NMPhil_2026_ProgramBook4_PRINT (1)

New Mexico Philharmonic Foundation Inc.

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

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

WELCOME LETTER FROM THE

MUSIC DIRECTOR

Dear Friends,

I cannot believe it is already February 2026! I wish you and your loved ones health and happiness in the year ahead, and I hope you had a wonderful holiday season.

The New Mexico Philharmonic’s 15th-anniversary season began the new year with a spectacular Afternoon Classics concert at the National Hispanic Cultural Center, featuring our outstanding horn players in Schumann’s Konzertstück. This was followed by our Symphonic Dances concert at Popejoy Hall, showcasing the remarkable pianist Roman Rabinovich in Prokofiev’s dynamic and captivating Piano Concerto No. 3, alongside music by beloved New Mexican composer Nicolás Lell Benavides and Rachmaninoff’s Symphonic Dances. I hope you were able to join us for these exciting performances.

In addition to the excellent concerts featured in this program book, I am especially looking forward to Aladdin and the Magic Lamp, our ballet collaboration with the New Mexico Ballet Company. This performance is sure to be a memorable experience for the entire family, for the story is timeless—as is the classical music to which it is set. I also cannot wait for April when we’ll present our Three Sopranos concert, featuring breathtaking arias from some of opera’s most beloved works and showcasing the amazing sopranos Catalina Cuervo, Amy Owens, and Olga Perez Flora.

As you know, we are now more than halfway through our Mahler Cycle, and we will conclude the season with one of Mahler’s most celebrated masterpieces, Symphony No. 5.

I look forward to seeing all of you at these extraordinary concerts, created for you, our extraordinary audience. Thank you for being part of the New Mexico Philharmonic family and for celebrating our 15th-anniversary season with us.

Sincerely,

Roberto Minczuk Music

Director

In 2017, GRAMMY® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). ● read full bio on page 10

ADVERTISE

POPEJOY ROCK & POPS:

Music of the Knights

Saturday, February 21, 2026, 6 p.m.

Kǎrin Hendrickson conductor

Alex Getlin vocalist

Campbell Walker Fields vocalist

John Fischer piano

You are invited to a thrilling musical celebration of three of Britain’s legendary songwriters!

Sir Andrew Lloyd Webber, Sir Elton John, and Sir Paul McCartney are not only knights—they also happen to be three of the most successful songwriters of all time with careers that span decades. Presented by Spot-On Entertainment, Music of the Knights® honors their lasting musical influence.

MAKING A DIFFERENCE

This performance is made possible by: The Albuquerque Community Foundation

POPEJOY CLASSICS:

Pictures at an Exhibition

Saturday, February 28, 2026, 6 p.m.

Alejandro Gómez Guillén conductor

Christopher Creviston saxophone

Overture to Der Freischütz, J. 277, Op. 77

Escapades Concerto for Soprano Saxophone and Orchestra

Carl Maria von Weber (1786–1826)

John Anthony Lennon

i. on the square (b. 1950)

ii. quiet streets

iii. city lights

“Portrait of a Peaceful Scene”

Christopher Creviston saxophone

Christopher Creviston saxophone

Strum

MAKING A DIFFERENCE

This performance is made possible by: Computing Center Inc.

ADDITIONAL SUPPORT

Southwest Gastroenterology Associates

Michael “Mickey” Tucker (b. 1941)

Jessie Montgomery (b. 1981)

INTERMISSION

Pictures at an Exhibition

Modest Mussorgsky

I. Promenade (1839–1881)

II. Gnomus arr. Ravel

III. Promenade

IV. Il vecchio castello (The Old Castle)

V. Promenade

VI. Tuileries (Dispute d’enfants après jeux)

VII. Bydło

VIII. Promenade

IX. Ballet des poussins dans leurs coques (Ballet of the Chicks in Their Shells)

X. Samuel Goldenberg and “Schmuÿle”

XI. Promenade

XII. Limoges: Le marché (The Market)

XIII. Catacombae (Sepulcrum romanum)

XIV. Cum mortuis in lingua mortua

XV. La cabane sur des pattes de poule (Baba-Yaga)

XVI. La grande porte de Kiev (The Great Gate of Kiev)

CONCERT PROGRAM

COFFEE CONCERT:

Carnival of the Animals

Friday, March 13, 2026, 10:45 a.m.

Roberto Minczuk Music Director

Luke Gullickson piano

Judith Gordon piano

Concerto for Two Keyboards in C Major, BWV 1061

Johann Sebastian Bach

I. Allegro (1685–1750)

II. Adagio ovvero Largo

III. Fuga

Luke Gullickson piano

Judith Gordon piano

Ballet Suite from Le Triomphe de l’Amour

Jean-Baptiste Lully

I. Overture (1632–1687)

II. Menuet I & II

III. Bourrée

IV. Air

V. Entrées de Apollon

VI. Pan

INTERMISSION

The Carnival of the Animals

Camille Saint-Saëns

I. Introduction et marche royale du lion (1835–1921)

II. Poules et coqs

III. Hémiones (animaux véloces)

IV. Tortues

V. L’Éléphant

VI. Kangourous

VII. Aquarium

VIII. Personnages à longues oreilles

IX. Le Coucou au fond des bois

X. Volière

XI. Pianistes

XII. Fossiles

XIII. Le Cygne

XIV. Final

MAR 13

First Presbyterian Church

MAKING A DIFFERENCE

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

Carnival of the Animals & More

Sunday, March 15, 2026, 3 p.m.

Roberto Minczuk Music Director

Luke Gullickson piano

Judith Gordon piano MAR 15

Selections from:

Concerto for Two Keyboards in C Major, BWV 1061

Luke Gullickson piano

Judith Gordon piano

Ballet Suite from Le Triomphe de l’Amour

The Carnival of the Animals

Johann Sebastian Bach (1685–1750)

Jean-Baptiste Lully (1632–1687)

Camille Saint-Saëns (1835–1921)

Immanuel Presbyterian Church

MAKING A DIFFERENCE

This performance is made possible by: Bernalillo County

• Commission Chair Barbara Baca, District 1

• Commissioner

Frank Baca, District 2

• Commissioner

Walt Benson, District 4

Albuquerque City Council

• Councilor

Dan Champine

• Councilor

Tammy Fiebelkorn

• Councilor

Dan Lewis

• Councilor

Renee Grout

• Councilor

Brook Bassan

POPEJOY CLASSICS:

La Mer

Saturday, March 21, 2026, 6 p.m.

Roberto Minczuk Music Director Giuseppe Gibboni violin

Romanian Rhapsody No. 1 in A Major, Op. 11

Violin Concerto No. 2 in b minor, Op. 7.

MAR 21

George Enescu (1881–1955)

Niccolò Paganini

I. Allegro maestoso (1782–1840)

II. Adagio

III. Rondo à la clochette

Giuseppe Gibboni violin

INTERMISSION

La mer, Three Symphonic Sketches for Orchestra, L. 109, CD. 111

Claude Debussy

I. De l’aube à midi sur la mer (1862–1918)

II. Jeux de vagues

III. Dialogue du vent et de la mer

La valse Maurice Ravel (1875–1937)

MAKING A DIFFERENCE

This performance is made possible by: The Albuquerque Community Foundation

Alejandro Gómez Guillén conductor

Conductor and violinist Alejandro Gómez Guillén approaches music as a space for discovery, collaboration, and storytelling. As Director of Orchestras at Arizona State University—home to one of the nation’s leading orchestral programs and the largest public university in the United States—he guides a vibrant community of emerging artists and educators. Alejandro also serves as Music Director of Sphere Ensemble, a string collective known for its adventurous programming and genre-crossing commissions, including a recent world premiere by GRAMMY®-nominated composer Carter Pann.

Previously, Alejandro spent two seasons as Assistant Conductor of the Omaha Symphony, participating in the Grammy-nominated premiere of Andy Akiho’s Sculptures, and seven seasons as Artistic Director of the Bloomington Symphony Orchestra, where he conducted the Indiana premiere of Florence Price’s Fourth Symphony and the world premiere of Mickey Tucker’s Spiritual Collage During his tenure as Associate Conductor of the Fort Worth Symphony, he led community, pops, educational, and bilingual programs, collaborating with artists such as Time for Three and mezzo-soprano Cecilia Duarte.

As a guest conductor, Alejandro has worked with orchestras across the U.S. and abroad, with upcoming engagements including the Orlando Philharmonic, Virginia Symphony, West Texas Symphony, Tulsa’s Signature Symphony, and Orquesta Filarmónica de Bogotá. Highlights include performances at the Oregon Bach Festival, in works like the Mass in b minor and St. John Passion, and

collaborations with renowned conductors such as Ankush Kumar Bahl, Tito Muñoz, Eric Jacobsen, Robert Spano, and Ruth Reinhardt. Alejandro combines artistry with education, having led the Omaha Symphony’s acclaimed community and education programs, reaching 25,000 students annually. He was previously Assistant Professor of Music at Colorado Mesa University, where he taught violin, viola, and conducting while leading the university’s orchestras. Additional roles include Music Director of the Colorado Youth Philharmonia, conducting youth and collegiate orchestras, and leading historical performance projects as a violinist and conductor.

As a violinist, Alejandro has served as concertmaster with the Grand Junction Symphony and Junges Stuttgarter Bach Ensemble, performing across Europe at venues like the Rheingau Music Festival and Berlin Philharmonie. He was a returning member of the Oregon Bach Festival’s Berwick Academy for Historical Performance and plays in Duo Anthracite and Chaski Quartet with his wife, Dr. Sarah Elizabeth Cranor.

Born in Colombia and a proud U.S. citizen, Alejandro holds a Bachelor’s degree in violin performance from Texas Christian University and Master’s and Doctoral degrees in conducting and violin from the University of Colorado at Boulder. His research includes a critical edition of Jorge Pinzón’s Violin Concerto and a guide to using Bach’s orchestral dances for modern developing orchestras. His mentors include Gary Lewis, Helmuth Rilling, Mei-Ann Chen, and Matthew Halls.

When away from the stage, Alejandro can be found trail running, singing, or reveling in a Bach fugue—often with his family and a soundtrack by Ella, Nils Frahm, or Punch Brothers. ●

Christopher Creviston saxophone

Hailed as “one of the world’s top saxophone artists” (Audiophile Audition) with “the personality and fingers of a first-rate soloist” (American Record Guide), and “subtle, perceptive phrasing, and flawless control of vibrato” (Fanfare Magazine), Christopher Creviston has been featured in venues ranging from Carnegie Hall to Paisley Park and the Apollo Theater. As a soloist and with the Capitol Quartet, Creviston has been showcased with world-class ensembles, including the National Symphony Orchestra, Baltimore Symphony Orchestra, Indianapolis Symphony Orchestra, and many others. As a recitalist and clinician, he tours internationally with the Capitol Quartet, and in the Creviston Duo with pianist Hannah Creviston.

Creviston’s recent commercial releases include premiere recordings of the Concerto for Soprano Saxophone and Band by Pulitzer Prize winner William Bolcom and the Soprano Saxophone Concerto by Pulitzer Prize finalist Carter Pann. In summer 2025, he recorded the Concerto for Alto Saxophone by Jaromír Weinberger with the Czech National Symphony Orchestra, and in the 2025/2026 season, he is slated to premiere new concerti by Robert Paterson and Mischa Zupko.

The Creviston Duo’s commercial releases include the CDs Phoenix Rising and Breaking, presenting works commissioned by the duo from recognized composers Stacy Garrop, Carter Pann, John Anthony Lennon, Mark Lanz Weiser, Katherine Hoover, John Fitz Rogers, and Eric Mandat. These and several other recordings featuring Christopher can be found on your favorite streaming media.

Now Professor at Arizona State University, Creviston previously held faculty positions at the Crane School of Music, the Greenwich House of Arts, the University of Windsor, and the University of Michigan. He serves on the faculty of the Great Plains Saxophone Workshop. His students have garnered top prizes at some of the world’s most prestigious competitions, including the Fischoff Chamber Music Competition, the Plowman Chamber Music Competition, the Coltman Chamber Music Competition, the MTNA National Competitions, the American Prize and many others. Creviston is a Yamaha Performing Artist and is former president of the North American Saxophone Alliance. ●

Roberto Minczuk Music Director

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

Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the

Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestre National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires.

A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco.

Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival.

Minczuk’s recording of the complete Bachianas Brasileiras of Hector Villa-Lobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone Award of Excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin GRAMMY in 2004 and was nominated for an American GRAMMY in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings

include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival, including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prizewinner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album.

Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. In 2017, Minczuk received the Medal of Commander of Arts and Culture from the Brazilian government.

A child prodigy, Minczuk was a professional musician by the age of 13. He was admitted into the prestigious Juilliard School at 14 and by the age of 16, he had joined the Orchestra Municipal de São Paulo as solo horn. During his Juilliard years, he appeared as soloist with the New York Youth Symphony at Carnegie Hall and the New York Philharmonic Young People’s Concerts series. Upon his graduation in 1987, he became a member of the Leipzig Gewandhaus Orchestra at the invitation of Kurt Masur. Returning to Brazil in 1989, he studied conducting with Eleazar de Carvalho and John Neschling. He won several awards as a young horn player, including the Mill Santista Youth Award in 1991 and I Eldorado Music. ●

Luke Gullickson piano

“Pianist and composer Luke Gullickson is part of a new breed of new-music figures who make the boundaries between once-disparate stylistic approaches as porous as they want. Not only does he ignore the traditional wall between serious composer and performer, his wide-open ears allow all sorts of unique approaches to mingle with his fluid writing.”

— Chicago Reader

Pianist/composer Luke Gullickson (b. 1985) is a rangy interpreter of music new and old, a virtuosic collaborator bridging disciplines, and an intrepid explorer of the unmapped space between styles and genres. He is Company Manager and a core performer with New Mexico’s innovative Chatter ensemble, which presents 120+ concerts annually. As a member of the mercurial Grant Wallace Band (“spidery original bluegrass” — The New York Times), he has worked with the Houston Grand Opera, Ensemble Dal Niente, and Chicago Composers Orchestra, and performed in art spaces, jazz clubs, and barns across the country. Luke has recorded extensively as a singer-songwriter (“charmingly mysterious” — Bandcamp Daily) and bandleader. Many of his releases have appeared on the shadowy imprint Two Labyrinths Records, commencing with 2014’s Open, which the Chicago Reader hailed as a “minimalist gem.” Luke holds degrees in composition (University of Texas at Austin) and piano (University of New Mexico), and has been awarded artist residencies at the Banff Centre, PLAYA, High Concept Labs, Brush Creek Arts, the Ucross Foundation, Virginia Center for the Creative Arts, and Joshua Tree National Park. He is a frequent performer with the New Mexico Philharmonic and Santa Fe Symphony. ●

The New Mexico Philharmonic

Judith Gordon piano

Pianist Judith Gordon explores diverse repertoire as both soloist and in collaboration with a wide range of instrumentalists and singers. Heard at festivals and on series including Albuquerque Chamber Soloists, Apple Hill, Charlottesville, Music Mountain, Santa Fe, Spoleto, Tanglewood, Taos, Music from Salem, and most often as a featured player for Chatter, she has also appeared with the Boston Pops, Boston Modern Orchestra Project, the Saint Paul Chamber Orchestra, and was a member of the percussionbased ensemble Essential Music. A Boston Globe “Musician of the Year,” Gordon was an associate professor of music at Smith College from 2006–2020, and is now based in New Mexico. ●

Gibboni violin

Giuseppe Gibboni, regarded as one of the most extraordinary talents of his generation, is renowned for his prodigious technique, expressive depth, and remarkable interpretative maturity. In October 2021, he

captured international attention by winning First Prize at the 56th “Premio Paganini” International Violin Competition in Genoa— earning, in addition to the audience award, two special prizes for the best interpretations of Paganini’s Caprices and Concerto. He was the first Italian violinist in 24 years to win this prestigious competition.

Born into a family of musicians, he began studying the violin at a very young age under the guidance of his father, Daniele Gibboni. He graduated with top honors from the “Giuseppe Martucci” Conservatory in Salerno under the mentorship of Maestro Maurizio Aiello, quickly standing out for his natural virtuosity. At the age of 14, he was admitted to the Stauffer Academy in Cremona, where he studied with Salvatore Accardo, and later continued his training at the Chigiana Academy in Siena, where he received the Diploma of Honor. He also completed advanced studies at the Perosi Academy in Biella with Pavel Berman and at the Mozarteum University in Salzburg with Pierre Amoyal.

His victory at the Paganini Competition launched a career that rapidly took on an international dimension. He has collaborated with some of the world’s most prestigious orchestras, including the Orchestra of the Accademia Nazionale di Santa Cecilia conducted by Lorenzo Viotti, the Detroit Symphony Orchestra with Jader Bignamini, the Maggio Musicale Fiorentino Orchestra with Zubin Mehta, and the RAI National Symphony Orchestra. With the latter, he gave the Italian premiere of Wynton Marsalis’s Violin Concerto, working closely with the composer under the baton of John Axelrod. His repertoire spans the great Romantic concertos as well as contemporary works, showcasing both his exceptional versatility and deep artistic curiosity. In the current season, he made his debut under the baton of Maestro Riccardo Muti at the opening concert of the Ravenna Festival. Other major engagements include debuts with the Atlanta Symphony Orchestra, the Filarmonica della Scala under Michele Mariotti, the Tokyo Philharmonic in Dubai, the Beijing Symphony Orchestra, and the Seoul Arts Center. He performed Busoni’s Violin Concerto in Trieste in celebration of the centenary of the composer’s death and toured the United States with the Teatro Carlo Felice of Genoa, performing Paganini’s Violin

Concerto No. 1 under the direction of Donato Renzetti, with whom he also performed Tchaikovsky’s Violin Concerto in Milan with the “Pomeriggi Musicali” Orchestra.

A featured artist supported by the Nippon Foundation, Giuseppe Gibboni performs on the 1722 Stradivari “Jupiter,” on loan from the foundation, the 1734 Stradivari “Lam – Ex Scotland University,” kindly provided by the CCI Foundation of New York, and a modern instrument by Luiz Amorim, a copy of the famed 1734 Guarneri del Gesù “Stauffer.” ●

Kǎ

Kǎrin Hendrickson is a conductor equally at home with opera and orchestra. Engagements have included the London Symphony Orchestra, BBC Scottish Symphony Orchestra, BBC Concert Orchestra, the Orchestre national d’Ile de France, National Orchestra of Wales, Belgian National Symphony, BBC Philharmonic, BBC Symphony Orchestra, the Pittsburgh Symphony Orchestra, and the Nashville Symphony Orchestra, among others. Opera credits include Music Director for the premiere and tour of Opera for the Unknown Woman (Melanie Wilson/Fuel Opera), Music Director for Bloomsbury Opera, and Chorus Master for The Royal Opera House, Covent Garden, and Longborough Festival Opera.

Kǎrin prepared The Gulbenkian Orchestra’s semi-staged production of Eugene Onegin for Lorenzo Viotti, and served as Music Director for Opera Holland Park’s production of Hänsel and Gretel

Kǎrin maintains an international profile as an exceptional orchestra and opera pedagogue. She has prepared projects for multiple international concert houses, including Concertgebouworkest Young; the

Royal Conservatoire of Scotland; the Royal Conservatoire of Music, Ghent; the National Youth Orchestra of Scotland; the National Youth Orchestra of Great Britain; the Royal Welsh College of Music and Drama; return appearances with the London Symphony Orchestra/Guildhall School Orchestra Artistry candidates (including preparation of their side-by-side for Michael Tilson-Thomas); the Gulbenkian Orchestra (Portugal) for Mahler Symphony No. 3; preparation of young players for Gustavo Dudamel with the Barbican Centre (London) collaboration between the London Symphony Orchestra and the Los Angeles Philharmonic youth orchestras; visiting conductor for the Royal Academy of Music Symphony Orchestra and Marin Alsop on Britten’s War Requiem for the Southbank Centre at Royal Festival Hall (Royal Philharmonic Society Award for Learning and Participation); and three guest artist appointments to lead the orchestra at North Carolina School of the Arts in performances including Bernstein’s Mass, the complete Nutcracker ballet, and a recorded film version of The Nutcracker ballet during COVID-19 that aired on PBS. In 2025, Kǎrin accepted the position of Director of Orchestras and Director of Graduate Orchestral Conducting at the University of New Mexico—a deliberate investment into the next generation of orchestral musicians and conductors. Her work at UNM runs parallel to her continued professional engagements.

Kǎrin has won numerous awards including the prestigious European Network of Opera Academies Young Conductor Residency— from a pool of nominated candidates across institutions including the Dutch National Opera (Netherlands]), Snape Maltings (England), Helsinki Festival (Finland), and Opera Narodowa (Poland). She was one of five conductors invited to the Dallas Opera’s Hart Institute of Conductors and one of three conductors invited as the Atelier des Créatrices d’Opéra at the Festival Aix-enProvence (Academie), France. While at the Royal Academy of Music (London), she received two Gordon Foundation awards and the Fred Southall Memorial Prize in her final year. Other formative recognition includes nomination for the Nestlé-Salzburg Festival Young Conductors award, training at the Mozarteum under Siemens Prizewinner

Peter Gülke, talent grants from The Peabody Conservatory, and an award through Marin Alsop’s Taki-Alsop Fellowship. ●

Alex Getlin vocalist

Alex Getlin is a Manhattan-based singer and actress whose voice can “melt stone” (Ben Brantley, The New York Times). A native New Yorker, she made her professional debut at 17 in a solo cabaret show at The Regency Hotel in New York, presented by Michael Feinstein. Broadway World reported that her performance marked the emergence of “a new and rare talent on the entertainment scene.” A graduate of Northwestern University, she was most recently seen in Berkshire Theatre Group’s nationally acclaimed production of Godspell. She has appeared Off-Broadway in the company and original cast recording of Anything Can Happen in the Theater—The Songs of Maury Yeston, after being handpicked by the Tony® Award-winning composer himself to interpret his music. Getlin, who has been hailed by The New York Times as “a confident, engaging young singer with a big voice,” made her symphonic debut with the Pasadena Pops under the baton of Michael Feinstein in Broadway: The Golden Age, starring alongside Liza Minnelli and Joel Grey. She has been a featured soloist at Carnegie Hall and currently performs with symphony orchestras throughout the country with SpotOn Entertainment. Television credits include NBC’s The Blacklist, CBS’s Shades of Blue and Netflix’s The Break With Michele Wolf. ●

Campbell Walker Fields vocalist

Campbell Walker Fields is a versatile singer and keyboardist with equal comfort on concert, musical theatre, and arena stages. His professional career began when he was cast at the age of 9 as the Artful Dodger in Lyric Theatre of Oklahoma’s 2011 production of Oliver! Soon after, he played JoJo in Seussical the Musical at the University of Oklahoma, and Foo (Lost Boy) in the world premiere, sevenweek run of the musical Fly at Dallas Theatre Center. Other Lyric credits include Slim in Oklahoma! and productions of Big Fish, Mary Poppins, and Les Misérables. Favorite student roles have included Jean Valjean in Les Mis, Tom Collins in Rent, Joseph in Joseph and the Amazing Technicolor Dreamcoat, Seaweed in Hairspray, Jack in Into the Woods, and Rum Tug Tugger in Cats. In summer 2016, he was seen competing in the 11th season of NBC’s America’s Got Talent, making it to the middle of the Judges’ Cuts round. He has performed as soloist with symphony orchestras including the Jacksonville Symphony, Tulsa Signature Symphony, Abilene Philharmonic, Dearborn Symphony, Gainesville Orchestra, Western Piedmont Symphony, Camerata Mazatlán, the Pocono Pops, as well as multiple appearances with the Oklahoma City Philharmonic. He has performed at Cast Party at Birdland in NYC, and his commercial work includes the feature film Home Run and print and TV ads for SandRidge Energy. Since summer 2018, he has been part of the all-star faculty of the Pocono Mountains Performing Arts Camp. ●

John Fischer piano

John Fischer is a music director, pianist, vocal coach, and teacher with decades of experience working with top Broadway and cabaret artists, including Tony Award® winners Ali Stroker and Alice Ripley, Tony Award® nominee Emily Skinner, and many more. He music-directed Broadway’s Rising Stars at The Town Hall for 14 seasons, where he also worked on numerous Broadway Originals concerts. He spent seven seasons as music director for the highly acclaimed musical theatre program at Jacob’s Pillow Dance Festival in the Berkshires, and his last season saw him working hand in hand with Stephen Schwartz and Chet Walker on the creation of a new ballet, The Boy on the Roof. In recent years, John has joined the symphony world as a guest artist, debuting a new Bacharach show with the Plymouth Symphony, Blockbuster Broadway for the Omaha Symphony, a Bernstein/Robbins celebration with the Signature Symphony, and Music of the Knights with the Santa Ana Symphony Orchestra. In NYC, he is a regular fixture at 54 Below, music-directing everything from Sinatra to Streisand, and is the MD for the long-running series Sondheim Unplugged. Recent highlights include Ali Stroker’s sold-out American Songbook concert at Lincoln Center, Alice Ripley & Emily Skinner’s Unattached! at 54 Below, and the 25th-anniversary concert of Joseph and the Amazing Technicolor Dreamcoat, part of the award-winning 54 Sings series for which he also music-directed Applause, Mack & Mabel, and Kiss of the Spiderwoman. He currently teaches at Singnasium, ApplauseNY, and also does private coaching. He has been on staff

at AMDA, HB Studios, The New School, The Lee Strasberg Theatre & Film Institute, and the Growing Studio. ●

Spot-On Entertainment

Scott Coulter’s Spot-On Entertainment is a concert production/booking company based in New York City. Owner and founder Scott Coulter is a multi-award-winning performer, director, musical arranger, and producer whose creations for theaters, performing arts centers, and symphonies include Music of the Knights, Bette, Babs, & Beyond, The Wonderful Music of OZ, You’ve Got a Friend, and Blockbuster Broadway! Special composer tribute shows include Defying Gravity: Stephen Schwartz & Friends and Jerry Herman: The Broadway Legacy Concert (which is co-produced by Spot-On and The ASCAP Foundation). Spot-On concerts often feature an educational component that results in local artists appearing on stage with members of the Spot-On family. It is our goal to inspire and pass the torch to the next generation. ●

NOTES

BY DAVID B. LEVY

Overture to Der Freischütz, J. 277, Op. 77

Carl Maria von Weber (1821)

Carl Maria von Weber was born in Eutin, Germany, presumably on November 18, 1786, and died in London on June 5, 1826. Best known today for his groundbreaking Romantic opera Der Freischütz (1821), he also wrote other operas, significant choral music, and instrumental works. His overtures were especially influential in the development of the concert overture and symphonic poem. Although opus numbers exist for some of Weber’s compositions, scholars use “J” numbers that refer to the 1871 chronological thematic catalogue of his works prepared by Friedrich Wilhelm Jähns. This catalogue may be compared to the catalogue of Mozart’s compositions by Ludwig von Köchel (the source of “K” numbers for that composer). Weber’s Overture to Der Freischütz is scored for 2 piccolos, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion, and strings. Approximately 9 minutes.

Weber’s 1821 opera Der Freischütz quickly became the standard that defined German Romantic opera. Supernatural events, a rural landscape (the forest), religiosity, an alienated hero, and, above all, redemptive love are its primary ingredients. It is safe to say that without Weber’s model, the operatic achievements of Richard Wagner later in the nineteenth century would have been unthinkable. Beloved by the German people—but not to the exclusion of other nationalities—Der Freischütz is a work whose plot (based on Germanic folklore) and musical attributes were admired by not only Wagner, but also by the Frenchman Hector Berlioz and many others.

The title of the opera defies precise translation, having been called at times The Free Shooter or The Magic Bullet. The libretto by Friedrich Kind tells the story of the unlucky Max, a hunter whose skill

Weber’s 1821 opera Der Freischütz quickly became the standard that defined German Romantic opera.

as a marksman has abandoned him at a critical moment. If he is to win the hand of his beloved Agathe, he must succeed in the shooting contest at the local hunting lodge. He turns in desperation to black magic, abetted by his companion Caspar. This brooding friend had at some time before the story began sold his soul to Samiel, a werewolf agent of Satan, also known as the “Black Hunter.” Envious of Max, Caspar hopes to offer his companion’s soul to Samiel as a substitute for his own. Against all better judgment, Max agrees to meet Caspar at midnight in the dreaded Wolf’s Glen, where seven magic bullets will be cast that cannot fail to hit their mark.

The gloomy music for the finale of Act II, the “Wolf’s Glen” scene, provides much of the material heard in the Overture to Der Freischütz. After an opening gesture in the unison strings, a hymnal melody for four horns (the German name for this instrument, appropriately enough, is Waldhorn [forest horn]) dominates the slow introduction. The serenity is interrupted by an ominous chord, played by tremolo strings and punctuated by the kettledrum. This chord is heard throughout the opera whenever Samiel is present. An agitated theme with syncopated accompaniment provides the first theme for the Overture’s main section, which is cast in sonata form. This dark melody is derived from Max’s aria in Act I, “Doch mich umgarnen finstre Mächte” (“Thus sinister powers ensnare me”). An explosive loud theme represents the thunderstorm that erupts at the climax of the “Wolf’s Glen” scene, at the casting of the fatal seventh bullet, which belongs to Samiel and will hit the target of his choosing. Another theme, played by the clarinet (one of Weber’s favorite instruments), is also taken from the “Wolf’s Glen” scene. A lyrical second

theme played by the violins is derived from Agathe’s aria, “All’ meine Pulse schlagen” (“All my pulses are beating”). The triumph of Agathe’s redemptive love is reflected in the coda of the Overture, where a dramatic pause is followed by a joyful reprise of her melody. Listeners familiar with the Overture to The Flying Dutchman will recognize just how indebted Wagner was to Weber’s superb model. ●

______________________________________

NOTES BY JOHN ANTHONY LENNON  Escapades

John Anthony Lennon (2021)

During the times of Covid when the world seemed to be closed and there was scarce live music to hear, I escaped by composing Escapades for Soprano Saxophone and Orchestra. Between mid2020 and early-2021, three movements emerged as scenes of life through this unusual time. The first movement, “On the Town,” depicts a festive public life with its energy and lyricism. The mood of the music changes abruptly with “Quiet Streets,” a lamentation that lingers in the music space. “City Lights” brings back a sense of joy and elation as the concerto concludes with a spirit of reckless abandon.

Throughout the piece, the unique and alluring sound of the soprano saxophone weaves its way through and above the colors of the orchestral tapestry. I composed the concerto for Christopher Creviston, one of the premiere saxophone artists of our time, with gratitude that he includes this piece among the many concertos written for him. Escapades is dedicated to his daughter, Ziva Creviston. ●

NOTES

BY

MARIAN TANAU

“Portrait

of a Peaceful Scene”

Michael “Mickey” Tucker (C. 1978)

Born in Durham, North Carolina, in 1941, jazz musician, composer, and educator Michael “Mickey” Tucker began studying piano at an early age and was performing publicly while still a teenager, including in a trio with drummer Grady Tate. After moving to New York City in the mid-1960s, he worked with a wide range of artists across jazz and popular music, including Rahsaan Roland Kirk, the Thad Jones/ Mel Lewis Orchestra, Art Blakey, and the Jazz Messengers, and later appeared on recordings by Phil Woods, Art Farmer, and Benny Golson. His “Portrait of a Peaceful Scene” is from the 1978 album Sweet Lotus Lips and is approximately 3 minutes long.

Originally recorded by the Mickey Tucker Trio, “Portrait of a Peaceful Scene” reflects the intimate scale of its jazz-album origins. The original recording features piano, bass, and drums, and unfolds as a restrained, lyrical meditation rather than a programmatic narrative. Its character is shaped by melodic simplicity and a calm, reflective atmosphere. ●

NOTES

BY

DAVID B. LEVY

Strum

Jessie Montgomery (2006)

Born in New York City in 1981, African American composer, musician, and educator Jessie Montgomery is one of the most vital voices of her generation. Her studies began at Manhattan’s Third Street Music School Settlement. She later went on to receive a degree in violin performance at Juilliard and a Master’s degree in Composition for Film and Multimedia at New York University (2012). She has been actively involved with

the Detroit-based Sphinx Organization in supporting and encouraging young African American and Latinx string instrumentalists. Her works have been performed by many significant arts institutions (Orpheus Chamber Orchestra, American Composers Orchestra, Atlanta Symphony, to name but a few). She also has worked collaboratively with numerous colleagues in both music and dance. Strum began its life as a string quintet in 2006. Montgomery later made a string quartet version (2008) and revised the piece again in 2012 in connection with the 15th annual Sphinx Competition. Scored for string orchestra. Approximately 7 minutes.

In her own program notes for Strum, Jessie Montgomery wrote: “Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the ensemble, giving the music an expansive quality of sound. Within Strum, I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration.”

Living up to its title, the work uses extensive pizzicato (plucking) effects, evoking the idea of a banjo, over which evocative musical fragments are played (arco) with the bow. In kaleidoscope fashion, the music shifts from idea to idea, keeping the listeners on their toes from start to finish. The work, in its string quartet version, has been recorded by the Catalyst Quartet as part of the album Strum: Music for Strings (2015) on the Azica label ●

Pictures at an Exhibition

Modest Mussorgsky (1874)

Modest Petrovich Mussorgsky was born on March 21, 1839, in Karevo, Russia, and died on March 28, 1881, in Saint Petersburg. A leading figure in Russian nationalism of the second half of the nineteenth century, many of his pieces, most notably his suite for piano Pictures at an Exhibition, the tone poem Night on Bald Mountain, and the epic opera Boris Godunov, have caught the imagination of audiences throughout the world. Maurice Ravel’s 1922 arrangement and brilliant orchestration of Pictures at an Exhibition received its first performance on May 3, 1923, in Paris under the direction of Serge Koussevitzky. Ravel’s orchestration calls for piccolo, 3 flutes, 3 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, large percussion section (including rattle, snare drum, bass drum, cymbals, whip, triangle, xylophone, glockenspiel, bells, celesta, and gong), timpani, 2 harps, piano, and strings. Approximately 33 minutes.

Mussorgsky composed Pictures at an Exhibition in 1874 as a memorial to his deceased friend, the painter and architect Victor Hartmann. The two men shared an interest in creating a distinctly “Russian” mode of artistic creation. A posthumous exhibition of Hartmann’s work was arranged by Vladimir Stasov, and this proved to be the catalyst for both the format and content of Mussorgsky’s suite of musical miniatures for piano solo. The popular orchestration of Pictures at an Exhibition by Maurice Ravel was made in 1922 under a commission from the conductor Serge Koussevitzky. Ravel was not the only individual to orchestrate this work, but his transcription has proved to be the most enduring and popular.

A bold solo trumpet announces the beginning of the “Promenade,” a theme that serves as a cipher for the visitor to

the gallery. This theme, altered each time according to the mood created by each painting, recurs throughout the work as a unifying device (Ravel chose to omit one of these). The “Promenade” theme bears Russian folk-like characteristics—most notably an irregular meter reflective of the rhythm of the Russian language. The first picture, titled “Gnomus,” is a grotesque nutcracker in the shape of a gnome. A brief “Promenade” leads to the second picture, “Il vecchio castello.” Here the saxophone sings a melancholy aubade, depicting a troubadour singing outside the wall of a medieval castle.

A shorter “Promenade” leads us to the Parisian garden of “Tuileries,” where we encounter the universal phenomenon of children who quarrel and tease each other during their play. The next picture, “Bydło,” presents a striking change of mood, as we can hear the passing of a rough Polish oxcart. A heavy ostinato figure accompanies the solo tuba. The “Promenade” returns to ease the transition to “The Ballet of the Chicks in their Shells.” Here, the woodwinds dominate in a comical scherzo. “Samuel Goldenberg and ‘Schmuÿle’” (“Two Polish Jews, One Rich, One Poor”) is a caricature of ghetto life, with the unison strings representing the wealthy and pompous Goldenberg. The plaintive sound of Schmuÿle may be heard in the muted trumpet. Musicologist and Mussorgsky expert Richard Taruskin, in recent writings on the subject, has suggested that a darker anti-Semitic subtext underlies this movement. The title of the movement puts “Schmuÿle” in quotation marks, implying that the two characters are, in fact, one and the same individual.

The bustle of “The Marketplace, Limoges” interrupts with the most sudden shift of mood in the entire piece. But as the busy market approaches its climax, our attention is jerked by the rough lower brass to the next picture, “Catacombs: Sepulchrum Romanum.” These coarse harmonies provide an apt symbolization of this deathly scene. The “Promenade” that follows without break is marked “Con Mortuis in Lingua Mortua” (“With

The climax of the procession comes in the final transformation of the now-familiar “Promenade” theme— here offered as a kind of apotheosis of Hartmann’s career.

the Dead in the Language of the Dead”). This is a critical dramatic moment in the piece, as Mussorgsky surely reflects in an intensely personal sense on the death of his artist friend. No relief is offered in the terrifying portraiture of “The Hut on Fowl’s Legs (Baba-Yaga).” Legend has it that the witch Baba-Yaga dwells in a hut mounted on chicken’s feet, where she uses mortar and pestle to grind the bones of humans. The nightmare of this witches’ Sabbath is broken by the ecclesiastical sounds of “The Great Gate of Kiev.” Visitors to the Ukrainian capital city will seek this monument in vain, however, as it existed only in the imagination of Hartmann and Mussorgsky. But music and visual imagery take us along on the grand processional, accompanied by chanting priests, and noble bells and cymbals. The climax of the procession comes in the final transformation of the now-familiar “Promenade” theme—here offered as a kind of apotheosis of Hartmann’s career. ●

Concerto for Two Keyboards in C Major, BWV 1061

Johann Sebastian Bach (1732–1733)

Johann Sebastian Bach was born in Eisenach, Germany, on March 21, 1685, and died in Leipzig on July 28, 1750. He looms as one of history’s pivotal figures whose music is venerated and admired by many composers who followed him, from Haydn to Bartók and beyond. During his own lifetime, Bach was more revered as an organist and keyboard virtuoso than as

a composer. His enormous output covers virtually every genre of the Baroque era, except for opera. But even here, the drama found in much of his sacred choral music (church cantatas, Passions, oratorios, the Magnificat, and Mass in b minor) and other works showed considerable dramatic flair. In addition to his seven concertos for solo harpsichord (BWV 1052–1058), or claviers, to use the generic term for keyboard instruments other than the organ, we may add three concertos for two harpsichords (BWV 1060–1062), two concertos for three harpsichords (BWV 1063 and 1064), and one concerto for four harpsichords (BWV 1065). We should also add the Brandenburg Concerto No. 5 in D Major (BWV 1050), although it is technically a concerto grosso due to its extensive passagework for the keyboard. According to Martin Pearlman, the concerto on this program is thought to be the only harpsichord concerto of Bach that is original and not a transcription of a piece for some other instrument. It is scored for solo keyboards and string orchestra. Approximately 17 minutes.

We know that Bach wrote many instrumental works during his period in Cöthen, where his duties did not call for the composition of sacred music for the church. We know that the popular Six Brandenburg Concertos belong to this period, three of which (Nos. 2, 4, and 5) fall into the category of “concerto grosso,” i.e., concertos for two or more solo instruments. We also know that Bach remained active in his composition of secular music, including concertos, when he took up his final position as Kantor for two Lutheran (Evangelical) churches in Leipzig, as well as his directorship of

Leipzig’s Collegium Musicum.

The inspiration for nearly all of Bach’s concertos came from the Venetian master Antonio Vivaldi, himself the composer of nearly six hundred (!) concertos. Bach’s admiration for Vivaldi presents itself in his transcriptions of the Italian’s violin concertos into works for solo organ, as well as for harpsichord (in one case, Vivaldi’s Concerto in b minor for Four Violins, was transcribed for four harpsichords). Following Vivaldi’s model, Bach’s solo concertos comprise three movements. The first movements typically are cast in ritornello form, whereby the (string) orchestra makes an initial statement (ritornello), followed by a passage where the soloist steps into the foreground, lightly accompanied by the orchestral “ripieno” group. Shortened versions of the opening ritornello are interspersed with additional solo episodes, with the movement ending with a final ritornello. The second movements are slower in tempo than the first and last ones.

Although the instrument that Bach had in mind when composing his keyboard concertos was the harpsichord, the piano was already in its earliest stages of development during the latter years of his life; pianists have embraced his compositions for keyboard (clavier) as an important part of the pianist’s repertory. The Concerto No. 2, BWV 1061, on this program is a brilliant work dating from the 1730s. Unlike his other two concertos for two keyboards that were transcriptions from pre-existent works involving violins (or violin and oboe), BWV 1061 was conceived with keyboard instruments in mind. Unusual for Bach’s concertos, the role of “ripieno” (full) strings is quite

minimal, and indeed the strings are entirely absent in the second movement, leading scholars to theorize that they may have been added at a later date. ●

Ballet Suite from Le Triomphe de l’Amour

Jean-Baptiste Lully (1681)

The Italian-born master of the French Baroque began his life in Florence as Giovanni Battista Lulli on November 29, 1632. He died in Paris on March 22, 1687, the results of gangrene that set in after he accidentally stabbed his toe with a conducting staff. His name is synonymous with the development of various forms of French opera and ballets under the patronage of the Sun King, Louis XIV, who reigned from 1643–1715. As le Roi Soleil loved dancing, opera in France often featured extensive scenes and divertissements that included dance. Lully was so favored by the king, he was promoted to head his highness’s private orchestra, Les Petits Violons du Roi, as well as the larger ensemble, Les Vingtquatre violons. Lully often worked with librettists Quinault and Molière. The ballet Le Triomphe de l’Amour, a work that blends ballet with elements of opera, was composed to celebrate the marriage of the Dauphin to Marie Anne Christine de Bavière and was first performed at SaintGermain-en-Laye on January 21, 1681, where it received multiple subsequent performances. In May of the same year, it was performed at the Académie Royale de Musique. The Suite heard on this concert is derived from the much longer ballet. It

The inspiration for nearly all of Bach’s concertos came from the Venetian master Antonio Vivaldi, himself the composer of nearly six hundred (!) concertos.

is written for string orchestra, although there is historical evidence that wind instruments were also used at its premiere.

According to musicologist Rebecca Harris-Warrick, Le Triomphe de l’Amour was a landmark in the history of ballet “as the first work in which professional women dancers appeared on the stage of the Académie Royale de Musique.” (Dance and Drama in French Baroque Opera, Cambridge UP, 2016). Although the bulk of the work featured dance numbers, each section of the work also included singing. Each of the scenes involves the effects of love on various mythological figures and gods, culminating with the appearance of Apollo. In earlier works by Lully, Louis XIV himself portrayed, and was likened to the Sun God, Apollo himself. According to Harris-Warrick:

“Louis XIV, who had been an enthusiastic participant in many court ballets up until 1669, appears symbolically in the role of Apollon, in section IX. Not only was the sun the emblem most strongly associated with the king, Apollon had been one of Louis’s signature roles during his ballet-dancing days. Lully made the connection explicit in his dedication to the score”:

I concluded that I needed powerful help and I decided to follow the example of the Muses, who, notwithstanding all their knowledge in the beautiful art of harmony, had recourse to a god who enlightened them and who presided over their concerts. But I recognized from my youngest years that the Apollo who would inspire the songs I intended to compose was neither in my birthplace [Florence] nor on the summits of Parnassus. I thought I could find him in the most flourishing empire on earth and I easily recognized him as soon as I was fortunate enough to lay eyes on Your Majesty.

The Ballet Suite heard on this program comprises an Overture, Menuet I & II, Bourrée, Air, Entrées de Apollon, and Pan.

●

The Carnival of the Animals

Camille Saint-Saëns (1886)

Charles Camille Saint-Saëns was born in Paris on October 9, 1835, and died in Algiers on December 16, 1921. His long career embraced the roles of composer, pianist, organist, and author. His prolific output of compositions is valued highly for its craftsmanship and wide variety of genres. In addition to The Carnival of the Animals, he is best known for his “Organ” Symphony, the opera Samson et Delilah, his concertos for piano and orchestra, and the Violin Concerto No. 3. He was one of the leaders of the French musical renaissance of the 1870s. Saint-Saëns’s suite of fourteen orchestral miniatures, The Carnival of the Animals (Le Carnaval des animaux), was composed in February 1886 during his stopover in Austria after an unsuccessful tour of Germany. Ostensibly it was written as an amusement for his students at the École Niedermeyer de Paris. The first performance of a chamber version of the work, however, took place at a private concert on March 3, 1886, given by the cellist Charles Lebouc. Surely Lebouc was delighted by the wonderful cello solo in the movement designated “The Swan.” The first public performance by full orchestra took place posthumously on February 25, 1922, in Paris with Gabriel Pierné leading the Concerts Colonne. The work is scored for 2 pianos, flute (and piccolo), clarinet, glass harmonica, xylophone, and strings. Approximately 25 minutes.

Saint-Saëns was keenly aware that had he allowed The Carnival of the Animals to go public, critics and audiences might no longer take him seriously as a composer of any consequence. This is in no way meant to indicate that he undervalued the work. But as he wrote to his publisher in Paris, the work was “si amusant” (such fun). Except for the movement titled “The Swan,” the composer placed in his will the desire that publication of The Carnival of the Animals be suppressed until after his

death. Its first public performance elicited the following enthusiastic review in Le Figaro:

We cannot describe the cries of admiring joy let loose by an enthusiastic public. In the immense oeuvre of Camille Saint-Saëns, The Carnival of the Animals is certainly one of his magnificent masterpieces. From the first note to the last, it is an uninterrupted outpouring of a spirit of the highest and noblest comedy. In every bar, at every point, there are unexpected and irresistible finds. Themes, whimsical ideas, instrumentation compete with buffoonery, grace, and science . . . When he likes to joke, the master never forgets that he is the master.

The composer certainly must have had fun working in sly parodies of preexisting music, such as a slow version of Offenbach’s Can-Can from Orpheus in the Underworld in “The Tortoises,” tunes by Mendelssohn and Berlioz in “The Elephant,” and other quotations in “The Fossils.” Like others in my generation, the author of these notes was introduced to the work via a wonderful recording by Andre Kostelanetz and his Orchestra featuring clever verses by Ogden Nash recited by Noël Coward. Although some of these poems are dated, such as the references to the Andrews Sisters in “The Birds,” and Harry Truman’s daughter’s skills as a pianist in “The Pianists,” these poems continue to delight audiences. In Nash’s own words, “In outdoing Barnum and Bailey and Ringling, Saint-Saëns has done a miraculous thingling.” ●

Romanian Rhapsody No. 1 in A Major, Op. 11 George Enescu (1901)

George Enescu was born in Liveni Vîrnav, near Dorohoi, Romania, on August 19, 1881, and died in Paris, France, on May 4, 1955. He is one of Romania’s best-known composers, and he was also an outstanding violinist, conductor, and educator. He was known in France and elsewhere by the Westernized name Georges Enesco. His two Romanian Rhapsodies date from 1901 and received their first performances on March 8, 1903, at the Romanian Athenaeum in Bucharest, conducted by Eduard Wachmann. Interestingly, Enescu preferred performing the Rhapsodies in reverse order, perhaps recognizing that Rhapsody No. 1 would outshine its twin. He was correct, and the piece has remained a popular part of the orchestral repertoire. The work was dedicated to Bernard Crocé-Spinelli, a colleague of Enescu from his days as a student at the Conservatory in Vienna. The scoring calls for 3 flutes (the third doubling piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 French horns, 4 trumpets, 3 trombones, timpani, percussion (triangle, snare drum, cymbals), 2 harps, and strings. Approximately 12 minutes.

Enescu’s First Romanian Rhapsody is a delightful panorama of the nation’s folk music dressed up in colorful orchestral garb. It begins by quoting the folk song “Am un leu şi vreau să-l beau” (often translated as “I want to spend my money on drink” or “I have a coin, and I want a drink”), which is played by oboes and clarinets. Enescu was probably introduced

Enescu’s First Romanian Rhapsody is a delightful panorama of the nation’s folk music dressed up in colorful orchestral garb.

to the tune by the Romani violinist Lae Chioru (Nicolae Filip), from whom the composer took his first violin lessons as a young lad. This tune gives way to a dance-like tune akin to a hora (circle dance), introduced in the violins. As the work progresses, this tune grows faster and livelier and gives way to a thrilling, and at times riotous, folk dance. Evidently, that coin bought the fellow more than one drink! In a song called “Romania, Romania,” popularized in the 1960s by the folk trio The Limelighters, we hear the words “In Romania, we drink wine and eat mamaliga (a cornmeal porridge my grandmother used to make), and whoever kisses his own wife must be crazy!” Such is the spirit of Enescu’s music. ●

Violin Concerto No. 2 in b minor, Op. 7

Niccolò Paganini (1826)

Italian violin virtuoso and composer Niccolò Paganini was born in Genoa on October 27, 1782, and died in Nice on May 27, 1840. During his lifetime and beyond, his name has become synonymous with musical virtuosity. His earliest musical education was at the hands of his father, Antonio, an amateur musician who taught his son to play the mandolin and violin. The precocious son later also picked up the guitar, an instrument for which he composed chamber music. He continued his education in composition and violin with local professional musicians. Among his many diverse compositions, he is best known for his five concertos for violin and his Twenty-Four Caprices for Solo Violin. His Violin Concerto No. 2 is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, serpent (or tuba), timpani, bass drum, bell (campanella) in F♯, and strings. Approximately 30 minutes.

A wonderful portrait of Paganini painted in 1832 by Eugène Delacroix beautifully captures the mystique that surrounded this wizard of the violin. Tall and lanky in stature, Paganini’s pyrotechnics on the

A wonderful portrait of Paganini painted in 1832 by Eugène Delacroix beautifully captures the mystique that surrounded this wizard of the violin.

violin led to flights of imagination that suggested that the man must surely have sold his soul to Satan in order to gain his exceptional skill. The portrait is quite dark, except for the area around the violinist’s face, left hand, and cravat. If one looks closely enough at the brightest part of the canvas, one might be able to identify another face—perhaps that of the Devil himself. The idea that virtuosos such as Paganini, and subsequently pianists such as Franz Liszt, sold their souls in order to master their instrument, worked its way into the public imagination. Closer to our own time, think of Stravinsky’s 1918 theater piece A Soldier’s Tale (L’Histoire du soldat), or even closer to our own time, the Charlie Daniels Band 1979 hit song “The Devil Went Down to Georgia.”

A more plausible theory, proposed in an article published by a contributor to the Journal of the American Medical Association (JAMA), suggested that Paganini’s “supernatural” flexibility could have been the side effect of a disease known as Marfan syndrome, which usually affects people who are tall and thin with unusually long arms, legs, fingers, and toes. Regardless of legend or scientific speculation, there is no doubt that the kind of virtuosity exhibited by Paganini and Liszt, to name the most famous names, had its roots in the kind of technically dazzling vocalism associated with early19th-century Italian bel canto opera as found in the operas of Rossini, Bellini, and Donizetti. Paganini’s Violin Concerto No. 2 derives its fame from the rondo finale called “La Clochette” (La Campanella), a reference to the little bell that presages the rondo tune. Liszt, one of Paganini’s greatest admirers, borrowed the ideas

from the concerto’s finale in 1851 as the basis for the third of his Grandes études de Paganini in g-sharp minor, S. 141. ●

La mer, Three Symphonic Sketches for Orchestra

Claude Debussy

(1903–1905)

(Achille-)Claude Debussy was born August 22, 1862, in Saint-Germainen-Laye (near Paris) and died in Paris on March 25, 1918. His magnificent seascape, La mer, was composed between 1903–1905. Its first performance took place in Paris at the Concerts Lamoureux on October 15, 1905, under the direction of Camille Chevillard. The work is scored for piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle, tam-tam, and glockenspiel), 2 harps, and strings. Approximately 24 minutes. As is the case with his Nocturnes (1893–1899), La mer is a triptych. Unlike the former work, however, La mer’s three movements must be performed together in order to retain their unity (Nuages, Fêtes, and Sirènes, the movements that comprise Nocturnes, could be—and often are— performed separately). La mer represents Debussy at his symphonic best, a fact that garnered criticism from both his friends and enemies. Debussy’s supporters sensed that he was moving too far from the abstract qualities of symbolism, such as is found in his Prelude to the Afternoon continued on 20

of a Faun of 1894, in favor of a too “traditional” approach to composition. His detractors, on the other hand, argued that he did not go far enough, wishing La mer to be a full-fledged symphony. While some of the criticism toward La mer may have been driven by animosities deriving from scandals surrounding Debussy’s personal life (he had left his wife, Lily, for Emma Bardac, the wife of a prominent Parisian banker), the work obviously has triumphed over the objections of its earliest critics.

Debussy’s love of the sea was deeply felt, and in a letter to his publisher Jacques Durand, he reveals that under other circumstances he might have pursued a maritime career. In another letter, he identifies the sea as “the thing in nature which best puts you in your place.”

The original titles for the first and third sketches were, respectively, “Mer belle aux iles sanguinaires” and “Le vent fait danser la mer” (“The Beautiful Sea With Happy Islands” and “The Wind Makes the Sea Dance”). The second sketch, “Jeux des vagues” (“Games of the Waves”), retained its original title in the final draft of the piece.

I.  De l’aube à midi sur la mer (From Dawn to Noon on the Sea). The immense power of the sea, yet to be unleashed, is portrayed in a slow introduction. The first important theme is played by English horn and trumpet. As dawn rises, the movement of the sea becomes more active, as one feels (and sees in the bow movements of the violins) an undulating, rocking motion. Divided cellos announce the fully wakened forces of nature at work. The end of the sketch is marked by a majestic theme in the horns—the “chorale of the depths.”

II.  Jeux des vagues (Games of the Waves). Debussy’s superb skills as an orchestrator come to the fore in this scherzo filled with brilliant effects and delicacy. The “games” range from the teasing to the powerfully rough-andtumble variety.

III.  Dialogue du vent et de la mer (Dialogue of the Wind and the Sea). At first, it seems as though the winds adumbrate an approaching storm. A transformation of a figure from the first movement, a short note followed by a longer one, takes on a

As is the case with his Nocturnes (1893–1899), La mer is a triptych. Unlike the former work, however, La mer’s three movements must be performed together in order to retain their unity (Nuages, Fêtes, and Sirènes, the movements that comprise Nocturnes, could be—and often are— performed separately).

plaintive air described by some as akin to a siren’s song. This figure dominates the mood of the entire movement. Cellos and bassoons give an animated statement of the first theme from the opening sketch, which now grows more vehement. This yields eventually to a subtle invocation of the “chorale,” but the plaintive wail of the siren’s song returns in colorful guise, framed by a wonderful high note (harmonic) in the violins. A majestic sounding of the “chorale” in the full brass denotes the powerful coda—a peroration in praise of the sea, which, as Debussy says, has shown us “all her moods.” ●

NOTES BY CHARLES GREENWELL

La valse

Maurice Ravel (1920)

Maurice Ravel was born on March 7, 1875, in Ciboure, France, and died on December 28, 1937, in Paris, France. La valse is scored for 3 flutes (the third doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. Approximately 13 minutes.

Maurice Ravel was one of the most significant and influential composers of the early 20th century, and was one of the most meticulous craftsmen there has ever been in the music world. He was also one of the great masters of

the orchestra, a position that will never be challenged. In 1906, he began to sketch a symphonic poem as a tribute to Johann Strauss Jr., who had died just seven years earlier. It was tentatively to be called Wien, the German name for Vienna. At that time, he wrote to a friend: “You know of my deep sympathy for these wonderful rhythms, and that I value the joie de vivre expressed by the dance …” This would eventually become La valse some 14 years later, and a number of things brought about this delay. Sergei Diaghilev, the brilliant impresario of the celebrated Ballets Russes, commissioned a full-length ballet from Ravel in 1909, but because of a number of unexpected production problems, the new ballet, which was Daphnis et Chloé, was not given its premiere until 1912. Then came World War I. Ravel wanted desperately to enlist in the army but was turned down for physical reasons and became a military truck and ambulance driver. He was horrified by what he witnessed on the front lines, and even though he began to think about composing again in 1916, a severe bout with dysentery, which required surgery to correct, sent him into a long convalescence, and this was aggravated not only by the depression that overtook him because of what he had witnessed, along with the loss of several close friends in the conflict, but also by the death of his mother in 1917.

After the end of the war, Diaghilev again approached Ravel with a commission for a new ballet. He decided to revise the Wien

After the end of the war, Diaghilev again approached Ravel with a commission for a new ballet.

project into Diaghilev’s new concept but found that he had to make major changes to his original ideas due to the fact that his thinking and life in general in Europe had been radically changed. He completed what is now called La valse in 1920, and in a version for two pianos received its first hearing in a private home in Paris in October of that year. In the audience on that occasion were Diaghilev, Igor Stravinsky, Francis Poulenc, and dancerchoreographer Leonid Massine. Following the performance, Diaghilev proclaimed the work a masterpiece, but said it was unsuitable for staging because, in his words, “… it’s not a ballet. It’s a portrait of a ballet—a painting of a ballet,” and so he refused to produce it. Ravel, thinking that his refusal was a criticism of the music (which it was not), angrily picked up his manuscript and stormed out of the home. Ravel never forgave Diaghilev for

this incident, and when they met again in Monte Carlo five years later, Ravel refused to shake the impresario’s hand, whereupon Diaghilev challenged him to a duel! Fortunately, some friends intervened, and the duel never took place, but in any case the two men never again met.

La valse was one of the few works that Ravel conceived in entirely orchestral terms right from its first inspiration as Wien. Along with the two-piano version, he also prepared one for solo piano, but because of the extreme difficulty of these keyboard versions, they are rarely performed. In the original orchestral score, Ravel wrote an explanatory note. It can be translated in slightly different ways, and one version might read like this: “Through whirling clouds, waltzing couples may be faintly distinguished. The clouds gradually disperse, and we see an immense hall filled with a whirling crowd.

As the rhythm becomes clearer, the scene takes on greater illumination until the light of the chandeliers bursts forth. An imperial court about 1855.” He later spoke of the work as “… a kind of apotheosis of the Viennese waltz, with which is mingled in my mind the fantastic and fatal whirl of destiny.” In its orchestral garb, La valse was first heard in the concert hall in 1920. Its first performance as a ballet was choreographed at the Paris Opera in 1929 by the celebrated dancer Ida Rubinstein, who had premiered Bolero the previous year. The work, with its extraordinary combination of suspense and tension, has been variously viewed as portraying the collapse of Viennese society, the general breakdown of European culture following World War I, a biting satire on the Viennese waltz, and a premonition of even greater horrors to come. One of the most fascinating ideas is that there is a connection between Ravel and Edgar Allan Poe, who had a great influence on French literature toward the end of the 19th century, and that Ravel’s “fantastic whirling” bears a resemblance to “… a masked ball of the most unusual magnificence … [that] went whirlingly on” in Poe’s classic short story of 1842 called The Masque of the Red Death. ●

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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

William Ballard

Elizabeth Bayne & John Rich

Susan Beard

Richard & Maria Berry

Stan Betzer

Ross Blankinship

Rod & Genelia Boenig

Paula Bradley

Carolyn R. Brown & William Ranken

Charles & Aziza Chavez

Douglas Cheney

Paul Clem

Raye Cohen

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

Diane Fleming

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 Hartz

Harris Jewelers

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

Richard Kozoll & Sally Davis

Stephanie & Kenneth Kuzio

Nick & Susan Landers

Alan & Kathleen Lebeck

Thomas Lenzer

Joe & Pam Limke

Robert Lindeman & Judith Brown

Lindeman

Thomas & Donna Lockner

Dr. Ronald & Ellen Loehman

Marcia & Suzanne Lubar

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

Joyce & Pierce Ostrander

Richard & Susan Perry

Mike Provine

Dr. Barry & Roberta Ramo

Barbara Rivers

Justin Robertson

Robin Jackson Photography

John & Faye Rogers

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

William Anderson & Paula Baxter

Anonymous

Anonymous

Anonymous

Leonard & Stephanie Armstrong

Sally Bachofer

Douglas Bailey & Kathleen Burke

Ken Bailey

Jan Bandrofchak & Cleveland

Sharp

Aimee Barabe

William Barber

Harold & Patricia Baskin

Edie Beck

Michael Bencoe

David & Judith Bennahum

Mark & Beth Berger

Beso Jewels

Gregg & Amy Bogost, in memory of

Sheila Bogost

Walter & Celia Bolic

Terry Brownell & Alpha Russell

Jonathan & Caroline Bull

Carol Callaway

Luana Carey

Casa Verde Spa

Dan & Tina Chan

Robert & Olinda Chavez

Beth Clark

Jeff Collins

Mark Compton

Amy Couch

Elizabeth Davis-Marra

Mary Ann & Michael Delleney

Raymond & Anne Doberneck

Thomas & Martha Domme

Carl & Joanne Donsbach

Martin J. Doviak

Jeff & Karen Duray

William & Lydia Earnhart

Reverend Suzanne & Bill Ebel

Gary Echert & Nancy Stratton

Enchanted Mesa

Robert & Dolores Engstrom

Jackie Ericksen

David & Frankie Ewing

Mary Filosi

Jean Gabriel

Ralph Garza & Kris Williams

Mary Day Gauer

Rod & Maria Geer

Alfred & Patricia Green

Paul & Marcia Greenbaum

Mina Jane Grothey

Jim & Renee Grout

Regina Guest

J. Michele Guttmann

Lee & Thais Haines

Diana Hardy, in memory of Helen Feinberg

Matt Tyler Hart

John & Diane Hawley

Robert & Angela Hawthorne

Darren Hayden

Toppin & Robert Hodge

Bernhard E. Holzapfel

Hughes Homestead Designs

Paul Isaacson

Gwenellen Janov

Robert & Mary Julyan

Norty & Summers Kalishman

Sheila Keller

Ann King

Phil Krehbiel

Jennifer C. Kruger

Elizabeth Kubie

Erik Kuhlmann

Karen Kupper

Stephanie Kuzio, in honor of

Richard White

Janice Langdale

Michael & Roberta Lavin

Jeffery & Jane Lawrence

Honorable Idalia Lechuga-Tena & Marco Gonzales

Jae-Won & Juliane Lee

Linda Lockett

Betty Logan

Daniel Lopez & Linda Vigil Lopez

Ruth Luckasson & Dr. Larry Davis

Robert Lynn & Janet Braziel

Gloria Mallory

Robert & Linda Malseed

The Man’s Hat Shop

Jeffrey Marr

Janet Matwiyoff

Marcia McCleary

Jane McGuigan

Don McGuire

Chena Mesling

Bruce Miller

Jim Mills & Peggy Sanchez Mills

Ben Mitchell

Louis & Deborah Moench

Danny & Kristin Montes

Robert & Phyllis Moore

Jim & Penny Morris

Shirley Morrison

Cary & Eve Morrow

Ted & Mary Morse

Karen Mosier & Phillip Freeman

Mr. Tux

Sharon Mullis

Kindred & Michael Murillo

Nambé

Shanna Narath

NMPhil Audience $5 to Thrive

Janeth Nunez del Prado

Rebecca Okun

Del Packwood & Barbara Reeback

Kyle & Letita Peterson

Lang Ha Pham & Hy Tran

Judi Pitch

Placitas Artists Series

Popejoy Presents

Dan & Billie Pyzel

Robert Reinke

Timothy Renk

Lawrence & Joyce Reszka

Kathryn & Chris Rhoads

Jeff Romero

Charles Rumbaugh

Katherine Saltzstein

Donald & Loraine Sanchez

Patrycia Sanchez

Christy Sanford & Michael Shaw

Sarafian’s Oriental Rugs

Brigitte Schimek & Marc

Scudamore

John & Karen Schlue

Laura Scholfield

Daniel & Barbara Shapiro

Dean Sherer

Rich Signe

Beverly Simmons

R.J. & Katherine Simonson

Ann Singer

Rae Siporin

George & Vivian Skadron

Thomas Sloan

Steven & Keri Sobolik

Jennifer Starr

Luis & Patricia Stelzner

John & Patricia Stover

Marty Surface & Deborah Goldstein

Larry & Susan Tackman

William Tallman

Tea’ze A More Gourmet Teas

Kenneth & Annie Tekin

Richard & Dolores Teubner, in memory of Helen Feinberg

Gary & Nina Thayer

Laurence Titman

Dr. Steven Tolber & Louise

Campbell-Tolber

Sally Trigg

Frank & Claire Trujillo

Jay Ven Eman

Tatiana Vetrinskaya

Dale A. Webster

Lawrence Wells

Bronwyn Willis

Linda Wolcott

Uwe Wrede & Michelle Michael

Brian Young & Jennifer Perret

Kari Young

Teresa & Gregory Zanetti

Alvin Zuckert & Louise Martin, in memory of Sam & Mimi Zuckert

FRIENDS OF THE PHILHARMONIC

Donation of $25–$124

Harro & Nancy Ackermann

David & Elizabeth Adams

Natalie Adolphi & Andrew

McDowell

Albuquerque Auto Outlet, Paul Cervantes

Jeffrey Allen

Jo Anne Altrichter & Robin Tawney

Roger & Deborah Ames

Judith Anderson

Anonymous

David Baca

Jackie Baca & Ken Genco

Jennifer Bachus

Charlene Baker

Bark Box

Graham Bartlett

DONOR CIRCLES

Marc & Lorraine Batt, in memory of Helen Feinberg

Kenneth Beebe

David & Betty Begeal

Laura Bemis

Kirk & Debra Benton

Laura Bernay

Melbourne Bernstein

Marianne Berwick

Betty’s Bath & Day Spa

Jocelyn Black, in memory of Helen Feinberg

Thomas & Suzanne Blazier

Dusty & Gay Blech

Paula Boggs

Henry Botts

Maxine Breland, in memory of

Helen Feinberg

Robert & Marylyn Burridge

California Pizza Kitchen

Camille Carstens

Joseph Cella

Cindy Chapman & Bill Harris

Cheesecake Factory

Barry Clark

Amanda Cohen-Bandy & Matthew

Bandy, in memory of Helen Feinberg

Lisa Collins

Lawrence & Mary Compton

Kathy Conforti, in memory of Helen Feinberg

Martha Corley

Edward Curtis & Alfred Papillon

Mark A. Curtis

Cara & Chad Curtiss

Daily Grind/Caruso’s

Hubert Davis

Monica Delgado Vargas

Darryl Domonkos

Lisa Donald

Michael & Jana Druxman

D. Reed Eckhardt

Lester & Eleanor Einhorn

Bradley Ellingboe

Matthew Estlack

Vicky Estrada-Bustillo & Juan Bustillo

Peter & Janet Fagan

Farm & Table

Howard Fegan

Elen Feinberg

Jon & Laura Ferrier

Patrick & Elizabeth Finley

Daniel & Marissa Finnegan

Susan Fitch

Jane & Michael Flax, in memory of

Joy Eaton

Rabbi Arthur Flicker

Karin Frings

James & Cynthia Frost

Greg & Jeanne Frye-Mason

Eric & Cristi Furman

Debra Jane Garrett

Lawrence Jay Gibel, MD

Cassy & Andy Goehner, in memory of Juliet Huff

Candace Gordon

Great Harvest Bakery

Matthew & Amy Greer

Stanley & Sara Griffith

Kevin Grunewald, in memory of

Quay Ann Benton

Kenneth Guthrie & Doni Lazar

Richard Haber

Ronald Halbgewachs

Leila Hall

Nancy Hamilton

Frank & Sue Hardesty

Michael & Marylyn Harris

Michael Harrison

Gloria B. Hawk Revocable Trust

Rosa Herst, in memory of Helen Feinberg

Nancy Hill

Ursula Hill

Heidi Hilland, in memory of Dave Hilland

Fred Hindel

Kristin Hogge

Kendell Holmes

Steven Homer

Julia Huff

Christopher Isham

Larry James

Peter Jandula-Hudson

Lori Johnson

Ruth Johnson

Barbara Jones

Lawrence & Anne Jones

Brenda Jozwiak

Joel & Debbie Karasik

Ty Kattenhorn

Kelly Jo Designs by Wine

Barbara Kleinfeld

Margaret Knapp

Gerald & Margery Knorovsky

Katherine Kraus

John & Gretchen Kryda

Hareendra & Sanjani Kulasinghe

Dana Lambe

Larry W. Langford

Molly “Mary” Lannon

Lorin Larson

Paul & Julie Laybourne

Rita Leard

Daniel Levy

Edwin Light

Claire Lissance

Joan M. Lucas & David Meyerhofer

Sam Lucero & Ron Lahti

Douglas Majewski & Marilyn Gruen

Susie Marbury, in memory of

Florence Hendrickson

Joan A. March

Martha Marchand

Elliot S. Marcus, MD

Carolyn Martinez

Robert & Anne Martinez

Denis & Sallie McCarthy

David & Jane McGuire

Thomas Merlan & Frances Levine

Mark Michel

Moses Michelsohn

George Mikkelsen

Kathleen Miller

Martha Miller

Rachel & John Miller

Robert F. Miller

Mister Car Wash

Bryant & Carole Mitchell

Michael Moch

Dr. William Moffatt

Annette Montoya

Letitia Morris

Baker H. Morrow & Joann

Strathman

John & Patsy Mosman

Sharon Moynahan

Brian Mulrey

Alice Myers

Bette Myerson

New Mexico Museum of Natural History & Science

Jennifer Newton & Aaron Chacon

NM Escape Room

Lenny & Nancy Noice, in honor of

James Whiton

Ruth O’Keefe

Katherine Ott-Warner

Peter Pabisch

Eric Parker

Robert Parker

Kelly Parkhill

Janet Patterson

Howard Paul

David & Martha Peercy

Barbara Pierce

Veronica Potts

Daniel Puccetti

Ray Reeder

Mark Regazzi

Reincarnation INC

Carol Renfro

Kerry Renshaw

Donna Rigano

Margaret Roberts

Gerald & Gloria Robinson

Gwenn Robinson, MD, & Dwight

Burney III, MD

Susan Rogowski

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

Deborah & Kim Shoup

Glen & Barbara Smerage

Carl & Marilyn Smith

Stephen Smith

Catherine Smith-Hartwig

Smith’s Community Rewards

Jan & Teresa Sole

Allen & Jean Ann Spalt

James Spigel

Laurel Srite

Stan & Marilyn Stark, in memory of Holly Hodgin

Charlie & Alexandra Steen

Theodore & Imogen Stein

Brent & Maria Stevens

Elizabeth Stevens & Michael

Gallagher

Carmen & Lawrence Straus

Robert & Jacqueline Sutton

Rosalie Swanson

Michael Thompson

Craig Timm & James Wilterding

Valerie Tomberlin

Top Golf

John & Karen Trever

Jorge Tristani

Tom Vosburgh & Jeannie Forrester

John & Karin Waldrop

Weem’s Gallery & Framing

V. Gregory Weirs

Kathy Wharton, in memory of Helen Feinberg

Charles & Linda White

Marybeth White

Bill & Janislee Wiese

Robert & Amy Wilkins

Kathryn Wissel

Daniel & Jenny Worledge, in honor of David Worledge

Kenneth Wright

BUSINESS CIRCLE

Bontina

Bright Ideas

The Noel Company

Senspex Incorporated

01/27/2026

●

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

E.M. 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

01/27/2026

●

Thank You for Your Generous Support

Volunteers, Expertise, Services, & Equipment

The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment.

CITY & COUNTY APPRECIATION

Mayor Tim Keller & the City of Albuquerque

Trudy E. Jones & the Albuquerque City Council

The Bernalillo County Board of Commissioners

Dr. Shelle Sanchez & the Albuquerque Cultural Services Department

Amanda Colburn & the Bernalillo County Special Projects

Councilor Brook Bassan

Councilor Tammy Fiebelkorn

Councilor Renee Grout

Councilor Dan Lewis

BUSINESS & ORGANIZATION APPRECIATION

The New Mexico Philharmonic Foundation

The Albuquerque Community Foundation

INDIVIDUAL APPRECIATION

Lee Blaugrund & Tanager Properties Management

Ian McKinnon & The McKinnon Family Foundation

Billy Brown

Alexis Corbin

Anne Eisfeller

Chris Kershner

Jackie McGehee

Brad Richards

Barbara Rivers

Emily Steinbach

Brent Stevens

VOLUNTEERS HOSTING VISITING MUSICIANS

Don and Cheryl Barker

Ron Bronitsky, MD, & Jim Porcher

Chris and Tom Brown

Isabel Bucher & Graham Bartlett

Mike & Blanche Griffith

Emily Cornelius

Amy Huzjak

Rita Leard

Nicolle Maniaci

Sarah Manthey

Ron & Mary Moya

Steve & Michele Sandager

01/27/2026

SPONSOR

A MUSICIAN

We invite you to engage more deeply with the orchestra and its musicians. This program comes with wonderful benefits that give you a chance to develop a personal relationship with one of our stellar musicians. Please call to find out the benefits and cost of sponsorship.

SPONSOR TODAY (505) 323-4343

DWAYNE & MARJORIE LONGENBAUGH

Principal Viola Sponsorship: LAURA CHANG

Sponsors & Grants

Sound Applause

Albuquerque Community Foundation albuquerquefoundation.org

The concerts of the New Mexico Philharmonic are supported in part by the City of Albuquerque Department of Cultural Services, the Bernalillo County, and the Albuquerque Community Foundation.

Bernalillo County bernco.gov

Computing Center Inc. cciofabq.com

GARDENSWARTZ

REALTY

Gardenswartz Realty

Music Guild of New Mexico musicguildofnewmexico.org

D’Addario Foundation foundation.daddario.com

David S. Campbell, Attorney davidscampbell.com

koat.com Menicucci Insurance Agency mianm.com

Olga Kern International Piano Competition olgakerncompetition.org

Foundation Inc. nmphilfoundation.org

New Mexico Philharmonic

The Musicians

FIRST VIOLIN

Cármelo de los Santos •

Karen McKinnon Concertmaster Chair

Elizabeth Young •• Associate Concertmaster

Sarah Tasker ••• Assistant Concertmaster

Heidi Deifel

Olivia de Souza Maia

Lorenzo Gallegos

Juliana Huestis

Barbara Rivers

Nicolle Maniaci

Barbara Scalf Morris

SECOND VIOLIN

Carol Swift •••

Julanie Lee

Lidija Peno-Kelly

Cleveland Chandler

Liana Austin

Nicolas Armer

Andre Silva

Sheila McLay

Jessica Retana

Jocelyn Kirsch

Brad Richards

VIOLA

Laura Chang •

Kimberly Fredenburgh •••

Allegra Askew

Christine Rancier

Laura Steiner

Michael Anderson

Lisa DiCarlo

Joan Hinterbichler

Laura Campbell

Principal •

Associate Principal ••

Assistant Principal •••

Assistant ••••

Leave +

One-year position ++

Half-year position +++

STAFF

Marian Tanau President & CEO

Roberto Minczuk

Music Director

Christine Rancier

Vice President of Business

Skye Stone Personnel Manager

CELLO

Amy Huzjak •

Amy Delevoryas •••

Carla Lehmeier-Tatum

Ian Mayne-Brody

Dana Winograd

David Schepps

Lisa Collins

Felix Wurman Chair

Elizabeth Purvis

BASS

Joe Weldon Ferris •

Mark Tatum •••

Katherine Olszowka

Terry Pruitt

Marco Retana

Frank Murry

FLUTE

Valerie Potter •

Esther Fredrickson

Noah Livingston ••

PICCOLO

Esther Fredrickson

OBOE

Kevin Vigneau •

Robert J. & Greta L. Dean Chair

Amanda Talley

ENGLISH HORN

Melissa Peña ••

CLARINET

Marianne Shifrin •

Lori Lovato •••

Jeffrey Brooks

E-FLAT CLARINET

Lori Lovato

BASS CLARINET

Jeffrey Brooks

BASSOON

Stefanie Przybylska •

Denise Turner

HORN

Peter Erb •

Allison Tutton

Maria Long ••

Andrew Meyers

TRUMPET

John Marchiando •

Brynn Marchiando

Sam Oatts ••

TROMBONE

Aaron Zalkind •

Byron Herrington

BASS TROMBONE

David Tall

TUBA

Richard White •

TIMPANI

Tyler Brown •

PERCUSSION

Jeff Cornelius •

Kenneth Dean

Emily Cornelius

HARP

Carla Fabris •

BOARD OF DIRECTORS

Maureen Baca

Chair

Al Stotts Vice Chair

Lauren R. Wilber

Secretary

Fritz Eberle

Treasurer

Meg Aldridge

Joel Baca

Ron Bronitsky, MD

Robert Gough

Idalia Lechuga-Tena

Robert McGuire

Roberto Minczuk

Jeffrey Romero

Terrence Sloan, MD

Marian Tanau

Michael Wallace

ADVISORY BOARD

Thomas C. Bird

Lee Blaugrund

Clarke Cagle

Kory Hoggan

William Wiley

Julian Kley Production Manager

Genevieve Harris Principal 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