MD
Gerhard Salinger
J. Sapon & Allison Gentile
Warren & Rosemary Saur
Nancy Scheer
Michael & Lisa Scherlacher
Stephen Schoderbek
Marian Schreyer
John & Sherry Schwitz
Jane Scott
Justine Scott
Gretchen Seelinger
Drs. M. Steven Shackley & Kathleen
L. Butler
Barbara & Daniel Shapiro
James Sharp & Janice Bandrofchak
Arthur & Colleen Sheinberg
Joseph Shepherd & Julie Dunleavy
Frederick & Susan Sherman
Beverly Simmons
Rae Lee Siporin
Linda A. Smith
MaryEllen Smith
Linda Smoker
Charles & Ruth Snell
Lillian Snyder
Julianne Stangel
Alexandra Steen
Patricia & Luis Stelzner
Elizabeth Stevens
Maria Stevens
John & Patricia Stover
Kathleen Stratmoen
Lawrence & Mari Straus
Walka & Jonathan Sutin
Donald & Carol Tallman
Peter & Mary Tannen
Ingeborg Taylor, in honor of Julie
Kaved
Ronald T. Taylor
Marta Terlecki
Dolores Teubner
Gary & Nina Thayer
Bruce Thompson & Phyllis Taylor
Betty Tichich
Marvin & Patricia Tillery
Robert Tillotson
Craig Timm & James Wilterding
Dean Tooley
Ronald & Patricia Trellue
Sally Trigg
Jorge Tristani, President, Dennis
Chavez Development Corp.
Neda Turner
Harold & Darlene Van Winkle
John Vittal
Volti Subito Productions- Robin
Rupe
Lana Wagner
William & Cynthia Warren
Dale Webster
Joyce & Alan Weitzel
Kevin & Laurel Welch
Jeffrey West
Charles & Linda White
Liza White
Kathryn Wissel
Marc & Valerie Woodward
Kenneth Wright
Paula Wynnyckyj
Kenneth & Barbara Zaslow
Diana Zavitz
Andrew & Lisa Zawadzki
Michael & Jeanine Zenge
Peter & Ann Ziegler
Mary J. Zimmerman
Alvin Zuckert
3/28/2025
●
Donor Circles
THANK YOU FOR JOINING A CIRCLE
BENEFACTOR CIRCLE
Donation of $50,000 + Albuquerque Community Foundation
Anonymous
Lee Blaugrund
City of Albuquerque
Eugenia & Charles Eberle
Estate of Joe & Louise Laval
New Mexico Philharmonic Foundation
Estate of Charles Stillwell
BEETHOVEN CIRCLE
Donation of $25,000–$49,999
Meg Aldridge
Bernalillo County Commission
Computing Center Inc., Maureen & Stephen Baca
Bob & Greta Dean
Estate of Joyce Kaser
The Meredith Foundation
Cynthia Phillips & Thomas Martin
MOZART CIRCLE
Donation of $10,000–$24,999
Anonymous
Anonymous
Ron Bronitsky, MD, in honor of the NMPhil Musicians
Ron Bronitsky, MD, in loving memory of Joseph & Louise Laval
Art Gardenswartz & Sonya Priestly
Keith Gilbert
Helen Grevey
Mary Herring
Jonathan & Ellin Hewes
Dal & Pat Jensen
Christine Kilroy
Dwayne & Marjorie Longenbaugh
Terri L. Moll
Karl & Marion Mueller
Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings
New Mexico Arts
Optum
Estate of George Richmond
Barbara Rivers
Robertson & Sons Violin Shop
Sandia Foundation, Hugh & Helen Woodward Fund
Terrence Sloan, MD
Joseph & Carol Stehling
Dr. Dean Yannias
BRAHMS CIRCLE
Donation of $5000–$9999
Carl & Linda Alongi
Anonymous
Margaret Ann Augustine & A.
Elizabeth Gordon
Mary Betty Baca
Paula & William Bradley
The Cates Team/RBC Wealth Management
Richard & Margaret Cronin
Fritz Eberle & Lynn Johnson
ECMC Foundation
Fran Fosnaugh
Frontier Restaurant/Golden Pride
Chicken
David Gay
Madeleine Grigg-Damberger &
Stan Damberger
Hancock Family Foundation
Margaret Harvey & Mark Kilburn
The Hubbard Broadcasting Foundation
Chris & Karen Jones
Thomas & Greta Keleher
Harry & Betsey Linneman
Tyler M. Mason
Bob & Susan McGuire
Menicucci Insurance Agency
Ed & Nancy Naimark
Ruth & Charles Needham
David & Audrey Northrop
George & Mary Novotny
S. Scott Obenshain
Bob & Bonnie Paine
David & Jill Patterson
Real Time Solutions, Inc.
Sandra P. & AFLt/Col (r.) Clifford E.
Richardson III
Melissa & Al Stotts
John Wronosky & Lynn Asbury
CHOPIN CIRCLE
Donation of $3500–$4999
AmFund
Estate of Evelyn Patricia Barbier
Brian & Laura Bloomquist
Ann Boland
David & Shelly Campbell
Charles & Judith Gibbon
Jean & Bob Gough
Hank & Bonnie Kelly
Michael & Roberta Lavin
Myra & Richard Lynch
Estate of Gary & Kathleen Singer
Marian & Jennifer Tanau
Tatiana Vetrinskaya
Michael Wallace
GRACE THOMPSON CIRCLE
Donation of $1933–$3499
Albuquerque Community Foundation, The Ties Fund
Albuquerque Community Foundation, NDB & CEB Fund
Anonymous
Teresa Apple & Richard Zabell
Richard & Linda Avery
Thomas Bird & Brooke Tully
Henry & Jennifer Bohnhoff
Cynthia Borrego
Bright Ideas/Frank Rowan
Michael & Cheryl Bustamante
Butterfield’s Jewelers
Clarke & Mary Cagle
Margaret Casbourne
Edwin Case
Marjorie Cypress & Philip Jameson
D’Addario Foundation
Kathleen Davies
Thomas & Martha Domme
Richard & Virginia Feddersen
Firestone Family Foundation
Frank & Christine Fredenburgh
Robert Godshall
Maria Griego-Raby & Randy
Royster
Deborah Hanna
Hal Hudson
Rosalyn Hurley
The Immaculata Fund
Nancy Kelley, in memory of Donald
Patrick Kelley
Nancy Kelley, in memory of Norma Orndorff
Allene Kleweno
Edward J. Kowalczyk
Judith Levey
Edel & Thomas Mayer Foundation
Mary E. Mills
Jan Mitchell
Noel Company/Phillip Noel
James O’Neill & Ellen Bayard
Jerald & Cindi Parker
Dick & Marythelma Ransom
Jacquelyn Robins
Jay Rodman & Wendy Wilkins
Edward Rose, MD
Laura Sanchez
Barbara Servis
Rich & Eileen Simpson
Vernon & Susannah Smith
George Thomas
Phyllis Taylor & Bruce Thomson
BACH CIRCLE
Donation of $1000–$1932
Anonymous
Anonymous
Joel & Sandra Baca
Daniel & Barbara Balik
Gregory Barnes, in memory of
Judith Chant
Lawrence & Deborah Blank
Nancy & Cliff Blaugrund
Dennis & Elizabeth Boesen
Robert Bower & Kathryn Fry
Bueno Foods
Sandy Buffett
Kathleen Butler & Steven Shackley
Century Bank
Dan Champine
Brian & Aleli Colón
Brian & Aleli Colón, in honor of newlyweds Sarah Moulton & John
Santoru
Daniel & Brigid Conklin
Philip Custer
Leonard & Patricia Duda
David & Ellen Evans
Cynthia Fry & Daymon Ely
George F. Gibbs
Bruce Gillen, in memory of Rhonda & Tim Gillen
Yvonne Gorbett
Marcia Gordon
Nancy Elizabeth Guist
Roger & Katherine Hammond
David Hardy & David Martin
Sue Johnson & Jim Zabilski
Stephanie & David Kauffman
Dave Leith
John & Brynn Marchiando
Jean Mason
Ina S. Miller
Robert Milne & Ann DeHart
Roberto Minczuk
Christine & Russell Mink
Mark Moll
David & Alice Monet
Betsy Nichols
NMPhil Audience $5 to Thrive
Joyce & Pierce Ostrander
Janice Parker, in memory of Judge
James A. Parker
Stuart & Janice Paster
Mary Raje
Estelle Rosenblum
Dr. Harvey Ruskin
John & Sarah Santoru, in honor of
Kay & Craig Smith
Howard & Marian Schreyer
Richard & Janet Shagam
Singleton Schrieber LLP/Brian Colón
Jane & Doug Swift Fund for Art & Education
Spencer & Sarah Tasker
Rogan & Laurie Thompson
Total Wine & More
Rita Villa
Judy Basen Weinreb
Diane Chalmers Wiley & William
Wiley
Linda Wolcott
David & Evy Worledge
CONCERTMASTER CIRCLE Donation of $500–$999
Marsha Adams
Albuquerque Community Foundation, Lee Blaugrund Endowment Fund
Albuquerque Community Foundation, Maisel/Goodman
Charitable Endowment Fund
Carolyn Anderson
Lawrence & Katherine Anderson
Michael & Leanore Baca
Robert & Alice Baca
Tonianne Baca-Green
Elizabeth Bayne
Richard & Maria Berry
Stan Betzer
Rod & Genelia Boenig
Walt & Celia Bolic
Thomas Caudell
Edward Cazzola
Paul Clem
Clifton Larson Allen LLP
Joe Coca
Marcia Congdon
James Connell
Bob Crain
John Crawford & Carolyn Quinn
Stephen & Stefani Czuchlewski
Michael Dexter
Jerry & Susan Dickinson
James & Teresa Edens
Anne Eisfeller & Roger Thomas
Roberta Favis
Heidi Fleischmann & James Scott
Diane Fleming, in memory of Dr. Robert Fleming
Denise Fligner & Terry Edwards
Howard & Debra Friedman
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
Kathleen Hammar
David Harris
Harris Jewelers
Harris Hartz
Stephen & Aida Ramos Heath
Donna Hill
Pamelia Hilty (Snow Blossom Gift Fund)
Steven Holbrook
John Homko
Mary Hermann Hughes
Betty Humphrey
Patrick & Elois Hurley
Stephen Ingram & Amparo Maria
Garcia Ingram
Daniel Ivey-Soto
Daniel Janes & Courtney Forbis
Jerry & Diane Janicke
Barbara Johnson
Harrison & Patricia Jones
Marlin Kipp
Noel & Meredith Kopald
Stephanie & Kenneth Kuzio
Nick & Susan Landers
Alan & Kathleen Lebeck
Joe & Pam Limke
Robert Lindeman & Judith Brown
Lindeman
John Linder & Margaret Chaffey,
MD
Thomas & Donna Lockner
Dr. Ronald & Ellen Loehman
Marcia & Suzanne Lubar
Anthony Lupinetti & Joanna Fair, in memory of Janet Fair
Richard Kozoll & Sally Davis, in memory 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 Lechuga-Tena & 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
Tim Renk
Lawrence & Joyce Reszka
Reverb & Young the Giant
Karl Ricker
Cynthia Risner
Sherrick Roanhorse
Justin Robertson
Jeff Romero
Carole Ross
Dick & Mary Ruddy
Carey Salaz
Donald & Loraine Sanchez
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
continued from 23
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
Kenneth Beebe
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
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
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 Frye-Mason
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
Julia Huff
Ralph & Gay Nell Huybrechts
Michael & Sandra Jerome
Ruth Johnson
Barbara Jones
Lawrence & Anne Jones
Brenda Jozwiak
Ty Kattenhorn
Julia Kavet
Lynn Kearny
Margaret Knapp
Gerald Knorovsky
Katherine Kraus
Michael & Bethann Krawczyk
John & Gretchen Kryda
Dana Lambe
Larry W. Langford
Molly Mary Lannon
Lorin Larson
Paul & Julie Laybourne
Janice Leach
Rita Leard
Rebecca Lee & Daniel Rader
Daniel Levy
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
Carolyn Martinez, in memory of
Judy Chant
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
Katherine Ott-Warner
Peter Pabisch
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 Smith-Hartwig
Smith’s Community Rewards
Amy Snow
Jan & Teresa Sole
Allen & Jean Ann Spalt
David & Laurel Srite
Charlie & Alexandra Steen
Theodore & Imogen Stein
Brent & Maria Stevens
Elizabeth Stevens & Michael Gallagher
Stone Age Climbing Gym
Sum - Caterpillar
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
3/28/2025
●
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 & Sam Lucero
Louise Laval
Julianne Louise Lockwood
Dr. & Mrs. Larry Lubar
Joann & Scott MacKenzie
Margaret Macy
Thomas J. Mahler
Gerald McBride
Shirley Morrison
Betsy Nichols
Cynthia Phillips & Thomas Martin
George Richmond
Eugene Rinchik
Barbara Rivers
Terrence Sloan, MD
Jeanne & Sid Steinberg
Charles Stillwell
William Sullivan
Dean Tooley
Betty Vortman
Maryann Wasiolek
William A. Wiley
Charles E. Wood
Dot & Don Wortman
3/28/2025
●
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
Adriann Barboa, Bernalillo County Board of Commissioners
Steven Michael Quezada, Commissioner, Bernalillo County Board of Commissioners
City Councilor Brook Bassan
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
Emily Lah
Jackie McGehee
Brad Richards
Barbara Rivers
Brent Stevens
VOLUNTEERS HOSTING VISITING
MUSICIANS
Don & Cheryl Barker
Ron Bronitsky, MD, & Jim Porcher
Tim Brown
Isabel Bucher & Graham Bartlett
Mike & Blanche Griffith
Suzanne & Dan Kelly
Ron & Mary Moya
Steve & Michele Sandager
3/28/2025
Sponsors & Grants
Sound Applause
Albuquerque Community Foundation albuquerquefoundation.org
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.
County bernco.gov
Computing Center Inc. cciofabq.com
Foundation foundation.daddario.com
HOLMANS USA CORPORATION holmans.com
Haug Keleher McLeod jhkmlaw.com
New
Mexico Philharmonic
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
Principal •
Associate Principal ••
Assistant Principal •••
Assistant ••••
Leave +
One-year position ++
Half-year position +++
STAFF
Marian Tanau President & CEO
Roberto Minczuk
Music Director
Christine Rancier
Vice President of Operations
Ian Mayne-Brody
Personnel Manager
Terry Pruitt
Principal Librarian
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
Melissa Peña ••
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 +
Zoe SirLouis •++
Avery Dabe ++
HORN
Peter Erb •
Allison Tutton
Maria Long
Andrew Meyers
Katya Jarmulowicz ••••
TRUMPET
John Marchiando •
Brynn Marchiando
Sam Oatts ••
TROMBONE
Aaron Zalkind •
Byron Herrington
BASS TROMBONE
David Tall
TUBA
Richard White •
PERCUSSION
Jeff Cornelius •
Kenneth Dean
Emily Cornelius
HARP
Carla Fabris •
Genevieve Harris Assistant Librarian
Nancy Naimark
Director of Community Relations & Development Officer
Julian Kley
Production Manager
Crystal Reiter
Office Manager
Laurieanne Lopez Young Musician Initiative Program Director
