NMPhil_2025_ProgramBook3-4print v2

Mexico Philharmonic Foundation Inc.

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GIVE CASH: Whether you itemize deductions or not, it still works well.

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

WELCOME LETTER FROM THE

MUSIC DIRECTOR

Dear Friends,

I hope you are enjoying a wonderful holiday season. May 2026 be filled with health, happiness, and great music with your New Mexico Philharmonic.

The New Mexico Philharmonic’s 15th-anniversary season continues with some extraordinary concerts. On January 11, 2026, our Afternoon Classics concert at the National Hispanic Cultural Center will feature our outstanding horn players in Konzertstück by Schumann, a concerto for four horns and orchestra. Because I studied horn before becoming a conductor, I can attest that this piece is a true musical monument, and I cannot think of a better showcase than our NMPhil horn players performing it.

On January 24, we will present Acequia, a wonderful new work inspired by New Mexico’s irrigation ditches, written by New Mexican composer Nicolás Lell Benavides. Pianist Roman Rabinovich will then perform Prokofiev’s dynamic and captivating Piano Concerto No. 3, and the concert will conclude with Rachmaninoff’s Symphonic Dances, a work that highlights the orchestra’s virtuosity. This is a concert not to be missed!

Our season continues with a variety of outstanding concerts and soloists. On February 28, guest conductor Alejandro Gómez Guillén will lead Mussorgsky’s Pictures at an Exhibition arranged by Ravel In March, we will feature Giuseppe Gibboni, winner of the Paganini Competition, who is often described as the reincarnation of Paganini himself. April will bring our Three Sopranos concert, presenting amazing arias from beloved operas. We will conclude the season with one of Mahler’s most celebrated works, Symphony No. 5.

You are an extraordinary audience. Thank you for being part of the New Mexico Philharmonic family and for celebrating fifteen years and counting of music that inspires, uplifts, and unites us all. I wish you and your loved ones a wonderful new year.

Sincerely,

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 13

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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Photo Credit: Dry Heat Photography

POPEJOY ROCK & POPS:

Holiday Pops

Saturday, December 20, 2025, 6 p.m.

Jamie Reeves conductor

Manzano Day School Chorus/Ally McCurley director Cantate, Bosque School/Joanna Carlson Hart director

V. Sue Cleveland Concert Choir/Jadira Flamm director

Moriarty High School Choir/Meagan Thomas director

Albuquerque Youth Symphony/Dan Whisler director DEC 20

A Christmas Festival Leroy Anderson

Hanukah Fantasy arr. Biegel

The Nutcracker, Suite No. 2, Op. 71b

Pyotr Ilyich Tchaikovsky No. 11, “Scene” No. 12a, “Chocolate” No. 14, “Pas de deux”

Medley From Elf arr. Beck

Concert Suite From The Polar Express, “Believe”

INTERMISSION

Alan Silvestri arr. Hayes

Popejoy Hall

“Brazilian Sleigh Bells” Percy Faith

Fantasia on Greensleeves

“The Twelve Days of Christmas”

“Stille Nacht”

“White Christmas”

Ralph Vaughan Williams

arr. Dragon

Franz Xaver Gruber arr. Custer/Calvin

Irving Berlin arr. Chase

“Auld Lang Syne” arr. Tyzik

“We Wish You a Merry Christmas” arr. Crocker

“Sleigh Ride” Anderson

MAKING A DIFFERENCE

This performance is made possible by: Frontier Restaurant The City of Albuquerque

AFTERNOON CLASSICS:

Beethoven & Schumann

Sunday, January 11, 2026, 2 p.m.

Roberto Minczuk Music Director

Peter Erb Horn

Allison Tutton horn

Maria Long horn

Andrew Meyers horn

Coriolan Overture, Op. 62

Ludwig van Beethoven (1770-1827)

Konzertstück in F Major for Four Horns and Orchestra, Op. 86. Robert Schumann

I. Lebhaft (1810-1856)

II. Romanze. Ziemlich langsam, doch nicht schleppend

III. Sehr lebhaft

(Played without pause.)

Peter Erb horn

Allison Tutton horn

Maria Long horn

Andrew Meyers horn

INTERMISSION

Symphony No. 4 in B-flat Major, Op. 60

I. Adagio—Allegro vivace

II. Adagio

III. Scherzo—Trio: Allegro vivace

IV. Allegro ma non troppo

Beethoven

MAKING A DIFFERENCE

This performance is made possible by: The Kattenhorn Mayo Team at RBC Wealth Management

ADDITIONAL SUPPORT

The Meredith Foundation The Albuquerque Community Foundation

POPEJOY CLASSICS:

Symphonic Dances

Saturday, January 24, 2026, 6 p.m.

Roberto Minczuk Music Director

Roman Rabinovich piano JAN 24

Popejoy Hall

Acequia for Orchestra Nicolás Lell Benavides (b. 1987)

Piano Concerto No. 3 in C Major, Op. 26.

Sergei Prokofiev

I. Andante—Allegro (1891-1953)

II. Tema con variazioni

III. Allegro ma non troppo

Symphonic Dances, Op. 45

INTERMISSION

Sergei Rachmaninoff

I. Non allegro (1873-1943)

II. Andante con moto (Tempo di valse)

III. Lento assai—Allegro vivace—Lento assai. Come prima—Allegro vivace

MAKING A DIFFERENCE

This performance is made possible by: Cynthia Phillips & Thomas Martin

ADDITIONAL SUPPORT

The New Mexico Philharmonic Foundation

PRE-CONCERT TALK

Made possible by: Menicucci Insurance Company

Hosted by KHFM’s Alexis Corbin

Roman Rabinovich piano

COFFEE CONCERT:

Beethoven, Britten & Respighi

Friday, February 6, 2026, 10:45 a.m.

Roberto Minczuk Music Director

Große Fuge (Grand Fugue), Op. 133

Ancient Airs and Dances, Suite No. 1.

Ludwig van Beethoven (1770-1827)

Ottorino Respighi

I. Balletto detto “Il Conte Orlando” (1879-1936)

II. Gagliarda

III. Villanella

IV. Passo mezzo e Mascherada

Simple Symphony for String Orchestra, Op. 4

MAKING A DIFFERENCE

This performance is made possible by: The New Mexico Philharmonic Foundation

Benjamin Britten

I. Boisterous Bourrée (1913-1976)

II. Playful Pizzicato

III. Sentimental Sarabande

IV. Frolicsome Finale

Sunday, February 8, 2026, 3 p.m.

Roberto Minczuk Music Director

Selections from:

Große Fuge (Grand Fugue), Op. 133

Ludwig van Beethoven (1770-1827)

Ancient Airs and Dances, Suite No. 1. Ottorino Respighi (1879-1936)

Simple Symphony for String Orchestra, Op. 4 Benjamin Britten (1913-1976)

Dr. Ron Bronitsky will host Roman Rabinovich—the

RSVP 1/21/2026 (505) 323 4343 nmphil.org

TICKET

weblink.donorperfect.com/Roman

Immanuel Presbyterian Church

MAKING A DIFFERENCE

This performance is made possible by: Bernalillo County

• Commission Chair Barbara Baca, District 1

• Commissioner Frank Baca, District 2

• Commissioner Walt Benson, District 4

Albuquerque City Council

• Councilor

Dan Champine

• Councilor

Tammy Fiebelkorn

• Councilor

Dan Lewis

• Councilor

Renee Grout

• Councilor

Brook Bassan

Jamie Reeves is the Music Director and Conductor of the Montgomery Symphony Orchestra, a role he began in the 2021/2022 season. Under his leadership, the MSO has experienced significant artistic growth, delivering dynamic performances and innovative programming. In addition to his work with the MSO, Jamie has recent and upcoming debuts with the Chattanooga Symphony, New Mexico Philharmonic, and Omaha Symphony, and has served as a cover conductor with the New York Philharmonic and the Los Angeles Philharmonic at the Hollywood Bowl.

Dedicated to fostering a vibrant symphonic culture in Montgomery, Jamie engages world-class soloists, celebrates contemporary American music, and commissions new works deeply rooted in the central Alabama community. In the 2024/2025 season, Jamie launched the Alabama Composers Project, a multi-season initiative aimed at commissioning one new work per season by composers from Alabama or whose works are influenced by Alabama’s history and culture. In February 2025, Jamie appointed Nkeiru Okoye as the inaugural William Levi Dawson Composer-inResidence. This collaboration will involve a series of projects culminating in the February 2026 world premiere of A Time for Jubilee, a choral-orchestral work commemorating the 60th anniversary of the historic 1965 Selma to Montgomery March. In November 2025, Jamie led the MSO in a program dedicated to the symphonic works of Tobias Picker, including the U.S. premiere of Picker’s Cello Concerto with cellist Santiago Cañón-Valencia. In recent seasons, Jamie has collaborated with

esteemed soloists including Jeffrey Biegel, Geneva Lewis, Laquita Mitchell, Evren Ozel, and Natasha Paremski.

Jamie’s commitment to enriching Montgomery’s musical landscape is also evident in the orchestra’s engaging pops series, featuring exhilarating film-in-concert performances such as Home Alone, Harry Potter and the Sorcerer’s Stone, Jurassic Park, and Star Wars: A New Hope. He also leads the MSO in the annual Joyce Caddell Holiday Pops, which recently featured America’s Got Talent alumnus Jimmie Herrod. Jamie’s dedication to inspiring young audiences shines through in the annual performances of Carnegie Hall’s Link Up series and the MSO’s early childhood program, Symphonic Storytime

In previous seasons, Jamie has refined his craft through participation in prestigious international conducting master classes and competitions. He has trained at the Lucerne Festival Masterclass with Bernard Haitink, the Cabrillo Festival of Contemporary Music with Cristian Măcelaru, and master classes with the Baltimore Symphony Orchestra under Marin Alsop. He has been recognized as a finalist in the Gregorz Fitelberg and Besançon conducting competitions, where he led the Filharmonia Śląska and L’Orchestre Victor Hugo Franche-Comté.

Jamie has been honored with awards such as the Artistic Excellence Fellowship from Indiana University, the Peabody Career Development Grant from Johns Hopkins University, and the Thelma A. Robinson Award from the International Conductors Guild and the National Federation of Music Clubs. He holds degrees in conducting from Indiana University and the Peabody Conservatory, having studied under esteemed conductors including Marin Alsop, David Effron, Arthur Fagen, and John Ratledge. ●

Manzano Day School Chorus/Ally McCurley director

The Manzano Day School Chorus is a non-auditioned group comprising the entire fourth and fifth grades of the school. Chorus rehearsals are built into the six-day rotation as part of the music curriculum.

In addition to chorus, students also have general music classes, focused on singing, playing, moving, creating, and reading music. Music has long been valued as an integral part of education at this historic school, which is now in its eighty-sixth year. The chorus performs in multiple concerts throughout the year and a full musical play each spring. The chorus was privileged to sing for many Holiday Pops concerts with the New Mexico Philharmonic. As service projects, they have sung for hospitals and senior centers.

Manzano Day School is an independent prekindergarten through fifth grade elementary school near Old Town in Albuquerque. Manzano moved to its present location in 1942, having previously held classes in the historic Huning Castle starting in 1938. Our La Glorieta, an adobe hacienda, was originally the home of early Spanish settler Don Diego Trujillo. Generations of families have cherished

Jamie Reeves conductor

the history and warm atmosphere of Manzano Day School. Students learn core curriculum in innovative ways in small classes. In addition, all students receive instruction in music, visual arts, physical education, Spanish, and technology.

Ally McCurley is in her sixth year of teaching elementary general music. She has had a diverse performing career that includes singing in choruses and directing performance groups. With a certification in Orff Schulwerk and training in Kodály and Gordon pedagogies, Ally strives to instill a love for music in all students, while building upon music literacy. Ally attended the University of New Mexico, graduating with her Bachelor’s in music education in 2020 and Master’s in music education in 2022. Throughout the many years as both a performing artist and an educator of all ages, she has prided herself on helping children embrace music through play-based curriculum, movement, drama, and creativity. ●

At Bosque, music plays a central role in the school’s culture. Cantate, the upper school choir, has traveled and performed as part of

the Independent Schools Association of the Southwest Arts Festivals in Houston, Dallas, San Antonio, Austin, and Albuquerque; in Savannah, GA; St. Mary’s Basilica in Phoenix, AZ; on the world famous stage at Carnegie Hall in New York City; as part of the Disney Performing Arts series on stage at Disneyland; in St. Peter’s Basilica at the Vatican; the Santa Maria sopra Minerva in Rome, Italy; and at the historic Christ Church Cathedral in Dublin, Ireland.

Joanna Carlson Hart is a graduate of the Master’s program in vocal performance at the University of New Mexico and received her Bachelor’s degree from Concordia College in Moorhead, Minnesota, where she studied under the renowned conductor and composer René Clausen. Ms. Hart has sung roles with the Santa Fe Opera, Opera Southwest, UNM Opera Theatre, and the International Opera Academy in Rome, and as a soloist with the Albuquerque Philharmonic, Concordia Choir, St. Joseph Symphony, UNM Orchestra, and the Concordia College Orchestra. In fall 2011, Ms. Hart performed the soprano solo under the direction of Dr. Clausen at Avery Fisher Hall at Lincoln Center in New York City for his piece Memorial. She is in her nineteenth year as director of choirs at Bosque School, an independent College Preparatory School, and has found another love in teaching. Under her direction, the choirs have grown from six students to seventy-five in the upper school, and doubled in size in the middle school.

The choirs at Bosque School have traveled and performed in Savannah, GA; Disneyland; Carnegie Hall stage in New York City; St. Peter’s Basilica at the Vatican in Rome, Italy; St. Mark’s Basilica in Venice, Italy; Christ Cathedral in Dublin, Ireland; and in ISAS Arts Festivals throughout Texas and Oklahoma. Ms. Hart is often invited to adjudicate solo and ensemble and choral festivals throughout New Mexico and loves to work with all choirs and singers. ●

V. Sue Cleveland Concert Choir/Jadira Flamm director

The V. Sue Cleveland Concert Choir is an auditioned, invitation-only ensemble of 31 high-school singers. The choir performs a wide range of repertoire and has recently earned standing ovations at Popejoy Hall in Albuquerque. The group is frequently invited to appear at festivals and to compete in regional and state choral events.

Named “New and Emerging Teacher” in 2011 and the “Music Educator of the Year” 11 years later as selected by the New Mexico Music Educators Association, Jadira Flamm is the choral director at V. Sue Cleveland High School, where she’s been since the school opened its doors in summer 2009.

Jadira Flamm has always been a singer, mostly in church, and is also a vocalist and piano player with a Christian group “The Matthew Project.” She obtained her undergraduate degree in music at New Mexico State, not far from her home in Sunland Park, and followed that with a Master’s degree in music education at the University of New Mexico. She hopes her love for music and singing extends to her students. ●

Cantate, Bosque School/Joanna Carlson Hart director

Moriarty High School Choir/Meagan Thomas director

The Moriarty High School Messengers are an auditioned ensemble committed to musical excellence, dynamic performance, and school spirit. Led by Meagan Thomas, the group performs a wide range of repertoire and brings energy and artistry to every event. They proudly represent Moriarty High School and the Pinto community. The Messengers choir has a legacy of over 40 years at Moriarty High School and has carried on the traditions of the school and the community. Most recently, in 2025, the Messengers won two state competitions. Moriarty High School choir director Meagan Thomas was born in Memphis, Tennessee, grew up in Hernando, Mississippi, and was raised in Jonesboro, Arkansas, where she graduated high school from Nettleton Public Schools.

After high school, she went to Arkansas State University in Jonesboro, Arkansas. She graduated with a Bachelor’s degree in music education in 2001 and immediately started her Master’s degree in performance with an emphasis in conducting. Meagan taught for four years as well as sang professionally with Memphis Vocal Arts in Memphis, Tennessee. In 2013, she moved to the west side of Albuquerque with her husband and three children.

Meagan worked for APS for two years before having her last child in 2018. In 2019, she and her family moved to the East Mountains. She substituted for two years at East Mountain High School in Sandia Park and Estancia Valley Classical Academy in Edgewood. She had found a great love for

the East Mountains area and felt part of the wonderful community there.

In 2021, she started singing with the Prince of Peace Lutheran Church and its production of Handel’s Messiah during the holiday season. She is also active in her church, The Church of Jesus Christ of Latter-day Saints, where she volunteers as the primary chorister, sharing her love of music with the little ones.

In the 2025/2026 school year, Meagan started teaching again. This is Meagan’s first year teaching in the Moriarty Edgewood School District as the high school choir director. She loves the staff and students at her new job and looks forward to many years there, feeling she has found her true work home. ●

The Youth Symphony is the Albuquerque Youth Symphony Program’s premier ensemble. It is composed of 60-80 of the most talented and dedicated string, woodwind, brass, and percussion players from across the Albuquerque area. Youth Symphony students have the opportunity to hone their skills while performing a wide variety of advanced orchestral repertoire as well as works by contemporary composers.

Dan Whisler has conducted more than 600 works with more than 100 ensembles, including professional orchestras in the USA, England, Spain, Lithuania, Hungary, and Romania. His awards as a conductor include the Downbeat Award in 2011 for Best U.S. College Classical Ensemble (conducting Halffter’s Tiento del primer tono y batalla imperial), the Bel Canto Award for Excellence in Conducting, and winner of the 2015

American Prize in Conducting.

Mr. Whisler’s recent former positions include director of orchestras at the Youth Performing Arts School in Louisville, Kentucky; conductor of the Indianapolis Youth Philharmonic Orchestra in Indianapolis, Indiana; director of orchestras at Center Grove Community School Corporation in Greenwood, Indiana; founding and principal conductor with Intimate Opera of Indianapolis; and faculty member of the String Quartet Program of Northern Colorado in Greeley, Colorado.

An active supporter of new music, Mr. Whisler has premiered 35 works, both as a conductor and as a performer, including conducting the world premiere of the Celtic ballet Deirdre of the Sorrows. He is comfortable with opera and musical theatre literature as well, having been on the conducting staff of Mozart’s Don Giovanni and Così fan tutte, Puccini’s Suor Angelica and Gianni Schicchi, numerous opera scenes concerts for the University of Northern Colorado Opera Theatre, Sondheim’s Sweeney Todd for Theater Workshop of Owensboro (Kentucky), Holst’s Sāvitri and Handel’s Giulio Cesare with Intimate Opera of Indianapolis, and Gilbert and Sullivan’s The Mikado, Purcell’s The Fairy Queen, and Monteverdi’s L’incoronazione di Poppea with the YPAS music department.

An experienced musician (string bass and horn) and music educator, Mr. Whisler has worked with youth orchestras in Kansas, Colorado, New Mexico, New York, Indiana, and Kentucky. At Center Grove, he increased orchestra student enrollment by more than 37 percent and won 17 ISSMA Gold awards in just three years. Under his direction, the YPAS Philharmonia was selected to perform in the 2015 Music for All National Orchestra Festival, the 2016 and 2019 Kentucky Music Educators Association Conferences, The Midwest Clinic (2019), and Heritage Festivals in Chicago (2017) and New York City (2018), as well as international tours to Costa Rica, England, and Wales. He graduated summa cum laude with a BME from Wichita State University (Kansas) and earned an M.M. in orchestral conducting from the University of Northern Colorado. His primary conducting teachers include Russell Guyver and Mark Laycock, with additional studies at 15 conducting institutes throughout the USA, Canada, South America, and Europe

Albuquerque Youth Symphony/Dan Whisler director

with internationally renowned mentors, including Jorma Panula, Craig Kirchhoff, Markand Thakar, Colin Metters, Victor Yampolsky, Larry Livingston, and Benjamin Zander. ●

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 Orchestre 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 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. ●

New Orleans native Peter Erb joined the New Mexico Philharmonic as Principal Horn in 2013. He has held positions with the Phoenix Symphony, Louisville Orchestra, and Louisiana Philharmonic Orchestra, and continues to perform as principal horn in the Arizona Opera Orchestra. As a member of the Star Wars in Concert orchestra in 2010, Peter toured the United States and Mexico, performing John Williams’s movie scores. An avid chamber musician, Peter has participated in the Phoenix Chamber Music Society’s annual festival, Albuquerque’s own Church of Beethoven (now Chatter Chamber) series, and the University of Chicago’s Noontime Recital Series. Peter earned his Bachelor’s degree at Northwestern University, where he studied with Gail Williams and Bill Barnewitz. He received his Master’s degree from the University of Akron as a student of Bill Hoyt. After leaving school, he was a member of the Civic Orchestra of Chicago for two seasons and attended the Banff Centre Chamber Music program with his woodwind quintet, Hara Quintet. Peter lives in Albuquerque with his wife, Emily, a clarinetist with the Santa Fe Symphony, their polydactyl Maine Coon Cat, Bigfoot, and the newest addition to the family, Sandy, a German Shepherd mix. ●

Allison Tutton horn

Allison Tutton is second horn of the New Mexico Philharmonic, a position she has held since 2019, following three seasons as fourth horn. She also holds the position of fourth horn in the Quad City Symphony Orchestra (IA) and the Santa Fe Symphony.

She holds degrees from the Boston Conservatory and the Chicago College of Performing Arts (Roosevelt University). Upon completion of her graduate studies, she joined the Civic Orchestra of Chicago and performed numerous times as substitute and extra horn with the Chicago Symphony Orchestra. During the summers, she has participated in the Marrowstone and Texas Music Festivals, and was a member of the Youth Orchestra of the Americas for their Caribbean tour. She has studied with Dale Clevenger, David Griffin, Daniel Gingrich, and Eli Epstein, among others.

Allison, who is originally from the Pacific Northwest, enjoys hiking and curling in her spare time. ●

Maria Long horn

Maria Long is currently the associate principal/third horn of the New Mexico Philharmonic, and also performs regularly with the Santa Fe Symphony, Opera Southwest, and Chatter ABQ. She joined the New Mexico Philharmonic in 2022 as assistant principal/ utility horn and has previously held the positions of principal horn with the Longmont Symphony, associate principal/third horn of the West Valley Symphony, and second horn of the Bryan Symphony Orchestra. An avid performer, Maria has performed with groups across the country such as the Colorado Symphony, Alabama Symphony, and Hawaii Symphony, and has spent summers at the Aspen Music Festival, Texas Music Festival, Sewanee Music Festival, and most recently with the Central City Opera.

Maria is also a strong proponent of new music and has commissioned several pieces, even having one of her projects funded by the Meir Rimon Commissioning Assistance Project from the International Horn Society. She is currently pursuing a D.M.A. in performance and pedagogy at the University of Colorado Boulder. When not playing or teaching music, she can be found painting, hiking, or rock climbing. ●

Peter Erb horn

Andrew Meyers horn

Andrew Meyers is the fourth horn of the New Mexico Philharmonic. In addition to his position with the New Mexico Philharmonic, he also holds the position of fourth horn in the Fort Collins Symphony. Additionally, Andrew is an active freelancer and has collaborated with various groups including the Santa Fe Symphony, Cheyenne Symphony Orchestra, Colorado Chamber Orchestra, and the band Streetlight Manifesto.

Andrew studied music performance at Colorado State University for his Bachelor’s degree, and the College-Conservatory of Music at the University of Cincinnati for his Master’s degree. During his time at these institutions, Andrew studied with John McGuire, Denise Tryon, Elizabeth Freimuth, and Karen Schneider.

When not playing horn, Andrew enjoys cycling, great food, and playing a variety of games with friends and family. ●

Rabinovich is a pianist of profound musical insight, celebrated for interpretations that combine technical brilliance with bold artistic personality. Winner of the 12th Arthur Rubinstein International Piano Master Competition, he has appeared on major stages across Europe and the U.S., including Gewandhaus, Carnegie Hall, Kennedy Center, Cité de la Musique, Queen Elizabeth Hall, and Wigmore Hall, where he gave three solo recitals in the 2024/2025 season.

Dubbed “a true polymath, in the Renaissance sense of the word” (Seen & Heard International), Rabinovich is also a composer and visual artist. He has garnered acclaim for concerto performances across the centuries, from Bach to Lutosławski, collaborating with leading orchestras worldwide, including the Israel Philharmonic, Royal Scottish National Orchestra, Scottish Chamber Orchestra, Orchestre de Chambre de Paris, Prague Symphony, KBS Symphony, and all major Israeli orchestras. In North America, he has appeared with the Seattle Symphony, Saint Paul Chamber Orchestra, Orpheus Chamber Orchestra, Buffalo Philharmonic, Sarasota Orchestra, Calgary Philharmonic, and Edmonton Symphony. He has worked with conductors including Sir Roger Norrington, Zubin Mehta, Ludovic Morlot, Kristjan Järvi, Michael Stern, Christoph Koenig, Gerard Schwarz, JoAnn Falletta, James Judd, and Joseph Swensen. His 2025/2026 season features concertos by Prokofiev, Ravel, Mendelssohn, Tchaikovsky, and Brahms across the U.S. and Canada.

His recital repertoire spans six centuries, from Byrd to Boulez, with a recent focus on Bach’s Goldberg Variations, accompanied by a 32-episode social media series exploring the work. His recital for Mezzo was televised to 39 countries, reaching millions of viewers. Recent recital appearances include Washington Performing Arts, 92nd Street Y, Philadelphia Chamber Music Society, Shriver Hall, Lincoln Center, Friends of Chamber Music Kansas City, Vancouver Recital Society, Gilmore Keyboard Festival’s Rising Stars Series, the Phillips Collection, Portland Piano International, and Tippet Rise.

He has earned particular acclaim as a Haydn interpreter, presenting complete sonata cycles at the Lammermuir and Bath Festivals, Herbstgold Festival in Eisenstadt, and

ChamberFest Cleveland, after which the Plain Dealer noted, “the composer himself could not have wished for a better performance.”

Rabinovich curated a three-concert “Haydn Day” at Wigmore Hall in 2022.

His recording Haydn Sonatas, Vol. 2, on First Hand Records was Piano International’s Recording of the Month, the magazine observing: “Time and again he finds magic.”

Rabinovich has also recorded solo piano arrangements of major ballets, including Ravel’s Daphnis et Chloé, Stravinsky’s Petrushka, and Prokofiev’s Romeo and Juliet earning the Classical Recording Foundation Artist of the Year award, with BBC Music Magazine praising his “infectious and joyful playing, dazzling passagework, and broad palette of colours.”

An avid chamber musician, Rabinovich has collaborated with the Dover, Modigliani, and Escher Quartets, as well as Steven Isserlis, Benjamin Beilman, Camille Thomas, Fleur Barron, and Helen Charlston. He has appeared at major festivals including Marlboro, La Jolla SummerFest, Klavier Festival Ruhr, Lucerne, Davos, Prague Spring, and MecklenburgVorpommern.

Born in Tashkent and raised in Israel, Rabinovich debuted with the Israel Philharmonic under Zubin Mehta at age 10. A graduate of the Curtis Institute (Seymour Lipkin) and The Juilliard School (Robert McDonald), he was among the first three pianists selected by Sir András Schiff for his Building Bridges series. A passionate curator, he is co-artistic director of the lauded festivals ChamberFest Cleveland and ChamberFest West in Calgary, creating adventurous programs that spark conversation, foster connection, and enrich the communal experience of music. ●

Roman Rabinovich piano Hailed for his “uncommon sensitivity and feeling” (The New York Times), Roman

NOTES BY DAVID B. LEVY

Coriolan

Overture, Op. 62

Ludwig van Beethoven (1807)

One of history’s pivotal composers, Ludwig van Beethoven was born on December 15 or 16, 1770, in Bonn, and died in Vienna on March 26, 1827. His Overture to Heinrich Joseph von Collin’s 1804 drama, Coriolan, was composed in 1807. It received its first performance in March of that same year at a private concert held at the palace of his patron, Prince Franz Joseph von Lobkowitz. His Symphony No. 4 and Piano Concerto No. 4 were also performed at this event. The Overture to Coriolan is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 8 minutes.

Although Beethoven composed only one opera, Fidelio (originally titled Leonore), he was frequently drawn to compose overtures and incidental music to stage dramas, such as Goethe’s drama Egmont. While lovers of theater may be familiar with William Shakespeare’s play Coriolanus, Beethoven was inspired to write his Coriolan Overture to another drama involving the same character, Gaius Marcius Coriolanus. The author in question was Beethoven’s contemporary, the Viennese playwright Heinrich Joseph von Collin (1771-1811), whose play of the same name dates from 1804. Beethoven’s familiarity with the historical figure of Coriolanus was doubtlessly fed by not only Collin’s play, but also by his self-education whereby he read

as much literature regarding Greco-Roman history, including Plutarch’s Parallel Lives of the Noble Greeks and Romans

The Coriolan Overture is composed in the key of c minor. Much has been written about this tonality being Beethoven’s choice for some of his most dramatic music. Think of his Piano Sonata, “Pathétique,” Op. 13; his String Quartet, Op. 18, No. 4; the Piano Concerto No. 3; and above all, his Symphony No. 5. The Coriolan Overture, whose compositional dates overlap with his work on the Fifth Symphony, comes closest in spirit to that titanic symphony. Indeed, the tautness of its structure, its aggressive and restless nature (representative of Coriolan’s personality), and relentless sense of forward motion make the first movement of the Fifth Symphony and the overture kinsmen. It opens with a powerful gesture—a long unison note that explodes into a dramatic chord. Beethoven repeats the gesture twice more before launching into its restless first theme. A secondary theme in the major mode, perhaps representing Coriolan’s mother’s futile effort to dissuade her son from attacking Rome, is overtaken by the more dramatic elements, again suggesting Coriolan’s impetuous temperament. ●

Konzertstück in F

Major for Four Horns and Orchestra, Op. 86 Robert Schumann (1849)

The great German romantic composer and critic Robert Schumann was born in Zwickau, Saxony, on June 8, 1810, and died

The Coriolan Overture is composed in the key of c minor. Much has been written about this tonality being

Beethoven’s choice for some of his most dramatic music.

in Endenich, near Bonn, on July 29, 1856. Although best known for his works for the piano, the breadth of his compositions extends far beyond that category. Among his works for orchestra, he composed four symphonies and several concertos, including his popular Concerto for Piano, Op. 54. Less familiar, however, are two concertos for violin, one for cello, and the present work, his Konzertstück for Four Horns, composed in 1849 and first performed on February 25, 1850, at the Leipzig Gewandhaus under the direction of Julius Rietz. The soloists were members of the Gewandhaus Orchestra’s horn section. In addition to the quartet of soloists, the work is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns ad libitum, 2 trumpets, 3 trombones, timpani, and strings. Approximately 19 minutes.

It is fair to say that the horn (German, Waldhorn) was the quintessential instrument of German Romanticism. One reason for this is the fact that this instrument was the musical symbol for hunting (Jagd). More than mere sport, hunting was the most vital part of German culture and economy—a means of putting food on the table throughout the land. Many representations of the horn’s significance may be found in literature, for example in the title of Achim von Arnim and Clemens Brentano’s anthology of poetry Des Knaben Wunderhorn. Carl Maria von Weber’s landmark opera Der Freischütz (1821) features horns prominently in its overture and “Chorus of Hunters.”

Robert Schumann was hardly immune to the call of this instrument. His Adagio and Allegro, Op. 70, for horn and piano was composed in 1849, the same year he composed his Konzertstück [Concert Piece] for Four Horns and Orchestra, Op. 86. This year also witnessed his Jagdlieder, Op. 137, for men’s choir and four horns. A concerto in all but name, the Konzertstück is a tour de force for the instrument that explores the sound and color of the natural horn, as well as the emerging valved instrument. The work comprises three movements: Lebhaft (Lively), Romanze. Ziemlich langsam, doch nicht schleppend (Rather slow, but without dragging), and Sehr lebhaft (Very lively). ●

Symphony No. 4 in B-flat Major, Op. 60

Ludwig van Beethoven (1806)

Beethoven’s Symphony No. 4 was first performed in March 1807 at the Viennese palace of the composer’s patron, Prince Lobkowitz. It is scored for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 34 minutes.

Beethoven’s musical imagination kicked into high gear after the completion of the “Eroica” Symphony. The crisis of the Heiligenstadt Testament now behind him, the composer’s “new path” of composition was rife with new ideas. Beethoven has left us a rare verbal testimony of his renewed self-confidence: “Just as you plunge yourself here [Vienna] into the whirlpool of society, so in spite of all social obstacles it is possible for you to write operas. Your deafness shall be a secret no more, even where art is involved!” Evidence from the composer’s sketchbooks from this period clearly indicates that many ideas were pressing soon after the 1805 premiere of “Eroica,” including the early stages for what eventually would mature into a symphony in c minor (No. 5, the completion of which was delayed to 1808). But other works and matters needed more immediate attention— among them being the composer’s amorous involvement with the widowed Countess Josephine von Brunsvik, the completion and staging of the opera Leonore (later, Fidelio), and an increasing threat of Viennese military occupation by the French army (Napoleon’s troops entered the city just days before Leonore’s premiere).

The period spanning the spring of 1806 to the end of 1808 became one of the most productive of Beethoven’s career. The year 1806 alone gave birth to the Piano Sonata in f minor, Op. 57 (“Appassionata”); the Piano Concerto No. 4 in G Major, Op. 58; three String Quartets, Op. 59 (“Razumovsky”); the Symphony No. 4, Op. 60; and the Violin Concerto, Op. 61. Count Franz von Oppersdorff, the dedicatee of the Fourth Symphony, was one of those few wealthy Viennese aristocrats who continued to

A sublime Adagio follows, whose persistent dotted rhythm combines with melodies of unparalleled lyricism.

maintain his own orchestra (Hauskapelle). After hearing a performance by Oppersdorff’s orchestra of the Second Symphony, Beethoven agreed to dedicate a new one—originally the Fifth Symphony—for the Silesian nobleman. For reasons that are not entirely clear, Beethoven delayed work on the Fifth Symphony and turned instead to a new symphony in B-flat Major, a project that consumed the next several months. Curiously, the first performance of the Fourth Symphony (along with the Fourth Piano Concerto and the Overture to Heinrich Collin’s tragedy Coriolan) took place in March 1807 not at Oppersdorff’s palace, however, but at that of Prince Lobkowitz. There is no surviving evidence to show that Oppersdorff’s orchestra ever performed the work.

An intriguing detail of the autograph and early performance material for the Fourth Symphony are indications of “Solo” and “Tutti” in the woodwind, brass, and timpani parts. Jonathan Del Mar, the editor of the Beethoven symphonies for Bärenreiter, speculates that these markings, while authentically Beethoven’s own, postdate the work’s composition and first performance. They may have been added for later performances of the work by larger orchestras in which the number of wind, brass, and timpani players would have been doubled in order to compensate for a larger string section.

Despite Schumann’s famous characterization of the Fourth Symphony as a “slender Greek maiden between two Norse giants,” the work is filled with astonishing athleticism and innovation. Among its novel features is its striking harmonic vocabulary, the sophistication of which is revealed in the mysterious Adagio introduction to the first movement (surely Gustav Mahler had the spirit of this introduction in his ears as he penned the opening of his First Symphony in the 1880s). The opening gesture of a

sustained tonic note—B-flat—may well have been inspired by Haydn’s Symphony No. 102 (1794/5), composed in the same key. As is the case with Haydn’s introduction, Beethoven’s introduction fairly explodes into a boisterous Allegro vivace that, despite its exuberance, never entirely forgets the harmonic clouds from its introduction. A felicitous example comes toward the end of the development section. Beethoven ingeniously scores a series of mysterious rolls on the kettledrum, marked pianissimo. The harmonic function of these soft B-flats is, at first, uncertain. The triumphal arrival of the recapitulation in the full orchestra, fortissimo, solves the mystery.

A sublime Adagio follows, whose persistent dotted rhythm combines with melodies of unparalleled lyricism. The third movement—a scherzo marked Allegro vivace—begins with a jaunty rhythmic conceit that belies its triple meter. The harmonic “cloud” from the first movement passes briefly over the hushed orchestra. The noble trio section is presented two times (the first time Beethoven does so in his symphonies), but the third hearing of the scherzo is truncated, by having (in Tovey’s words) the horns “blow the whole movement away.” The finale, Allegro ma non troppo, is a comedic perpetual motion machine with unexpected loud outbursts and occasional returns of the harmonic “clouds.” As was the case in the Second Symphony, virtuosity abounds. Listen carefully to the principal bassoon, which is called upon to exhibit a dexterity of fingers and tongue unprecedented up to this time in symphonic music. ●

NOTES BY NICOLÁS LELL BENAVIDES Acequia for Orchestra

Nicolás Lell Benavides (2024)

Nicolás Lell Benavides was born in 1987 in Albuquerque and grew up in the Los Ranchos area. His Acequia for Orchestra is scored for 3 flutes (1 doubling piccolo), 3 oboes (1 doubling English horn), 2 clarinets, bass clarinet, 2 bassoons (1 doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, 3 percussion, harp, and strings. Approximately 9 minutes.

“Acequia” is an ancient word, brought by the Spanish but Arabic in its origins. It literally refers to an irrigation canal, and the system we use to manage it. The practice of acequia predates the Spanish, as Puebloans surely knew how to direct the flood and river waters to benefit their crops. In the acequia system, an intricate path of ditches is hand-dug throughout an entire region, and a mayordomo measures snowpack in the winter and decides how much water each family receives. How often and how long one can access acequia water from the ditches is how water is shared, and everybody is given something. It’s a beautiful form of water sharing that stands in direct opposition to the English water rights of prior-appropriation, aka first come, first served, that much of the rest of the United States uses. Elsewhere, with concrete lined canals, we measure water down to the drop and whoever was there first can access their full allotted amount, even if that leaves nothing for those downstream. The acequia system only remains in New Mexico and parts of Colorado and is in danger of becoming a casualty of climate change.

I grew up in the North Valley of Albuquerque, a place called the Village of Los Ranchos de Albuquerque. Los Ranchos runs along the Rio Grande and is situated

within the floodplain of the largest Fremont Cottonwood forest on earth, affectionately called the Bosque (forest). In stark contrast to the rest of the city, Los Ranchos is lush and green, with tall trees, grasses, flowers, and farmland. The mighty Rio Grande used to flood annually, depositing organic matter and water, replenishing the aquifer, and providing a haven for migrating birds. In fact, the reproductive cycle of our beloved cottonwood tree depends on flooding. The Rio Grande, like most American rivers, was dammed years ago, and the ecosystem depends on us to maintain it.

My parents take incredible pride in their yard, growing grapes, green chile, and grass for grazing animals (we used to have steer and chickens growing up). One of my jobs was to pick up a large wrought iron handle and walk to the back of the property at our designated time and open up the gates so water could flood our field and our vineyard. Within minutes birds would arrive, my favorite being the mighty sandhill crane, tall and elegant, right at home wading in water, hunting for a meal during its long migration. The cottonwood trees drank their fill and grew tall, and the aquifer replenished itself. The system is intentionally imperfect, because we share the water along the way and flood what we can to keep the ecosystem alive. Because of what we’ve already done, the birds and the trees would die without our intervention every year.

In my lifetime, the neighborhood has changed: more people have moved to Los Ranchos with no interest in the agricultural past. Acequia ditches have fallen into disrepair or worse, paved over with concrete so they no longer connect and share with the earth. Once productive fields have been turned into lawns to be mowed or have gone fallow. Gardeners have been hired because property owners have no interest in growing crops, leaving the most valuable land in New Mexico to become decorative with invasive species. Summers

The piece is in three parts: slow, fast, slow. The water starts in the mountains as snow and ice with music in quartal and quintal harmony, and then thaws and descends into streams and rivers, providing a flush of life as it goes.

are hotter than ever before, and the irrigation windows have narrowed. Last year, my dad couldn’t begin irrigating until a month after he usually does, putting his vineyard at risk of dying in the heat. He had to build a new well, over four times as deep, to get the water that was once a dozen feet underground. Amazingly, he does all his own yard work. When I asked why he did this in his free time he would tell me: “Because our ancestors would have given anything to have a property like this to take care of.”

With the steady march of climate change and ever-drier summers, we must conserve as much water as possible. But what constitutes waste when the lifecycle of the land, constrained by humans, now asks of us to flood it once more for the sake of the forest, the birds, and the groundwater? The practice of the acequia system is at risk of becoming a casualty of climate change as we compete for water with the animals and plants who predate us, and while we must be careful how we use water, we should continue to share it with each other and with the ecosystem. I asked my dad why our street, Guadalupe Trail, was curved when every other street was straight. He told me it was because when the river used to flood, Guadalupe Trail became a seasonal creek, channeling water back to the river. That channel became a path, which became the road. Our way of life depends on doing what the Rio Grande told us was possible, from where we live to how we grow food. We should trust it.

The piece is in three parts: slow, fast, slow. The water starts in the mountains as snow and ice with music in quartal and quintal harmony, and then thaws and descends into streams and rivers, providing a flush of life as it goes. As it reaches the floodplain, it flows into the acequia system, and becomes more organized, building itself into music on thirds, music of animals, humans, and wildlife, and finally it settles once more, sitting in place, tranquil and peaceful as it slowly seeps into the aquifer below, waiting to make its way to the river underground and begin the system again. The work is frequently interrupted by outside events: too little snow, too much heat, canals in disrepair, wildlife not being where it once was, but it comes to completion, nonetheless. There’s still time to save it, but the cracks are showing. ●

NOTES

BY DAVID B. LEVY

Piano Concerto No. 3 in C Major, Op. 26 Sergei Prokofiev (1921)

Sergei Prokofiev, one of the 20th century’s leading composers, was born in Sontsovka (Ukraine) on April 27, 1891, a date that fell near the end of the era of Tsarist rule. It is one of history’s greatest ironies that Prokofiev died on March 5, 1953, the same day as the Communist dictator Joseph Stalin. His Third Piano Concerto was composed and received its first performance in Chicago on December 16, 1921, with the composer as soloist and Frederick Stock conducting the Chicago Symphony Orchestra. It is scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (bass drum, castanets, tambourine, and cymbals), and strings. Approximately 27 minutes.

Prokofiev’s Third Piano Concerto has emerged as one of the most popular works of its kind written in the 20th century. The reasons for this popularity are evident enough to anyone who has heard the work and has admired its immense energy, brilliant virtuosity, wit, and sweeping lyricism. Of the five concertos for piano penned by the Russian master, this is the most frequently performed. Although it received its premiere in 1921, the Third Piano Concerto contains musical ideas that Prokofiev conceived as early as 1911. One of the motoric themes from the first movement’s Allegro comes from that year. The theme from the second movement was written in 1913, and two of its variations were composed in 191617. Two themes from the Allegro ma non troppo finale come from a discarded Quartet dating from 1918. Despite its fragmented genesis, the Third Piano Concerto emerges as a wholly integrated work that manages successfully to retain certain thematic links among its three movements. The composer spent the better part of the summer of 1921 in

Prokofiev’s Third Piano Concerto has emerged as one of the most popular works of its kind written in the 20th century.

Brittany forging the final version of the composition.

The first movement (Andante-Allegro) contains a wealth of melodic ideas— now lyrical, now driven as a perpetual motion. The general tonal cast is that of its home key of C Major, in keeping with Prokofiev’s preference for writing in a clearly tonal idiom and eschewing the atonal tendencies of his contemporaries. The second movement is labeled Tema con variazioni. Its gently martial theme is followed by five variations with a coda that brings the theme back in a new orchestration with the soloist in an accompanying role. A striking cadential formula punctuates the theme and each of its variations.  The finale is a whirling, waltz-like affair that balances the wealth of themes found in the opening movement with an impressive amalgamation of its own thematic ideas. Clarity of formal design, a hallmark of Prokofiev’s style, is apparent everywhere throughout this masterly work. ●

Symphonic Dances, Op. 45 Sergei Rachmaninoff

(1940)

Sergei Vassilevich Rachmaninoff was born in Oneg, Novgorod, on April 1, 1873, and died in Beverly Hills, CA, on March 28, 1943. Famed as both pianist and composer, Rachmaninoff left Russia after the Revolution of 1917, eventually taking up residence in the United States. His Symphonic Dances was written in 1940 and marks his final composition. It received its premiere on January 3, 1941, with Eugene Ormandy conducting

the Philadelphia Orchestra. The work is dedicated to these musicians. It is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, triangle, tambourine, side drum, cymbals, bass drum, tam-tam, xylophone, glockenspiel, tubular bells, harp, piano, and strings. Approximately 33 minutes.

The Russian-born pianist and composer Rachmaninoff falls into the tradition of the great performer-composers of the Romantic style that began with figures such as Niccolo Paganini and Franz Liszt. Like his great predecessors when at their best, his music avoids the selfindulgent kind of virtuosity-for-its-ownsake practiced by less gifted musicians. His music often is quite sentimental, but his melodic gifts were more than sufficient to prevent it from becoming maudlin. In his Symphonic Dances, however, the composer abandoned his earlier style in favor of a leaner, more angular (dare one say modern?) idiom. Had he lived longer, who knows where this new style might have led him?

Rachmaninoff composed the Symphonic Dances while living at the Honeyman Estate in Centerport (Long Island), New York. His original title for this three-movement suite was Fantastic Dances, with movement titles of “Noon,” “Twilight,” and “Midnight.” As the title of the work implies, the composer considered this music suitable for ballet. He hoped that the famous choreographer Fokine would take an interest in it, as he had done with the Rhapsody on a Theme of Paganini for piano and orchestra, but the project never came to fruition. A simultaneously composed version for two pianos also exists, having been

performed by the composer and Vladimir Horowitz at a private party in August 1942. The orchestral version has become Rachmaninoff’s testament—a work that spans his entire life’s work.

An example of this lies in the energetic first dance, marked enigmatically Non allegro, where he quotes at the end the opening theme of his First Symphony (1897), which in turn was derived from motifs characteristic of Russian church music. There is a double sense of nostalgia here as Rachmaninoff spent much of his time after 1918 away from his native Russia. Also, his Symphony No. 1 was a failure at its first performance. An interesting feature of this movement is his prominent writing for the saxophone, an instrument that rarely was to be found in a symphony orchestra (his compatriot Sergei Prokofiev also used the saxophone in some of his works). Encouragement to do so came from the composer/arranger Robert Russell Bennett. The movement is in three clearly delineated sections, the middle part being lyrical, and the last part returning to the theme and mood of the opening.

After its harsh opening in the brass, the second movement (Andante con moto. Tempo di valse) morphs into a curious waltz (in 6/8 time), whose material is a transformation of ideas from the first movement. Colorful writing for the winds punctuates the brass chords, followed by a melancholic tune sung by the English horn and strings that becomes more agitated as it moves toward its conclusion. The movement is peppered with sliding chromatic scales and chord progressions

that give the music a restless feeling of unease. The listener would be forgiven if Maurice Ravel’s evocative choreographic poem La valse comes to mind.

The final dance alternates between two tempi (Lento assai and Allegro vivace) and depicts a struggle between Death, represented by the Western Gregorian chant from the Mass for the Dead, the “Dies Irae,” and Resurrection represented by a quotation from the ninth movement of Rachmaninoff’s Russian Orthodox a cappella choral work of 1915, Allnight Vigil. The latter citation is marked in the score with the word “Alliluya.”

The “Dies irae” tune was used many times in the concert repertory, including Berlioz’s Symphonie fantastique, Liszt’s Totentanz, and other examples by Rachmaninoff himself (Rhapsody on a Theme of Paganini). The text of the Russian chant reads “Blessed be the Lord” (Blagosloven yesi, Gospodi). By setting Western and Eastern chants in apposition and opposition, Rachmaninoff may be interpreted as translating the dual “citizenship” of his own career into musical terms. The composer is quoted as having stated somewhat prophetically about his Symphonic Dances, “It must have been my last spark.” That the Russian Resurrection hymn proves triumphant may also be interpreted as Rachmaninoff’s personal wish that his legacy would be redeemed, as much as a hope for his own resurrection after his death. He needn’t have worried. His music plays on. ●

That the Russian Resurrection hymn proves triumphant may also be interpreted as Rachmaninoff’s personal wish that his legacy would be redeemed, as much as a hope for his own resurrection after his death. He needn’t have worried. His music plays on.

Große Fuge (Grand Fugue), Op. 133

Ludwig van Beethoven (1826)

One of history’s pivotal composers, Ludwig van Beethoven was born on December 15 or 16, 1770, in Bonn, and died in Vienna on March 26, 1827.  The Große Fuge (Grand Fugue) was the original finale of Beethoven’s String Quartet in B-flat Major, Op. 130, composed in 1825, and one of three quartets commissioned by the Russian Prince Nikolay Boris Galitzin. Beethoven eventually replaced the last movement with an alternate “little” finale, publishing the Große Fuge separately as Op. 133. Beethoven later transcribed the work for piano four-hands and published it under the opus number 134. The autograph manuscript of the string quartet resides in the Jagiellonian Library in Krakow, while the autograph of the piano transcription is housed in the special collections of the library of The Juilliard School of Music in New York City. The Große Fuge is sometimes performed in transcription for string orchestra. The work was arranged for string orchestra by Felix Weingartner in 1933. Approximately 16 minutes.

The Große Fuge (Grand Fugue) is unquestionably one of Beethoven’s most uncompromisingly challenging works, for performers and listeners alike. The reasons for this are not hard to understand.

The Große Fuge, along with the finale of the Piano Sonata in the same key, Op. 106 (“für das Hammerklavier”), are among the most ineffable contrapuntal structures erected up to that time. Its first performance by the Schuppanzigh Quartet took place in Vienna on March 21, 1826. When Beethoven was informed by the violinist Karl Holz that one of the movements of the quartet demanded an encore, but that finale was not well received, the composer is alleged to have said, “And why didn’t they encore the Fugue? That alone should have been repeated! Cattle! Asses!” An early review called the fugue “incomprehensible, like

Chinese” and “a confusion of Babel.” That the work has remained challenging well after its conception is captured best in the well-known words of Igor Stravinsky, who described it as an “absolutely contemporary piece of music that will be contemporary forever.” On a certain level, even its composer recognized its complexity, warning listeners and players alike that its structure was “tantôt libre, tantôt recherchée” (sometimes free, sometimes deliberate). Analysts have sought to fit its ten large sections into some comprehensible structural format, ranging from a self-contained sonata form to a miniature four-movement cycle.

The first part of the composition, marked Overtura, presents a four-note pitch set, a variant of what is found in several movements of the second of the three quartets composed for Prince Nikolay Boris Galitzin of Saint Petersburg—the Quartet in a minor, Op. 132. Beethoven’s recognition of even further possible permutations of the pitch class spawned yet another quartet—the one in c-sharp minor, Op. 131. The Overtura sets out the fugue’s subject in four different modes of expression: forcefully and loudly as long notes followed by a more angular version (Allegro). What follows presents the pitch set gently and quietly (Meno mosso e moderato). Finally, the notes are uttered hesitantly (Allegro), with two eighth notes on the same pitch tied together. The proper way to perform this version has been the source of much discussion by scholars and performers. For those interested in delving deeper into the Große Fuge, the reader is referred to my article “Ma peró beschleunigend”: Notation and Meaning in Ops. 133/134 (Beethoven Forum 14/2, Fall 2007).

Multiple analytical perspectives for the Große Fuge have been proposed by theorists and musicologists. Lewis Lockwood proposes that the work comprises ten distinct sections including the Overtura. The main body of the movement begins with a double fugue (i.e., with two themes, one of which is based on the final iteration of the fournote pitch set). This eventually becomes a triple fugue before transitioning into the

Multiple analytical perspectives for the Große Fuge have been proposed by theorists and musicologists.

movement’s calmer second section that presents the pitch set as it was presented in the Meno mosso e moderato statement of the Overtura. This is followed by a section (Allegro molto e con brio) in which the subject is explored in its angular form. As the work progresses, there are clear references to earlier events. Despite all of the internal struggles within the body of the movement, many of which are couched in minor-key tonalities and filled with harsh dissonances, the music ultimately yields to the home key in which the entire Op. 130 Quartet is based, B-flat Major, thus providing a “lieto fine” (happy ending) to the massive work of which it is a part. ●

NOTES

BY CHARLES GREENWELL Ancient Airs and

Dances

, Suite No. 1 Ottorino Respighi (1917)

Ottorino Respighi was born on July 9, 1879, in Bologna, Italy, and died on April 18, 1936, in Rome, Italy. The Ancient Airs and Dances is scored for 2 flutes, 2 oboes, English horn, bassoon, 2 horns, trumpet, harp, harpsichord, and strings. Approximately 16 minutes.

Respighi was an Italian composer, conductor, and musicologist, best known for his so-called Roman trilogy for orchestra, consisting of The Fountains of Rome, The Pines of Rome, and Roman Festivals, in which he introduced into Italian music some of the color of the Russian school (via Rimsky-Korsakov), and some of Richard Strauss’s violent harmonic techniques. However, he was a multifaceted composer whose output

also included chamber music, works for small orchestra, opera, and some splendid songs, and his love of music from the 16th-18th centuries led him to compose some delightful works based on music from that period.

Respighi had his first musical studies with his father, then went to the music school in his native Bologna where he studied violin and viola, composition, and music history from 1891 to 1899. The following year, he went to Russia to become the principal violist in the orchestra of the Russian Imperial Theatre in Saint Petersburg for its season of Italian opera, then returned for a repeat engagement in 1902. During these two extended visits, he studied composition and orchestration with Rimsky-Korsakov, a tutelage that had an enormous effect on his development as a composer. From 1903 to 1908, he pursued a career as a concert violinist, including a stint as first violin in a well-known Italian string quartet. In 1908, he went to Berlin, where he spent a year concertizing and absorbing German culture. He then returned to Italy, where he decided to concentrate full-time on composition, eventually settled in Rome for the rest of his life, and in 1913 accepted a position as professor of composition at the St. Cecilia Conservatory. He was named director of the Conservatory in 1923 but resigned three years later so he could devote more time to composing.

His international fame began in 1917 following the first performances of The Fountains of Rome, and with the addition of Pines in 1924 and Festivals in 1929, he became known as one of the great masters of the orchestra. Arturo Toscanini became one of Respighi’s most fervent advocates, and in fact the world premiere

continued from 21

Respighi was a devoted and enthusiastic scholar of early Italian music, and actually edited editions of works by Monteverdi and Vivaldi. His work in this area created a body of compositions that are in great contrast to his powerful and colorful (and somewhat better-known) orchestral works.

of Roman Festivals was given by the New York Philharmonic under his direction. His music was quite popular here, and he made two visits to the U.S. as a conductor and pianist in 1925 and 1932, respectively. Although it is now rarely performed, his large-scale set of theme and variations titled Metamorphoseon was commissioned by the Boston Symphony Orchestra to help celebrate its 50th anniversary season in 1931.

Respighi was a devoted and enthusiastic scholar of early Italian music, and actually edited editions of works by Monteverdi and Vivaldi. His work in this area created a body of compositions that are in great contrast to his powerful and colorful (and somewhat better-known) orchestral works. Among these delightful creations are the three suites of Ancient Airs and Dances, the Botticelli Triptych, The Birds, and one of his most magical but least-known compositions, the Laud to the Nativity of the Lord. His love of earlier Italian masters also led him to write an absolutely marvelous ballet titled La Boutique fantasque (1919), a brilliant and colorful adaptation for orchestra of many of the late piano pieces and songs of Rossini. The three sets of Ancient Airs and Dances were written in 1917, 1923, and 1932, the first for chamber orchestra, the second for full orchestra, and the third for strings alone. They all feature arrangements of Renaissance and early-Baroque keyboard and lute pieces, dressed up tastefully in 20thcentury orchestral garb. While present-day composers and arrangers usually try to

use some kind of historical perspective in their transcriptions, Respighi had no such resources, and simply set the pieces using his colorful and skillful command of the modern orchestra. Nevertheless, he treated the originals with great respect, much as Stravinsky did in his Pergolesibased ballet Pulcinella. This first suite is based on Renaissance lute pieces by Simone Molinaro, Vincenzo Galilei (father of the famous Galileo), and a few anonymous composers of that time, and is done with an almost 18th-century grace and refinement, utilizing very crisp and clean rhythms. ●

Simple Symphony for String Orchestra, Op. 4

Benjamin Britten

(1933-1934)

Benjamin Britten was born on November 22, 1913, in Lowestoft, England, and died on December 4, 1976, in Aldeburgh, England. Approximately 18 minutes.

After the death of Henry Purcell in 1695, English music went through a remarkable dry spell for almost 200 years with no significant composers until Edward Elgar in the late 19th century. He was the first in a long line of English composers that continues to the present day, and of those, few have been more esteemed than Benjamin Britten. He is the one composer after Elgar who has secured a place in the repertory with a wide-ranging output, and although his music is always

accessible, he had great admiration for modernist composers such as Stravinsky, Schoenberg, and Berg.

When he was 20, Britten went about recasting some piano and song melodies from his pre-teen years into a fourmovement work for string orchestra, and such was the young lad’s precociousness that even these early works could provide a great deal of material for this work. In his own words, this symphony is “based entirely on material from works which the composer wrote between the ages of 9 and 12.” The work has an irresistible youthful appeal with an array of ideas that retain a semblance of innocence, despite having been combined later in a relatively sophisticated manner. Moreover, the string writing is so idiomatic and of such technical ease that even nonprofessional ensembles can handle it with confidence.

As he reworked the original materials, the music emerged not so much as that of a child composer, but rather as a mature composer’s desire to rekindle the spirit of his early days. The symphony was written between December 1933 and February 1934 and is dedicated to his childhood viola teacher, Audrey Alston, who introduced him to Frank Bridge, the English composer, violist, and conductor who was to become a major influence on the young Britten, and whose enlightened attitude and quest for perfection would forever mark Britten’s musical makeup. In the notes to his 1956 recording of the work, Britten wrote, in part, “Once upon a time there was a prep-school boy who was called Britten…He was quite an ordinary little boy…but there was one thing curious about him: He wrote music. He wrote lots of it, reams and reams of it. I don’t really know when he had the time to do it.” Later in life, he would go on to write more individual, more ambitious, and more complex music, but few works of his are more frequently performed than this marvelously expressive and lucidly scored little symphony. ●

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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

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

Joyce & Pierce Ostrander

Richard & Susan Perry

Mike Provine

Dr. Barry & Roberta Ramo

Carolyn R. Brown & William Ranken

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 Anonymous

Sally Bachofer

Douglas Bailey & Kathleen Burke

Jan Bandrofchak & Cleveland

Sharp

Aimee Barabe

William Barber

Harold & Patricia Baskin

Edie Beck

Michael Bencoe

David & Judith Bennahum

Mark & Beth Berger

Beso Jewels

Gregg & Amy Bogost, in memory of

Sheila Bogost

Walter & Celia Bolic

Terry Brownell & Alpha Russell

Jonathan & Caroline Bull

Carol Callaway

Luana Carey

Casa Verde Spa

Dan & Tina Chan

Robert & Olinda Chavez

Douglas Cheney

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

William & Lydia Earnhart

Reverend Suzanne & Bill Ebel

Enchanted Mesa

Robert & Dolores Engstrom

Jackie Ericksen

David & Frankie Ewing

Mary Filosi

Ralph Garza & Kris Williams

Jean Gabriel

Mary Day Gauer

Rod & Maria Geer

Alfred & Patricia Green

Paul & Marcia Greenbaum

Mina Jane Grothey

Jim & Renee Grout

Regina Guest

J. Michele Guttmann

Lee & Thais Haines

Diana Hardy, in memory of Helen Feinberg

Matt Tyler Hart

John & Diane Hawley

Robert & Angela Hawthorne

Darren Hayden

Toppin & Robert Hodge

Bernhard E. Holzapfel

Hughes Homestead Designs

Paul Isaacson

Gwenellen Janov

Norty & Summers Kalishman

Ann King

Richard Kozoll & Sally Davis, in memory of Dr. Steven Jubelirer

Phil Krehbiel

Jennifer C. Kruger

Elizabeth Kubie

Erik Kuhlmann

Karen Kupper

Stephanie Kuzio, in honor of

Richard White

Janice Langdale

Michael & Roberta Lavin

Jeffery & Jane Lawrence

Honorable Idalia Lechuga-Tena & Marco Gonzales

Jae-Won & Juliane Lee

Linda Lockett

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

Louis & Deborah Moench

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

Judi Pitch

Placitas Artists Series

Popejoy Presents

Dan & Billie Pyzel

Robert Reinke

Timothy Renk

Lawrence & Joyce Reszka

Kathryn & Chris Rhoads

Jeff Romero

Charles Rumbaugh

Katherine Saltzstein

Donald & Loraine Sanchez

Patrycia Sanchez

Christy Sanford & Michael Shaw

Sarafian’s Oriental Rugs

Brigitte Schimek & Marc

Scudamore

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

Thomas Sloan

Steven & Keri Sobolik

Jennifer Starr

Luis & Patricia Stelzner

John & Patricia Stover

Marty Surface & Deborah Goldstein

Larry & Susan Tackman

Tea’ze A More Gourmet Teas

Richard & Dolores Teubner, in memory of Helen Feinberg

Gary & Nina Thayer

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

Roger & Deborah Ames

Judith Anderson

Anonymous

David Baca

Jackie Baca & Ken Genco

Jennifer Bachus

Charlene Baker

Bark Box

Graham Bartlett

Marc & Lorraine Batt, in memory of Helen Feinberg

Kenneth Beebe

David & Betty Begeal

Laura Bemis

Kirk & Debra Benton

Laura Bernay

Melbourne Bernstein

Marianne Berwick

Betty’s Bath & Day Spa

Jocelyn Black, in memory of Helen Feinberg

Thomas & Suzanne Blazier

Dusty & Gay Blech

Henry Botts

DONOR CIRCLES

DONOR CIRCLES

Maxine Breland, in memory of

Helen Feinberg

Robert & Marylyn Burridge

California Pizza Kitchen

Camille Carstens

Joseph Cella

Cindy Chapman & Bill Harris

Cheesecake Factory

Barry Clark

Amanda Cohen-Bandy & Matthew

Bandy, in memory of Helen Feinberg

Lisa Collins

Douglas Collister, in memory of Judy Chant

Lawrence & Mary Compton

Kathy Conforti, in memory of Helen Feinberg

Martha Corley

Edward Curtis & Alfred Papillon

Mark A. Curtis

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

Elen Feinberg

Jon & Laura Ferrier

Patrick & Elizabeth Finley

Daniel & Marissa Finnegan

Susan Fitch

Jane & Michael Flax, in memory of Joy Eaton

Rabbi Arthur Flicker

Karin Frings

James & Cynthia Frost

Greg & Jeanne Frye-Mason

Eric & Cristi Furman

Debra Jane Garrett

Lawrence Jay Gibel, MD

Cassy & Andy Goehner, in memory of Juliet Huff

Candace Gordon

Great Harvest Bakery

Matthew & Amy Greer

Stanley & Sara Griffith

Kevin Grunewald, in memory of

Quay Ann Benton

Kenneth Guthrie & Doni Lazar

Ronald Halbgewachs

Leila Hall

Nancy Hamilton

Rachel Hance, in memory of Dolores Hance

Frank & Sue Hardesty

Michael Harrison

Gloria B. Hawk Revocable Trust

Rosa Herst, in memory of Helen Feinberg

Nancy Hill

Ursula Hill

Heidi Hilland, in memory of Dave Hilland

Fred Hindel

Kristin Hogge

Kendell Holmes

Steven Homer

Christopher Isham

Larry James

Peter Jandula-Hudson

Lori Johnson

Ruth Johnson

Barbara Jones

Lawrence & Anne Jones

Brenda Jozwiak

Joel & Debbie Karasik

Ty Kattenhorn

Kelly Jo Designs by Wine

Barbara Kleinfeld

Margaret Knapp

John & Gretchen Kryda

Hareendra & Sanjani Kulasinghe

Dana Lambe

Larry W. Langford

Molly “Mary” Lannon

Lorin Larson

Paul & Julie Laybourne

Rita Leard

Daniel Levy

Edwin Light

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

Susie Marbury, in memory of Florence Hendrickson

Joan A. March

Elliot S. Marcus, MD

Carolyn Martinez

Carolyn Martinez, in memory of

Judy Chant

Robert & Anne Martinez

Denis & Sallie McCarthy

Martha Marchand

Thomas Merlan & Frances Levine

Moses Michelsohn

George Mikkelsen

Kathleen Miller

Martha Miller

Rachel & John Miller

Mister Car Wash

Bryant & Carole Mitchell

Dr. William Moffatt

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

Robert Parker

Kelly Parkhill

Howard Paul

David & Martha Peercy

Barbara Pierce

Veronica Potts

Daniel Puccetti

Ray Reeder

Mark Regazzi

Reincarnation INC

Carol Renfro

Kerry Renshaw

Donna Rigano

Margaret Roberts

Gerald & Gloria Robinson

Gwenn Robinson, MD, & Dwight Burney III, MD

Glenn & Amy Rosenbaum

Michelle Rossbach

Michael & Joan Rueckhaus

Shannon Runyon

Patricia Ryan

Evelyn E. & Gerhard L. Salinger

Peter & Susan Scala

Screen Images, Inc., Maria

Cordova-Barber

Robert & Joy Semrad

Sheehan Winery

Arthur & Colleen Sheinberg

Joe Shepherd

Rebecca Shores

Deborah & Kim Shoup

Glen & Barbara Smerage

Carl & Marilyn Smith

Stephen Smith

Catherine Smith-Hartwig

Smith’s Community Rewards

Jan & Teresa Sole

Allen & Jean Ann Spalt

Laurel Srite

Stan & Marilyn Stark, in memory of Holly Hodgin

Charlie & Alexandra Steen

Theodore & Imogen Stein

Elizabeth Stevens & Michael

Gallagher

Robert & Jacqueline Sutton

Rosalie 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

V. Gregory Weirs

Kathy Wharton, in memory of Helen Feinberg

Charles & Linda White

Marybeth White

Bill & Janislee Wiese

Kathryn Wissel

Daniel & Jenny Worledge, in honor of David Worledge

Kenneth Wright

BUSINESS CIRCLE

Bontina

Bright Ideas

The Noel Company

Senspex Incorporatedd 12/08/2025

●

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

Louise Laval

Julianne Louise Lockwood

Dwayne & Marjorie Longenbaugh

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

12/08/2025

●

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

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

12/08/2025

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.

Bernalillo County bernco.gov

Computing Center Inc. cciofabq.com

GARDENSWARTZ

REALTY

Gardenswartz Realty

Music Guild of New Mexico musicguildofnewmexico.org

D’Addario Foundation foundation.daddario.com

David S. Campbell, Attorney davidscampbell.com

koat.com Menicucci Insurance Agency mianm.com

Olga Kern International Piano Competition olgakerncompetition.org

Foundation Inc. nmphilfoundation.org

Bontina

New Mexico Philharmonic

The Musicians

FIRST VIOLIN

Cármelo de los Santos •

Karen McKinnon Concertmaster Chair

Elizabeth Young •• Associate Concertmaster

Sarah Tasker •••

Assistant Concertmaster

Heidi Deifel

Olivia de Souza Maia

Lorenzo Gallegos

Juliana Huestis

Barbara Rivers

Nicolle Maniaci

Barbara Scalf Morris

SECOND VIOLIN

Carol Swift •••

Julanie Lee

Lidija Peno-Kelly

Cleveland Chandler

Liana Austin

Nicolas Armer

André Silva

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

Principal •

Associate Principal ••

Assistant Principal •••

Assistant ••••

Leave +

One-year position ++

Half-year position +++

STAFF

Marian Tanau

President & CEO

Roberto Minczuk

Music Director

Christine Rancier

Vice President of Business

Skye Stone

Personnel Manager

Julian Kley

Production Manager

CELLO

Amy Huzjak •

Amy Delevoryas •••

Carla Lehmeier-Tatum

Ian Mayne-Brody

Dana Winograd

David Schepps

Lisa Collins

Felix Wurman Chair

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 •

Robert J. and Greta L. Dean Chair

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 •

TIMPANI

Tyler Brown •

PERCUSSION

Jeff Cornelius •

Kenneth Dean

Emily Cornelius

HARP

Carla Fabris •

BOARD OF DIRECTORS

Maureen Baca Chair

Al Stotts Vice Chair

Lauren R. Wilber

Secretary

Fritz Eberle

Treasurer

Meg Aldridge

Joel Baca

Ron Bronitsky, MD

Robert Gough

Idalia Lechuga-Tena

Robert McGuire

Roberto Minczuk

Jeffrey Romero

Terrence Sloan, MD

Marian Tanau

Michael Wallace

ADVISORY BOARD

Thomas C. Bird

Lee Blaugrund

Clarke Cagle

Kory Hoggan

William Wiley

Terry Pruitt Principal Librarian

Genevieve Harris

Assistant Librarian

Nancy Naimark  Director of Community Relations & Development Officer

Crystal Reiter Office Manager

Laurieanne Lopez Young Musician Initiative Program Manager

Mary Montaño Grants Manager

Lori Newman Editor

- Thomas Bohlman, Managing Partner