A Message from the Director of Levanta

Welcome to Dreams of New Mexico: The Music of John Truitt.

Tonight’s concert is a celebration of the remarkable artistry, creativity, and legacy of a musician whose work has deeply enriched our community and Albuquerque Academy. But for me, this event is also profoundly personal.

John Truitt has been more than a teacher and colleague; he has been the most crucial mentor in my life as a musician, an educator, and a friend. His wisdom has shaped not only my musical journey but also my philosophy as an artist and educator.

Phrases like music teaches music best and without artistic risk, there is no meaningful growth are more than mantras for John – they are truths that have permeated our teaching ethos and approach to music-making. These words reflect John’s unwavering belief in the power of music to inspire, challenge, and transform, both in those who create it and in those who experience it.

John and I have traveled the musical world together – both literally and figuratively. From our shared performances and collaborations to countless conversations about life and art, his presence in my life has been a constant source of guidance and inspiration. I could not have asked for a better friend, mentor, and partner in this beautiful, challenging, and rewarding journey we call music.

Tonight’s program is not only a tribute to his contributions but also a reflection of his spirit – a spirit that celebrates the history, culture, and art of New Mexico while daring to take the artistic risks that lead to profound growth.

Thank you for joining us to honor John and his music. I hope this evening inspires you as much as John has inspired me.

With gratitude,

Mickey Jones, Director, Levanta Institute for Music and Creativity

Composer’s Program Notes

“Algodón”

“Algodón” is a solo guitar piece written in the summer of 2024 for Albuquerque Academy senior Taryn Ortiz in the form of a Granadina, a flamenco palo. Algodón is the Spanish word for cotton, but in the parlance of the Middle Rio Grande Valley, it means cottonwood tree. It is a meditation on a large cottonwood standing dead next to an abandoned ranch house, branches reaching spiny fingers to the sky.

“Meditations on Billy the Kid”

This piece developed over several years, starting in 2006. Mickey Jones and I were invited to do a short residency at the Bergen Kulturskol in Bergen, Norway, and it was the desire of the organizers of the residency that we bring some music that dealt with something uniquely New Mexican. I wrote two movements of what would become a suite for that visit, “John Tunstall” and “Flor del Llano.” Upon our return from Norway, Mickey encouraged me to write more movements, and, over the next three years, I added “The Regulators,” “Catherine McCarty,” and “The Santa Fe Ring,” as well as some transitional promenades. The narration was added in 2012 and is written as if being delivered by Billy himself. Tonight, the narration will be done by Academy senior Quinn Ross and will feature the movements “John Tunstall,” “Flor de Llano,” and “Catherine McCarty.”

“Fantasmas”

I had decided to take a nap one Saturday afternoon with my dog Buster, who was not doing well. During the nap, I had a very vivid and disturbing dream of a spirit who, though frightening at first, presented itself as a helpful friend, so I engaged it. I was drawn closer to the spirit, only to discover that it sought to do me harm, and I could not escape. I wrote the piece over the period of a month in February 2011.

“En El Torreon”

I was given the honor of being the director of the New Mexico All-State Guitar Ensemble in 2019 and was asked to write a piece for the occasion. I chose to write a piece referencing the amazing fresco done by the artist Frederico Vigil in the Torreon of the National Hispanic Cultural Center. Señor Vigil’s stunning work took 10 years to complete and displays a dizzying panorama of scenes of importance to the development of Hispanic culture and New Mexico. Done in ancient fresco technique, the work envelops the viewer with powerful images of our past, a masterpiece and cultural touchstone for us all. In writing the piece, I referenced the majesty of the whole work but also several images in particular. The piece opens with a section called Reverencia de los Antepasados, which imagines entering the dim light of the Torreon from the bright sunlight on the patio and being overcome by the immensity of the frescos. This section ends with a guitar solo. The next section references the image of a child’s toy dog called Xolotl, followed by the section called Los Franciscanos, referencing an image of tired, wet Franciscan monks standing by a wagon. The next image referenced is one of the Dama del Elche, an ancient statue discovered in Spain reputed to be of the Blessed Virgin. This section is a solo, in the style of a Flamenco taranta. The last section is called El Ganador se Lleva Todo, and references an image of a young man, hunkered down and preparing to play the deadly Aztec game known as Pok-a-tok, a game played to the death.

“La Dorotea”

La Dorotea was written in remembrance of the pioneering Mexican guitarist Vicente Saucedo, whose influence on our community was profound. Vicente moved to Albuquerque from Mexico in the 1950s and rapidly became the most prominent guitarist and proponent of Mexican and Latin American song in the area. He was also a fine classical guitarist, and his teaching and playing helped to form an enthusiastic core of aficionados in the community. Through the following decades until his death in 2002, he continued to influence generations of guitarists with his expressive and flawless playing. He is remembered lovingly by the community, especially the older members. The piece, a combination of tango and bolero, is named La Dorotea for his wife, Dorothy.

“Tsa Sah Wee Eh”

Tsa Sah Wee Eh, which means little standing spruce, is the Tewa name of the famous Native American artist Helen Hardin. This piece was written in 2020 as a prologue to a four-movement work for trumpet, guitar quartet, and string orchestra for the trumpet virtuoso Sarah Herbert. The prologue was written for guitar quartet and orchestra only. This movement is meant as a musical overview of Helen Hardin’s life, going from the peaceful beauty of her early childhood, through the turbulence of her early adulthood, to her growth and acceptance as an artist of great influence, and, ultimately, to the happiness and pride she took in her daughter and in her own life. Tragically, Helen Hardin died of breast cancer in 1984 at the age of 41. This will be the first performance of this work.

“Preludio y Bulerias”

One of the many superb student guitar quartets at Albuquerque Academy had traveled to a Guitar Foundation of America Convention in Oberlin, Ohio. They were the first Albuquerque Academy guitar quartet to present at such an illustrious event. Upon their return, I resolved to write them a mature work, and the Preludio y Bulerias was the result. I had just seen the movie The Red Violin, which captured my imagination for the compelling story but also for the score, which I emulated in the opening of the piece. The piece ends with a bulerias, a tricky rhythmic palo beloved by flamenco guitarists.

A Final Note from the Composer

All these pieces were written for students, colleagues, and friends over the years, and each one of them brings deep memories of the times and dear friends for whom I wrote them. All of this music was written for specific occasions, and hearing it all in one sitting is a banquet of memories the likes of which I never expected to have. I am deeply grateful to the Levanta Institute and Mickey Jones, the Rio Grande Guitar Quartet, the Albuquerque Academy Honor Guitar Quartet directed by Jeremy Mayne, the Albuquerque Academy String Orchestra and their director Carrie Hurtado, Richard Hogle, and all the generous and wonderful people who have made this experience possible.

~John Truitt

About John Truitt: A Legacy of Music Excellence

John Truitt, a passionate advocate for the power of music in the lives of young people, has devoted 50 years of service to Albuquerque schools. His career spans teaching at all levels, from kindergarten to college. During the 1970s, he was instrumental in establishing and developing the band and guitar programs at Albuquerque Academy. Early in his career, recognizing the scarcity of educational materials for school guitar groups, he wrote both didactic and performance material for his guitar classes. Notably, all of the music in tonight’s program was written for student ensembles.

John’s expertise extends to flamenco guitar, which he studied in Spain. He has performed with many famous artists, including Eva Encinias, Joaquin Encinias, El Pelete, Maria Benitez, Pedro Cortez, Pablo Rodarte, Jose Greco, La Tati, Daniel Ward, Luis Campos, and Lili del Castillo.

After a distinguished tenure as Albuquerque Academy’s guitar instructor and director of bands, John retired in 2011. He has also served as chair of the Council for Guitar Education of NAfME, a member of the Pre-College Guitar Education Committee of the Guitar Foundation of America, and vice president of the guitar division for the New Mexico Music Educators Association. In 2010, alongside his Academy colleague Mickey Jones and the guitar directors from seven other schools, John spearheaded the inclusion of guitar ensemble in the annual New Mexico All-State Music Festival, making New Mexico the first state in the nation to adopt this initiative.

Throughout his career, John has received numerous accolades, including New Mexico Symphony Orchestra Teacher of the Year (1994), the Presidential Teacher Award for New Mexico (2008), the Gage and Slevin Awards for excellence in teaching from Albuquerque Academy, and induction into the New Mexico Jazz Workshop Hall of Fame (2011). More recently, he was inducted into the New Mexico Music Hall of Fame (2022) and received the Robb Foundation Award (2023).

A prolific composer, John has created more than 30 works for guitar ensemble and has adjudicated and directed many festivals. He credits his loving and supportive parents and his wife of 49 years, Holly, for his success. Together, they have two children – airline pilot Lee and Scandinavian historian Jacquelyn – and three grandchildren, Grant (14), Grady (9), and Gibson (3). Be sure to ask him about his grandchildren!

With Appreciation

The Levanta Institute for Music and Creativity extends its deepest thanks to the following individuals who made the Dreams of New Mexico: The Music of John Truitt concert a reality.

To Amy Keller, Francesca Garcia, Rocío Torres-Glidden, Becky Richards, Anne McLusky, Richard Hogle, Jeremy Mayne, Genevieve Leitner, John Truitt, Maddison Jones, and Aarya Engineer – your dedication, talent, and unwavering support have been instrumental in bringing this evening of music, culture, and celebration to life.

From logistical planning and artistic collaboration to tireless efforts behind the scenes, each of you has played a vital role in crafting an unforgettable experience for our audience.

Thank you for being an integral part of this special event.