STRATEGIES FOR WISE GIVING
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LOOKING TO MAKE SMART DONATIONS? Based on presentations by professional financial advisors, here are some strategies for giving wisely, following recent changes in the tax law. The advisors identified five strategies that make great sense. Here they are in brief:
GIVE CASH: Whether you itemize deductions or not, it still works well.
GIVE APPRECIATED ASSETS: This helps you avoid capital gains taxes, will give you a potentially more significant deduction if you itemize, and can reduce concentrated positions in a single company.
BUNCH GIVING: Give double your normal amount every other year to maximize deductions.
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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,
It is with great joy that I welcome you to this milestone season—our 15th anniversary! For fifteen years, the NMPhil has brought music to our community, and this season we celebrate with performances that reflect both our history and our future.
Our Classics Series shines with timeless masterworks, including Mahler’s radiant and monumental Fourth and Fifth Symphonies. The Afternoon Classics and Coffee Concerts invite you to experience more intimate musical journeys, from Schubert’s “Tragic” Symphony to the whimsy of Saint-Saëns’s Carnival of the Animals.
And our Rock, Pops, & Movies Series promises joy for all ages with upcoming performances of Home Alone in concert, our beloved Holiday Pops, and the thrilling Music of the Knights. Thank you for being part of the NMPhil family—your support makes this orchestra possible! Together, we celebrate 15 years and counting of music that inspires, uplifts, and unites us all.
Roberto Minczuk Music Director
In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). ● read full bio on page 10
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Photo Credit: Dry Heat Photography
AFTERNOON CLASSICS:
Schubert’s Tragic Symphony
Sunday, October 5, 2025, 2 p.m.
François López-Ferrer conductor
Ella Tasker violin
Sean Choi piano
Overture to Don Giovanni, K. 527
OCT 5
National Hispanic Cultural Center
Wolfgang Amadeus Mozart (1756-1791)
Violin Concerto No. 4 in D Major, K. 218 Mozart
I. Allegro
Ella Tasker violin
Piano Concerto No. 4 in G Major, Op. 58
Ludwig van Beethoven
III. Rondo: Vivace (1770-1827)
Sean Choi piano
INTERMISSION
Symphony No. 4 in c minor, “Tragic,” D. 417
I. Adagio molto—Allegro vivace
II. Andante
III. Menuetto. Allegro vivace
IV. Allegro
Franz Schubert (1797-1828)
MAKING A DIFFERENCE This performance is made possible by: The Music Guild of New Mexico’s Jackie McGehee Young Artists’ Competition ADDITIONAL SUPPORT: The City of Albuquerque
For the love of music, the Music Guild of New Mexico supports, promotes, and encourages nonprofit musical organizations that will educate, enhance, engage, and enrich the quality of our New Mexico community, especially its youth. musicguildofnewmexico.org
Free introductory classes starting Dec.1st on Sundays (3pm) & Mondays (6pm) Casual and 2 left feet welcome. No partner needed, just you.
We are a fun & non-judgemental community here in Albuquerque at Las Puertas 1500 1st st. NW
Musical Fiesta
An evening of exquisite music, food, and wine Sunday, Nov. 2 • 4:00 pm
$200 per person, $150 fair market value
Join us for an intimate performance by Steven Moeckel, a violinist who is known for his effortless virtuosity, vivid characterization and uncanny ability to capture the very essence of a work. Hosted by Pia and Jesus Salazar at their stunningly beautiful Tuscan-inspired home off Rio Grande Blvd. Wine, appetizers, and dinner included.
TICKETS: Call 505.908.9648 or nmphil.org
POPEJOY CLASSICS:
Mahler’s Fourth
Saturday, October 11, 2025, 6 p.m.
Roberto Minczuk Music Director Meghan Kasanders soprano
Threnody to the Victims of Hiroshima
Four Last Songs, Op. posth.
I. Frühling
II. September
III. Beim Schlafengehen
IV. Im Abendrot
Meghan Kasanders soprano
INTERMISSION
Symphony No. 4 in G Major
I. Bedächtig, nicht eilen
II. In gemächlicher Bewegung, ohne Hast III. Ruhevoll, poco adagio
IV. Sehr behaglich OCT 11
Popejoy Hall
Krzysztof Penderecki (1933-2020)
MAKING A DIFFERENCE
This performance is made possible by: Art Gardenswartz & Sonya Priestly
Richard Strauss (1864-1949)
Gustav Mahler (1860-1911)
AFTERNOON CLASSICS:
Olga Kern International Piano Competition Finals
Sunday, October 19, 2025, 2 p.m.
Nimrod David Pfeffer conductor
Join us for a thrilling afternoon of music and discovery as emerging pianists from around the globe take the stage for the final round of the prestigious Olga Kern International Piano Competition. Conductor Nimrod David Pfeffer leads the NMPhil in an evening of electrifying performances and unforgettable artistry. The next great piano star could be discovered today! OCT 19 National Hispanic Cultural Center
MAKING A DIFFERENCE
This performance is made possible by: Olga Kern International Piano Competition
ADDITIONAL SUPPORT: The City of Albuquerque
François López-Ferrer conductor
Spanish-American conductor François López-Ferrer has carved an impressive path in the world of classical music, distinguished by his dynamic artistry and compelling performances. Recipient of the prestigious 2024 Sir Georg Solti Conducting Award, his international career has been marked by recent debuts with esteemed orchestras worldwide, including the Chicago Symphony Orchestra, Los Angeles Philharmonic (LA Phil) at the Hollywood Bowl, Hong Kong Philharmonic, Orquesta Nacional de España, Orquesta Sinfónica de Galicia, Orquesta Sinfónica Radio Televisión Española, Verbier Festival Orchestra, Ensemble intercontemporain, Opéra de Lausanne, and George Enescu Philharmonic.
Upcoming engagements include debuts with the Detroit Symphony Orchestra, Opéra de Paris conducting a new production of Haydn’s L’isola disabitata, Orquesta de la Comunidad de Madrid, Orquesta Sinfónica de Puerto Rico, and The Orchestra San Antonio, as well as returns to the Orquesta Sinfónica de Navarra, Orquesta Sinfónica de Castilla y León, and the Philharmonisches Orchester Hagen.
His journey began as Associate Conductor of the Cincinnati Symphony (CSO) and May Festival, where he made a significant impact on audiences and critics alike. In January 2022, he seamlessly stepped in for Louis Langrée with the CSO for the U.S. premiere of Mark Simpson’s Violin Concerto, featuring Nicola Benedetti. López-Ferrer’s artistry was further refined during his tenure as a 2021/22 Dudamel Fellow with the LA Phil, as well as Resident Conductor of the Opéra de Paris’s
Académie. He was a featured conductor in the 2022 Bruno Walter National Conductor Preview alongside the Louisiana Philharmonic. Early career achievements include serving as Associate Conductor of the Orquesta Sinfónica Nacional de Chile and Principal Conductor of the Ballet Nacional Chileno. As a 2018 Verbier Festival Conducting Fellow, he made a memorable debut stepping in for Iván Fischer in a shared program alongside Sir Simon Rattle and Gábor Takács Nagy. Furthermore, he is a two-time recipient of the Solti Foundation U.S. Career Assistance Award, winner of the inaugural 2015 Neeme Järvi Prize at the Menuhin Gstaad Festival, and former member of the Deutsche Dirigentenforum.
López-Ferrer holds a Master’s degree in orchestral conducting from the Haute École de Musique de Lausanne and a Bachelor’s degree in composition from the University of Cincinnati College-Conservatory of Music. Born in Switzerland and raised in the United States, he embodies a rich multicultural lineage, with a Cuban mother and Spanish father, and speaks six languages fluently. ●
Ella Tasker violin
Ella is 11 years old and in the 6th grade. She grew up surrounded by music. Her mother and aunt are violinists, sister and brother cello students, grandmother a violin teacher, and father an appreciative listener and purchaser of the family stringed instruments. Ella joined the family ensemble with lessons starting at age 3. Under tutelage of teachers Deborah Moench and Susan Kempter, she has ascended the stairs to the solo performance stage twice at the Intermountain Suzuki String
Institute and three times with the New Mexico Philharmonic. She reads avidly, cooks happily, draws colorfully, builds things imaginatively, and hopes to keep building her violin skills and opportunities to bring others into the community of music lovers. ●
Sean Choi piano
Sean began learning piano at age 6 with Tatyana Bayliyeva in Albuquerque. His love for classical music and piano was evident early and continues today. He has excelled in solo and duo performance, winning several first prizes in the 2019 and 2021 Carmel Klavier International Piano Competition, plus the Judges Recognition Award for perfect scores, the 2020 Bellagrande International Music Competition, and the 2021 Clavis International Piano Competition. He received multiple grand prizes in the 2022 Royal Sound Music Competition in Canada and in the 2022 Brooklyn Music Teachers’ Guild International Piano Competition. He was invited to perform in Toronto, Canada, and at Carnegie Hall. He also won the 2021 G-Clef International Music Competition in South Korea and Second Prize in the 2023 Jackie McGehee Young Artists’ Competition. In 2024, he was the Music Teachers National Association’s (MTNA) New Mexico State winner plus the Southwest Division winner in the Senior Piano Duet category. This historic win marked the first time competitors from New Mexico advanced to the MTNA national round. Sean represented New Mexico as the Senior Performance National Finalist at the MTNA National Competition 2024 and won second place. He performs at churches, nursing homes, and various events as he strives to gift music to the community. ●
Roberto Minczuk Music Director
In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history.
Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires.
A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York,
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. ●
Meghan Kasanders soprano Soprano Meghan Kasanders has been hailed by Opera News as “a wonderfully promising, rich dramatic soprano.” In the 2025/26 season, she returns to The Dallas Opera for Don Carlo (A Heavenly Voice/ Elisabetta cover). On the concert stage, Meghan returns to the Dallas Symphony Orchestra in Mahler’s Symphony No. 8, and she debuts with Collaborative Arts Institute of Chicago in their opening season concert. A passionate supporter of contemporary works, she also will participate in several opera workshops with the Chicago Opera Theater. Last season, she debuted with the Arizona Opera in La finta giardiniera (Arminda) and returned to Chicago Opera Theater for a concert titled “Bohème and Beyond: The Legacy of Puccini.” She also returned to Opera Saratoga in a workshop of Robert Whalen, Mark Steidl, and Katherine Skovira’s The Other Side of Silence (Grace).
In the 2023/24 season, Meghan debuted with The Dallas Opera in Elektra (Fünfte Magd), Lyric Opera of Kansas City in Journey to Valhalla (Sieglinde), and the Dallas Symphony Orchestra in Das Buch mit sieben Siegeln, conducted by Fabio Luisi. Meghan also presented a recital produced by Carnegie Hall Citywide in New York City and took part in the workshop Working for the Macbeths (Lady Macbeth) with American Lyric Theater. Past highlights include debuts at Virginia Opera in Die Walküre (Sieglinde), Opera Columbus in Don Giovanni (Donna Anna), and Baltimore Concert Opera as the title role in Anna Bolena. She also made her European debut in Hänsel und Gretel (Gertrud) with Staatsoper Hannover. Meghan has recently
returned to Opera Columbus for Fellow Travelers (Mary Johnson) and Opera Theatre of St. Louis for Gianni Schicchi (Nella) and The Magic Flute (First Lady). On the concert stage, Meghan made her debut with the Lubbock Symphony in Beethoven’s Symphony No. 9 and returned to Des Moines Metro Opera as guest soloist in “A Concert for Robert.”
Ms. Kasanders is a 2019 Grand Finalist in the Metropolitan Opera National Council Auditions and both the First Prize and Audience Choice Winner in the Dallas Opera Guild Vocal Competition. She has also been recognized by the Gerda Lissner Foundation, the Opera Birmingham Vocal Competition (Second Prize and Audience Choice), and the Mildred Miller International Voice Competition, where she won First Prize in 2017 as the youngest competitor. ●
Nimrod David Pfeffer
Praised for the depth and fresh insights of his interpretations of great masterpieces as well as contemporary repertoire, Nimrod David Pfeffer has performed with orchestras such as the San Francisco Symphony, Mariinsky Theatre Orchestra, Hungarian State Opera Orchestra, and Hungarian National Philharmonic Orchestra and has conducted opera productions at distinguished venues including the Metropolitan Opera, Komische Oper Berlin, Palau de les Arts Reina Sofía in Valencia, the Juilliard Opera, the Polish National Opera, and the Israeli Opera.
At the Metropolitan Opera, Pfeffer made his debut in 2022 conducting Le nozze di Figaro and returned in 2024/25 to lead the Julie Taymor production of The Magic Flute. He has also been a frequent guest at
the Israeli Opera, where he has led productions of Don Giovanni, Idomeneo, Simon Boccanegra, Die Zauberflöte, and Theodor, a new opera by Yonatan Cnaan and Ido Ricklin, in which he was involved throughout the creative process. The opera was met with critical and audience acclaim, was featured in subsequent seasons, and was adapted into a film production that is screened internationally and available on VOD.
Pfeffer has conducted at the Komische Oper Berlin, Polish National Opera, and the Juilliard Opera, where he made his debut with Così fan tutte in 2019 and returned in 2023/24 to conduct La Clemenza di Tito
He made his debut with the Polish National Opera conducting Die Zauberflöte in 2023/24 and will return in 2025/26 to conduct it again. He also conducted Aida at the 52nd May Opera Evenings in Macedonia.
Beyond his work as a conductor, Pfeffer is an acclaimed concert pianist, regularly performing as a soloist, recitalist, chamber musician, and vocal accompanist. He has appeared as soloist in renowned venues such as New York’s Carnegie Hall, Alice Tully Hall, and The Metropolitan Opera, as well as the Warsaw Philharmonic Hall, Franz Liszt Academy in Budapest, and other major stages in the USA, Europe, and Asia.
Pfeffer studied orchestral conducting at The Juilliard School under Alan Gilbert, receiving the Bruno Walter Scholarship, Charles Schiff Conducting Prize, and Norman Benzaquen Career Advancement Grant. He also trained at Mannes College of Music and was a fellow of the Metropolitan Opera’s Lindemann Young Artist Development Program. He has received grants from the Bagby Foundation for the Musical Arts and the America-Israel Cultural Foundation.
He studied with esteemed musicians such as Pnina Salzman, Vadim Monastyrski, Gideon Hatzor, Michael Wolpe, André Hajdu, Victor Rosenbaum, Carl Schachter, Claude Frank, Byron Janis, Alan Gilbert, James Levine, and Richard Goode. ●
NOTES BY CHARLES GREENWELL
Overture to Don Giovanni, K. 527
Wolfgang Amadeus Mozart (1787)
Wolfgang Amadeus Mozart was born on January 27, 1756, in Salzburg, Austria, and died on December 5, 1791, in Vienna, Austria. The Overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 7 minutes.
This powerful opera is based on the legends of Don Juan, a fictional libertine and seducer, and it can be said that the Don and Faust were created by the Counter-Reformation as warnings against exceeding the boundaries set for man: Faust for seeking metaphysical knowledge and power; Don Juan for living in unbounded sensuality without any spiritual belief. In the end, both are overtaken by divine retribution. Created by Mozart and his librettist Lorenzo da Ponte in 1787, Don Giovanni brought all of these old popular legends to the stage in what was the most complex and modern music of its time. Commissioned by an Italian opera company in Prague, the opera blended elements of high tragedy with the low and frequently risqué humor of the opera buffa, or opera with humorous subject matter. The role of Don Giovanni embraces this duality by depicting an aristocratic gentleman whose sexual adventures and
open philosophy lead him to disavow the dignity of his class, transgress society’s moral codes, and cross the line from pleasurable risk to destruction and death. Looked at another way, the Don is everything and nothing who dominates every moment of the action, even when he is not on stage. In the process, the opera blends comedy, melodrama, and supernatural elements. Don Giovanni was performed in October 1787 for a visit to Prague by the Archduchess Maria Theresa of Austria, niece of the Emperor Joseph II. It was a huge success, as was often true of Mozart’s work in Prague. The opera’s final ensemble (the scene after the Don is dragged down to hell by demons) was generally omitted until the early 20th century, a tradition that appears to have begun very early on, and was sanctioned by Mozart himself. Nowadays, of course, that final ensemble—which is a kind of morality lesson—is always performed. For Mozart, it was an unusually intense work, and was not entirely understood in his time, but by the middle of the 19th century was recognized as one of the greatest of all operas. The opening section of the overture is taken almost entirely from the scene in which the statue of the slain Commendatore confronts the Don, and in doing so, Mozart daringly anticipates the crucial event of the whole opera. In performances of the opera, the end of the overture slows down and blends into the beginning of the first act, but in concert, it is usual to use the ending created by Johann Andre. ●
... the Don is everything and nothing who dominates every moment of the action, even when he is not on stage. In the process, the opera blends comedy, melodrama, and supernatural elements.
NOTES
BY DAVID B. LEVY
Violin Concerto in D Major, K. 218
Mozart I. ALLEGRO (1775)
The Concerto for Violin in D Major, K. 218 [No. 4], was composed in Salzburg in October of 1775 and was most likely first performed by the young composer himself, although upon leaving the service of the Prince-Archbishop’s orchestra, he revised it for his successor, Antonio Brunetti. The “K” number used for Mozart’s works refers to the name Ludwig Ritter von Köchel, who first issued the Chronological-Thematic Catalogue of the Complete Works of Wolfgang Amadé Mozart in 1862. The Köchel catalogue has been updated and revised many times to keep pace with musicological revelations. The autograph manuscript of the score now resides in the Jagiellonian Library of the University of Kraków. The work is scored for solo violin, 2 oboes, 2 horns, and strings. Approximately 8 minutes. Given the fact that Mozart’s father, Leopold, was the author of one of the most important treatises on playing the violin, it is hardly a surprise that his son authored several violin concertos, five of which are authentic—K. 207, 211, 216, 218, and 219. He possibly may have composed two others—K. 268/ C14.04 and K. 271a/271i—but these have survived in either fragmentary form or are of doubtful authenticity. The fact that the five authentic violin concertos all emerged between April and December of a single year—1775—is less easy to explain.
There is reason to believe that these concertos were written for Brunetti, the concertmaster of the Salzburg Court. Evidence for this is provided by an alternate finale for K. 207 (K. 261a) and a substitute second movement for K. 219 (K. 261). This latter movement was described by Leopold as a new “Adagio for Brunetti, since the one was too studied for him.” Be that as it may, one can hardly imagine how anyone could have been unhappy with the
original Adagio, whose melodiousness, grace, and expressivity is unsurpassed by any of its sister concertos.
The opening of the first movement of K. 218, Allegro, is a charming work that opens in the style of a military march. ●
Piano Concerto No. 4 in G Major, Op. 58
Ludwig van Beethoven III. RONDO: VIVACE (1806)
Ludwig van Beethoven was born on December 17, 1770, in Bonn, Germany, and died on March 26, 1827, in Vienna, Austria. Beethoven’s Fourth Piano Concerto was composed in 1806, a particularly productive year that also yielded the three String Quartets, Op. 59 (“Razumovsky”); the Fourth Symphony, Op. 60; and the Violin Concerto, Op. 61. The Fourth Piano Concerto received its first performance at Prince Lobkowitz’s palace in Vienna sometime in March 1807. Its first public performance (also in Vienna), with Beethoven as soloist, took place on December 22, 1808. It is scored for solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approximately 10 minutes.
Like so many of its sister works from 1805 to 1806, Beethoven’s Fourth Piano Concerto revels in lyricism and expansiveness of form. It is interesting to note, however, that the harmonic confrontations found in this piece are, if anything, even more radical than those found in Beethoven’s previous works. In contrast to the expansive first two movements, the finale of the Fourth Piano Concerto takes on a lighter spirit. Cast in a traditional rondo form, it is driven by a buoyant, rhythmic main theme. This theme is first presented quietly by the orchestra in the unexpected key of C Major before the piano playfully redirects the music back home to G Major. ●
Symphony No. 4 in c minor, “Tragic,” D. 417 Franz
Schubert (1816)
Franz Peter Schubert was born in Vienna on January 21, 1797, and died there on November 19, 1828. He composed a wide variety of music, but his most enduring contributions were to the repertory of song for voice and piano. As best as can be determined, Schubert composed more than 600 accompanied songs in his brief life, as well as a large number of solo piano compositions, operas, sacred vocal works, and chamber music. His gift as a lyrical composer may also be heard in his purely instrumental music. His Symphony No. 4 was composed in 1816 when the composer was only nineteen years old. For unknown reasons, he later added the
Symphony No. 4, had already composed eight of his nine monumental symphonies. Schubert’s lyrical gift and harmonic ingenuity in some respects outstripped that of the elder master, to whom he looked up and without whose influence, Schubert could not entirely escape. One additional interesting aspect of this symphony is that it was not published until 1884, and at that edited by none other than Johannes Brahms, who may have inserted some of his own emendations. Only since 1965 are we seeing new critical editions of Schubert’s works that come closer to the original conception of this and other compositions. A new critical edition of Symphony No. 4 was issued in 1999.
In any event, symphonic music in early 19th-century Vienna took a back seat to other genres, most notably opera. There was not even an established orchestra that existed for the sole purpose of
The history of symphonic music might have changed significantly had Franz Schubert’s contributions to the genre stood in the foreground of his Vienna.
title, “Tragic,” perhaps to render it more marketable. It was not performed in public until November 19, 1849, in Leipzig. The work is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Approximately 30 minutes.
The history of symphonic music might have changed significantly had Franz Schubert’s contributions to the genre stood in the foreground of his Vienna. The dominant figure of his time, of course, was none other than Ludwig van Beethoven, who, by the time Schubert composed his
performing concert pieces for orchestra. Public performances of symphonies relied on the composer being able to marshal the personnel from opera orchestras and securing a suitable venue. There was no Musikverein (built in 1870) and no Vienna Philharmonic (established in 1842). Symphonies, therefore, were often performed in smaller venues for private audiences and such was the case with most of those composed by Schubert. It was characteristic of this composer, who most of his short life shunned the public spotlight, to play down his achievements
as a composer of symphonies. Time has proven that even his earliest efforts are meritorious beyond his self-assessment.
The first movement of Schubert’s Fourth Symphony begins with a dramatic introduction (Adagio molto), which could have been inspired by the “Depiction of Chaos” opening of Joseph Haydn’s oratorio, The Creation, but that also carries traces of the influence of Christoph Willibald Gluck. The ensuing Allegro vivace shows the possible influence of the first
No. 5, it could be the gently lyrical Andante in A-flat Major second movement. This rondo on occasion attempts to equal Beethoven’s boldness, especially in its second and fourth sections, but falls back mainly on its more serene tunefulness. The third movement is labeled Menuetto Allegro vivace and is notable for several reasons. As is the case with Beethoven’s Symphony No. 1, the title, “Menuetto” is deceptive, as it is in fact closer to the spirit of a scherzo than a courtly dance.
If any movement hints at the possibility of the influence of Beethoven’s Symphony No. 5, it could be the gently lyrical Andante in A-flat Major second movement. This rondo on occasion attempts to equal Beethoven’s boldness, especially in its second and fourth sections, but falls back mainly on its more serene tunefulness.
movement of Beethoven’s String Quartet, Op. 18, No. 4—a work in the same key of c minor with which Schubert surely could have been familiar (Beethoven’s “Pathétique” Sonata, also in c minor, cannot be eliminated as another possible inspiration). Unlike Beethoven’s penchant for ending the movement in a minor key, Schubert elects, Haydn-like, to allow the brighter major mode to hold sway.
If any movement hints at the possibility of the influence of Beethoven’s Symphony
Another unusual feature is Schubert’s choice of tonality: E-flat Major. Normally the third movement of a symphony would return to the home key of the first movement—in this case c minor. Finally, the movement’s high level of chromaticism and brief excursions into foreign keys show an adventurous nature of Schubert’s harmonic muse. The energetic final movement, Allegro, brings us back home to c minor as well as the piquant chromatic inflections that are a hallmark of the first
and third movements. The symphony ends optimistically in C Major, but not without the signature chromaticism that permeates so much of the work. ●
Threnody to the Victims of Hiroshima Krzysztof Penderecki (1961)
Polish composer Krzysztof Penderecki was born in Dębica, Poland, on November 23, 1933, and died in Kraków on March 29, 2020. His musical studies were at the Jagiellonian University and Academy of Music in Kraków. He composed a wide variety of works, including operas, symphonies and other orchestral pieces, concertos, sacred choral works, and chamber music. He is best known for his St. Luke Passion, Symphony No. 3, and Threnody to the Victims of Hiroshima. Its first performance took place on September 22, 1961, at the Warsaw Autumn Festival with Andrzej Markowski leading the Kraków Symphony Orchestra. The Threnody was composed in 1961 and is written for 52 string instruments: 24 violins, 10 violas, 10 cellos, and 8 double basses. Approximately 8.5 minutes. The world has recently observed the 80th anniversary of the fateful atomic bombing of Hiroshima and Nagasaki, Japan, on the 6th and 9th of August, 1945. To date, these are the only wartime applications of these weapons of mass destruction, although we still live in the shadow of these events. Originally titled 8’37”, Penderecki’s Threnody makes use of a unique manner of scoring that lends itself to the unorthodox way in which the instruments are used. The word “sonorism” has been associated with the composer’s music. In accordance with the horrific event inflicted on the victims of the Hiroshima bombing, Penderecki exposes his audience to a host of sonorities—highpitched screams, percussive effects, pizzicato, bending of pitches, clusters, to name but a few. Uncomfortable as many of the sounds may be, one must
acknowledge the dramatic effectiveness of the composition, which has been used in other media. To name but two, filmmaker Alfonso Cuarón cited excerpts from Threnody in Children of Men (2006), as did Wes Craven in The People Under the Stairs (1991). ●
Four Last Songs, Op. posth.
Richard Strauss (PUB. 1950)
Richard Strauss was born in Munich, Germany, on June 11, 1864, and died in Garmisch-Partenkirchen, Germany, on September 8, 1949. He was not related to the Viennese Strauss family of waltz fame, although he composed some impressive waltzes that are incorporated in his larger works. A brilliant conductor and composer, Strauss first came to public attention as a composer because of his sensational symphonic poems composed during the 1880s. Among Strauss’s crowning achievements are the repertory of more than 200 songs for voice accompanied by piano or orchestra. Published as a set in 1950 by the composer’s friend Ernst Roth, his Four Last Songs (Vier letzte Lieder) are a product of what biographers identify as his “Indian Summer.”
The songs were given their premiere performance at London’s Royal Albert Hall on May 22, 1950, by soprano Kirsten Flagstad and the Philharmonia Orchestra, conducted by Wilhelm Furtwängler. The set is orchestrated for piccolo, 3 flutes (3rd doubling second piccolo), 2 oboes, English horn, clarinet in E-flat, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, harp, celesta, and strings. Approximately 25 minutes.
Richard Strauss remains one of history’s most enigmatic composers, and nowhere does this come into sharper relief than during the later stages of his life and work (1930-1949). Until 1933, Strauss had been wary of politics and was no fan of the National Socialists and their agenda. Nevertheless, when Hitler came to power, Strauss accepted the appointment as president of the Reichsmusikkammer (Ministry of Music), thinking that this would further his artistic goals. Even though he resigned from this honorary post, in part because he chose to stand by his Jewish librettist, Stefan Zweig, he could never fully escape the stigma of his former association with the Nazis. It should be added that the composer’s daughter-inlaw was also Jewish and Strauss sought to protect her and his grandsons from the fate that awaited Jews during the Third Reich. In fairness, one might conclude that
Many of the final works of Strauss exhibit a kind of neoclassicism, as found in his lovely Concerto for Oboe and Orchestra (1945, rev. 1948), composed at the request of the American virtuoso John DeLancie.
both the composer and the Nazis were using each other for selfish purposes, but it is clear that Strauss’s ambition and ego clouded his judgment. Strauss was officially “de-Nazified” after the war, and his despair over what had become of Germany found musical voice in his Metamorphosen for 23 Strings (1945).
Many of the final works of Strauss exhibit a kind of neo-classicism, as found in his lovely Concerto for Oboe and Orchestra (1945, rev. 1948), composed at the request of the American virtuoso John DeLancie. The Four Last Songs were his final compositions and the poems he chose—and the manner in which he set them—expressed his feelings about death and resignation. The songs are couched in the harmonic vocabulary of late-Romanticism and are exquisitely orchestrated. They also gloriously reflect Strauss’s uncanny genius in writing for the soprano voice that is exhibited in so many of his earlier operas. The first three songs, as printed by the publisher Boosey & Hawkes, are settings of poems by Hermann Hesse (1877-1962), the author of Steppenwolf and Siddhartha, and recipient in 1946 of the Nobel Prize in Literature. These songs are titled “Frühling” (Spring), “September,” and “Beim Schlafengehen” (Going to Sleep). The first two make for a logical pair as they reflect on nature, represented by a garden, from the awakening of blossoms to their withering moments. The third song expresses a desire for the end of yearning and thought, only to lose oneself in the eternity of a gentle night. An interlude for solo violin is especially poignant. The final song, “Im Abendrot” (At Sunset), uses a poem by the great Romantic Joseph Freiherr von Eichendorff (1788-1857), whose poetry was among the most frequently set in the 19th century. Against the backdrop of nature, the poet writes of two travelers weary of their wanderings, longing for rest. The poetic image of a pair of larks is evoked musically by trills in the piccolos. The final couplet reads, “How tired we are of travelling—is this perchance death?” Strauss follows this with a self-quotation of the transformation theme from his
symphonic poem Tod und Verklärung (Death and Transfiguration) composed between 1888-1889. The peroration in the orchestra is one of the most beautiful and moving passages ever composed. ●
Symphony No. 4 in G Major
Gustav Mahler (1899-1900)
Gustav Mahler was born May 7, 1860, in Kalischt, near Iglau [now Kaliště, Jihlava], Bohemia, and died May 18, 1911, in Vienna. His Symphony No. 4 was first performed in Munich on November 25, 1901. It is scored for 4 flutes (2 piccolos), 3 oboes (1 English horn), 3 clarinets (1 E-flat clarinet, 1 bass clarinet), 3 bassoons (1 contrabassoon), 4 horns, 3 trumpets, timpani, sleighbells, cymbals, glockenspiel, triangle, tam-tam, bass drum, harp, and strings. Approximately 55 minutes.
The fourth of Mahler’s nine completed symphonies was begun in the summer of 1899 and completed the next year. It received its first performance on November 25, 1901, in Munich, where it met with vicious attacks from the audience. Its Viennese premiere occurred in 1902, and on that occasion the audience was deeply divided between opponents and enthusiasts. The work is in four movements and takes less than one hour to perform—a stark contrast to the more than 90 minutes it takes to perform Mahler’s Symphony No. 3.
“My time will yet come,” said the famous conductor/composer about the fate of his compositions. “One need not be present when one becomes immortal.” In retrospect, these comments have proven to be remarkably prophetic. Mahler’s time has come. The truth of this statement has been borne out by the veritable explosion of interest in his songs and symphonies since the 1960s. Part of this interest may be attributed to the persistent enthusiasm of Leonard Bernstein, but credit is due to conductors of an earlier
generation—especially Willem Mengelberg and Mahler’s disciple, Bruno Walter—who championed his music, often in the face of a hostile public and unsympathetic critics. Mahler’s music represents both a beginning and an end. The fin-de-siecle world in which he lived and worked was politically and ideologically falling apart, and it is hardly coincidental that Mahler and Freud were children of the same epoch. Mahler knew the “psychological man,” but still yearned for a purer innocence of the earlier Romantic era. This yearning was graphically demonstrated by his profound interest in the collection of folk poetry amassed by Achim von Arnim and Clemens Brentano around 1808 and published under the title Des Knaben Wunderhorn (The Youth’s Magic Horn).
the Wunderhorn poem is the basis for the work’s last, and shortest, movement. The poem in question is an alleged Bavarian folksong titled “Der Himmel hängt voll Geigen” (later retitled “Das himmlische Leben” [Heavenly Life]). Mahler gives this text a charming setting for soprano and orchestra. Interestingly, this poem and its setting were under consideration for the finale of Mahler’s Third Symphony, and listeners familiar with both works will note thematic connections between them. “Das himmlische Leben” also has a poetic antithesis in the Arnim and Brentano anthology. This poem is called “Das irdische Leben” (Earthly Life), and Mahler’s setting of it forms part of his Wunderhorn cycle. “Das irdische Leben” tells the grim story of poverty as a hungry child begs
Mahler’s Symphony No. 4 contains some of his loveliest melodic ideas. As is typical of his style, these melodies are placed into sharp juxtaposition with brilliant, nervous passages of orchestral counterpoint, abrupt modulations, and unusual instrumental colors.
Mahler responded to the Wunderhorn anthology by setting several of these German-Austrian folk poems to music for voice and orchestra. They also found their way into Mahler’s symphonies. The Second, Third, and Fourth Symphonies each contain one movement in which a vocal-orchestral setting of a Wunderhorn poem can be found.
In the case of the Fourth Symphony,
its mother for food. Each plea for food is deflected by the mother. Sadly she waits too long, and by the time the bread is ready, the child has died of starvation.
“Das himmlische Leben,” by contrast, describes a heavenly banquet as a child might envision it. But even here, the imagery is not without its disturbing moments. Why, for example, is the “butcher Herod” lying in wait for the
lamb, or St. Luke slaughtering an ox?
The benevolent sleighbells from the first movement turn menacing as each scene is described. But all turns to bliss and dream as the text ends with a depiction of Saint Cecilia’s heavenly court music.
The three movements that precede the finale, each in its own way, point toward the naive vision of life in heaven. Mahler achieves this through a network of thematic interrelations among the four movements that the careful listener can apprehend. The sound of sleighbells that open the first movement, as mentioned above, returns in the finale. But there are other links. An unusual feature of the second movement (In gemächlicher Bewegung) is the spectral quality of the
solo violin, whose strings are deliberately mistuned a whole step higher than normal—an effect known as scordatura The resulting sound evokes a medieval fiddle. The third movement is one of Mahler’s most sublime creations, a Poco adagio marked Ruhevoll (Restful). Near its end, Mahler reveals, in a blaze of glory, a foreshadowing of “Das himmlische Leben” in the horns.
Mahler’s Symphony No. 4 contains some of his loveliest melodic ideas. As is typical of his style, these melodies are placed into sharp juxtaposition with brilliant, nervous passages of orchestral counterpoint, abrupt modulations, and unusual instrumental colors. Mahler’s experience as a master conductor is
witnessed by the meticulous detail etched into every instruction to conductor and performer that permeates the score. Less “cosmic” in scope than many of his other works, Mahler’s Fourth Symphony takes its place as the one by which his music, aesthetic, and philosophy are most easily approached. ●
Text Translation
“Das himmlische Leben”
“The Heavenly Life” (aus Des Knaben Wunderhorn) (from Des Knaben Wunderhorn)
Wir genießen die himmlischen Freuden, We enjoy heavenly pleasures D’rum tun wir das Irdische meiden. and therefore avoid earthly ones. Kein weltlich’ Getümmel No worldly tumult Hört man nicht im Himmel! is to be heard in heaven. Lebt alles in sanftester Ruh’. All live in greatest peace. Wir führen ein englisches Leben, We lead angelic lives, Sind dennoch ganz lustig daneben; yet have a merry time of it besides. Wir tanzen und springen, We dance and we spring, Wir hüpfen und singen, We skip and we sing.
Sankt Peter im Himmel sieht zu. Saint Peter in heaven looks on. Johannes das Lämmlein auslasset, John lets the lambkin out, Der Metzger Herodes d’rauf passet. and Herod the Butcher lies in wait for it.
Wir führen ein geduldig’s, We lead a patient, Unschuldig’s, geduldig’s, an innocent, patient, Ein liebliches Lämmlein zu Tod. dear little lamb to its death.
Sankt Lucas den Ochsen tät schlachten Saint Luke slaughters the ox Ohn’ einig’s Bedenken und Achten. without any thought or concern. Der Wein kost’ kein Heller Wine doesn’t cost a penny Im himmlischen Keller; in the heavenly cellars; Die Englein, die backen das Brot. The angels bake the bread.
Gut’ Kräuter von allerhand Arten, Good greens of every sort Die wachsen im himmlischen Garten, grow in the heavenly vegetable patch, Gut’ Spargel, Fisolen good asparagus, string beans, Und was wir nur wollen. and whatever we want.
Ganze Schüsseln voll sind uns bereit!
Whole dishfuls are set for us!
Gut’ Äpfel, gut’ Birn’ und gut’ Trauben; Good apples, good pears and good grapes, Die Gärtner, die alles erlauben. and gardeners who allow everything!
Willst Rehbock, willst Hasen, If you want roebuck or hare, Auf offener Straßen on the public streets Sie laufen herbei! they come running right up.
Sollt’ ein Fasttag etwa kommen, Should a fast day come along, Alle Fische gleich mit Freuden angeschwommen! all the fishes at once come swimming with joy.
Dort läuft schon Sankt Peter
There goes Saint Peter running Mit Netz und mit Köder with his net and his bait
Zum himmlischen Weiher hinein. to the heavenly pond.
Sankt Martha die Köchin muß sein. Saint Martha must be the cook.
Kein’ Musik ist ja nicht auf Erden,
There is just no music on earth Die unsrer verglichen kann werden. that can compare to ours.
Elftausend Jungfrauen
Even the eleven thousand virgins Zu tanzen sich trauen. venture to dance,
Sankt Ursula selbst dazu lacht. and Saint Ursula herself has to laugh.
Kein’ Musik ist ja nicht auf Erden, There is just no music on earth Die unsrer verglichen kann werden. that can compare to ours.
Cäcilia mit ihren Verwandten
Cecilia and all her relations Sind treffliche Hofmusikanten! make excellent court musicians. Die englischen Stimmen
The angelic voices
Ermuntern die Sinnen, gladden our senses, Daß alles für Freuden erwacht. so that all awaken for joy.
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Jerry & Susan Dickinson
Robert Godshall
Jean & Bob Gough
Jean & Bob Gough, in memory of
Joy Eaton
Nancy Elizabeth Guist
David & Judith Harris
JKW Lawyers
Sue Johnson & Jim Zabilski
Stephanie & David Kauffman
Noel & Meredith Kopald
Kathy & John Matter
Roberto Minczuk
David & Alice Monet
Ed Muller
Janice Parker, in memory of Judge
James A. Parker
Stuart & Janice Paster
Mary Raje
Sandra P. & AFLt/Col (r.) Clifford E. Richardson III
Karl Ricker
Aaron & Elizabeth Robertson
Ruth Ronan
Jasmine Sanchez & Avery Johnson, in honor of their nuptials
Howard & Marian Schreyer
Barbara Servis
Frederick & Susan Sherman
Mark & Maria Stevens
George Thomas
Rogan & Laurie Thompson
Rita Villa
Kathleen Waymire
Judy Basen Weinreb
Jeffrey West
David & Evy Worledge
Diana Zavitz
CONCERTMASTER CIRCLE
Donation of $500–$999
Fay Abrams
Albuquerque Community Foundation, Lee Blaugrund
Endowment Fund
Albuquerque Community Foundation, Maisel/Goodman
Charitable Endowment Fund
Lawrence & Katherine Anderson
Anonymous
Michael & Leanore Baca
Tonianne Baca-Green
Daniel & Barbara Balik
Elizabeth Bayne
Stan Betzer
Thomas Bird & Brooke Tully
Lawrence & Deborah Blank
Ross Blankinship
Rod & Genelia Boenig
Charles & Aziza Chavez
Paul Clem
Marcia Congdon
James Connell
Bob Crain
John Crawford & Carolyn Quinn
Stephen & Stefani Czuchlewski
Michael Dexter
Michael & Laurel Edenburn
James & Teresa Edens
Roberta Favis
Heidi Fleischmann & James Scott
Denise Fligner & Terry Edwards
Joseph Freedman & Susan
Timmons
Reese Gateley
Roland Gerencer, MD
Dennis & Opal Lee Gill
Howard & Janis Gogel
Laurence Golden
Drs. Robert & Maria Goldstein
Berto & Barbara Gorham
Thomas & Linda Grace
Justin M. & Blanche G. Griffin
Harris Jewelers
Harris Hartz
Stephen & Aida Ramos Heath
Donna Hill
Pamelia Hilty (Snow Blossom Gift Fund)
John Homko
Betty Humphrey
Tatiana Hunter
Patrick & Elois Hurley
Stephen Ingram & Amparo Maria Garcia Ingram
Edwin & Nikolene Isely
Jerry & Diane Janicke
Barbara Johnson
Harrison & Patricia Jones
Marlin Kipp
Stephanie & Kenneth Kuzio
Nick & Susan Landers
Alan & Kathleen Lebeck
Thomas Lenzer
Joe & Pam Limke
Robert Lindeman & Judith Brown
Lindeman
John Linder & Margaret Chaffey
Thomas & Donna Lockner
Dr. Ronald & Ellen Loehman
Marcia & Suzanne Lubar
Anthony Lupinetti & Joanna Fair, in memory of Janet Fair
Bruce F. Malott
Roger & Kathleen McClellan
Jon McCorkell & Dianne Cress
Linda McNiel
Richard & Melissa Meth
Ross & Mary Miesem
Christine & Russell Mink
Napoli Coffee
Mark Napolin
Betsy Nichols
Richard & Susan Perry
Mike Provine
Dr. Barry & Roberta Ramo
Barbara Rivers
Justin Robertson
Robin Jackson Photography
Catalin Roman & Sarita Cargas
Christine Sauer
Sally Schwartz
Jane & Robert Scott
Albert Seargeant
Gretchen Seelinger
Sandy Seligman
Dorothy Stermer & Stacy Sacco
David Stryker
Tamara Tomasson
Total Wine & More
Arthur Vall-Spinosa & Sandra
Louise Nunn
James Vaughn
Margaret Vining
Lauren Wilber
Janice & Harvey Yates
PRINCIPALS
CIRCLE
Donation of $125–$499
Dr. Fran A’Hern-Smith
Lisa Aimone, in memory of Pauline
Jones
Leah Albers & Thomas Roberts
Albuquerque Little Theatre
Gerald Alldredge
Anonymous
Sally Bachofer
Douglas & Kathleen Bailey
Jan Bandrofchak & Cleveland
Sharp
Aimee Barabe
William Barber
Harold & Patricia Baskin
Susan Beard
Edie Beck
Michael Bencoe
David & Judith Bennahum
Mark & Beth Berger
Beso Jewels
Gregg & Amy Bogost, in memory of
Sheila Bogost
Walter & Celia Bolic
Carolyn R. Brown & William Ranken
Terry Brownell & Alpha Russell
Jonathan & Caroline Bull
Carol Callaway
Luana Carey
Casa Verde Spa
Dan & Tina Chan
Robert & Olinda Chavez
Lance & Kathy Chilton
Beth Clark
Jeff Collins
Mark Compton
Amy Couch
Elizabeth Davis-Marra
Mary Ann & Michael Delleney
Raymond & Anne Doberneck
Thomas & Martha Domme
Carl & Joanne Donsbach
Martin J. Doviak
Jeff & Karen Duray
Reverend Suzanne & Bill Ebel
Enchanted Mesa
Robert & Dolores Engstrom
Jackie Ericksen
David & Frankie Ewing
Mary Filosi
Ralph Garza & Kris Williams
Mary Day Gauer
Rod & Maria Geer
Alfred & Patricia Green
Paul & Marcia Greenbaum
Mina Jane Grothey
Jim & Renee Grout
Regina Guest
Lee & Thais Haines
Matt Tyler Hart
John & Diane Hawley
Robert & Angela Hawthorne
Darren Hayden
Toppin & Robert Hodge
Hughes Homestead Designs
Paul Isaacson
Gwenellen Janov
Ann King
Richard Kozoll & Sally Davis, in memory of Dr. Steven Jubelirer
Phil Krehbiel
Jennifer C. Kruger
Elizabeth Kubie
Erik Kuhlmann
Karen Kupper
Janice Langdale
Michael & Roberta Lavin
Jeffery & Jane Lawrence
Honorable Idalia Lechuga-Tena &
Marco Gonzales
Jae-Won & Juliane Lee
Betty Logan
Daniel Lopez & Linda Vigil Lopez
Ruth Luckasson & Dr. Larry Davis
Robert Lynn & Janet Braziel
Gloria Mallory
Robert & Linda Malseed
The Man’s Hat Shop
Jeffrey Marr
Marcia McCleary
Jane McGuigan
Don McGuire
Chena Mesling
Bruce Miller
Jim Mills & Peggy Sanchez Mills
Ben Mitchell
Jan Mitchell
Louis & Deborah Moench
Dr. William Moffatt
Danny & Kristin Montes
Robert & Phyllis Moore
Jim & Penny Morris
Shirley Morrison
Cary & Eve Morrow
Ted & Mary Morse
Karen Mosier & Phillip Freeman
Mr. Tux
Sharon Mullis
Kindred & Michael Murillo
Nambé
NMPhil Audience $5 to Thrive
Janeth Nunez del Prado
Rebecca Okun
Del Packwood & Barbara Reeback
Kyle & Letita Peterson
Lang Ha Pham & Hy Tran
Placitas Artists Series
Popejoy Presents
Dan & Billie Pyzel
Robert Reinke
Tim Renk
Lawrence & Joyce Reszka
Kathryn & Chris Rhoads
Cynthia Risner
Jeff Romero
Charles Rumbaugh
Donald & Loraine Sanchez
Patrycia Sanchez
Sarafian’s Oriental Rugs
John & Karen Schlue
Laura Scholfield
Daniel & Barbara Shapiro
Dean Sherer
Rich Signe
Beverly Simmons
R.J. & Katherine Simonson
R.J. & Katherine Simonson, in memory of Bill Bradley
Ann Singer
Rae Siporin
George & Vivian Skadron
Steven & Keri Sobolik
Susan Spaven, in honor of Valerie
Potter
Jennifer Starr
Luis & Patricia Stelzner
John & Patricia Stover
Larry & Susan Tackman
Tea’ze A More Gourmet Teas
Laurence Titman
Dr. Steven Tolber & Louise
Campbell-Tolber
Sally Trigg
Frank & Claire Trujillo
Jay Ven Eman
Tatiana Vetrinskaya
Lawrence Wells
Bronwyn Willis
Linda Wolcott
Uwe Wrede & Michelle Michael
Brian Young & Jennifer Perret
Kari Young
Alvin Zuckert & Louise Martin, in memory of Sam & Mimi Zuckert
FRIENDS OF THE PHILHARMONIC
Donation of $25–$124
Harro & Nancy Ackermann
David & Elizabeth Adams
Natalie Adolphi & Andrew
McDowell
Albuquerque Auto Outlet, Paul
Cervantes
Jeffrey Allen
Jo Anne Altrichter & Robin Tawney
Anonymous
David Baca
Jackie Baca & Ken Genco
Jennifer Bachus
Charlene Baker
Bark Box
Graham Bartlett
Kenneth Beebe
David & Betty Begeal
Laura Bemis
Kirk & Debra Benton
Laura Bernay
Melbourne Bernstein
Marianne Berwick
Betty’s Bath & Day Spa
Dusty & Gay Blech
Henry Botts
California Pizza Kitchen
Camille Carstens
Joseph Cella
Cindy Chapman & Bill Harris
Cheesecake Factory
Douglas Cheney
Barry Clark
Lisa Collins
Douglas Collister, in memory of
Judy Chant
Lawrence & Mary Compton
Martha Corley
Edward Curtis & Alfred Papillon
Cara & Chad Curtiss
Daily Grind/Caruso’s
Hubert Davis
Darryl Domonkos
Lisa Donald
Michael & Jana Druxman
D. Reed Eckhardt
Lester & Eleanor Einhorn
Bradley Ellingboe
Matthew Estlack
Vicky Estrada-Bustillo & Juan
Bustillo
Peter & Janet Fagan
Farm & Table
Howard Fegan
Jon & Laura Ferrier
Patrick & Elizabeth Finley
Daniel & Marissa Finnegan
Susan Fitch
Rabbi Arthur Flicker
Karin Frings
James & Cynthia Frost
Greg & Jeanne Frye-Mason
Eric & Cristi Furman
Debra Jane Garrett
Lawrence Jay Gibel, MD
Candace Gordon
Great Harvest Bakery
Matthew & Amy Greer
Stanley & Sara Griffith
Kevin Grunewald, in memory of
Quay Ann Benton
Kenneth Guthrie & Doni Lazar
J. Michele Guttmann
Ronald Halbgewachs
Leila Hall
Nancy Hamilton
Rachel Hance, in memory of
Dolores Hance
Frank & Sue Hardesty
Gloria B. Hawk Revocable Trust
DONOR CIRCLES
DONOR CIRCLES
Ursula Hill
Kristin Hogge
Kendell Holmes
Steven Homer
Christopher Isham
Larry James
Lori Johnson
Ruth Johnson
Barbara Jones
Lawrence & Anne Jones
Brenda Jozwiak
Joel & Debbie Karasik
Ty Kattenhorn
Kelly Jo Designs by Wine
Margaret Knapp
John & Gretchen Kryda
Dana Lambe
Larry W. Langford
Molly “Mary” Lannon
Lorin Larson
Paul & Julie Laybourne
Rita Leard
Daniel Levy
Claire Lissance
Larry & Shirlee Londer, in memory of Bill Bradley
Suzanne Lubar & Marcos
Gonzales, in memory of Dr. Larry Lubar
Joan M. Lucas & David Meyerhofer
Sam Lucero & Ron Lahti
Joan A. March
Elliot S. Marcus, MD
Carolyn Martinez
Carolyn Martinez, in memory of
Judy Chant
Robert & Anne Martinez
Denis & Sallie McCarthy
Moses Michelsohn
George Mikkelsen
Kathleen Miller
Martha Miller
Rachel & John Miller
Mister Car Wash
Bryant & Carole Mitchell
Annette Montoya
Letitia Morris
Baker H. Morrow & Joann
Strathman
John & Patsy Mosman
Sharon Moynahan
Brian Mulrey
Alice Myers
Bette Myerson
Albert & Shanna Narath
Ann & James Nelson, in memory of
Louise Laval
New Mexico Museum of Natural History & Science
Jennifer Newton & Aaron Chacon
NM Escape Room
Ruth O’Keefe
Katherine Ott-Warner
Peter Pabisch
Eric Parker
Howard Paul
David & Martha Peercy
Barbara Pierce
Judi Pitch
Veronica Potts
Daniel Puccetti
Ray Reeder
Mark Regazzi
Reincarnation INC
Carol Renfro
Kerry Renshaw
Donna Rigano
Margaret Roberts
Gwenn Robinson, MD, & Dwight
Burney III, MD
Glenn & Amy Rosenbaum
Michelle Rossbach
Michael & Joan Rueckhaus
Shannon Runyon
Patricia Ryan
Peter & Susan Scala
Screen Images, Inc., Maria Cordova-Barber
Robert & Joy Semrad
Sheehan Winery
Arthur & Colleen Sheinberg
Joe Shepherd
Rebecca Shores
Glen & Barbara Smerage
Carl & Marilyn Smith
Catherine Smith-Hartwig
Smith’s Community Rewards
Jan & Teresa Sole
Allen & Jean Ann Spalt
Laurel Srite
Stan & Marilyn Stark
Charlie & Alexandra Steen
Theodore & Imogen Stein
Elizabeth Stevens & Michael Gallagher
Robert & Jacqueline Sutton
Gary Swanson
Michael Thompson
Valerie Tomberlin
Top Golf
John & Karen Trever
Jorge Tristani
Tom Vosburgh & Jeannie Forrester
John & Karin Waldrop
Elaine Watson, in memory of William Seymour
Dale A. Webster
Weem’s Gallery & Framing
Kathryn Wissel
Charles & Linda White
Marybeth White
Daniel & Jenny Worledge, in honor of David Worledge
Kenneth Wright
BUSINESS CIRCLE
Bontina
Bright Ideas
The Noel Company
Senspex Incorporated
8/28/2025
●
2025-26 SEASON
Catalyst Quartet
Danish String Quartet
Joseph Lin Beethoven Celebration
Curtis on Tour with Roberto Diaz
Academy of St. Martin in the Fields
Wind Ensemble
Viano Quartet with Avi Avital
So Percussion with Caroline Shaw
84 years strong bringing exceptional ensembles to New Mexico
Legacy Society Giving for the future
Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you.
Jo Anne Altrichter & Robin Tawney
Maureen & Stephen Baca
Evelyn Patricia Barbier
Edie Beck
Nancy Berg
Sally A. Berg
Thomas C. Bird & Brooke E. Tully
Edison & Ruth Bitsui
Eugenia & Charles Eberle
Bob & Jean Gough
Peter Gregory
Ruth B. Haas
Howard A. Jenkins
Joyce Kaser
Walter & Allene Kleweno
Ron Lahti
Louise Laval
Julianne Louise Lockwood
Dr. & Mrs. Larry Lubar
Sam Lucero
Joann & Scott MacKenzie
Margaret Macy
Thomas J. Mahler
Gerald McBride
Shirley Morrison
Betsy Nichols
Cynthia Phillips & Thomas Martin
George Richmond
Eugene Rinchik
Barbara Rivers
Gary and Kathy Singer
Terrence Sloan, MD
Jeanne & Sid Steinberg
Charles Stillwell
William Sullivan
Dean Tooley
Betty Vortman
Maryann Wasiolek
William A. Wiley
Charles E. Wood
Dot & Don Wortman
8/28/2025
●
Thank You for Your Generous Support
Volunteers, Expertise, Services, & Equipment
The New Mexico Philharmonic would like to thank the following people for their supportand in-kind donations of volunteer time, expertise, services, product, and equipment.
CITY & COUNTY APPRECIATION
Mayor Tim Keller & the City of Albuquerque
Trudy E. Jones & the Albuquerque City Council
The Bernalillo County Board of Commissioners
Dr. Shelle Sanchez & the Albuquerque Cultural Services Department
Amanda Colburn & the Bernalillo County Special Projects
Councilor Brook Bassan
Councilor Tammy Fiebelkorn
Councilor Renee Grout
Councilor Dan Lewis
BUSINESS & ORGANIZATION
APPRECIATION
The New Mexico Philharmonic Foundation
The Albuquerque Community Foundation
INDIVIDUAL APPRECIATION
Lee Blaugrund & Tanager Properties Management
Ian McKinnon & The McKinnon Family Foundation
Billy Brown
Alexis Corbin
Anne Eisfeller
Chris Kershner
Jackie McGehee
Brad Richards
Barbara Rivers
Emily Steinbach
Brent Stevens
VOLUNTEERS HOSTING VISITING
MUSICIANS
Don and Cheryl Barker
Ron Bronitsky, MD, & Jim Porcher
Chris and Tom Brown
Isabel Bucher & Graham Bartlett
Mike & Blanche Griffith
Emily Cornelius
Amy Huzjak
Rita Leard
Nicolle Maniaci
Sarah Manthey
Ron & Mary Moya
Steve & Michele Sandager
8/28/2025 ●
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
nmarts.org
Olga Kern International Piano Competition olgakerncompetition.org
Menicucci Insurance Agency mianm.com Meredith Foundation
Philharmonic Foundation Inc. nmphilfoundation.org
New Mexico Philharmonic
The Musicians
FIRST VIOLIN
Cármelo de los Santos
Karen McKinnon Concertmaster Chair
Elizabeth Young •• Associate Concertmaster
Sarah Tasker ••• Assistant Concertmaster
Ana María Quintero Muñoz
Heidi Deifel
Olivia de Souza Maia
Lorenzo Gallegos
Juliana Huestis
Barbara Rivers
Nicolle Maniaci
Barbara Scalf Morris
SECOND VIOLIN
Rachel Jacklin •
Carol Swift •••
Julanie Lee
Lidija Peno-Kelly
Liana Austin
Sheila McLay
Jessica Retana
Jocelyn Kirsch
Brad Richards
VIOLA
Laura Chang •
Kimberly Fredenburgh •••
Allegra Askew
Christine Rancier
Laura Steiner
Michael Anderson
Lisa DiCarlo
Joan Hinterbichler
Laura Campbell
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 •
Carla Lehmeier-Tatum
Ian Mayne-Brody
Dana Winograd
David Schepps
Lisa Collins
Elizabeth Purvis
BASS
Joe Weldon Ferris •
Mark Tatum •••
Katherine Olszowka
Terry Pruitt
Marco Retana
Frank Murry
FLUTE
Valerie Potter •
Esther Fredrickson
Noah Livingston ••
PICCOLO
Esther Fredrickson
OBOE
Kevin Vigneau •
Amanda Talley
ENGLISH HORN
Melissa Peña ••
CLARINET
Marianne Shifrin •
Lori Lovato •••
Jeffrey Brooks
E-FLAT CLARINET
Lori Lovato
BASS CLARINET
Jeffrey Brooks
BASSOON
Stefanie Przybylska •
Denise Turner
HORN
Peter Erb •
Allison Tutton
Maria Long ••
Andrew Meyers
TRUMPET
John Marchiando •
Brynn Marchiando
Sam Oatts ••
TROMBONE
Aaron Zalkind •
Byron Herrington
BASS TROMBONE
David Tall
TUBA
Richard White •
TIMPANI
Tyler Brown •
PERCUSSION
Jeff Cornelius •
Kenneth Dean
Emily Cornelius
HARP
Carla Fabris •
BOARD OF DIRECTORS
Maureen Baca Chair
Al Stotts Vice Chair
Fritz Eberle
Treasurer
Lauren R. Wilber
Secretary
Joel Baca
Ron Bronitsky, MD
Robert Gough
Idalia Lechuga-Tena
Roberto Minczuk
Jeffrey Romero
Terrence Sloan, MD
Marian Tanau
Michael Wallace
ADVISORY BOARD
Thomas C. Bird
Lee Blaugrund
Clarke Cagle
Kory Hoggan
William Wiley
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
