San Juan Symphony: Season 40: Legacy in Harmony (Fall 2025)

SEASON 40: FALL 2025 PROGRAM

Tromba Mundi and Pines of Rome Saturday, October 4, 7:30pm Community Concert Hall Durango

Sunday, October 5, 3:00pm Henderson Performance Hall Farmington

We Are the Music Makers Saturday, November 8, 7:30pm Community Concert Hall Durango

Sunday, November 9, 3:00pm Henderson Performance Hall Farmington

MESSAGE FROM THE BOARD PRESIDENT Bravo! You are here and it is my honor to welcome you to Legacy in Harmony, the 2025-26 season of the San Juan Symphony! On behalf of the board and staff, I want to thank you for being part of this symphony and the music it makes.

Maestro Heuser and his colleagues have created a diverse and beautiful season comprised of familiar and beloved concert classical music as well as newly commissioned work. We will get to experience the birth of music coming to life “before our ears!”. This music is made possible by the hard work of our dedicated musicians who prepare for decades to be able to come together, bring the dots on the page to life, and give voice to the composer and conductor’s vision. We are all indebted to them for their work and talent!

This musical experience would also not be possible without the generous support that we receive from individual donors, businesses, volunteers, philanthropic support, and of course, you, the audience members. I hope that you feel part of everything that you hear on this stage. Together, we make this possible. Thank you all!

A Challenge: Let’s Celebrate the Past and Invest in the Future: This orchestra took root in our communities of Northern New Mexico and SW Colorado forty years ago and has grown to serve the Four Corners. We are so fortunate to have this in our lives. 2025-26 provides two landmark reasons to celebrate: Maestro Heuser begins his 10th year at the podium and the Symphony celebrates its 40th year of exemplary music making.

I am asking that you participate in a challenge grant to raise $40k in support of live orchestral performance, youth education, choral singing, chamber music and even the creation of new works.

The orchestra has received a challenge grant whereby the donor will provide up to $10,000, celebrating Heuser’s ten years of leadership, while the community provides an additional $30,000 match in new support, resulting in a total of $40,000. This goal celebrates a forty-year legacy and strengthens a future of great music making.

Please join me and others as we Celebrate the past and Invest in the future of great classical music in the Four Corners!

With Gratitude,

Brian Wagner President, San Juan Symphony Board of Directors

Message from the Music Director.....................6 Welcome from the Executive Director........ 9 October Concert.................................................. 11 November Concert............................................. 21 Beyond the Concert Hall.................................. 31 Donors................................................................... 40 Sponsors and Partners.....................................48 Board and Staff...................................................49 Season 40 Fall Program | sanjuansymphony.org

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MESSAGE FROM THE MUSIC DIRECTOR Welcome to the San Juan Symphony!

We are thrilled to celebrate Season 40, which we are calling Legacy in Harmony. The legacy of the San Juan Symphony is truly remarkable, filled with priceless musical moments and concerts that have created deep connections in our communities. I’m honored to be serving as your Music Director, especially as we’re entering my tenth season! Every milestone for an orchestra is worth celebrating, but especially during these often trying times, the arts and live music are becoming an ever-more important anecdote to our daily lives. We’re happy to have you with us as we explore new musical pathways and revel in the sounds of this brilliant orchestra.

Our upcoming concerts in 2025 are a testament to the breadth of our programming. We return to enjoy the exquisite, virtuosic playing of the Verona Quartet, and then our Symphony gives the World Premiere of San Juan Sketches. More than 100 voices in our community will unite in November for a huge choral collaboration, featuring Deborah Nansteel and a packed stage for Elgar’s The Music Makers. The Majesty of Christmas and Nutcracker Ballet will warm our hearts for the holidays, and audiences in Farmington will be treated to the fall concert of the SJS Youth Orchestras!

Farmington fourth graders will go “Inside the Orchestra” for the first time, into the concert hall and inside the score of Respighi’s Pines of Rome!

On behalf of our entire organization, thank you for your support. Part of why we are musicians is to make music for our audiences, to communicate with listeners. I’m thrilled with the way our community has supported, volunteered, and given tirelessly on behalf of our musical pursuits. Please spread the word and invite your family and friends to experience the SJS. See you at the Symphony,

Dr. Thomas Heuser Music Director, San Juan Symphony

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ABOUT OUR MUSIC DIRECTOR: DR. THOMAS HEUSER Maestro Heuser serves in the Walter Dear Music Director Chair

Widely recognized for his stirring leadership and energetic presence, conductor Thomas Heuser serves as Music Director of both the Idaho Falls Symphony and the San Juan Symphony, leading the artistic vision for two distinguished regional orchestras that serve the Intermountain West and the distinct Four Corners Region. Renowned as an educator and frequent guest conductor, Heuser continually inspires musicians and audiences while pushing the boundaries of thrilling interpretations in live performance.

Working closely with Concert Theatre Works, recent collaborations include The Chevalier with the Winston-Salem Symphony, and the world premiere of the groundbreaking new concert experience called What Music Is with composer and creator, Bill Barclay. Heuser has appeared as a Guest Conductor with the Grand Teton Music Festival and Durango’s Music in the Mountains Festival Orchestra. Subscription concert credits include the Santa Fe Symphony Orchestra, the Lexington Philharmonic, the Boise Baroque Orchestra, and the Pittsburgh New Music Ensemble, as well as the Illinois, Wyoming, Bozeman, Missoula, Vallejo, and Grand Junction Symphony Orchestras, among others.

Dr. Heuser was awarded a Fulbright Scholarship for Orchestral Conducting in Germany while serving as a Conducting Fellow with the Cincinnati Symphony Orchestra. His Fulbright residency at the Hochschule für Musik und Theater München included orchestral performances in Munich and Berlin and his European operatic debut with Jeunesses Musicales Deutschland. Moving from Munich to San Francisco, Thomas enjoyed three seasons as the Principal Guest Conductor of the San Francisco Academy Orchestra, working alongside members of the San Francisco Symphony.

The son of two molecular biologists at Washington University in St. Louis, Thomas began violin at an early age and studied piano at the St. Louis Symphony Music School. He graduated Phi Beta Kappa from Vassar College as a piano performance major and earned his Masters in Instrumental Conducting (MM) from Indiana University’s Jacobs School of Music. In 2013 he completed his Doctorate in Orchestral Conducting (DMA) from the University of Cincinnati’s College-Conservatory of Music. His conducting mentors include Paavo Järvi, Bruno Weil, David Effron, Mark Gibson, Marin Alsop, David Robertson, Gustav Meier, and Larry Rachleff.

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MESSAGE FROM THE EXECUTIVE DIRECTOR Dear Friends of the San Juan Symphony, This year, we are overjoyed to celebrate a milestone that feels both remarkable and humbling: our 40th season: Legacy in Harmony.

40 years of music, 40 years of memories, 40 years of this community coming together to experience the magic that only live performance can bring.

As we mark this moment, I can’t help but think of the countless musicians, patrons, donors, and volunteers who have poured their hearts into building this extraordinary organization. Each note played, every performance attended, every act of generosity has woven together a legacy that resonates far beyond the concert hall. It’s a legacy we are honored to uphold, even as we look toward the future.

At the San Juan Symphony, our mission has always been to combine tradition with innovation, respecting the artistry and discipline of the past while embracing bold ideas that ignite curiosity and joy in the next generation. From our Youth Symphony students working collaboratively and consistently to perform for packed houses, to families experiencing the wonder of our Family Concerts, to our collaborations that bring music into schools and community spaces, we are committed to sparking inspiration and connection wherever we can.

We are deeply grateful to our musicians for their artistry and dedication, to our patrons for their unwavering support, and to our donors for helping make the music possible. Together, the many people of the San Juan Symphony help bring harmony to a world that can often feel fractured, chaotic, or divided. Through music, we create moments of connection, understanding, and shared joy that remind our communities that beauty and unity are possible.

Thank you for being part of this remarkable journey. Here’s to honoring the past, embracing the present, and investing in the future together.

Meghann Zenteno Executive Director, San Juan Symphony

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Sponsored by

Susan Reese

Tromba Mundi and Pines of Rome Saturday, October 4, 7:30pm

Sunday, October 5, 3:00pm

Tromba Mundi: Dr. Bryan Appleby-Wineberg Dr. Scott Belck Dr. Jean-Christophe Dobrzelewski Dr. John Marchiando Dr. William Stowman Joey Tartell

San Juan Symphony Thomas Heuser, conductor

Community Concert Hall Durango

Henderson Performance Hall Farmington

PROGRAM San Juan Sketches for Orchestra and William Stowman Trumpet Ensemble (2025) (b. 1963)

World Premiere Commission by the San Juan Symphony I. II. III. IV. V.

Prologue: Sunrise on the San Juan Mountains North to Silverton Ballad for the Animas River Ancient Voices of the Aztec Ruins To the Land of Enchantment movements performed without pause Tromba Mundi, trumpet ensemble INTERMISSION

Pini di Roma (Pines of Rome), P. 121 (1923) Ottorino Respighi (1879-1936) I. I pini di Villa Borghese (The Pines of the Villa Borghese) II. Pini presso una catacomba (Pines Near a Catacomb) III. I pini del Gianicolo (The Pines of the Janiculum) IV. I pini della Via Appia (The Pines of the Appian Way) movements performed without pause Season 40 Fall Program | sanjuansymphony.org

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ABOUT THE GUEST ARTISTS

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SAN JUAN SYMPHONY MUSICIAN HIGHLIGHTS Hans Freuden, Cello

First season: 2003-2004

Favorite memories: The first time we performed Rachmaninoff’s Symphonic Dances was revelatory for me as a musician and I believe one of the first times the conductor at the time, Arthur Post, really showed confidence in us as an orchestra.

Katherine Jetter, Principal Cello First season: 1996-1997

Favorite memories: There are too many great memories with the orchestra to name just one.

This orchestra family has seen me through many chapters of my life. A few of the soloists that have impacted me the most are Ryan Anthony, Tim Fain, and Norman Krieger. Performances of monumental works such as Beethoven 9 and Mozart Requiem touch my heart.

Rochelle Mann, Principal Flute

My first season was in 1983. I had just moved to the Southwest, and started playing with what was then the San Juan Symphony League based in Farmington.

I have too many great memories to count, but probably the most memorable concert was in November 1994. I played the Mozart Concerto for Flute and Harp with my dear friend Rosalind Simpson. Tennille Taylor and Philip Mann were in high school then, and they both played in the violin section. It was Jan Roshong’s final concert with us — he passed away less than a week later.

Tennille Taylor, Principal Second Violin First season: 1994

One of my greatest memories with SJS was premiering the 1st Symphony of Liam RamseyWhite, one of my violin students, who composed the piece when he was in 9th grade. I also LOVED performing Brahms Symphony No. 2, my favorite.

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October 2025 Program Notes: Tromba Mundi and Pines of Rome

Program Notes by Music Director Thomas Heuser Hold onto your hats, everyone, we might blow the roof off the concert hall!

Without a doubt, the world premiere of San Juan Sketches by composer William Stowman (b. 1963) is a grandiose way to launch the 40th anniversary season of the San Juan Symphony. Written specifically for our Guest Artists, the 6-member trumpet ensemble, Tromba Mundi, and our full orchestra, the Sketches score is rich with both majestic moments and technical wizardry. Stowman provides a cinematic description of his new work as the frontispiece of the full score; aren’t we fortunate to have the words of the composer to guide us on this brand new musical journey!

The inspiration for this piece came after my initial visit to Durango, Colorado with my colleagues in Tromba Mundi. The initial idea was to compose a work that reflected our time there and to pay homage to this incredibly beautiful part of the world. As time passed, it became evident that the vision for the piece was much more than a single work for trumpet ensemble and in fact would be better suited for larger musical forces. At the suggestion of my dear friend Dr. Joe Nibley at Fort Lewis College in Durango, I set out to write a piece that would allow for collaboration with the San Juan Symphony Orchestra. After an inspiring meeting with conductor Thomas Heuser, the decision was made to create a thirty-minute work for orchestra featuring trumpet ensemble; in essence, a modern/cinematic concerto grosso.

After spending time in Durango, the work began to take shape in my mind.

Side trips north to Silverton on the narrow gauge railroad and south to the Aztec Ruins in New Mexico provided additional inspiration. The beauty of this place has an impact on the heart and mind, and I took great joy in allowing my reactions to play out musically. I spent some time writing while in Durango, listening to the landscape, as it were, and creating some of the melodic content that drives the work. In order to adequately capture my musical impressions of the area, I focused on five themes which then led to the five separate movements: I. Prologue: Sunrise on the San Juan Mountains was inspired by mornings near Fort Lewis College where the view is spectacular. Looking out at the mountains and down to the river and the community below is a glorious perspective. Imagining the settling of that area and looking at the sheer beauty of the peaks that rise above the town is nothing short of inspirational.

II. North to Silverton was inspired by a trip on the famous narrow gauge railroad from Durango to Silverton. This movement begins with the sounds of the great engine awakening and music that represents the power of the train that carries people and supplies north to the mining town. Two themes make up this movement. The first, stated in the trumpets, represents the arduous work by Otto Mears and his crews who build the magnificent passages in road and rail through the mountains. The other theme represents the river that can be seen down below flowing south back to Durango.

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III. Ballad for the Animas River was conceived as a “cowboy ballad” and intended to capture the western flavor of the region. The use of strings and trumpet ensemble prior to the melody attempt to set the stage for the main theme that was written in honor of the “river of souls” that flows through the region and brings it to life. It can also be associated with older melodies such as Aura Lee that are ideal for singing around the campfire.

IV. Ancient Voices of the Aztec Ruins was a melody and a concept that came to me as I stood among the beautiful ruins in Aztec, New Mexico. These remarkable structures that have stood for so many years are a reminder of the beauty of the indigenous people who cared for this land. The Zia, Zuni, Navajo, Acoma, Ute, and Hopi people deserve to be respected and remembered for their ingenuity, beliefs, and stewardship.

V. To the Land of Enchantment is a nod to the American west and the traditions that are alive and well in New Mexico. This movement attempts to capture the spirit of the region from its rich history to its stunning views, and the way that the land reminds us that it was here before us, and will be here after we are gone.

The idea of music illustrating a scene with characters and specific details is rooted in so much of music history. The example of Antonio Vivaldi’s Four Seasons from around 1720 gives us one of our earliest and best examples, where each season is suggested by the music itself, from the burning summer heat to the frigid frosts of winter. Similarly, Beethoven’s Pastorale Symphony from 1808 is given descriptive movement headings like “Scene by a Brook” and “Thunderstorm.” Throughout the 19th century’s Romantic era, “programmatic music” essentially replaced music without any thematic content, with the “symphonic poem” becoming the predominant vehicle for expression and driving the increasing size of orchestras, which allowed for greater varieties of tone color from the composer’s palette. Composers could then depict nature alongside great works of literature, famous moments in history, nationalist folklore, and much more.

Italian composer Ottorino Respighi (1879-1936) reached his maturity as an artist at the beginning of the 20th century. He composed serious operas and works for large orchestras that won him great fame in his lifetime.

Stylistically, he expresses a love for the music of the past, notably the Renaissance composer Claudio Monteverdi, that resulted in his three suites called “Ancient Airs and Dances.” But he was also involved with the “Decadent” movement that swept Italian and French arts and literature at the turn of the 20th century, characterized by exaggeration and overstatement. After moving to Rome in 1913 to become a Professor of Composition at the Liceo Musicale, he gave the premiere of his first major symphonic poem, Fountains of Rome, in 1917, which remained obscure until the conductor Arturo Toscanini gave a subsequent performance in 1918. Soon recognized on the international stage, Respighi wrote two companion works in the same vein: Pines of Rome (1924) and Feste Romane (1928).

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Program Notes continued Pines of Rome is performed as a single, standalone symphonic poem that can be understood through a variety of interpretations. The most clear throughline is the journey from day to night and returning to a new dawn; others see the work as a journey through time, from childhood to adulthood; others follow the music as a walk around the perimeter of the ancient Roman city. Each of these understandings reveals something different in the music; as a starting point, we once again have descriptions of the different sections provided in the score by the composer: I. The Pine Trees of the Villa Borghese: Children are at play in the pine groves of Villa Borghese; they dance round in circles, they play as soldiers, marching and fighting, they are wrought up by their own cries like swallows at evening, they come and go in swarms. Suddenly the scene changes, and…

II. Pine Trees Near a Catacomb: …we see the shared os the pine-trees fringing the entrance to a catacomb. From the depth rises the sound of mournful psalmsinging, floating through the air like a solemn hymn, and gradually and mysteriously dispersing.

III. The Pine Trees of the Janiculum: A quiver runs through the air: the pine trees of Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale is singing.

IV. The Pine Trees of the Appian Way: Misty dawn on the Appian Way: solitary pine trees guarding the magic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly-risen sun, a consular army bursts forth towards the Sacred Way, amounting in triumph to the Capitol.

Unique in so many ways, Respighi’s music displays undeniable creativity and innovation. The sound of the nightingale, for example, was provided by the composer on a Gramophone recording that was meant to accompany the performance materials – one of the first instances where technology was included as part of a live instrumental performance. The effects in the pitched percussion, harp, and keyboards give the score a brilliant shimmering quality, and of course, there are the brass instruments. At one point, the principal trumpet performs offstage, giving an effect of music coming from the distance, and in the glorious final minutes, Respighi writes for a choir of 6 additional offstage brass instruments called “bucccine,” maximizing the decadent feeling of overwhelming musical power and leaving audiences breathless. Aren’t we lucky to have 6 additional brass players joining us for this historic event!

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Sponsored by

James Foster

We Are the Music Makers Saturday, November 8, 7:30pm Community Concert Hall Durango

Sunday, November 9, 3:00pm Henderson Performance Hall Farmington

Durango Choral Society, Rhonda Muckerman, director Caliente Choir of Farmington, Virginia Nickels, director Deborah Nansteel, mezzo-soprano San Juan Symphony Thomas Heuser, conductor

PROGRAM Radetzky March, Op. 228 (1848) Johann Strauss, Sr. (1804-1849) Tristan und Isolde: Prelude und Liebestod, Richard Wagner WWV. 90 (1859) (1882-1971) INTERMISSION The Music Makers, Op. 69 (1912) Sir Edward Elgar (1857-1934) I. Introduction II. We Are The Music Makers III. With Wonderful Deathless Ditties IV. We, In the Ages Lying V. A Breath of Our Inspiration VI. They Had No Vision Amazing VII. And Therefore Today is Thrilling VIII. But We, With Our Dreaming and Singing IX. For We Are Afar With the Dawning X. Great Hail! We Cry to the Corners movements performed without pause Season 40 Fall Program | sanjuansymphony.org

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TEXTS AND TRANSLATIONS “Ode” (1873) by Alfred O’Shaughnessy (1844-1881) We are the music makers, And we are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams; — World-losers and world-forsakers, On whom the pale moon gleams: Yet we are the movers and shakers Of the world for ever, it seems.

And therefore to-day is thrilling With a past day’s late fulfilling; And the multitudes are enlisted In the faith that their fathers resisted, And, scorning the dream of to-morrow, Are bringing to pass, as they may, In the world, for its joy or its sorrow, The dream that was scorned yesterday.

With wonderful deathless ditties We build up the world’s great cities, And out of a fabulous story We fashion an empire’s glory: One man with a dream, at pleasure, Shall go forth and conquer a crown; And three with a new song’s measure Can trample a kingdom down.

But we, with our dreaming and singing, Ceaseless and sorrowless we!

The glory about us clinging Of the glorious futures we see, Our souls with high music ringing: O men! it must ever be That we dwell, in our dreaming and singing, A little apart from ye.

We, in the ages lying, In the buried past of the earth, Built Nineveh with our sighing, And Babel itself in our mirth; And o’erthrew them with prophesying To the old of the new world’s worth; For each age is a dream that is dying, Or one that is coming to birth.

A breath of our inspiration Is the life of each generation; A wondrous thing of our dreaming Unearthly, impossible seeming — The soldier, the king, and the peasant Are working together in one, Till our dream shall become their present, And their work in the world be done.

They had no vision amazing Of the goodly house they are raising; They had no divine foreshowing Of the land to which they are going: But on one man’s soul it hath broken, A light that doth not depart; And his look, or a word he hath spoken, Wrought flame in another man’s heart.

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For we are afar with the dawning And the suns that are not yet high, And out of the infinite morning Intrepid you hear us cry — How, spite of your human scorning, Once more God’s future draws nigh, And already goes forth the warning That ye of the past must die.

Great hail! we cry to the comers From the dazzling unknown shore; Bring us hither your sun and your summers; And renew our world as of yore; You shall teach us your song’s new numbers, And things that we dreamed not before: Yea, in spite of a dreamer who slumbers, And a singer who sings no more.

The Durango Choral Society (DCS) has been a vibrant part of our community for 55 years. It draws singers from the Four Corners area interested in performing choral music. Its mission is to enhance the musical and cultural development of our community through the promotion and participation by the DCS members in musical programs for the benefit and enjoyment of the community. Diverse programming from all genres, designed to uplift and inspire the human spirit, with the highest of artistic standards, is a hallmark of DCS concerts.

Emphasis is placed on providing educational opportunities for both singing participants and audience members. Our four choruses perform both jointly and independently. Productions often include visiting musicians, dancers and actors. DCS enjoys collaborating with other organizations while showcasing its extraordinary hometown talent.

Artistic Director of the Durango Choral Society, Rhonda L Muckerman is an accomplished musician, teacher, and conductor. She holds a Bachelor of Music degree in Music Education from Michigan State University and a Master of Music degree from the CollegeConservatory of Music/University of Cincinnati in Conducting. For almost 40 years, Rhonda has taught instrumental and choral music to musicians of all ages, and has delighted audiences with her programming of diverse repertoire designed to uplift the human spirit.

She previously served as the Artistic Director for the Telluride Choral Society for 11 years. Her book “Of Song and Water” was published by Morgan James Publishing in 2022.

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Caliente Community Chorus was founded in 2006 and sustains a mission of fostering excellence and uniting the human spirit through music. Caliente performs works that range in variety from opera choruses to cathedral classics, from world folk to jazz standards, as well as traditional Broadway and cinema greats. The organization is a 501(c)(3) charitable, non-profit organization, with a goal of making a positive impact in the community through musical performances. Following that objective, Caliente instituted an organizational scholarship with a primary focus on providing monetary awards to students attending post-secondary educational programs.

Caliente’s community outreach extends to creative projects such as the summer street-singing event, “Cul-de-sac Concert”, and the recent creation of Caliente Children’s Choir.

Caliente Community Chorus is honored to share the stage with Durango Choral Society and San Juan Symphony in this collaborative endeavor.

Virginia Nickels-Hircock has been an active member of the Four Corners arts community for decades. Virginia received a Bachelor of Music degree from the University of Arkansas and a Master of Music degree from Westminster Choir College in Choral Conducting and Music Education.

Ms. Nickels is active as a frequent choral guest conductor, clinician and adjudicator throughout New Mexico and the region. She was recognized as Music Educator of the Year and is an inductee into the New Mexico Music Educator Hall of Fame. Prior to her retirement, Ms. Nickels taught in the Farmington Municipal School district for thirty years and served as Choral Director and Instructor of Music at San Juan College. She is co-founder and Director of Caliente Community Chorus.

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ABOUT THE GUEST ARTIST

Deborah Nansteel Mezzo-Soprano “A formidable display of vocal power and dramatic assurance,” mezzo-soprano Deborah Nansteel is poised for international stardom, having already performed at almost all the leading opera companies in the U.S. This season brings several exciting engagements for Ms. Nansteel including a return to The Metropolitan Opera as Teresa in La Sonnambula, a house début with Minnesota Opera for the world premiere production of B.E. Boykin and Harrison David River’s My Name is Florence, Mrs. Miller in Douglas J. Cuomo and John Patrick Shanley’s Doubt for Opera Parallele, and a return to North Carolina Opera to sing her acclaimed Azucena in Il trovatore. On the concert stage, she will début at the San Juan Symphony as a featured soloist in Edward Elgar’s The Music Makers and return to the Kalamazoo Symphony for Mahler’s Symphony No.3.

Last season, Ms. Nansteel created the role of civil rights icon Fannie Lou Hamer in White Snake Project’s world premiere production of Is This America?.

She also joined Chicago Opera Theater to sing the role of civil rights pioneer JoAnn Robinson in the world premiere of Jasmine Barnes and Deborah D.E.E.P. Mouton’s She Who Dared. In addition, Ms. Nansteel made her house début with Opera Colorado as Azucena in Il trovatore, returned to Dayton Opera as Amneris in Aida, and returned to The Glimmerglass Festival to perform Baba in The Rake’s Progress and Mama Cordero in the world premiere of Derek Bermel and Sandra Cisneros’ The House on Mango Street.

Nansteel recently had house débuts with Los Angeles Opera as Aunt Lou in Highway 1, USA and The Atlanta Opera as Roßweiße in Die Walküre. She also performed the roles of Azucena in Il trovatore with Opera Santa Barbara and Gertrud in Hänsel und Gretel with Opera San Antonio. Additional previous engagements include a return to the Metropolitan Opera as Annina in La Traviata and for their concert tour of Otello, and her house début with San Francisco Opera in their productions of Eugene Onegin and Dialogues des Carmélites. Nansteel also débuted the role of Amneris in Aida for both Opera Grand Rapids and Finger Lakes Opera, performed Gertrud in Hänsel und Gretel for New Orleans Opera, and sang Mother Abbess in Suor Angelica for Opera Omaha.

Ms. Nansteel completed the Washington National Opera Domingo-Cafritz Young Artist Program. As a mainstage artist, Nansteel returned as Flora in La Traviata, Dame Marthe in Faust, as Emilia in Otello, Second Lady in The Magic Flute, and as the Marquise of Berkenfield in La fille du regiment with Justice Ruth Bader Ginsberg, which is featured in the documentary film RBG. Ms. Nansteel is a graduate of the University of Cincinnati College-Conservatory of Music (CCM) where she earned an Artist Diploma in Opera and a Master of Music in Voice.

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November 2025 Program Notes: We Are the Music Makers

Program Notes by Music Director Thomas Heuser Richard Wagner (1813-1883) lived a complex life as composer, philosopher, writer, and political vagabond.

His fascination with theories and metaphysics led him to explore unusual aesthetics in music and literature, with the bullishness of someone determined to be etched in the history books. Wagner was hardly shy about his polarizing views, publishing racist antisemitic diatribes, espousing radical 19th century socialist views, and venting his determination to reshape common conceptions about operatic music and chart a new way forward. Together with his close friend, Franz Liszt, they defended “the artwork of the future” as one where music, text, and stage come together in a gesamtkunstwerk or “complete work of art.” Their impact on concert music was immediate.

By the time Wagner had completed his opera Tristan und Isolde in 1859, the innovations of his “Ring Cycle” were already causing ripple effects. His vision of “true opera” was a music drama, moving the artform away from arias and scenes towards through-composed creations where a massive orchestra contributes to the onstage experience. By the time of Tristan, Wagner had embraced the views of Schopenhauer that music was actually the highest artform, resulting in a new emphasis on motivic instrumental writing that fixes musical ideas to characters. Now the music is front and center, giving life and function to the orchestra. Make no mistake, John Williams and Hollywood composers took their cues from Wagner, even though Darth Vader’s theme can’t hold a candle to the wrenching, passionate musical themes that represent the heart and soul of Siegfried, Wotan, and Brunhilde.

The score of Tristan is considered revolutionary in its harmonic vocabulary, and the Prelude und Liebestod (Prelude and Love Death) are excerpts that showcase Wagner at his peak. Indeed, the first chord of the Prelude is known as “the Tristan chord,” and holds a special place in harmony textbooks as a dissonant chord that resolves to another dissonance.

Wagner’s chromaticism lends itself to his idealized concept of “continuous melody,” with music built from endlessly climbing sequences and chains of emotional suspensions that seem never to settle. After the Prelude, the music skips ahead three hours to the final scene: Isolde sings her heartfelt Liebestod, or literally “love death,” as she stands over Tristan’s body. She sings about her dead lover as though he had been transfigured in death, and in eager anticipation of her own death and their reunification. Even in Wagner’s purely orchestral version of the Liebestod, we listeners share an intimate, absolutely breathtaking vision of tragic love.

Wagner’s influence carried well into the 20th century and across continents.

Having written such an enormous body of work, with literary treatises as their underpinning, the “spell of Wagner” was practically inescapable. From works by his contemporaries forward to the present day, composers cannot 26

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help utilizing his methods, harmonic maneuvers, and motivic themes.

By the time he was recognized outside of England, Sir Edward Elgar (1857-1934) had assimilated much of the arch Romantic tendencies of Wagner, Liszt, Schumann and Berlioz. Emerging in his 40s as the composer of the “Enigma Variations,” Elgar went on to his greatest success with a largescale work for orchestra and voices called “The Dream of Gerontius” in 1900.

The British tradition of choral oratorios was deeply established and largely served in place of any serious English opera. Given that, Elgar was able to showcase his Wagnerian sophistication in works like Gerontius, where the music and text are deeply interwoven emotionally. These oratorios are what made Elgar famous: he was knighted in 1904, then named Professor of Music in Birmingham, and received an honorary Doctorate from Yale University. His celebrity was in contrast to his private personality, but it propelled a long career that resulted in major symphonies, celebrated concerti, ballet and incidental music, chamber music, and the famous set of Pomp and Circumstance Marches. He lived through World War I, writing in honor of soldiers and societies, and in his later years, he produced a series of recordings of his own music for the Gramophone company, becoming one of the first composers to make records.

In the pre-War years, Elgar crafted The Music Makers (1912) for the celebrated Birmingham Triennial Festival of Choral Music. The text is a poem called “Ode” by the English poet Arthur O’Shaughnessy, first published in 1874 in his collection called Music and Moonlight. The opening lines are now iconic: “We are the music makers, and we are the dreamers of dreams.”

Such a sentiment clearly appealed to Elgar at the zenith of his popularity, as an artist who would presumably have preferred wandering alone with his private dreaming. In that vein, Elgar quotes himself many times, lifting directly from the Enigma Variations and Gerontius. The references to his own music, together with the text’s inward-looking sentiment, seem autobiographical. The comparison is often made to Richard Strauss’ Ein Heldenleben (A Hero’s Life), though unlike Strauss, who sought the limelight and paints himself a musical hero, Elgar seems to be seeking a more personal portrait of himself as a composer: the pondering artist.

Like the nine stanzas of the Ode, there are few discernible section breaks in The Music Makers; the flow of the music has a Wagnerian continuousness and pervading harmonic chromaticism that lends itself to the throughcomposed model. As with all English oratorios, the chorus is given a major role, providing the overall thrust of the music and much of the drama.

Quiet moments of contemplation give way to overwhelming high points and climaxes, creating an almost cinematic series of evolving scenes for the listener. The solo mezzo-soprano offers a poignant intimacy in the second half of the work, and though the final scene is abundantly joyful and uplifting, the music dies away with a reflective return to the opening stanza of the poem.

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SJS Musician Makers Scholarship Program

The San Juan Symphony is deeply committed to music education across the Four Corners region.

Our Musician Makers Scholarship Program provides funding for private music lessons for local students.

You can help make these opportunities possible. Your support ensures that cost is never a barrier for a young musician with talent and drive.

Donate today:

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San Juan Symphony 2025-26

Sponsored by

The Lange Family: Ulli, Deb & Jens

CH A MBER MUSIC SER IES

The Verona Quartet Jonathan Ong, violin Dorothy Ro, violin Abigail Rojansky, viola Jonathan Dormand, cello

Friday, September 5, 7:00pm

St. Mark’s Episcopal Church | 910 E. 3rd Ave., Durango

Saturday, September 6, 2:00pm

Connie Gotsch Theatre | 4601 College Blvd., Farmington Season 40 Fall Program | sanjuansymphony.org

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ABOUT THE VERONA QUARTET Acclaimed as an “outstanding ensemble…cohesive yet full of temperament” (The New York Times), the Verona Quartet has firmly established itself amongst the most distinguished ensembles on the chamber music scene today. The Quartet serves on the faculty of the Oberlin College and Conservatory as the Quartet-in-Residence. The Verona Quartet has appeared across four continents, captivating audiences at venues such as Carnegie Hall, Lincoln Center (New York City), Kennedy Center, Library of Congress, the Smithsonian Institution (Washington, D.C.), Jordan Hall (Boston), Wigmore Hall (U.K.) and Melbourne Recital Hall (Australia), and has performed at festivals including La Jolla Summerfest, Chamber Music Northwest, Caramoor, the Texas Music Festival, Bravo! Vail, and with the Chamber Music Society of Lincoln Center.

A string quartet for the 21st century, the Verona Quartet champions the rich breadth of the string quartet repertoire from the time-honored canon through contemporary classics. Notable commissions and premieres include works by composers Julia Adolphe, Texu Kim and Sebastian Currier as well as Michael Gilbertson’s Pulitzer Prize-nominated Quartet.

The Verona Quartet’s recently released second album, SHATTER, debuted at #1 on the Billboard Traditional Classical Chart in July 2023. SHATTER showcases works written for the Verona Quartet by American composers Julia Adolphe and Michael Gilbertson as well as Reena Esmail’s Ragamala, in collaboration with Hindustani vocalist Saili Oak. The Verona Quartet’s debut album, Diffusion, was praised by BBC Music Magazine for its “radiant glow” and Cleveland Classical for the “Verona’s technical precision, expressive freedom, and brilliant, dramatic phrasing”. The Quartet’s third album of Ligeti’s complete string quartets was released in December 2023 with Dynamic Records in celebration of the composer’s centennial year.

In addition to promoting contemporary music, the Quartet strives for a dynamic, imaginative approach to collaboration and programming that champions cross-cultural and interdisciplinary enterprises. Continuing in the lineage of their esteemed mentors the Cleveland, Juilliard and Pacifica Quartets, the Verona Quartet’s rapid rise to international prominence was fueled by top prize wins at the Wigmore Hall, Melbourne, M-Prize and Osaka International Chamber Music Competitions, as well as the 2015 Concert Artists Guild Competition. The ensemble’s “vibrant, intelligent” (The New York Times) performances emanate from the spirit of storytelling; the Quartet believes that this transcends genre and therefore the name “Verona” pays tribute to William Shakespeare, one of the greatest storytellers of all time.

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San Juan Symphony 2025-26

Amy Barrett, Director

Chamber Singers Fall Concert Creating Legacy Through Harmony

Sunday, October 26 | 3:00pm

St. Mark’s Episcopal Church | 910 E. 3rd Ave., Durango Chrisi Livingston, Rehearsal Pianist

Don’t miss the debut concert of the newly-minted Director of the Chamber Singers, Amy Barrett, featuring the versatile voices of this finely tuned, dedicated choral ensemble.

Mother’s Day Concert Sunday, May 10 | 3:00pm

St. Mark’s Episcopal Church | 910 E. 3rd Ave., Durango

The tradition of a Mother’s Day concert by the Chamber Singers continues in our 40th season with a Springtime Program of heartfelt, seasonal music. Great for mothers of all generations!

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UPCOMING EVENTS San Juan Symphony Youth Orchestras

WINTER CONCERT Saturday, November 22 | 7:00pm Henderson Performance Hall, Farmington

State Street Ballet of Santa Barbara’s

NUTCRACKER BALLET

featuring the San Juan Symphony

December 12-14 | 2:00pm & 7:30pm Community Concert Hall at Fort Lewis College

THE MAJESTY OF CHRISTMAS Friday, December 19 | 4:00pm & 7:00pm

St. Mark’s Episcopal Church | 910 E. 3rd Ave. Durango

CHAMBER MUSIC SERIES #2

In Tribute: Music for Vibes and Piano

Friday, January 16 | 7:00pm

St. Mark’s Episcopal Church | 910 E. 3rd Ave. Durango

Saturday, January 17 | 2:00pm

Connie Gotsch Theatre | 4601 College Blvd., Farmington

THE DURANGO BACH FESTIVAL presents: MOSTLY MOZART March 8-14

St. Mark’s Episcopal Church | 910 E. 3rd Ave. Durango

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San Juan Symphony 2025-26

Visit sanjuansymphony.org for tickets and more info CHAMBER MUSIC SERIES #3

Solo Recital with Violinist Holly Mulcahy

Tuesday, April 7 | 7:00pm

Connie Gotsch Theatre | 4601 College Blvd., Farmington

San Juan Symphony Youth Orchestras

SPRING SEMESTER CONCERT Sunday, April 26 | 7:00pm Community Concert Hall, Durango

SAN JUAN SYMPHONY CHAMBER SINGERS Mother’s Day Concert

Sunday, May 10 | 3:00pm

St. Mark’s Episcopal Church | 910 E. 3rd Ave. Durango

FAMILY CONCERT: THE HARMONY GAMES! Saturday, May 16 | 4:00pm Community Concert Hall, Durango

Sunday, May 17 | 2:00pm

Henderson Performance Hall, Farmington

CHAMBER MUSIC SERIES #4

Life and Works: American Mavericks

Wednesday, June 3 | 7:00pm

St. Mark’s Episcopal Church | 910 E. 3rd Ave. Durango

Thursday, June 4 | 7:00pm

Connie Gotsch Theatre | 4601 College Blvd., Farmington Season 40 Fall Program | sanjuansymphony.org

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2025-2026 Donors As a non-profit dedicated to the performing arts, we are grateful for contributions in any amount. This list reflects annual donations made to the San Juan Symphony between August 2024-August 2025. Our list of donations will again be updated in the Spring 2026 Program.

Please contact our office with any amendments; we appreciate the opportunity to correct our records. Thank you for your enduring support of our programs!

Maestro’s C

i rcle

PRESENTER

($10,000-$19,999) Community Foundation Serving SW CO Durango Land & Homes James Foster Larry & Elizabeth Crawford Michael & Elaine Moravan Foundation San Juan Regional Medical Center Steve & Marti Kiely Susan Reese The Lange Family: Ulli, Deb & Jens Ziems Ford Corners

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San Juan Symphony 2025-26

SPONSOR

($5,000-$9,999) Alpine Bank Anonymous City of Durango City of Farmington Colorado Creative Industries El Pomar Foundation Jimmy & Meredith Mapel Nan & Brian Wagner New Mexico Arts Red Mountain Fund Tom & Mary Orsini

BENEFACTOR

($2,500-$4,999)

Ballantine Family Fund Coca-Cola Bottling Company Dick & Georgeann Reitz Douglas Brew & Dorothy Peacock Durango & Silverton Narrow Gauge Railroad Durango Friends of the Arts George Usinowicz Gordon & Dene Kay Thomas Karen McIntire & Mike Nettles LPEA Round Up Foundation McLaughlin Family Charitable Fund

New Mexico Music Commission Norman Broad & Carol Salomon Ruth Guarino San Juan County Commissioners Sky Ute Casino & Resort Southwest Eye Consultants TBK Bank Terry Bacon & Debra Parmenter Tom & Bev Taylor Tracy Valentine Zimmer Community Fund

PATRON

($1,000-$2,499)

Anita Cohen & Lynn Witt Anonymous Carla Pinahs Charles Freuden D’Ann Artis Daniella Phillis David & Mary Stengel Don & Sandra Mapel Dwight Frankfather & Karen Peterson Edward & Maria Kompare Elizabeth Petersen Eugenia Dorminy Florian & Shelley Walchak Four Corners Music Teachers Association Gary Rottman Geoffery A. Hirt Gerald & Linda Harris Ginny Brown Henry & Margy Dudley

High River Resources Ilga K. Vise James & Buddie Bertrand James Peters Janice Sheftel Jim Ottman Joseph & Catherine Pope Judy Bundy Judy Burgess Julia Dodd Karen Soltes Keith Lucas & Elizabeth Hogan Laurie Lidstrom Liz & Paul Cahill Marilyn Swanson Mark Everson & Sara Michaels Mary Nowotny Max Vogt Nancy Stoffer Paul & Jigger Staby

Payroll Department Raymond & Carol Schmudde Richard & Beverly Benford Richard & Gay Grossman Robert & Emily Therrell Robert & Lorraine McCleary Rochelle Mann Ross Park & Jill Patton Sam & Gwyn Stites Family Fund Samuel & Bonnie Avery Spark Good Foundation Stephen Bowers & Wendy Grant Susan Washburn Thomas Penn William & Annette LeMaire

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2025-2026 Donors continued Symphony Ci le rc SUSTAINER

($500-$999) Andie & Rudy Davison Ann Green Bartig-Small Family Fund Cathy & Bob Eppinger Cynthia Williams David & Terry Clark David & Tina Lam Deborah Lycan Doug Jacober Drs. Keith & Susan Kujawski Ernie & Margo Cotton Garrett & Chelsea Murphree

Jason & Heather Hooten John Byrom John Romine Karen Morrison Karen Thompson & Larry Eads Laura Hawk Marcey Olajos Martia Glass Nanc Cole Nancy Peake Peggy Sharp Phyllis Max Pinon Family Practice

Robert Evans Robin Jakino Ruth Allison Ruth Katzin Scott & Shanna Bird Sheryl & Stephen Guy Steve & Susan Nelson Sue Agranoff Ursula Goodenough Yan Li & Aley Quang Hong

David W. Adolphson Gloria & Dave Smiley Ingrid Ryan James Collins Janet Blunt Jennifer Young John Schuenemeyer Katherine Barr Kenneth & Joyce Stevenson Kroeger’s Ace Hardware Larry & Barbara Kronick Levi Chavis Maynes, Bradford, Shipps & Sheftel, LLP

Paul Bandy & Mary Catherine Curry Phil & Jessica Smucker Richard & Mary Lynn Ballantine Robert W. Baird & Co. Inc. Steve & Connie Jacobs The Thane Malison Charitable Fund Tyler Fouss Wynn & Linda Berven

ASSOCIATE

($250-$499) Alden Foster Benjamin Durkin Betsy Petersen Bonnie Avery Bowne Tzeng & Erin Schifeling Brad & Stacy Tarpley Callie Blackmer Carol Grenoble Carolyn & Grant Gebhard Cecilia & Monica Taulbee-Leaming Chris & Chandra Stubbs Chris & Laura Argotsinger 42

San Juan Symphony 2025-26

FRIEND

($10 - $249) Abby Bowen Amelia Barrett Amy & Michael Oneill Angeline Faye Schrater & Richard E. White Ann Freimuth Betsy Moore Bill Enenbach BJ & Maria Gutierrez Brooke Goulding Bruce & Suzanne Rodman Candace Kendrick Celeste Shearer Charles Squire Christi Livingston Clark & Melanie Palmer David & Carol Grenoble David & Rebecca Caron Deb Duncan Della Graham Dick & Beth Wheeler Dominic & Diana Palmieri Don Allen & Vicki Holmsten Donna Thatcher Doug McCarthy Dr. Ron & Hyla Calcote Ellingson Condie Family Trust Emma Bodine Erin Cuthbertson Erin Sinberg Fran Mayfield

Gail Lauter Gary & Beanie Archie Gary & DeLynnda Witte Geney Stan Guy & Sandy Alexander Helen Padberg Holly Quist & Richard Silvers Hope Vail Hyla Calcote Isabelle Montoya Jan & John Patton Jay Fox Jay Reidy Jean Van Sickle Jeanie Child Jeff & Janet Parkes Jim & Donna Martin Jim Adkins & Lynn Eustance Jim Byrd Jon & Kathy Cohen Jonathan Rudolf Karen & Karl Mesikapp Katherine Jetter Kicki Searfus Kimberlee Yeargin Lee & Elsa Horowitz Les Leach Luana Castellano Lucy McGuffey Marcia Clouser Marilyn Garst Martha Flynn

Martha Minot Mary Ellen Garrett Mary Hayes Matthew & Amanda Clugston Maude GranthamRichards Michael & Pam Stillman Pam Hyder Patricia Tharp Paul Duggan Penny Archdale-Howard Robert & Cheryl Green Robert & Gloria Lehmer Rosemary Winkler Ryker Watson Sarah Morgan & Nate Pierantoni Scott Michlin Sheri Rochford-Figgs Steve & Connie Jacobs Steve & Jane Short Steve & Kathy Kellenaers Steve Krest Susan Reese Brown Susan Weber Tania & Calvin Curry Thomas Heuser & Lauren Avery Tom & Shirley Jones Van & Mary Butler Victoria Gallardo Wayne & Susan Caplan

Help Support your Symphony, Become a Donor Today Season 40 Fall Program | sanjuansymphony.org

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2025-2026 Donors continued IN-KIND DONORS

81301 Coffee House & Roasters Al & Janice Curry Alicia Romero Alison Ragsdale Photography Allen & Karon Lyon Allen Theaters Alley House Grill Alpine Bank Amy Brimhall Animas Chocolate Animas Eye Care Animas Liquor Anita Cohen Artesano’s Artifacts 302 ASAP Accounting & Payroll Aspen Leaf Yogurt Balanced Health & Aesthetics Bar D Chuckwagon Suppers Baron Creek Vineyard BeFrank Foundation Beverly & Tom Taylor Bisti Bay BJ & Maria Gutierrez Blue Lake Ranch Durango Blue Rain Gallery Bread Brian & Nan Wagner Brown’s Shoe Store Carol Schmudde Carter & Sue Hampton Carver Brewing Cascade Xpress Carwash Chili Pod Chris & Chandra Stubbs Chris & Laura Argotsinger Chris Heine Christina Rinderle Christy Pennington Chrysalis Tattoo Chuck & Janet Williams Cindy Hillmer Clancy’s Irish Cantina Coca-Cola Bottling Company 46

College Cafe Community Concert Hall Cream Bean Berry Create Art & Tea Cynthia Rapp Sandhu Dene & Gordon Thomas Diane West Jewelry & Art Dick & Georgeann Reitz Dietz Market Distil Spirits Dog Gone Gorgeous Don & Sandra Mapel Dreams of Tibet Durango Bird Club Durango Craft Spirits Durango Dermatology Durango Hair Company Durango Herald Durango Hot Springs Durango Land & Homes Durango Magazine Durango Nordic Center Durango Nursery Durango Olive Oil Company Durango Playfest Durango Rug Company Earthen Vessel Gallery East by Southwest/Mama Sylvia’s Econo Lodge Inn & Suites Elizabeth Crawford Eureka Clothing Accessories & Gifts Florian & Shelley Walchak Fly Fishing Outing Fly High Adventure Parks Flying Fish Company Fort Lewis College Music Department Four Corners River Sports Four Corners Yoga Gardenschwartz Gardenswartz Sporting Goods Gary Cratcher Gay & Dick Grossman Ginny Brown Gisela Lott Glacier Club Good Karma

San Juan Symphony 2025-26

Hans Freuden Heatwaves Stoves & Spas Himalayan Kitchen Home Depot Farmington Honeyville Colorado House of Ink Humane Society LPCHS J.A. Jewelers & Co. Jade and Blooms Jake’s Tattoo James Ranch Jamie’s Fine Jewelry Shop Janet Oliver Janice Sheftel Jim Bob Byrd John O’Neal Judith Reynolds Julia Dodd Karen Johnson Karen Morrison Katherine Jetter Kathleen Adams Kendall Grabin Kennebec Cafe Kim Martin Kristen Folden KSJE Radio Ku-Tips Nursery Kyle Osborne Linda Sency Liquor World Lisa Laughlin Local News Network Lowe’s Farmington Main Street Barbershop II Maria’s Bookshop Marilyn Taylor Mary MacAdams Mary Schwartz Mary Stengel Mika Inouye Millstreet Bistro Mister Titanium Car Wash Moab Music Festival Molly Jensen Momentum Tree Experts Monica & Cecilia TaulbeeLeaming Music In the Mountains Nancy Stoffer

No Place Like Home Ohana Physical Therapy Olde Schoolhouse Cafe & Saloon Oscar’s Cafe Overland Oye Papa Murphy’s Parts Unknown Patrick Hazen Patrick Murphy Paul Duggan Pelle Spa Perbacco Cucina Italiana Pete & Tish Varney Pine Needle Dry Goods Pinon Hills Family Dental Pip Howard PJ’s Gourmet Market Porter’s Restaurant and Smokehouse Prospector Restaurant at Glacier Club Radiant Malas Ram Signs Rev. Debbie Metzgar Shew

Rivergate Acupuncture Rochelle Mann Ruth Guarino San Juan College HHPC San Juan Nurseries Sandra & Don Mapel Santa Fe Chamber Music Festival Santa Fe Desert Chorale Santa Fe Opera Santa Fe Symphony Sara Michaels Scott Michlin Scott’s Pro-Lawn Sheri McMurtry Sheryl & Stephen Guy Sky Ute Casino Resort Smoothie King Smoothie King Farmington Soma Pilates Studio Sorrel Sky Gallery Soul Den Hot Yoga Stained Glass Concepts Star Liquors

MEMORIAL DONATIONS

Stephen Bowers & Wendy Grant Steve & Marti Kiely Steve Martin Stillwater Music Strater Hotel Studio 116 - Alise Summit Dental Sunnyside Farms Market Telluride Chamber Music Festival The Boathouse on Grand The Home Depot The Mailroom There’s No Place Like Home Tish Varney Tom & Bonnie Miller True Western Roudup Union Social House Urban Market Wines of the San Juan Woof Gallery Zia Chicks Ziems Ford Corners

In Memory of Chris Bettin Christina Rinderle

In Memory of David Reynolds Anonymous

In Memory of Mary Jane Clark Daniel & Sheri Rochford-Figgs

In Memory of Jean Ryder Daniel & Sheri Rochford-Figgs Marian Gilmore Susan Kujawski Dick & Beth Wheeler

In Memory of Walter Dear Mary Sue Burnham Bryan & Jacquelyn Dear Jennie Dear & Tom Bartles Carol & David Grenoble Dick & Georgeann Reitz Jim Peters Robert W. Baird & Co.

HONORARY DONATIONS

In Honor of Ann Butler Ellingson Condie Family Trust In Honor of Rochelle Mann Candace Kendrick

In Memory of Louise Ryder Dick & Beth Wheeler

In Honor of Dan & Polly Morgenstern Larry & Barbara Kronick In Honor of Lech Usinowicz George Usinowicz

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SPONSORS & PARTNERS

Alex Benally’s Hogan Alison Ragsdale Photography Alpine Bank Artifacts 302 Artist In Residence Program at Fort Lewis College ASAP Accounting & Payroll Ballantine Communications Ballantine Family Fund Caliente Community Choir City of Durango City of Farmington Classique Builders Coca-Cola Bottling Company Colorado Gives Foundation Community Concert Hall at Fort Lewis College Community Foundation Serving SW Colorado Duck Girl Art Durango & Silverton Narrow Gauge Railroad Durango Botanic Gardens Durango Choral Society Durango City Lifestyle Magazine Durango Friends of the Arts Durango Independent Film Festival Durango Land & Homes Durango Magazine Durango School District Econo Lodge Inn & Suites Farmington Municipal Schools Fort Lewis College Music Department Four Corners Broadcasting Henderson Fine Arts Center at San Juan College

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San Juan Symphony 2025-26

Ironbridge Financial Jimmy’s Music & Supply KDUR Kroegers Ace Hardware KSJE Radio KSUT Public Radio Local News Network LPEA Manna Soup Kitchen Mill Street Bistro Music In the Mountains New Mexico Arts New Mexico Music Commission Peyton Rutkowski Films Porter’s Restaurant and Smokehouse Powerhouse Psyche Digital Quality Inn Robertson & Sons Violin Shop San Juan County Commissioners San Juan Regional Medical Center Sky Ute Casino & Resort Spark Good Foundation St. Mark’s Episcopal Church Stillwater Music SW Eye Care TBK Bank The Gable House Bed & Breakfast Inn The Mailroom The Payroll Department Union Social House Wells Group Real Estate Wines of the San Juan Ziems Ford Corners Zimmer Community Fund

SAN JUAN SYMPHONY BOARD OF DIRECTORS 2025-26 Brian Wagner, President Cynthia Rapp Sandhu, Vice President Steve Kiely, Treasurer Wendy Grant, Secretary Elizabeth Crawford Monica Leaming Allen Lyon Sara Michaels Scott Michlin Karen Morrison Alicia Romero Nancy Stoffer Tom Taylor MUSICIANS’ REPRESENTATIVES Kristen Folden Tennille Taylor

STAFF Meghann Zenteno, Executive Director Thomas Heuser, Music Director Laura Argotsinger, Operations Manager Molly Jensen, Youth Orchestra Director Christopher Argotsinger, Youth Orchestra Associate Director Amy Barrett, San Juan Symphony Chamber Singers Director Lauren Avery, Librarian Steve Blaylock, Stage Manager Arthur Post, Music Director Laureate Jan Roshong, Music Director Laureate GRAPHIC DESIGN Duck Girl Art PHOTOGRAPHY Illuminarts, Allison Ragsdale Photography SOCIAL MEDIA Peyton Rutkowski WEBSITE DESIGN Psyche Digital

MISSION STATEMENT:

The San Juan Symphony is dedicated to bringing musical excellence and educational enrichment to the diverse communities of the Four Corners region.

P. O. Box 1073 Durango, CO 81302 www.sanjuansymphony.org 970.382.9753

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