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2020–2021


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THE MARRIAGE OF FIGARO Wolfgang Amadeus Mozart WORLD PREMIERE

THE LORD OF CRIES

Music: John Corigliano, Libretto: Mark Adamo

EUGENE ONEGIN Pyotr Ilyich Tchaikovsky

A MIDSUMMER NIGHT’S DREAM Benjamin Britten

Illustration by Benedetto Cristofani

ANGEL BLUE IN CONCERT

For more information visit santafeopera.org or call 505-986-5900 The Symphony

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Table of Contents 2021-2022 Season..................................... 54-55 2020 Fall Virtual Concert Series.............. 16-49 2021 Spring Virtual Concert Series......... 56-99 About the Cover.............................................6 Administrative and Artistic Staff...................6 Adopt-A-Musician.................................. 116-117 Advertisers Index........................................134 Advertising Opportunities..................... 132-33 Board President..............................................8 Board of Directors..........................................9 Choral Director..............................................15 Chorus Personnel......................................... 14 Community & Education...................... 128-130 Executive Director........................................ 10 Foundation President................................. 118 Foundation Contributions....................119–125 General Contributions..........................102-106 Ovation Society.................................... 126-127 Principal Conductor.................................. 12-13 Santa Fe Symphony TV........................... 52-53 SFS@Home Series............................... 108-109 Symphony Orchestra Personnel...................15 Ways to Give.......................................... 110-115

Contact Us 301 Griffin Street, Santa Fe, NM 87501 505.983.1414 | 800.480.1319 Toll Free boxoffice@santafesymphony.org

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In Personv

301 Griffin Street, Santa Fe, NM 87501

Mail

PO Box 9692 Santa Fe, NM 87504

Phone Online

505.983.3530

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ADMINISTRATIVE STAFF ADMINISTRATION

ARTISTIC

Executive Director Daniel M. Crupi

Principal Conductor Guillermo Figueroa

Interim Executive Director Ralph P. Craviso

Choral Director Carmen Flórez-Mansi

Creative Director Kathryn Nun

Personnel Manager Nicolle Maniaci

Business Operations Manager Amy Worcester

Orchestra Librarians Kerry Lay Cherokee Randolph

Development Officer Callie O'Buckley Box Office & PR Coordinator Regina Klapper

CHORUS COUNCIL Chorus President Richard Schacht

Advertising Sales Representatives

Chorus Librarians Charlotte Sandelin Bettina Milliken Chorus Accompanist William Epstein Stage Manager Curtis Mark Recording Services William A. Heltman

Susan Crowe Carole Aine Langrall

About The Cover “2020 Vision” by Starr Hardridge | oil on canvas | 36'' � x 30'' W

2020 Vision captures the unbridled emotion of a fractured American landscape. The white horse is symbolic of patriarchal monuments that glorify tyranny and oppression. Colonial ideals explode and are deconstructed in an attempt to level the playing field of democracy for all.

Represented by: Blue Rain Gallery 544 S. Guadalupe St • Santa Fe, NM 87501 • 505.954.9902

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S TA R R H A R D R I D G E

Back to the Woodlands, acrylic on canvas, 30" h x 24" w

544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com

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OPERATIONS OPERATIONS

board boardpresident president

The Season Reimagined. This, our dolupit 37th season, will be remembered It voluptatem estin essi omnihitium emporro videbit periae pore for the innovative andaped creative musical experiences spawnednimilis in the sumque dolo magnis ulloreptae dolut et etustio. Nequosa es etur quo quiasit atemquo maximinum ium wake of sita cancelled concerts and comnia events ditem due todolores the COVID pandemic. exerion seriori andaest, ipienet evenis dit labore, sitati delectat pore Unique one-on-one private concerts moved and delighted patrons nonmusicians eium ut apictasinia nimi, con re intimate, sa quis dolut quidebit, netur sum and alike, proving to be meaningful experiences rae eicipsumqui consectate ne comni recuscimus et utem quis quas de for all that shared in them. Our new virtual series, featuring varied dellabores etum dolorum quam viducias del et intur? Ribus maiosant Symphony ensembles filmed at iconic locations throughout the ut eiunto et excepudi to eaquis aritiunt. Santa Fe area, is magnificent. And, our music education activities have expanded toverum include a sed number new, virtual programs Udipis everiti unt aria quamof rectatiis ex exceri dolupti que toetadapt to these unusual times. The dedication, energy andnest quibus eos aut estiisim voloria nditior rempor sit haribus adis enthusiasm of ourdoloribus staff andreroraepre musiciansetduring this entire process has laudam reptatati magnisque num sequas ipsae. been Talk turning lemons into lemonade! Naminspiring. volut quam, in about reptatur? Ectorae nit utemout quuntib ernatiorro optam cus,new eictem fuga. While venturing and experimenting with ways toSeditis engage soluptae nonsentand liquo volorporitatisqui tem faccuscia volut quid with our patrons community exciting, we do inctat look forward asitatempori diaLensic dolorum torerchilit utmasterworks aut praessi nveres toqui returning to The to quam, perform beloved and dolorepudi dolorest rempore scimus ulpa con net facepud aectatembrilliant new creations for our friends and supporters. There is pos rectatur culles cus,a quosti quo et autorchestra doluptaspe harum nothing quitealiqui like enjoying full symphony in vent a beautiful essinimet duciam ditin nobis di te con re, hall with hundreds of like-minded friends.

Santa is blessed beseason, home to one of the most culturally and artistically vibrant communities ThankFeyou and enjoytothe in our country. We are accustomed to having a variety of performing arts opportunities at Michael Dawson our disposal. Unfortunately, these organizations and artists are at the epicenter of COVID-era Board President shutdowns and restrictions on social gatherings. If you care about great music and great musicians, please consider The Santa Fe Symphony Orchestra & Chorus in your giving plans. We will make you proud. Thank you for being a part of our symphony family! Michael Dawson Board President

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OPERATIONS

board of directors President

Directors

Michael Dawson

Perry C. Andrews III Randall Balmer, PhD Daniel M. Crupi Anne Eisfeller Emily Erb Jose “Pepe” Figueroa Elaine Heltman Byron Herrington E. Franklin Hirsch Alan Mar, PhD

Vice President

Dr. Penelope Penland

Secretary Steven J. Goldtsein, MD

Treasurer Gary Lutz

Justin Medrano Boo Miller Stefanie Przybylska Teresa Pierce Rebecca Ray Laurie Rossi Dr. Richard Rudman Richard Schacht Elliott Stern Suzanne Timble Kevin Waidmann

Founder of The Santa Fe Symphony Gregory W. Heltman

Honorary Council

Ann Neuberger Aceves Joyce M. Nicholson Dr. Beryl Lovitz

Santa Fe is blessed to be home to one of the most culturally and artistically vibrant communities in our country. The Symphony The Symphony

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executive DIRECTOR It is difficult to imagine a more challenging year for our nation’s performing arts industry. The COVID–19 crisis has stretched our innovation and creativity, but The Santa Fe Symphony Orchestra & Chorus has risen to meet the moment. Despite innumerable challenges, I am proud to say that we have not fallen silent. Instead, we have innovated in countless ways and vastly expanded our impact. Over the last year, The Symphony has: • • • • • •

Continued hundreds of hours of virtual Music Mentorship in Santa Fe Public Schools; Pioneered a new virtual Extended Learning Program for Santa Fe Public School elementary and middle school students; Launched The Science of Sound, an exciting educational series in collaboration with the Santa Fe Institute, showcasing Santa Fe Symphony musicians exploring the intersection of science and music; Presented the virtual world-premiere of Añoranza by Puerto Rican composer, Ernesto Cordero; Debuted a revolutionary new live music experience, SFS 1:1, a new series providing intimate, 1-on-1 concerts with Symphony musicians across town; Filmed a sleek 10-concert Virtual Series featuring Symphony ensembles at iconic sites throughout Santa Fe and Northern New Mexico.

Throughout this revisioning process, we have also invested in strategic priorities that will move this organization forward. We have prioritized diversity and inclusion, featuring numerous composers of color and female composers on each of our Virtual Concert Series programs. We have expanded our community collaborations, partnering with Ghost Ranch, WildEarth Guardians, Santa Fe Children’s Museum, Georgia O’Keeffe Museum, Meow Wolf, and more to keep our musical presence vibrant and relevant. And we have provided greater access to our music than ever, offering all virtual content to public school students and educators free of charge. This is The Santa Fe Symphony that we all wish to see—one that is collaborative, diverse, and an agent for change. That we have been able to continue realizing this vision during a global pandemic is a testament to this organization’s strength and flexibility. But we cannot do it without your help. Now, more than ever, The Symphony needs your support. Subscribe to our thrilling Virtual Concert Series, produced in spectacular fashion by Hutton Broadcasting. Join our giving circles or adopt a musician in the Orchestra or Chorus. Create an impact in perpetuity by endowing a Chair through The Symphony Foundation. We need you to take this incredible organization to new heights. Thank you for your commitment to The Santa Fe Symphony. Warm Regards, Daniel M. Crupi Executive Director 10

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principal conductor What a year it has been! As the saying goes, “when the going gets tough, the tough get going.” And that's how The Santa Fe Symphony reacted to the pandemic. We took inspiration from the legendary story of Isaac Newton, who famously took refuge and enforced ‘socialdistancing’ during the Great Plague of London in 1665–1666 at his family estate near Cambridge, and came up during that time with no less than the invention of calculus, groundbreaking work on optics and the nature of light, and famously, the discovery of gravity. In this fashion, we at The Santa Fe Symphony have indeed discovered new ‘theories’ of music making, through our innovative and successful video series, which not only kept the music alive but also our musicians working and, most importantly, paid, and our audience engaged and entertained. Like Newton’s prism, which unveiled an until then unknown world of colors, our wonderful Symphony shone in a bright, new light.

One of the most versatile and respected musical artists of his generation—renowned as a conductor, violinist, violist, and concertmaster—Guillermo Figueroa is the Principal Conductor of The Santa Fe Symphony Orchestra & Chorus. He also serves as the Music Director of the Music in the Mountains Festival in Colorado, Music Director of the Lynn Philharmonia in Florida, and is the founder of the acclaimed Figueroa Music and Arts Project in Albuquerque. Additionally, he was the Music Director of the New Mexico Symphony and the Puerto Rico Symphony. With the latter, he performed to critical acclaim at Carnegie Hall in 2003, the Kennedy Center in 2004, and Spain in 2005. He has appeared internationally with the Toronto Symphony, Iceland Symphony, the Baltic Philharmonic in Poland, Orquesta del Teatro Argentino in La Plata, Xalapa (Mexico), the Orquesta de Cordoba in Spain, and the Orquesta Sinfonica de Chile. In the US, he has appeared with the symphony orchestras of Detroit, New Jersey, Memphis, Phoenix, Colorado, Tucson, Fairfax, and San Jose, as well as with the Juilliard Orchestra, and the New York City Ballet at Lincoln Center.

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GUILLERMO FIGUEROA The Ann Neuberger Aceves Principal Conductor Podium

Learn more about Maestro Figueroa at santafesymphony.org/about/conductor/

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SOPRANO

ALTO

TENOR

BASS

Jackie Bell Lany Berger Luana Berger Nia Brannin Ellenita Chavez Kathleen Echols-Crumbacher Patricia Fasel Jolene Gallegos Linda Goodman Ryan Gulley Elizabeth Hott Kat Keener Linda Koran Dolores Martinez Kathleen Mead Bettina Milliken Catrinka Randall Elizabeth Roghair Laurie Romero Carol Ross Julie Rothschild Valerie Stefani Leona Tsinnajinnie Elizabeth Zollo

Mary Fellman Miquela Gallegos Colleen Kelly Kehar Koslowsky Allison Lemons LaVelle Martin Joann Reier Edna Reyes Wilson Anna Richards Judith Rowan Charlotte Sandelin Christine Warren Wendy Wilson Diana Zeiset

Diana Dallas Mario Chavez Doug Escue Gabriel Gabaldon Virginia Gilstrap Barbara Hadley Grayson Kirtland Alison Watt

David Beatty Curtis Borg Bruce Bradford Travis Bregier John Burke Tim Hagstrom Peter B. Komis Steve Krefting Phil Kruger Mike List Tom Rogowskey Richard Schacht Raymond Singer Jim Toevs

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choral director CARMEN FLÓREZ-MANSI Carmen Flórez-Mansi, a native of New Mexico, currently serves as the Pastoral Associate for Music at the Cathedral Basilica of St. Francis of Assisi. Since 1989, she has performed as a vocal artist, choral conductor, vocal instructor, and liturgy specialist throughout the Southwest, including solo appearances with the Santa Fe Desert Chorale and The Santa Fe Symphony Orchestra & Chorus. Mrs. Flórez-Mansi is also the Director of the Choral Arts Society at St. Michael’s High School, which she founded in 2014. Under her direction, this advanced 42-member chorus won the New Mexico Music Educators 2017 State 4A Choral Championship which took place at Sue Cleveland High School in Rio Rancho as well as the 3A New Mexico Music Educators 2019 State Championship—receiving a superior rating. Mrs. Flórez-Mansi has been the Choral Director of The Santa Fe Symphony Chorus since June 2018. She also frequently serves as the Children’s Chorus Master and Vocal Coach for the The Santa Fe Opera, including the production of Shoes for the Santo Niño, an opera composed by Stephen Paulus based on the children’s story by New Mexico native Peggy Pond Church and the world premiere of Sweet Potato Kicks the Sun in 2019. Mrs. Flórez-Mansi founded the St. Cecelia Institute for Liturgical Arts for children as well as her private vocal studio, Mariposa, in 2010. In 2012, her family moved to Napa, CA, where she accepted a position as the Director of Liturgy & Music at St. John the Baptist Catholic Church & School. During this period, she was also the Director of Development & Donor Relations for the San Francisco-based early music group, American Bach Soloists. Prior to this brief relocation from Santa Fe, she had been the Director of the Office of Worship at the Cathedral Basilica from 2001 to 2012. Mrs. Flórez-Mansi made her debut at New York’s famed Carnegie Hall as choral conductor for its Father’s Day concert in 2017, performing Mass of the Children by John Rutter. This was not her first appearance at Carnegie Hall. In 2007, she and 55 members of the Cathedral Basilica of St. Francis of Assisi Pontifical Chorus performed Handel’s Messiah at Carnegie Hall, under the direction of renowned composer John Rutter. That same year, she released a recording of sacred psalms titled “Salmos de mi Alma.” In 2016, she returned to Carnegie Hall with nearly a hundred Santa Fe singers to perform Rutter's Magnificat, under the direction of Dr. David R. Thye. Later that year, they were honored with an invitation to join the Sistine Chapel Choir for the Closing Mass of the Jubilee Year of Mercy, celebrated by His Holiness Pope Francis, at St. Peter’s Basilica in Rome, Italy.  From 2008 to 2010, she led the Cathedral Basilica of St. Francis of Assisi in an 18-month liturgical and musical celebration of the 400 Years of Faith in New Mexico Quarto Centennial events, which included the visit of the Spanish Royal Family. She has hosted and served as choral conductor and liturgist for events at the Cathedral Basilica, such as Vesper Service for the Papal Nuncio and 285 members of U.S. Conference of Catholic Bishops. She has also served as a plenum speaker and clinician in the areas of sacred music and liturgy for the Southwest Liturgical Conference, Hispanic Pastoral Musicians Conference, and National Pastoral Musicians Conference. Carmen FlórezMansi and her husband, Tom, have two sons—Thomasluke and Estevan.

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SEPTEMBER—DECEMBER

2020 Fall Virtual Concert Series

The Santa Fe Symphony's inaugural virtual concert "Canyon Echoes" premiered on October 11, 2020. It was filmed and produced by Hutton Broadcasting at one of New Mexico’s most incredible historic sites, Ghost Ranch in Abiquiú. Once home to world-renowned artist Georgia O’Keeffe, this sacred land is surrounded by 21,000 acres of deep, multicolored canyons and cliffs, plains, grasslands and streams. Presenting five unique ensembles of Symphony musicians performing works by Aaron Copland, Antonín Dvořák, Jessie Montgomery, local New Mexican composer, Michael Mauldin, and more, it was our honor to film our first digital performance of the Season Reimagined at this magical location—surrounded by the majestic beauty of Northern New Mexico.

2020 FALL

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The TheSymphony Symphony

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Sunday, October 11 @ 4 PM 2020 Fall Virtual Concert Series

canyon echoes Ghost Ranch

Dana Winograd, Principal Cello

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program AARON COPLAND

Fanfare for the Common Man for Solo Trumpet Brynn Marchiando, Solo Trumpet

ANTONÍN LEOPOLD DVOŘÁK

String Quintet No. 2 in G Major, op.77, B.49

Allegro con fuoco David Felberg, Violin; Nicolle Maniaci, Violin; Kimberly Fredenburgh, Viola; Dana Winograd, Cello; Terry Pruitt, Bass JESSIE MONTGOMERY

Strum: Music for Strings David Felberg, Violin; Nicolle Maniaci, Violin; Kimberly Fredenburgh, Viola; Dana Winograd, Cello; and Terry Pruitt, Bass

DAVID AMRAM

Duet from Three Songs for Marlboro for Horn and Cello Dana Winograd, Cello, and Jeffrey Rogers, Horn

JOHANN SEBASTIAN BACH

Cello Suite No. 3 in C Major Sarabande Dana Winograd, Cello

OLIVER MESSIAEN

Appel Interstellaire from Des canyons aux étoiles Jeffrey Rogers, Solo Horn

MICHAEL MAULDIN

Canyon Light for Woodwind Quintet Jesse Tatum, flute; Elaine Heltman, Oboe; Lori Lovato, Clarinet; Stefanie Przybylska, Bassoon; Jeffrey Rogers, Horn

DR. MARISA YOUNGS

Eclipse for Solo Trumpet Brynn Marchiando, Trumpet

CONCERT SPONSORS-IN-PART

MICHAEL & JULIE DAWSON The Symphony The Symphony

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Sunday, October 11 @ 4 PM

2020 Fall Virtual Concert Series

program notes CANYON ECHOES AARON COPLAND Born 1900, Brooklyn Died 1990, Sleepy Hollow

With the inclusion of the double bass, Dvořák used mostly the higher range of the cello, making for a rich middle range.

Fanfare for the Common Man JESSIE MONTGOMERY Born 1981, New York Aaron Copland is one of the few American composers Strum: Music for Strings who actually developed and changed the language of classical music in this country. After exploring modes Jessie Montgomery composed Strum in 2006 of expression imported from Europe—including for string quartet and revised it in 2012 for string atonality and serial techniques—he discovered the orchestra for the Sphinx Organization, the Detroitopen octaves, fifths and fourths. Copland saw these based social justice ensemble dedicated to “open” intervals as metaphors for the vastness of transforming lives through the power of diversity the American landscape with its millions of acres of in the arts. The work was featured on The Black undeveloped land. He built his most famous works, Composer Speaks concert series by Fulcrum Point Billy the Kid, Rodeo, and, of course, Appalachian Spring New Music Project, which explores different around these intervals. The Copland “American” voices within the generations of Black American sound is now iconic, riffed upon and imitated in film, composers, ranging from impressionistic to poptelevision and commercials (think Marlboro Country). inspired minimalism to free jazz improv. Constructed entirely of these most elementary intervals, unadorned with supporting harmonies, Fanfare for the Common Man takes on a further metaphoric meaning to honor the millions of Americans who gave their lives for this country.

Complex pizzicato lines on all instruments, sometimes as complex as in a Bartok quartet, other times recalling banjo strumming, provide a rhythmic base upon which Montgomery hangs bursts of fiddle music.

During World War II, many conductors and music presenters commissioned composers to write inspiring works reflecting the spirit of the times. In 1942 Eugene Goossens, conductor of the Cincinnati Orchestra, commissioned several American composers to write fanfares to commemorate various aspects of the nation at war. Copland’s Fanfare for the Common Man was scored for brass and percussion; the composer wrote: “[It] honors the man who did no deeds of heroism on the battlefield, but shared the labors, sorrows and hopes of those who strove for victory.”

A review of her debut album, Strum: Music for Strings, exemplifies Montgomery's dedication to Sphinx’s founding principles. “The album combines classical chamber music with elements of folk music, spirituals, improvisation, poetry and politics, crafting a unique and insightful new-music perspective on the cross-cultural intersections of American history.”

Not wanting a good tune to go to waste, Copland reused the Fanfare theme to great effect as the introduction to the finale of his Symphony No. 3. ANTONÍN DVOŘÁK Born 1841, Bohemia Died 1904, Prague

DAVID AMRAM Born 1930, Philadelphia

String Quintet No. 2 in G major, Op. 77 Allegro con fuoco Antonín Dvořák composed a large volume of chamber music for various instrument combinations that was mostly neglected after his death. It has only been revived in the latter part of the last century. Among these works is the Quintet in C Major for the unusual combination of two violins, viola, cello and double bass. It started life in 1875 as opus 18, but Dvořák revised it in 1888, and Simrock published it with the new opus number to make it sound as if it were a completely new work.

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Montgomery is a violinist, composer and educator with a graduate degree in Composition and Multimedia from New York University. She is a member of the Catalyst Quartet and toured with cellist Yo-Yo Ma’s Silk Road Ensemble. She performs and composes regularly for the Sphinx Organization.

Duet from Three Songs for Marlboro for Horn and Cello Theme and Variations Hearing a work for a novel combination of instruments is a rare and exciting opportunity. While the range of the horn and cello is similar, their distinct tone quality is quite different, analogous to two operatic baritones portraying distinct characters—sometimes in agreeable dialogue, sometimes in conflict. The texture is largely contrapuntal—often so free that the two instruments seem not to be paying attention to each other. Amram brings out the separate personalities of

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program notes CANYON ECHOES

Brynn Marchiando, Principal Trumpet

the two instruments contrasting hunting-horn motives with pizzicato passages and harmonics that extend the range of the cello. Composer and French horn player David Amram has spent his career bridging the gap between jazz and classical music. He began his professional life in 1951 as a French horn player in the National Symphony Orchestra. He moved to New York City in 1955 and played French horn in the legendary jazz bands of Charles Mingus, Dizzy Gillespie, Lionel Hampton and Oscar Pettiford. In 1966 Leonard Bernstein appointed him as the first musicianin-residence of the New York Philharmonic. Amram composed extensively in all fields, including opera and film; among his film scores are Splendor in the Grass and The Manchurian Candidate. He also wrote scores for Arthur Miller plays and for 25 productions of New York's Shakespeare Festival. He has been called multicultural and multi-musical. Amram composed Three Songs for Marlboro in 1961 at Marlboro, at the request of hornist Myron Bloom. JOHANN SEBASTIAN BACH Born 1685, Hamburg Died 1750, Liepzig Suite No. 3 in C Major for Solo Cello, BWV 1009 Sarabande Bach’s six Cello Suites were popular during his lifetime but, like much of his music, were largely forgotten or ignored after his death. It fell to famous cellist Pablo Casals (1876-1973) to bring the Cello Suites to the attention of the public, after he had discovered an old copy of the Suites in a thrift shop in Barcelona. Today, these suites are the gold standard, and every selfrespecting cellist practices and performs them.

All six Suites are expansions of the typical fourmovement Baroque dance suite, starting with a Prelude and consisting of a stately Allemande, followed by a flowing rapid Courante, a slow Sarabande and ending with a Gigue, a fast dance in triple time. Additional dances, mostly originating from French ballet were routinely added. Originating in the 16th century, by Bach's time these dances had lost their association with the ballroom, with only the opening rhythmic patterns surviving. OLIVIER MESSIAEN Born 1908, Avignon, France Died 1992, Clichy, France Appel Interstellaire (Call to the Stars) from Canyons aux Étoiles (Canyons to the Stars) A Catholic by religion and a mystic by nature, French composer and organist Olivier Messiaen linked his music intimately to his beliefs and visions. He claimed that the three cornerstones of his music were first, “the theological truths of the Catholic faith...perhaps the only aspect of my work that I will not regret at the hour of my death;” second, “the greatest theme of human love,” referring to the medieval legend of Tristan and Iseult; and third, the sounds of nature. "Appel Interstellaire" for solo horn is the first part of Des Canyons aux Étoiles, a 12-movement orchestral work commissioned in 1971 to celebrate the bicentennial of the Declaration of Independence. But Messiaen had composed Appel a few months earlier that year in memory of a young French composer. In preparation for the commission, Messiaen traveled to Utah where the beauty and majesty of Bryce Canyon captivated his imagination and resonated with his mystical aesthetic.

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Sunday, October 11 @ 4 PM

2020 Fall Virtual Concert Series

program notes CANYON ECHOES Messiaen prefaces the score with two quotations from the Hebrew Scriptures: “He heals their broken hearts and binds up their wounds. He reckoned the number of the stars To each he gave its name.” —Psalm 147, v. 3 and 4 “Earth, do not cover my blood, and let there be no resting place for my outcry!”—Job, ch. 16, v. 18

This virtuosic piece requires the performer to employ complex techniques unusual for the instrument, symbolizing the infinite ways one calls out to God: flutter-tonguing, closed notes, glissandos, and faintlysounded oscillations produced with the keys halfclosed. Even the extended silences seem to be waiting for an answer that never comes. And because this is Messiaen, we hear the calls of two birds—the Chinese thrush and the canyon wren. MICHAEL MAULDIN Born 1947, Dallas Canyon Light Composed in 1989 on commission from the New Mexico Woodwind Quintet, Canyon Light was inspired by a river rafting trip with Mauldin’s two young sons in Moab, Utah. "My sons must have thought their father insane for taking them there in August. But the cooling whitewater, the colors of the canyons and child’s play on sandy beaches made it a treasured experience for us all ... The energy we get from that beauty is real. Not just a fleeting mood, it sustains mind, body and spirit."

DR. MARISA YOUNGS Eclipse Only since the Baroque period has chromaticism become a part of the Western musical vocabulary, opening up from eight-note modes into our system of 12-note tonal harmony, thereby expanding the range of musical expression. Dissonances formed with half steps were taboo, and the tritone (ex. C – F#) was call Diabolus in musica (the devil in music). In Eclipse, Marissa Younge has used the negative reputation of chromatic intervals as a symbol. Youngs writes about Eclipse: "Eclipse is meant to evoke the eerie sense of beauty and unease experienced during a lunar eclipse. The motivic content is based on an initial descending half step, which is transformed throughout the work and symbolizes temporary darkness. The lyrical melody is often disrupted by sudden chromaticism and disjunct leaps, solidifying the feelings of fear and unrest many cultures associate with the astronomical event." Trumpeter Marisa Youngs has a Doctorate of Musical Arts from the University of Kentucky. She teaches trumpet at Winthrop University in South Carolina. Program Notes by Joseph & Elizabeth Kahn www.wordprosmusic.com

Despite the evocative titles for the four musical tableaux, Mauldin employs little tone painting. Each section, however, is based on a different scale, or mode, neither tonal nor atonal. 1. “Morning Prayers:” Composed for the upper winds, "Morning Prayers" is based on the octatonic scale, most familiar in the Russian works of Stravinsky. 2. “River Music:” Mauldin brings in the bassoon and horn, but the movement is dominated by delicate solos for flute and oboe. 3. “Shimmering Heat: "This slow movement has a hypnotic effect with its limited range and repeated motive. 4. In “Sunset:” An ostinato in rapid triplets underlies most of the final movement.

A graduate in piano and music education from Washburn University and the University of Colorado, Texas-born Michael Mauldin fell in love with New Mexico at a young age, and has lived there since graduation, teaching music, performing and composing.

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David Felberg, Concertmaster; Nicolle Maniaci, Principal Violin II

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ENTERPRISE BANK & TRUST IS PROUD TO SUPPORT THE SANTA FE SYMPHONY. Enterprise is proud to provide monetary support, expertise and volunteers to organizations and causes that align with our strategic initiatives, support our values and provide benefits to improve the communities we serve.

TOGETHER, THERE’S NO STOPPING YOU.

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Sunday, October 25 @ 4 PM

2020 Fall Virtual Concert Series

above the winds Thornburg Investments

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Gabriela da Silva Fogo, Violin

The son of a musician and maker of wind instruments, Glière's influence on young Soviet composers was profound. Among his pupils were Sergey Prokofiev, Nikolay Myaskovsky, and Aram Khachaturian. From years of working closely with many musicians in other genres (notably Lyle Lovett and Chet Atkins), many of Matt Walker’s compositions have become heavily swing- and blues-influenced. santafesymphony.org santafesymphony.org


program REINHOLD MORITZEVICH GLIÈRE

Cradle Song Kimberly Fredenburgh, Principal Viola; Toby Vigneau, Double Bass

REINHOLD MORITZEVICH GLIÈRE

Gavotte Kimberly Fredenburgh, Principal Viola; Toby Vigneau, Double Bass

REBECCA CLARKE

Two Movements for String Quartet Comodo et amabile Gabriela da Silva Fogo, Violin; Carla Kountoupes, Violin; Christine Rancier, Viola; Melinda Mack, Cello

ERWIN SCHULHOFF

Concertino for Flute, Viola, and Double Bass Jesse Tatum, Principal Flute; Kimberly Fredenburgh, Principal Viola; Toby Vigneau, Double Bass

CLAUDE DEBUSSY

Girl With the Flaxen Hair, arranged by Varga Dana Winograd, Principal Cello; Joel Becktell, Assistant Principal Cello; Melinda Mack, Cello; Lisa Collins, Cello; James Holland, Cello

MATT WALKER

Squaretet Dana Winograd, Principal Cello; Joel Becktell, Assistant Principal Cello; Melinda Mack, Cello; Lisa Collins, Cello; James Holland, Cello

JEROD IMPICHCHAACHAAHA’ TATE

Pisachi (Reveal) for String Quartet Gabriela da Silva Fogo, Violin, Carla Kountoupes, Violin, Christine Rancier, Viola; Melinda Mack, Cello

GEORGES BIZET

Carmen Fantasy, arranged by Werner Thomas-Mifune Dana Winograd, Cello; Joel Becktell, Cello; Melinda Mack, Cello; Lisa Collins, Cello; James Holland, Cello

CONCERT SPONSORS-IN-PART

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Sunday, October 25 @ 4 PM

2020 Fall Virtual Concert Series

program notes ABOVE THE WINDS REINHOLD MORITZEVICH GLIÈRE Born 1875, Kiev Died 1956, Moskow

orchestra. In 1916 she moved to the United States and settled in New York.

Clarke's compositions were popular in the 1930s and '40s. Her Viola Sonata and Piano Trio were runners-up in the Elizabeth Sprague Coolidge competition. She Gavotte only composed chamber music and songs, rarely trying Berceuse (Cradle Song) her hand at orchestral writing. Her style is rhapsodic and post-impressionistic in its harmonic idiom, with a If sheer survival is the criterion for success, Reinhold certain kinship with Maurice Ravel and Ernst Bloch. Glière's career is a success story without parallel. Whatever history's final judgment on the merits of Clarke composed Comodo e amabile in 1924. The name his art, he earned a place in music's Hall of Fame for aptly describes the music. one unique achievement: He managed to please Tsar and Commissar equally and without interruption for ERWIN SCHULHOFF more than half a century. The only other composer Boen 1894, Prague who comes to mind is Haydn, who went from being Died 1942, Wülzburg, Bavaria the most important composer of the Austro-Hungarian aristocracy to being the darling of London's merchants Concertino for Flute, Viola and Double Bass without offending either. One of the glib sayings in the 1930s, following the rise of Glière's music represents a classic example of cultural Nazism and the expulsion of so many artists from Germany, persistence. His late-Romantic style, with elements of was that Germany's loss was our gain. What the world Borodin, Tchaikovsky and Rachmaninov, exemplifies the forgot was the fate of the many artists who did not escape establishment before 1917, so hated by the Bolsheviks. the Nazi death machine. But the Ten Days that Shook the World did not shake his musical style at all. Somehow, nobody, even Stalin, ever Among the victims was Prague-born composer Ervin took offense with him or his music. His Soviet cultural Schulhoff. Escaping to Russia when the Germans occupied awards were a legion. Czechoslovakia, he was captured there by the invading Nazis and imprisoned in the Wülzburg prisoner-of-war Most of Glière's music is painted with a broad, bold camp in Bavaria (It held Charles De Gaulle during WW I), brush. Even his chamber music aims for the big sound, where he died of tuberculosis in 1942. He was an eclectic and the Duos for Violin and Cello, composed in 1909, are composer, equally comfortable in the diverse trends in melodious and energetic. They show the influence of concert music of his time, folk music and jazz. He was also the folk music Glière collected in the Russian domains a virtuoso pianist, well known in the 1920s and '30s for his of Asia. jazz performances and recordings. From 8 Duos for Violin and Cello, op.39

REBECCA CLARKE Born 1886, London Died 1979, New York

Schulhoff composed the Concertino in four days in 1925. Each of the four movements employs a different musical language. The languid first movement, Andante con moto, is based on the pentatonic scale, more consistently so than Two Movements for String Quartet most Western borrowings. The lively second movement, a Hungarian furiant, Allegro furioso, is a riff on Bartók’s Comodo e Amabile (Comfortable and Lovable) dances where the flute is exchanged for a piccolo. Born in Harrow, England, Rebecca Clarke studied While retaining elements of lyrical tonality, the third composition and viola at the Royal Academy in movement, Andante, is more chromatic with a wider London. She embarked on a career as a violist in harmonic palette than the previous two. The finale, chamber ensembles and as a soloist. She was one of Rondino, is based on a Central European folk melody, the first women to be a member of a major symphony this time again with piccolo.

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santafesymphony.org


program notes ABOVE THE WINDS

Jesse Tatum, Principal Flute; Toby Vigneau, Double Bass; Kim Fredenburgh, Principal Viola

CLAUDE DEBUSSY Born 1862, Saint-Germain-en-Laye, France Died 1918, Paris La Fille aux Cheveux de Lin (The Girl with the Flaxen Hair), arranged for Five Cellos by Laszlo Varga from from Préludes, Book I Debussy's Préludes are among his late works for piano, short pieces evoking a mood, image or even the personality of a specific individual. Composed in 1909–1910 (Book I) and 1911–1913 (Book II), they belong to a tradition of French keyboard music dating back to the seventeenth-century works of the Couperin family and Jean-Philippe Rameau, and in the nineteenth century, to the character pieces for piano by Robert Schumann. They are a distinctly separate genre from Bach’s Preludes. The Preludes are deliberately referential, each one containing programmatic, visual or musical allusions readily familiar to the composer’s contemporaneous audience. Curiously, however, Debussy placed the titles at the end of each prelude. Maybe music came first, inspiring the title, or perhaps so as not to prejudice the performer or audience encountering them for the first time. La Fille aux Cheveux de Lin is the equivalent of impressionist painting. The theme is based on the pentatonic scale, but its solid grounding in tonality can be understood as the equivalent of the slightly distorted representations in the Impressionist and Post-Impressionist painting of the period.

MATT WALKER Born 1939, London Squaretet Matt Walker composed Squaretet for four cellos in 2008 for ALIAS, a chamber ensemble formed from members of the Nashville Symphony. It opens with a parody of the beginning of Rossini’s Overture to William Tell, readily recognizable so that all of the “wrong notes” stand out. Instead of the “Lone Ranger” gallop, Walker continues with a jazz set, using pizzicato as a rhythm section, “… demanding funk, swing and general cool-ness from its performers.” Born in Upstate New York, cellist, guitarist and composer Walker is a graduate of Florida State University. Since 1999, he has been a member of the cello section of the Nashville Symphony. He is one of the founding members of ALIAS. JEROD IMPICHCHAACHAAHA’ TATE Born 1968, Norman, Oklahoma Pisachi (Reveal) for String Quartet The son of a Chickasaw father and an Irish mother, Jerod Impichchaachaaha’ Tate grew up in a family professionally involved in music, dance and theatre. He received his training as a pianist and composer at Northwestern University and the Cleveland Conservatory of Music, but

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Sunday, October 25 @ 4 PM

2020 Fall Virtual Concert Series

program notes ABOVE THE WINDS

James Holland, Cello; Lisa Collins, Cello

his mother commissioned his first composition, Winter Moons, a ballet that explores traditions of the tribes from the Northern Plains and Rockies.

GEORGES BIZET Born 1838, Paris, France Died 1875, Bougival, France

Tate, who has been inspired in ways of combining ethnic and Classical traditions through the music of Bela Bartók, writes:

Carmen Fantasy, arranged by Werner Thomas/Mifune for Five Cellos Georges Bizet was yet another of those composers who showed precocious brilliance as a child but never lived long enough to completely fulfill his promise. Carmen was his last work and was a success only after his death. The first audiences and critics alike considered it scandalous and immoral (although that didn’t stop it from enjoying the longest run of any of Bizet’s previous works). But when the critics panned it Bizet was crushed and within three months of the premiere, he succumbed to a chronic throat ailment.

"I didn't mix my identities of being a classically trained musician and being an American Indian. I never saw that there was even a possible relationship between those two until I started composing. And that's when they came together in a way that made me feel just wonderful.” Pisachi is composed in six “epitomes,” or sections, and was originally commissioned to be performed within a slide show exhibit for ETHEL (A New York based string quartet using amplification), for a touring project entitled Documerica. Tate conceived Pisachi to be paired with images of the American Southwest. It draws specifically from Hopi and Pueblo melody, rhythms and form. The opening viola solo is a paraphrase of a Pueblo Buffalo Dance and recurs throughout the work. Pisachi also incorporates Hopi Buffalo Dance and Elk Dance music. It honors Tate’s Southwest Native American cousins, blended with music of the Classical tradition.

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Probably no other Classical work has spawned as many suites, paraphrases and fantasies as Carmen, with its "exotic" Spanish flavor. This short Fantasy touches briefly on most of the famous themes from the opera. Program notes by Joseph & Elizabeth Kahn Wordpros@mindspring.com

santafesymphony.org


TheCello Symphony Melinda Mack,

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Sunday, November 8 @ 4 PM

2020 Fall Virtual Concert Series

ensembles royales Santa Fe Children's Museum

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Carla Kountoupes, Violin

Andrès utilizes several interesting harp techniques, including playing with the fingernails. Marcelle Soulage sometimes used the male pseudonym Marc Sauval when composing her work. Jacque Ibert’s short but magnificent Entr’acte opens with a breathless, whirling dance with propulsive accompaniment, inspired by flamenco guitar music. santafesymphony.org santafesymphony.org


program JOHANN SEBASTIAN BACH

Trio Sonata in G Major Carla Kountoupes, Violin; Nicolle Maniaci, Violin; and Dana Winograd, Cello

GEORGE FRIDERIC HANDEL / JOHN HALVORSEN

Passacaglia: Duo for Violin and Cello

MARCELLE SOULAGE

Pastorale for Oboe and Harp, op.15

Dana Winograd, Cello and Carla Kountoupes, Violin

Anne Eisfeller, Harp, and Elaine Heltman, Oboe IGNATIUS SANCHO

Three Minuets Alexis Corbin, Steel Pan; Hovey Corbin, Marimba

MORGAN LEWIS

How High the Moon Alexis Corbin, Steel Pan, and Hovey Corbin, Marimba

BERNARD ANDRÈS

Excerpts from Algues Anne Eisfeller, Harp, and Elaine Heltman, Oboe

JACQUES IBERT

Entr’acte Anne Eisfeller, Harp, and Elaine Heltman, Oboe

CARLOS SANTANA / TOM COSTER

Europa (Earth’s Cry Heaven’s Smile)

JUAN TIZOL

Caravan

Alexis Corbin, Steel Pan, and Hovey Corbin, Marimba

Alexis Corbin, Steel Pan, and Hovey Corbin, Marimba ASTOR PANTALEÓN PIAZZOLLA

Oblivion Anne Eisfeller, Harp, and Elaine Heltman, Oboe

MAURICE RAVEL

Sonata for Violin and Cello Tres Vif Dana Winograd, Cello, and Carla Kountoupes, Violin

This concert is Dedicated to the Memory of Ronald Rinker by John Geiger. MANY THANKS TO DEL NORTE CREDIT UNION FOR THEIR ADDITIONAL SUPPORT

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Sunday, November 8 @ 4 PM

2020 Fall Virtual Concert Series

program notes ENSEMBLES ROYALES JOHANN SEBASTIAN BACH Born 1685, Eisenach, Germany Died 1750, Liepzig

GEORGE FRIDERIC HANDEL Born 1685, Magdeburg Died 1759, London

Trio Sonata in G Major, BWV 1038

Passacaglia, Transcribed for Cello and Viola by JOHAN HALVORSEN

Today, members of the Santa Fe Symphony are implementing a well-established practice during the Baroque period, as well as bringing to light one of those issues that keep musicologists employed: performance practice and authenticity. The easiest one to unravel is the matter of performance practice. First, there’s the definition of a trio sonata. The trio sonata is a chamber work for four players--two high-tessitura instruments to carry the melodic lines; two players, the continuo, to support the harmonic structure of the piece. The word “continuo” is a single entity consisting of a viola da gamba or cello plus a harpsichord to fill in the harmonies, but the two players do not always play the same notes. The cello can contribute significantly to the contrapuntal texture while the harpsichord plays block chords, usually only when the harmony changes. This performance, however, involves only three players, dropping the keyboard altogether. The three major instruments, however, clearly delineate the harmonic structure without the keyboard enhancement. In addition, this sonata was originally written for flute and violin. No problem: Baroque composers regularly mixed and matched ensembles according to the forces at hand. Bach himself transcribed a whole bunch of trio sonatas for organ. Chamber music was occasional music meant to accompany events like dinner parties, so you used what you had. A lot of Bach’s instrumental works saw light of day in a coffeehouse. Authenticity is a little trickier. The latest edition of the Neue Bach Ausgabe, the authority amassing and commenting on the latest in Bach scholarship, cites this sonata as probably not by Bach – or at least not by Johann Sebastian (the best guess being Carl Philip Emmanuel). And to make things even more complicated, the continuo part is exactly the same as that of the Violin Sonata, BWV 1021! It was first published about a century after it was composed, and we can’t go by the handwriting since C.P.E. copied oodles of his father’s compositions. So, no matter who wrote it and for what combination of instruments are immaterial for you to enjoy this lovely work.

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The passacaglia (or chaconne) is an early baroque dance and instrumental form in which a short motive in the bass, known as a “ground,” is continually repeated as the upper parts weave contrapuntal variations over it. Its combination of rigidity and fancy has kept it popular with composers to the present day. Once associated with laments, the passacaglia has often been used to convey a mood of melancholy (Brahms Symphony No. 4) or powerful tragedy (the Passacaglia from Benjamin Britten’s opera Peter Grimes). George Frideric Handel’s only passacaglia occurs as the last movement of his Harpsichord Suite No. 7 in G minor, HWV 432, published in 1720. In 1894, Norwegian violinist, composer and conductor Johan Halvorsen (1864-1935) arranged and elaborated Handel’s Passacaglia for Violin and Viola. The transcription owes less to Handel than to Paganini; for although at first Halvorsen adheres closely to Handel’s first five variations, he then introduces an entire set of new variations with challenging demands on both string players. MARCELLE FANNY SOULAGE Born 1894, Lima, Peru Died 1970, Paris Pastorale, op.15 One of the advantages of having an entire stable of orchestra players to mix and match into diverse chamber ensembles is to bring to light music that one would seldom hear in concert. There is a group of music stores on Paris’s Left Bank crammed with decades of sheet music. These include everything from exercises to recital and competition pieces for every Western instrument by composers who taught at the Conservatoire. Marcelle Fanny Henriette Soulage composed the Pastorale for oboe and harp (or piano) in 1920; we do not know for whom or for what purpose. French pianist and composer Soulage studied at the

santafesymphony.org


program notes ENSEMBLES ROYALES

Dana Winograd, Principal Cello

Conservatoire, where she became professor of music theory in 1949. Her works are primarily for chamber ensemble, piano and voice. IGNATIUS SANCHO Born 1729, London Died 1770, London Three Minuets The British Library Website introduces Ignatius Sancho as: “Writer, composer, shopkeeper and abolitionist, Ignatius Sancho was celebrated in the late 18thcentury as a man of letters, a social reformer and an acute observer of English life.” We might add that he was a British precursor of the American former slave and abolitionist Frederick Douglass. It is not clear whether Sancho was born in Africa or on a slave ship when Britain was one of the world’s most notorious slave trading nations; its American colonists weren’t even dreaming of revolution. His mother died when he was an infant, and his father committed suicide rather than be sold into slavery. Sancho was taken to England and worked as a slave to three sisters in Greenwich. His fortunes turned when he caught the attention of the

Duke of Montague, who took the boy under his wing and taught him to read. When the Duke died, Sancho ran away from the sisters and persuaded the duke’s widow to hire him as a butler. While working for the Montague family, Sancho studied poetry, literature and music. The Montagues also had his portrait painted by Thomas Gainsborough, the premier society portraitist. Novelist and abolitionist Laurence Sterne befriended him and incorporated his story into his novel Tristram Shandy, and he was the subject of a biography. After 20 years, he left the Montague household with an annuity plus a year’s salary that allowed him to open a grocery store in Westminster. There, he became a wellknown cultural figure, and freely mingled in “Society,” as the British say. And as an independent male property owner, he was the first African to vote in a British general election. Sancho wrote many letters on abolition (published posthumously), two plays, four collections of music, Minuets, Cotilions and Country Dances, published posthumously in 1775, and a treatise on music theory. We do not know when the dances were composed, although probably at the time when Sancho was in the employ of the Montague family. Parties and balls were ubiquitous among the British upper classes and gentry, and it might have been a novelty for the family to showcase their talented butler—and later valet¬. If that sounds condescending, consider the fact that all musicians of the period were regarded as servants.

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Sunday, November 8 @ 4 PM

2020 Fall Virtual Concert Series

program notes ENSEMBLES ROYALES Occasional music in the Baroque and Classical periods could be performed on any combination of instruments. This transcription for marimba might have also been acceptable—if the instrument had been invented yet. MORGAN LEWIS Born 1906, Rockville, Connecticut Died 1968, New York City How High the Moon Born in Connecticut, composer Morgan Lewis wrote jazz songs and music for Broadway shows. He composed How High the Moon for the 1940 Broadway review Two for the Show, with lyrics by Nancy Hamilton. It became one of Ella Fitzgerald's signature songs. BERNARD ANDRÈS Born 1941, Belfort Selections From Algues French educator and harpist Bernard Andrès graduated in harp from the Paris Conservatory, and in 1969 became solo harpist for the Philharmonic Orchestra of Radio France. He started composing at age 8, his music always emphasizing melody although frequently spiked with atonal tension. In the process, he developed his own notation method for harp music. He is one of the most popular contemporary composers of harp music, and his educational books are required texts for harp students world-wide. In addition to solo and ensemble harp music, Andrès has composed vocal and chamber music with harp, and Le Seigneur des Amin – a Concerto for Harp and Orchestra. Algues is seven duets for harp and oboe, violin or flute. Andrés uses some unusual techniques, including using the fingernails for xylophone sounds. His harmonic palette reveals the influence of Debussy. JACQUES IBERT Born 1890, Paris Died 1962, Paris Entr’acte Jacques Ibert was one of the most prolific and eclectic French composers of the last century, leaving behind works in nearly every musical form. He considered music “the expression of an interior adventure.” His approach to composition could best be summed up in his own words: “All systems are valid, provided that one derives music from them.” He adopted a particular style only when it suited his purpose for the composition at hand.

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Consequently, he never joined any of the movements so popular in France in the 1920s and ’30s. During World War I when Ibert served in the French navy, a Mediterranean cruise inspired his most popular work, Escales (Ports of Call). From 1937 to 1960, he served as director of the French Academy in Rome. Ibert composed Entr’acte in 1935 as part of the incidental music for El Medico de su Honra (The Physician of his Honor), a play by the Spanish 17th-century playwright Pedro Calderón de la Barca. Originally for flute or violin and harp or guitar, it has been performed by many other duo combinations. Like so much French music of the last century, the work suggests Spanish Flamenco harmonies, but the flute and the absence of strumming in the guitar gives it a more ethereal quality than the music of dark Spanish bars and cafés. CARLOS SANTANA Born 1947, Autlan de Navarro, Mexico TOM COSTER Born 1941, Detroit Europa (Earth's Cry Heaven's Smile) Mexican guitarist Carlos Santana formed and led the Santana rock band in the 1960s and ’70s, and American composer and keyboardist Tom Coster played for many years in Santana's band. First recorded and released in 1976, Europa is considered Santana's most beautiful instrumental composition. The origin of its melodies is, however, in dispute, and the final version was written with the assistance of Coster. JUAN TIZOL Born 1900, Vega Baja, Puerto Rico Died 1984, Inglewood, Los Angeles Caravan Puerto Rican trombonist and composer Juan Tizol started his musical education under his uncle, the director of the municipal band and symphony of San Juan. He started playing the violin, but soon switched to the valve trombone, his signature instrument. He joined a band that traveled as stowaways to Washington, where he first met Duke Ellington. He joined Ellington's band in 1929 and became a band composer, introducing Latin sound into the band’s repertory. Tizol composed Caravan, a jazz standard, in 1936, and it has never left the repertoire. It has been used by Woody Allen, Steven Soderbergh and Damien Chazelle in their movies.

santafesymphony.org


program notes a taste of beethoven ENSEMBLES ROYALES

Alexis Corbin, Steel Pan; Hovey Corbin, Marimba

ASTOR PIAZZOLLA Born 1921, Mar del Plata, Argentina Died 1992, Buenos Aires

MAURICE RAVEL Born 1875, Ciboure, France Died 1937, Paris

Oblivión Sonata for Violin and Cello Astor Piazzolla’s name has been inseparably associated Très vif with the tango. During the Depression, Piazzolla’s family moved to New York, where he studied piano The death of Debussy in 1918 threw a pall over the and the bandoneón, a type of concertina with a musical world of Paris. In 1920, the journal La Revue 38-button keyboard that had become the central Musicale published a special commemorative issue in instrument in the tango ensembles of his native memory of the composer. In it appeared a collection Argentina. After a stint in Paris, studying composition of pieces by Debussy's contemporaries, including Igor with no less an eminence than Nadia Boulanger, Stravinsky and Béla Bartók, under the collective title Le Piazzolla returned to Argentina to form his first Tombeau de Debussy (Memorial to Debussy). Ravel’s Tango Octet and later his renowned Tango Quintet, contribution to the issue was a duo for violin and cello, made up of the bandoneón, violin, piano, electric which two years later became the first movement of guitar and bass. the Sonata for Violin and Cello. Ravel also dedicated the Sonata to Debussy's memory. Influenced by his studies in Paris and classical forms, Piazzolla aimed his compositions a cut above the Listeners acquainted with the music of Zoltán Kodály traditional tangos. No longer dance music, they and Béla Bartók will not fail to notice a distinctly became concert music, although for the nightclub Hungarian flavor in the second movement. It is not rather than the concert hall. Nevertheless, the clear to what extent Ravel became familiar with the psychological intensity and sophistication of his music works of his two Hungarian contemporaries, but their so infuriated the traditionalists that Piazzolla was influence is palpable in this Sonata. repeatedly physically assaulted and even threatened with a gun to his head during a radio broadcast. The second movement begins with the two instruments sharing the melody by playing alternate notes. The Piazzolla in turn has inspired such jazz artists as Jerry movement rolls out several more themes, the first Mulligan and Chick Corea. His tangos have been harking back to the Debussy Quartet. The model for the arranged for classical violinist Gidon Kramer and for others, to judge from their unusual modal melodies and the renown eclectic Kronos Quartet. complex rhythms, appears to be more Hungarian than French. When you write for something as restricted geographically as a bandoneón ensemble, transcriptions are inevitable. Oblivión has been transcribed for many combinations, including a piano trio. It is a dreamy, Program Notes by Joseph & Elizabeth Kahn slow tango, expressing longing and pain. www.wordprosmusic.com

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Sunday, November22 8@ Sunday, November @44PM PM

2020 Fall Virtual Concert Series

native winds

Santa Fe Botanical Garden

Elaine Heltman, Principal Oboe Katelyn Marie Lewis, Horn

of note

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Shulamit Ran's Symphony won her the Pulitzer Prize for Music in 1991. Jerod Tate's middle name, Impichchaachaaha’, means “high corncrib” and is his inherited traditional Chickasaw house name. santafesymphony.org


program Symphony No. 6 in F Major, op.68, “Pastoral” for String Sextet

LUDWIG VAN BEETHOVEN

David Felberg, Violin; Gabriela Fogo, Violin; Nicolle Maniaci, Violin; Kimberly Fredenburgh, Viola; Christine Rancier, Viola; Melinda Mack, Cello; Dana Winograd, Cello Native Winds for Woodwind Quintet

BRENDA M. ROMERO

Jesse Tatum, Flute; Elaine Heltman, Oboe; Lori Lovato, Clarinet; Stefanie Przybylska, Bassoon; Katelyn Benedict, Horn Romanze for Horn and String Quartet, op.3

LEONE SINIGAGLIA

Peter Erb, Horn; David Felberg, Violin; Carla Kountoupes, Violin; Kimberly Fredenburgh, Viola; James Holland, Cello String Quartet, op.64, No. 5, “Lark”

JOSEPH HAYDN

Allegro moderato David Felberg, Violin; Nicolle Maniaci, Violin; Kimberly Fredenburgh, Viola; Dana Winograd, Cello JEROD IMPICHCHAACHAAHA’ TATE

Talowa’ Hiloha (Thunder Song) for Solo Timpani Ken Dean, Timpani

WOLFGANG AMADEUS MOZART

Quintet in E-flat Major for Horn, Violin, 2 Violas, and Cello Peter Erb, Horn; David Felberg, Violin; Kimberly Fredenburgh, Viola; Christine Rancier, Viola; James Holland, Cello

SHULAMIT RAN

East Wind for Solo Flute (1987) Jesse Tatum, Flute

CO-PRESENTED IN PARTNERSHIP WITH

WILDEARTH GUARDIANS The Symphony The Symphony

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Sunday, November 22 @ 4 PM

2020 Fall Virtual Concert Series

program notes NATIVE WINDS LUDWIG VAN BEETHOVEN Born 1770, Bonn Died 1827, Vienna Symphony No. 6 in F Major, op.68, “Pastorale” Transcribed for String Sextet by Michael Gotthard Fischer 1st Movement While many of Beethoven’s symphonies broke new ground, the Sixth is both innovative—as it prefigures the Romantic tone poems—and traditional. Beethoven and his audience were readily able to attach literary, emotional or extra-musical concepts to music. His Wellington’s Victory was the latest in a long tradition of musical battles dating back to the Renaissance. And of course, there were musical models for many of the images in the Sixth Symphony – Vivaldi’s Four Seasons and bucolic Christmas pastorals with bagpipe drones, as in Handel’s Messiah or Corelli’s Christmas Concerto – not to mention an extensive vocabulary of rhetorical musical figures from the Baroque, bird calls and other perennial tone painting devices. But Beethoven seemed to be searching for something different, an ideal way to portray and “express” nature. "Any painting, if it is carried too far in instrumental music, loses expressive quality ... The overall content, consisting of more feelings than of tone paintings, will be recognized even without further description," he wrote in his sketchbook while working on the Sixth Symphony. This and other notes to himself as he worked reveal the Symphony as more than a sentimental outpouring. Here was another of the composer’s creative challenges to be met in the context of his trajectory of self-fulfillment as an artist. Beethoven wrote more words about the Sixth Symphony than about any of his other compositions. He provided descriptive titles to each of the five movements, while at the same time commenting that the music was selfexplanatory and needed no titles. The first movement, “Cheerful feelings awakened on arriving in the country,” builds up none of the intense tension so common in Beethoven's first movements, being instead an unhurried study in tranquility. The gentle atmosphere of the Sixth Symphony is in sharp contrast to the high-voltage intensity of the Fifth, completed only a few weeks earlier. Although Beethoven fought, quarreled and argued with everyone—friend, foe or patron—with nature he was at peace.

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With the rise of the middle-class and the accompanying leisure time in the 19th century, amateur home music making became a major source of entertainment. Before the invention of the phonograph and radio, transcription of operatic and orchestral works for small ensemble was the way to acquaint the affluent public with the newest in music. Providing these transcriptions became big business. Beethoven finished the symphony and premiered it in 1808, and Fischer published his transcription two years later. BRENDA M. ROMERO Born 1949, New Mexico Native Winds for Woodwind Quintet Ethnomusicologist and composer Brenda M. Romero is a graduate of the University of New Mexico in Albuquerque and the University of California in Los Angeles. She was on the faculty of the College of Music of the University of Colorado in Boulder for 33 years until her retirement. She currently does extensive community work and is working on an opera set in New Mexico in the 1940s. Romero composed Native Winds for woodwind quintet with Mexican bird whistle in 1987, while working toward a doctorate in ethnomusicology at UCLA. It was commissioned by the New Mexico Woodwind Quintet and the Wheelwright Museum of the American Indian in Santa Fe. She writes about the genesis of Native Winds: “My 1987 woodwind quintet, Native Winds, commemorates the Battle at Wounded Knee in 1890, quoting melodies I taught to students for the Ghost Dance Play at the Navajo Pinehill Highschool in May 1986. As a little girl growing up in northern New Mexico, I had recurring dreams of warrior guardians on the hillside cliffs just west of us. To begin, the horn announces their presence, then the morning bird appears. Foreshadowing change, the final bars restructure the opening rhythmic figure.” LEONE SINIGAGLIA Born 1868, Turin Died 1944, Turin Romanze for Horn and String Quartet, op.3 Italian composer Leone Sinigaglia was an avid collector of popular songs from the country around Turin, his native city. He arranged many of them for voice and piano in the style of the German Lied, an art he learned while spending

santafesymphony.org


program notes NATIVE WINDS two years in Vienna. They were published in six volumes by Breitkopf & Härtel. His hobby was mountaineering, and he published two books on his climbs in the Dolomites, for which he became famous.

the composer to become the star of his London concert series, an invention for the newly affluent middle class. It took Haydn no time to agree, and by the end of December he was on his way to London.

Sinigaglia composed the Romanze, op.3 in 1889 for horn and string quartet, but it is frequently performed with string orchestra.

Of course, Haydn brought with him his latest chamber music creation, but on hearing the six quartets performed in London, he realized that the last two, No.5 and 6, were the weightiest of the set and placed them at the front for publication by Bland in London in 1792. In those days before copyright and with Haydn’s immense reputation, it is not surprising that within two years they were republished in every major city in Europe. The publication in Vienna by a new firm, Magazin de musique, issued them in the chronological order that has prevailed to this day. The nickname “The Lark” was given to this Quartet because of the soaring violin melody above the staccato accompaniment of its opening.

FRANZ JOSEPH HAYDN Born 1732, Rohrau, Austria Died 1809, Vienna String Quartet in D major (The Lark)” Op. 64, No. 5 (Hob.III:63) 1st Movement The 25 string quartets Haydn composed during the 1780s were not part of his duties as Kapellmeister to Prince Nicolaus Esterházy; rather they were self-motivated and meant for the general public. By the end of the decade, Haydn’s reputation had spread throughout Europe and his music was in great demand. He composed the six quartets of Op. 64 during 1790, the last two after the death of Prince Nicolaus. The death of his music-loving patron and the accession to the title by his musically indifferent son fortuitously coincided with the sudden arrival in Vienna of the impresario Johann Peter Salomon—the Sol Hurok of the late 18th century. Salomon was attempting to lure

JEROD IMPICHCHAACHAAHA' TATE Born Norman, Oklahoma, 1968 Talowa' Hiloha (Thunder Song) for Solo Timpani The son of a Chickasaw father and an Irish mother, Jerod Impichchaachaaha’ Tate grew up in a family professionally involved in music, dance and theatre. He received his training as a pianist and composer at Northwestern University and the Cleveland Conservatory of Music, but

Ken Dean, Principal Percussion

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program notes NATIVE WINDS his mother commissioned his first composition, Winter Moons, a ballet that explores traditions of the tribes from the Northern Plains and Rockies. Tate, who has been inspired in ways of combining ethnic and Classical traditions through the music of Bela Bartók, writes: "I didn't mix my identities of being a classically trained musician and being an American Indian. I never saw that there was even a possible relationship between those two until I started composing. And that's when they came together in a way that made me feel just wonderful.” Tate composed Talowa' Hiloha in 1997 for timpanist Alex Orfaly, currently with the Stockton Symphony. He explains: "The Chickasaw word for thunder and lightning is Heloha and, in history, Chickasaw people believed thunderstorms were the beloved, or holy people at war above the clouds. In an attempt to show their bravery and fearlessness of death, warriors would shoot their guns into the air during thunderstorms. This work is an homage to those old ways." WOLFGANG AMADEUS MOZART Born 1756, Salzburg Born 1791, Vienna Quintet in E Flat Major K. 407 For Horn, Violin, Two Violas & Cello The name Ignaz Leutgeb does not ring a bell with most music lovers. A poorly educated cheesemonger born in Salzburg ca. 1745, he was also a superb horn player. In 1770, he was appointed to the orchestra of the Archbishop of Salzburg where he became a close friend of Mozart and the butt of the latter’s verbal and practical jokes. Leutgeb was also a terrible spendthrift and managed to borrow money from Mozart’s father, which he never repaid. In 1777, he moved to Vienna, where he opened a cheese shop while continuing to give horn recitals. In 1781, after Mozart moved to Vienna, he renewed his friendship with Leutgeb. His friend’s virtuoso playing and need for new repertoire inspired Mozart in 1782 to write the Quintet for Horn and Strings, K.407, as well as his four horn concertos. The Quintet, with its unusual string complement, is perhaps a modified string quintet, with a horn in place of the first violin. It has the characteristics of a horn concerto in miniature, the strings functioning primarily

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as accompaniment. Mozart had a thorough grasp of the character of the 18th-century natural (valveless) horn —called Waldhorn in German—which symbolized the sounds of the forest and the hunt. In the opening Allegro, Mozart uses the different sonorities of the horn and strings to create lyrical-dramatic contrasts, with the strings mostly following and repeating the horn phrases. The second movement, Andante, uses legato playing to minimize the difference between the instruments and create a true dialogue. As a result, the strings, especially the violin, have a more equal role. The high spirits of the Allegro finale recall the joking inscriptions Mozart wrote on the manuscripts for Leutgeb, which were often meant to confuse. On the manuscript of the second Horn Concerto, Mozart wrote: “Wolfgang Amadé Mozart hat sich über den Leutgeb, Esel, Ochs und Narrerbarmt. ( Wolfgang Amadeus Mozart takes pity on Leutgeb, ass, ox and simpleton...)”. The movement opens with a melody which is the same as at the start of the Andante, but with a totally different rhythm and tempo. Since Mozart was familiar with Leutgeb’s outstanding abilities on the horn, the composer demanded extraordinary feats of virtuosity. SHULAMIT RAN Born 1949, Tel Aviv East Wind for Solo Flute The music of Israeli-American composer and pianist Shulamit Ran is a fusion of Western and Middle Eastern modes and sonorities. Ran studied at the Mannes College of Music. She joined the University of Chicago Department of Music in 1973, where she was the Andre MacLeash Distinguished Service Professor, retiring in 2015. Her 1990 Symphony, commissioned by the Philadelphia Orchestra, garnered the Pulitzer Prize for Music in 1991. Composed in 1987, East Wind refers to a passage in the Book of Genesis in which Pharaoh has a dream forecasting the east wind that subsequently, in Exodus, brings the plague of locusts and parts the Red Sea. This challenging piece recreates the improvisatory nature of the Middle Eastern style of flute playing, including such extended techniques as pitch bends, key clicks, and the percussive “spit tongue” articulation, and non-metered rhythms with angular melodies. Program Notes by Joseph & Elizabeth Kahn www.wordprosmusic.com

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christmas treasures CHRISTMAS TREASURES Cathedral Basilica of St. Francis of Assisi Principal Conductor

of note

Joel Becktell, Assistant Principal Cello

Handel’s Opus 6 Concerti Grossi are modeled on Corelli’s Opus 6 Concerti. Consuelo Velásquez was only 16 when she wrote her enduring 1940s-era standard Bésame Mucho. Greensleeves was initially used in the third act of the Ralph Vaughan Williams’s Shakespeare-inspired opera Sir John in Love. 44 44

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program GEORGE FRIDERIC HANDEL

Messiah Overture Messiah Pastoral Kerri Lay, Violin; Gabriela da Silva Fogo, Violin; Alan Mar, Violin; Carol Swift, Violin; Barbara Morris, Violin; Gloria Velasco, Violin; Anne Karlstrom, Violin; Valerie Turner, Violin; Christine Rancier, Viola; Joel Becktell, Cello; Viola da Braccio, Viola; Lisa Collins, Cello; Frank Murray, Bass; Terri Reck, Harpsichord

JOHANNES SEBASTIAN BACH

Cello Suite No. 1 in G Major, BWV 1007 Joel Becktell, Cello White Christmas, arranged by Alan Civil

IRVING BERLIN

Jeffrey Rogers, Horn; Katelyn Benedict, Horn; Peter Erb, Horn; Allison Tutton, Horn Besame Mucho, arranged by Arturo Pantaleon/Gabriel Soto

CONSUELO VELÁSQUEZ

Jeffrey Rogers, Horn; Katelyn Benedict, Horn; Peter Erb, Horn; and Allison Tutton, Horn GEORG PHILIPP TELEMANN

6 Canonic Sonatas—Sonata No. 2 Gabriela da Silva Fogo, Violin and Kerri Lay, Violin

TRADITIONAL CAROL

Jingle Bells, arranged by Lowell Shaw Jeffrey Rogers, Horn; Katelyn Benedict, Horn; Peter Erb, Horn; Allison Tutton, Horn

ARCANGELO CORELLI

Christmas Concerto in G Minor Soloists: Kerri Lay, Violin; Gabriela da Silva Fogo, Violin; Joel Becktell, Cello; Alan Mar, Violin; Carol Swift, Violin; Barbara Morris, Violin; Gloria Velasco, Violin; Anne Karlstrom, Violin; Valerie Turner, Violin; Christine Rancier, Viola; Viola da Braccio, Viola; Lisa Collins, Cello; Frank Murray, Bass; Terri Reck, Harpsichord

TRADITIONAL CAROL

Ding Dong Merrily On High, arranged by Marshall Fine Kerri Lay, Violin; Gabriela da Silva Fogo, Violin; Alan Mar, Violin; Carol Swift, Violin; Barbara Morris, Violin; Gloria Velasco, Violin; Anne Karlstrom, Violin; Valerie Turner, Violin; Christine Rancier, Viola; Viola da Braccio; Joel Becktell, Cello; Lisa Collins, Cello; Frank Murray, Bass

TRADITIONAL CAROL

Eight Carols for Horn Quartet, arranged by Craig Levesque Jeffrey Rogers, Horn; Katelyn Benedict, Horn; Peter Erb, Horn; and Allison Tutton, Horn

CONCERT SPONSOR-IN-PART

WITH ADDITIONAL SUPPORT BY:

The Symphony The Symphony

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program notes CHRISTMAS TREASURES GEORGE FRIDERIC HANDEL Born 1685, Magdeburg Died 1759, London Messiah Overture Pastorale Messiah was commissioned by the Lord Lieutenant of Dublin and was an enormous success at its premiere performance in 1742, but it fell flat the same year in London. Only after it had been revised and presented in concert for the benefit of the Foundling Hospital in London (which continued to make over £600 at each of its annual benefit performances) did it take off on the way to its current popularity. But nothing boosted the work so much as its adoption every Christmas by traditional English civic choral societies, in which “casts of thousands” continue to belt out the choruses that at its premiere comprised only 32 singers accompanied by 33 instrumentalists. Despite the fact that Messiah presents the joyous news for Christians of the birth, sacrifice and resurrection of Jesus, the subject matter as a whole is a somber one. Handel’s Overture to this great oratorio reflects this mood. The Baroque period maintained a solid belief in the “affect” of music, of its ability to modify and even control the emotions of the performer or listener. It was during this period that the idea of major=happy, minor=sad was firmly established. Handel’s Overture is unusual in that within its conventional formal structure —a slow section followed by a fugal Allegro— it retains the minor mode throughout.

Johann Sebastian Bach is not known as an innovator, regardless of how magnificent his music may be. Concertos, dance suites, organ and keyboard solos, cantatas, trio sonatas and solo instrumental sonatas with harpsichord accompaniment were all common genres throughout Europe. Even sonatas and suites for high-pitched unaccompanied solo instruments were prevalent—but not works for cello. In fact, we know of only one composer other than Bach, Domenico Gabrielli (1659–1690), who wrote 7 ricercari (or fugues) for unaccompanied cello--which suggests that Bach, in his subtle way, was indeed an innovator. The actual date of compositions of the Six Suites for Unaccompanied Cello is not known, but they are thought to have postdated the Six Solo Violin Sonatas and Partitas, which may have spurred Bach to try his hand at a companion set for a bass instrument. All of the unaccompanied suites are expansions of the conventional five-movement Baroque dance suite (Prelude and consisting of a stately Allemande, followed by a flowing, rapid Courante, a slow Sarabande and ending with a Gigue, a fast dance in triple time). Composers routinely added dances, many originating in the French ballet. Originating in the 16th century, by Bach's time these dances had lost their association with the ballroom, with only the opening rhythmic patterns surviving. In Suite No. 1, the optional movements are two Minuets. In the Cello Suites, as in the Violin Suites, arpeggios, melodic figurations and double stops create the effect of complete harmonies and counterpoint, as well as the ability of the listeners to supply in their heads a fuller harmonic context.

Contrast this with the instrumental Pastorale in Part I, a musical portrait of the simple shepherds gathering around the manger and a reminder of Christ as The Good Shepherd. In its lilting 12/8 time, the melody is supported by a drone in imitation of the rural bagpipe common since before “music history.”

Bach’s six Cello Suites were popular during his lifetime but, like much of his music, were largely forgotten or ignored after his death. It fell to famous cellist Pablo Casals (1876-1973) to bring them to the attention of the public, after he had discovered an old copy of the Suites in a thrift shop in Barcelona.

JOHANN SEBASTIAN BACH Born 1685, Eisenach, Germany Died 1750, Liepzig

IRVING BERLIN Born 1888, Israel, Beilin Died 1989, Manhatten

Cello Suite #1 in G Major, BWV 1007

White Christmas, arranged by Alan Civil

Prelude Menuets I & II Gigue

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Born in Russia, Israel Baline came to this country with his family at age five. He began writing songs as a boy and published his first at age nineteen. Four years later, under

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program notes CHRISTMAS TREASURES

Gabriela da Silva Fogo, Violin

the name Irving Berlin, he achieved fame (and wealth) with the song Alexander’s Ragtime Band and went on to become one of the most characteristic American voices of the 20th century: Estimates of the number of songs he wrote run as high as 1500. Many of these—songs like God Bless America, There’s No Business Like Show Business, and This Is the Army, Mr. Jones—have become part of the American national identity.

Velásquez, the idea came to her while watching a couple kissing in the street (before she herself was ever kissed), the music inspired by an aria from Enrique Granados' opera Goyescas. Published in 1940 and recorded soon thereafter, it became an instant hit, especially after a 1943 recording by Jimmy Dorsey and his orchestra. During the war, it became a daily “must play” on the Army radio stations.

White Christmas was originally part of Berlin’s score for the 1942 film Holiday Inn, sung by Bing Crosby. The mellow sound of Crosby’s voice was perfectly suited to this song, with its warm but relaxed sentiment, and White Christmas—in its many reincarnations—has become an inescapable way we think of that holiday. Its popularity has never been in doubt: White Christmas won the Academy Award as the best song of 1942.

GEORG PHILIPP TELEMANN Born 1681, Brandenburg Died 1767, Hamburg

—Program Note by Eric Bromberger CONSUELO VELÁSQUEZ Born 1916, Guadalajara Died 2005, Mexico City Bésame Mucho (Kiss Me a Lot), arranged for four horns by Arturo Pantaleon/Gabriel Soto Mexican songwriter and pianist Consuelo Velásquez started her career as a classical pianist, but quickly switched to writing popular songs. She had many hits to her name, but none greater than Bésame Mucho, a bolero, composed probably in 1933. According to

Canonic Sonatas—Sonata No. 2 Spiritoso Larghetto Allegro Assai Like many of his colleagues during the Baroque, Telemann was an extraordinarily prolific composer (over 600 instrumental works alone). His instrumental magnum opuses were the three volumes titled Tafelmusik (dinner music) published in 1733. Each volume contained one each of an overture, orchestral suite, concerto, quartet, trio and sonata. They were meant as entertainment at banquets, although today they are usually performed in concerts. Telemann, who was an extrovert and an avid traveler, was highly respected throughout Europe. He was considered a greater composer than J.S. Bach and in 1722 was the first choice of the Elders of Leipzig for

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program notes CHRISTMAS TREASURES

Allison Tutton, Horn; Peter Erb, Horn

the position of city cantor. Only after Telemann turned the offer down did Bach get that position. In the first edition of these Sonatas in 1738, appears the following statement: "Six Canons or Sonatas for two German flutes or two violins composed by George Philip Telemann." The title illustrates the practice of leaving some latitude in the choice of instruments, providing more opportunity for sales to the flourishing amateur market in Hamburg during that time. The Sonatas are all multi-movement works in which the two instruments play at the unison, in the first two movements, a measure apart. In the final movement, the second voice enters at a distance of one and threequarters measures. Listeners familiar with simple, short canons like “Row, row, row your boat” may wonder how to avoid harmonic monotony for an extended piece of music. Telemann’s solution is twofold: to employ more than one theme with a pause between melodies so that the second player can “catch up,” then begin with the new canonic theme, often in a different key; the second is to keep the melodic patterns, articulation and ornamentation varied phrase by phrase within the same harmonic context. JAMES LORD PIERPONT Born 1822, Boston, Massachusetts Died 1893, Winter Haven, Florida Jingle Bells, arranged by Lowell Shaw

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Jingle Bells is one of the best-known and commonly sung American songs in the world. In recognition of this achievement, James Lord Pierpont was voted into the Songwriters Hall of Fame. The song was originally published under the title One Horse Open Sleigh in 1857. The two first stanzas and chorus of the original 1857 lyrics differed slightly from those known today. It is unknown who replaced the words with those of the modern version. Although Jingle Bells has no original connection to Christmas, it became associated with Christmas music and the holiday season in general decades after it was first performed. Some area choirs adopted it as part of their repertoire in the 1860s and 1870s, and it was featured in a variety of parlor song and college anthologies in the 1880s. It was first recorded in 1889 on an Edison cylinder; this recording is lost, but another Edison 1898 recording survives. This version is by French horn player, composer and arranger Lowell “Spike” Shaw, who has arranged numerous works for horn in what he calls “Frippery” style. Shaw has explained the term as “something to suggest the frivolous, fun, light-hearted nature of the music. The word 'fripperies' came to mind, and it was several years later when I finally looked up the real meaning of the word. Something about a cheap, showy bauble of little intrinsic worth was the nicest of the definitions. Somehow, it stuck."

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program notes CHRISTMAS TREASURES ARCANGELO CORELLI Born 1653, Fusignano Died 1713, Rome Concerto Grosso in G Minor, op.6, No. 8 “Christmas Concerto” Mystery and controversy surround much of the life of Arcangelo Corelli. Born of a wealthy landowning family, he studied music at the cathedral of San Petronio in Bologna, a site with an illustrious pedigree of musicians and composers. Corelli is thought to have traveled extensively in Europe during his youth, but exactly where and when is by no means clear.

true movements per se, rather six short sections of new music that flow together with brief transitional passages. The the last, a Pastorale: Largo, is its most famous. But Corelli marked it “ad libitum” (at will), meaning that this lovely movement could be omitted. It is doubtful that anyone ever does. The Pastorale does not refer to some bucolic scene, but to the shepherds who gathered at the manger. The music becomes joyous, with long-held notes imitating the drone of bagpipes. Program Notes by Joseph & Elizabeth Kahn www.wordprosmusic.com

In 1687, famous as violinist and composer, he settled in Rome as the protégé of Cardinal Benedetto Pamphili, and later of the 22-year-old Cardinal Pietro Ottoboni, in whose palace he spent the rest of his life. Corelli became teacher and mentor to an entire generation of violinists and composers, and the Monday night musical soirées he led in the Cardinal’s palace became known throughout Europe. He was a great friend of the most famous painters of the day and accumulated a large art collection, mostly gifts. Handel, during his sojourn in Italy, befriended him and admired him greatly but commented that Corelli liked nothing better than to save money and look at pictures he had not paid for. He died rich and famous, beloved by all for his mild disposition and friendly attitude despite his wealth and position. The Baroque period was a particularly fluid time in the development of musical styles and genres. Preceding Vivaldi, Bach, and Handel by only a generation, Corelli was in the forefront of developing the concerto as a genre. There was no set number of movements or prescribed relationship between soloists and accompaniment, as is reflected in this work. In large part because of the boom in music publishing, Corelli’s music was disseminated throughout Europe and his works served as models for the following generation. Except for a few works, most of them spurious, Corelli published all his compositions in six volumes of 12 works each. The first five sets were violin and trio sonatas; Opus 6 is a set of twelve concerti grossi, in which he set two violins and a viola (or cello) against a larger string ensemble. The Concerto No. 8 is the best known of the set. Written for the mass in celebration of the nativity, it is subtitled Fatto per la notte di Natale, but this has not restricted its performance to Christmas Eve. The Concerto has no

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NEW! The Santa Fe Symphony TV App Your Santa Fe Symphony musicians are performing at some of the most stunning historical sites and iconic locations in Northern Mexico. Download The Santa Fe Symphony TV app and and start watching today! Beautifully filmed and produced by Hutton Broadcasting, now you can cast our high-definition digital performances directly to your AirPlay or Chromecast equipped TV or TV device. Plus, Santa Fe Symphony TV subscribers have access to loads of FREE content and videos on demand all season.

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2021–2022 September 12, 2021—4:00 PM SEASON OPENER ANTHONY BARFIELD Invictus CHARLES GOUNOD Petite symphonie STEVE REICH Duet for Two Violins and String Orchestra Alexi Kenney, Violin Guillermo Figueroa, Violin ASTOR PIAZZOLLA The Four Seasons of Buenos Aires Alexi Kenney, Violin Oct 10, 2021—4:00 PM BEETHOVEN’S EMPEROR LUDWIG VAN BEETHOVEN Symphony No. 2 in D Major

GUILLERMO FIGUEROA

LUDWIG VAN BEETHOVEN Piano Concerto No. 5 in E-flat Major “Emperor” Drew Petersen, Piano ALEXI KENNEY

Nov 20, 2021—7:00 PM Nov 21, 2021—4:00 PM HANDEL’S MESSIAH Gary Wedow, Guest Conductor Carmen Flórez-Mansi, Choral Director Mary-Hollis Hundley, Soprano Ann McMahon Quintero, Mezzo Alex Richardson, Tenor Evan Bravos, Baritone

GARY WEDOW

December 12, 2021—4:00 PM CHRISTMAS TREASURES December 24, 2021—5:00 PM CHRISTMAS EVE CONCERT

COLLABORATION WITH THE SANTA FE OPERA

January 16, 2022—4:00 PM MOZART, HAYDN, GLINKA & FUNG MIKHAIL GLINKA Overture to Ruslan and Ludmila VIVIAN FUNG Concerto for Trumpet and Orchestra Mary Elizabeth Bowden, Trumpet FRANZ JOSEPH HAYDN Trumpet Concerto in E-flat Major Mary Elizabeth Bowden, Trumpet Mary-Hollis Hundley

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Ann McMahon Quintero

Alex Richardson

Evan Bravos

Programming, soloists, dates, and locations subject to change in addition to CDC guidelines and restrictions.santafesymphony.org

WOLFGANG AMADEUS MOZART Symphony No. 41 in C Major “Jupiter Symphony”


LIVE

February 13, 2022—4:00 PM DVOŘÁK, HIGDON & ROUSE JENNIFER HIDGON blue cathedral CHRISTOPHER ROUSE Flute Concerto Jesse Tatum, Flute ANTONÍN DVOŘÁK Symphony No. 8 in G Major March 20, 2022—4:00 PM ROMANTIC LEGACIES FLORENCE PRICE Symphony No. 1 in E Minor EDWARD ELGAR Cello Concerto in E Minor Zlatomir Fung, Cello GIUSEPPE VERDI Overture to La Forza del Destino

MARY ELIZABETH BOWDEN

April 28, 2022—7:00 PM CELBRATING STRAVINSKY

CATHEDRAL BASILICA OF ST. FRANCIS OF ASSISI

The Santa Fe Symphony Orchestra & Chorus FRANZ JOSEPH HAYDN Sinfonia concertante in B-flat Major David Felberg, Violin Dana Winograd, Cello Elaine Heltman, Oboe Stefanie Przybylska, Bassoon WOLFGANG AMADEUS MOZART Symphony No. 38 in D Major, “Prague” IGOR STRAVINSKY Symphony of Psalms

ZLATOMIR FUNG

RUBÉN RENGEL

May 15, 2022—4:00 PM SEASON FINALE CHARLES IVES The Unanswered Question FELIX MENDELSSOHN Violin Concerto in E Minor Rubén Rengel, Violin JOHANNES BRAHMS Symphony No. 2 in D Major

All live performances led by Principal Conductor Guillermo Figueroa and take place at The Lensic unless otherwise noted.

JESSE TATUM The Symphony

DREW PETERSEN

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JANUARY—JUNE

2021 Spring Virtual Concert Series

2021 SPRING

After receiving critical acclaim for our hugely successful Fall Virtual Concert Series—reaching nearly 11,000 viewers from 18 countries around the world—The Symphony reimagined and replaced its previously scheduled January through May 2021 live programming with another exciting digital series, which launched March 21 at Meow Wolf Santa Fe, with its surreal and mesmerizing art installations! Filmed and produced by Santa Fe’s Hutton Broadcasting, these high-definition films, shot with multiple cameras and drones, resulted in extraordinary hour-long concerts that highlight not only the phenomenal talent of The Symphony’s musicians, but the dramatic Santa Fe landscapes and impressive historical architecture that served as this series’ venues. Symphony ensembles performed in safe environments, following CDC and state guidelines, at some of the most stunning locations in Northern New Mexico.

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Jesse Tatum, Flute; James Holland, Cello; Luke Gullickson, Harpsichord The Symphony 57


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music of the universe Meow Wolf Santa Fe

2021 SPRING VIRTUAL CONCERT SERIES UNDERWRITERS

of note 58

David Felberg, Concertmaster

Philip Glass said “In many ways it [Songs and Poems for Solo Cello] owes more to Schubert than to Bach.” Ivy Priaulx Rainier once said that only sculptors and architects fully understood her music In 2018, composer Missy Mazzoli made history when she became one of the two first women to receive a commission from the Metropolitan Opera. santafesymphony.org santafesymphony.org


program IVY PRIAULX RAINIER

Pastoral Triptych for Solo Oboe

Elaine Heltman, Oboe GEORGE PHILIPP TELEMANN

“Paris” Quartet No. 6

Jesse Tatum, Flute; David Felberg, Violin; James Holland, Cello; Luke Gullickson, Harpsichord MARC SATTERWHITE

The Earth Itself for Solo Harp

Anne Eisfeller, Harp J.S. BACH Cello Suite No. 6 in D Major, BWV 1012 Allemande Courante Toby Vigneau, Double Bass MARCOS BALTER

Vision Mantra for String Trio

Carla Kountoupes, Violin; Kim Fredenburgh, Viola; Joel Becktell, Cello PHILIP GLASS

Song No. 2 for Solo Cello

James Holland, Cello BENEDETTO MARCELLO

Sonata No. 1 in F for Tuba and Keyboard

Richard White, Tuba; Luke Gullickson, Keyboard MISSY MAZZOLI Vespers for Violin David Felberg, Violin STEVE REICH Vermont Counterpoint Jesse Tatum, Flute KRZYSZTOF PENDERECKI

Duo Concertante

David Felberg, Violin; Toby Vigneau, Double Bass CAROLINE SHAW Valencia String Quartet Kerri Lay, Violin; Carla Kountoupes, Violin; Kim Fredenburgh, Viola; Joel Becktell, Cello

2021 SPRING VIRTUAL CONCERT SERIES UNDERWRITERS

CONCERT SPONSORS-IN-PART Teresa Pierce, CFP®, CIMA®

The Symphony The Symphony

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program notes MUSIC OF THE UNIVERSE IVY PRIAULX RAINIER Born Howick, South Africa, 1903 Died Besse-en-Chandesse, France, 1986

GEORG PHILIPP TELEMANN Born 1681, Magdeburg, Germany Died 18Hamburg, 1767

Pastoral Triptych for Solo Oboe

Quartet in E minor, No. 6, TWV 43:a3 from the Paris Quartets Fame and fortune in a creative artist’s lifetime do not necessarily equal posterity. Throughout Germany, Georg Philipp Telemann basked in success, far eclipsing his contemporary and occasional competitor, Johann Sebastian Bach. In 1722, he was the first choice of the Elders of Leipzig for the position of Kantor, or music director, at their city’s St. Thomas Choir School, and only after Telemann turned the offer down did Bach get the job. As it turns out, Telemann never had any intention of going to Leipzig. He just used the offer to improve his bargaining position at Hamburg, where he remained until his death.

Born in South Africa, but having spent most of her life in England, Rainier studied at the South African College of Music in Cape Town and at the Royal Academy of Music in London. Her many compositions were strongly influenced by the African music she absorbed as a child and are considered very difficult technically. Rainier composed the Pastoral Triptych in 1959. One of the stars of the orchestra, the solo oboe has a limited repertory outside large or small ensembles. In its 19th-century orchestral setting, the solo oboe— along with its cousin, the English horn—often signals a lonely landscape and a kind of melancholic emptiness (as in Berlioz’s Symphonie fantastique). In operas and cantatas of all periods, it often accompanies the most plangent arias (e.g., “O, patria mia” from Verdi’s Aïda). Pastoral Triptych builds on this convention, especially in the outer “panels” of the triptych. Even the livelier center segment is relatively subdued—hardly a flamboyant technical showpiece. It would not be surprising to hear that Rainier’s Pastoral Triptych may have been inspired by Benjamin Britten’s Six Metamorphoses after Ovid for solo oboe.

But history has judged Telemann harshly, relegating most of his massive output—larger than Bach’s and Handel’s combined—to the archives. He composed more than 1,400 cantatas and 600 instrumental works, but only in recent years has a fraction of his surviving work been published and experienced renewed popularity. Most of Telemann’s enormous output was scored

Elaine Heltman, Principal Oboe

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program notes a taste of beethoven MUSIC OF THE UNIVERSE

for chamber ensembles, designated for domestic music making and “dinner music”—in the highest social strata, of course. This Quartet straddles the line between a trio sonata and a suite. Each of the three obbligato instruments is given a substantial solo opportunity in every movement, but then recedes into the background to contribute to the ripieno accompaniment. The quartets are a collection of two sets of six chamber music works each, scored for flute, violin, viola da gamba (or cello) and continuo, published in the 1730s. The title “Paris Quartets” is a recent addition, when it was determined that the sets were associated with Telemann's celebrated visit to Paris in 1737–1738. MARC SATTERWHITE Born Texas, 1954– The Earth Itself for Solo Harp from Bravismos Composer and bassist Marc Satterwhite is a graduate in double bass of Michigan State University. After several years as a bassist for the Mexico City Philharmonic, he left his orchestral career to focus on composition, earning a graduate degree in composition at Indiana University. Satterwhite is currently Professor of Composition and Music Theory at the University of Louisville, and director of the Grawemeyer Award for Music Composition.

Satterwhite composed the four pieces of Bravismos in 2009, after attending a retrospective of the work of Manuel Álvarez Bravo (1902-2002), Mexico’s greatest photographer of the 20th century. He explains: “The Earth Itself (La Tierra Misma) is one of Bravo’s bestknown photos. It shows a young indigenous woman, with an unreadable expression, wearing a long shawl but with breasts exposed, leaning against an adobe wall. Somehow, she does indeed seem to represent all of humanity, and the adobe wall the entire earth." JOHANN SEBASTIAN BACH Born 1685, Hamburg Died 1750, Liepzig Suite No. 6 in D Major for Solo Cello, BWV 1012 Allemande Courante Johann Sebastian Bach is not known as an innovator, regardless of the magnificence of his music. Concertos, dance suites, organ and keyboard solos, cantatas, trio sonatas and solo instrumental sonatas with harpsichord accompaniment were all common genres throughout Europe. Even sonatas and suites for high-pitched, unaccompanied solo instruments were prevalent—but not works for cello. We know of only one composer other than Bach—Domenico Gabrielli (1659–1690)— who wrote 7 ricercari (or fugues) for unaccompanied

James Holland, Cello

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program notes MUSIC OF THE UNIVERSE cello. This suggests that Bach, in his subtle way, was indeed an innovator.

MARCOS BALTER Born 1974, Rio de Janeiro

In the six Cello Suites (as in the Violin Partitas and Suites) arpeggios, melodic figurations and double stops create the effect of both complete harmonies and counterpoint, as well as the ability of the listeners to supply in their heads a fuller harmonic context.

Vision Mantra for String Trio Brazilian composer Marcos Balter started his musical studies at age five, and by age 11 entered the Conservatório Brasileiro de Música. in 1996, he moved to the United States, finishing his formal studies at Northwestern University. He currently lives in New York City and teaches theory and composition at Montclair State University. Balter composed Vision Mantra in 2009.

Bach’s Cello Suites were popular during his lifetime but, like much of his music, were largely forgotten or ignored after his death. It fell to cellist Pablo Casals (1876–1973) to bring them to the attention of the public, after he had discovered an old copy of the music in a thrift shop in Barcelona. Suite No. 6 in D major reflects the lack of construction standards for string instruments in the 17th and early18th centuries. The Suite was apparently written for a five-string miniature cello, or violoncello piccolo, with a fifth string tuned to E, a perfect fifth above the A upper string of the standard cello. Playing this Suite on the modern four-string instrument poses challenges, requiring very high positions and close fingering to reach the highest notes. In mood, the sixth suite is the sunniest of the set.

Vision Mantra is a quiet musical meditation. “Mantra” and “Minimalism” combine in this work. A mantra is a repeated word of phrase that induces a meditative trance. Minimalism, popularized by Phillip Glass and Steve Reich, is the style in which repetitive harmonic patterns with gradual changes in pitch can induce the same hypnotic response. Within a constantly fluttering background, the trio gradually changes the harmonies in phrases separated by long silences. PHILIP GLASS Born 1937, Baltimore

Anne Eisfeller, Principal Harp

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program notes MUSIC OF THE UNIVERSE

Toby Vigneau, Double Bass

Richard White, Tuba

Songs and Poems for Solo Cello—Song II composed for a specific instrument. (J.S. Bach not only transcribed his own works but also those of other Probably the most frequently performed living classical composers, particularly Antonio Vivaldi.) composer, Philip Glass composes in two very different media. He writes for his Philip Glass Ensemble, made The tuba, relegated primarily to supplying the harmonic up of electronically amplified instruments, as well as fundament of both orchestra and band, must rely for conventional symphony orchestra and opera. on transcriptions to showcase itself. This version of Marcello’s Cello Sonata (back when the conventional Glass was influenced strongly by the varieties of scales, sonata movement architecture was slow-fast-slowor modes, of the Indian raga and the North African fast) offers nothing short of amazing pyrotechnics for maqaam. From these he learned the hypnotic effects the tuba, including rapid tonguing and long, legato of repetition and, striving. passages with little or no time to breathe—not to mention the kind of finger dexterity seldom required BENEDETTO MARCELLO of tubists. Born 1686, Venice Died 1739, Brescia MISSY MAZZOLI Born 1980, Lansdale, PA Sonata No. 1 in F Major for Tuba and Keyboard Vespers for Amplified Solo Violin Benedetto Marcello was a prolific Venetian composer and writer, combining his love of the arts with the law Composer Missy (Melissa) Mazzoli is, in her words, “a and public service and serving as a member of Venice's delinquent tap dancer turned insomniac composer, Council of Forty—its central government. He composed whose influence ranges from Beethoven to Balinese a large volume of both vocal and instrumental music. gamelan.” A graduate of Boston University, the Among his writings is a satirical booklet, Il Teatro alla Royal Conservatory in the Hague and the Yale School Moda, a valuable contribution to the history of opera. of Music, she is also an educator, arts advocate and performer on keyboard. She directs the MATA Festival In 1732, Marcello published a set of six sonatas for cello of New Music—founded by Philip Glass and devoted to and basso continuo. This tuba sonata is a transcription young composers. of one of them, transcribed by Donald Little and Richard Nelson. Even during the Baroque period, it Mazzoli composed Vespers in 2014. It began “ … as a was not uncommon to play transcriptions of works reimagining of my recent composition Vespers for a New

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program notes MUSIC OF THE UNIVERSE Dark Age,” she has said. “I sampled keyboards, vintage organs, voices and strings from that composition, drenched them in delay and distortion, and re-worked them into a piece that can be performed by a soloist.” Actually, Vespers is for two performers, violinist and “synthesizer player.” The violin plays melodic passages in long notes separated by glissandi, alternating with agitated tremolos. The computer plays the kinds of samples described above, along with distorted echoes of the melodic passages the violin has just played. The effect is decidedly eerie. STEVE REICH Born New York City, 1936 Vermont Counterpoint for Amplified Flute and Tuba Minimalism, the concept of musical form based on interlocking repetitive patterns, originated in the early 1960s with composers La Monte Young and Terry Riley. In 1964, Riley’s revolutionary In C made the new musical language popular and commercially viable. Young defined minimalism as “that which is created with the minimum of means”—a “minimal” and not very informative explanation. While many people associate minimalism with continual repetition, its novelty is in the audible dialectic between stasis and change. The repeated rhythmic and melodic cells, or patterns, combine and recombine gradually with an effect not unlike an artist gradually adding drops of a new color to an existing one to arrive at something essentially different from both in hue, saturation or mood. The organic and hypnotic effect of minimalism caught the imagination of both classical and popular musicians and their audiences. Repetitive tape loops commonly used by minimalist composers are the basic underpinnings of much rock music and virtually all hip-hop. These same features—both electronic and live—were among the musical styles that steered the course of 20th-century “classical music” away from the grip of serialism. Reich composed Vermont Counterpoint in 1982 for flutist Ransom Wilson. The original composition is scored for three alto flutes, three flutes, three piccolos and one solo part all pre-recorded on tape, plus a live solo part. The live soloist plays alto flute, flute and piccolo and participates in the ongoing counterpoint, as well as more extended melodies. The piece could be performed by 11 flutists but is intended primarily as a solo with tape.

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KRZYSZTOF PENDERECKI Born 1933, Debica, Poland Died 2020, Krakow Polish composer and conductor Krzysztof Penderecki studied at the Jagiellonian University and at the Academy of Music in Kraków, where he subsequently became a teacher. Penderecki came to international attention in 1960 with the Threnody to the Victims of Hiroshima for 52 string instruments. His early compositions were strongly influenced by serialists Anton Webern and Pierre Boulez, but by 1980, his music became melodic. Penderecki said that the experimentation of the avant-garde had gone too far from the expressive qualities of Western music. Penderecki became a close friend of German violinist Anne-Sophie Mutter, and it was the Anne-Sophie Mutter Foundation, dedicated to the encouragement of highly talented young promising string players, that issued the commission for the Duo Concertante in 2010. In light of the wide range difference between the two instruments, the double bass part is notated in scordatura, with the strings tuned a whole tone higher than is customary. The Duo Concertante employs a series of repeated melodies, melodic manipulations such as inversion, and melodic fragments to explore a frankly Neo-Romantic emotional trajectory. Now languid, now agitated, the violin and bass are in constant dialogue with each other. CAROLINE SHAW Born 1954, Texas Valencia, for String Quartet Violinist, singer and composer Caroline Shaw was the youngest recipient of the Pulitzer Prize for music for her Partita for 8 Voices in 2013. She is currently based in New York as a vocalist, violinist, composer and producer. Shaw composed Valencia in 2012 and premiered it with the musician Glasser (aka Cameron Mesirow), who demonstrates a “brave and intuitive approach to melody and texture, such that Valencia became an untethered embrace of the architecture of the common Valencia orange, through billowing harmonics and somewhat viscous chords and melodies,” Shaw says.

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program notes MUSIC OF THE UNIVERSE

Carla Kountoupes, Violin; Joel Becktell, Cello; Kim Fredenburgh, Viola

“It is also a kind of celebration of awareness of the natural, unadorned food that is still available to us."

yet so complex and extraordinary.”

Despite a composer’s titles and even program notes, it is sometimes difficult for the listener to make the connection between them and the music they actually hear—unlike the tone poems of Dvořák or Richard Strauss. The energetic Valencia is a kaleidoscope of instrumental colors and textures, a series of solos or duets accompanied by ostinato patterns in the other instruments. Shaw associates this energy with the wonder of the simple orange: "There is something exquisite about the construction of an ordinary orange. (Grocery stores around the country often offer the common Valencia as the standard option.) Hundreds of brilliantly colored, impossibly delicate vesicles of juice, ready to explode. It is a thing of nature so simple,

Program Notes by Joseph & Elizabeth Kahn www.wordprosmusic.com

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Richardsantafesymphony.org White, Principal Tuba


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masterworks & masterpieces New Mexico Museum of Art Museum of International Folk Art

of note 68

Kim Fredenburgh, Principal Viola

Witold Lutoslawski’s Bucolics was based on Poland's Kurpian folk tunes Through analytical study of folk music, Bartók was one of the founders of comparative musicology Daniel Davis has written numerous solo works for bassoon and orchestra, including Retablos, written specifically for his wife, Stefanie Przybylska, principal bassoonist for The Symphony. santafesymphony.org


program DANIEL DAVIS Retablos for Bassoon, Violin, Viola and Cello Melinda Mack, Cello; Stefanie Przybylska, Principal Bassoon; Barbara Morris, Violin; Christine Rancier, Viola WITOLD LUTOSLAWSKI Bucolics

Melinda Mack, Cello; Kim Fredenburgh, Principal Viola

JO KONDO Standing for Percussion, Violin and Clarinet David Tolen, Principal Percussion; Jennie Baccante, Violin; Lori Lovato, Principal Clarinet JOHN STEINMETZ

Songs and Dances for Oboe and Bassoon

Stefanie Przybylska, Principal Bassoon; Rebecca Ray, Oboe

BÉLA BARTÓK Selections from Duos for Two Violins Gabriela da Silva Fogo, Violin; Carla Kountoupes, Violin FREDERICK FRAHM Early Sunday Morning for Oboe and Viola Rebecca Ray, Oboe; Cherokee Randolph, Viola LUDWIG VAN BEETHOVEN

String Quintet in C Major, op. 29 Allegro moderato

David Felberg, Concertmaster; Nicolle Maniaci, Principal Violin II; Kim Fredenburgh, Principal Viola; Dana Winograd, Principal Cello; Guillermo Figueroa, Violin

Christine Rancier, Viola; Melinda Mack, Cello

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program notes MASTERWORKS & MASTERPIECES DANIEL DAVIS Born 1953, Springfield, OH Retablos for Bassoon, Violin, Viola, and Cello Retablos (2007) was originally conceived as a String Trio in 2005 but was ultimately abandoned. Significant portions of the Trio survived and were expanded to include the bassoon. Each movement begins with an elaboration of a pito melody that comes from the Penitente tradition of Northern New Mexico. The pito is a small handmade flute that was played prior to the singing of an alabado, or sacred song. A retablo is a folk painting of one or more saints, done on small wood panels and often displayed in churches and on home altars. The piece was commissioned by Stefanie Przybylska, The Santa Fe Symphony’s principal bassoon and the composer’s wife. There are many types of folksongs in New Mexico. Some are remnants of song-forms that have long disappeared elsewhere. The songs of Retablos’ first and second movement feature the type known as "cancion," which is a song that deals with introspection and longing. The song of the third movement is a "decima," which is a very old form typically consisting of ten poetic lines that are philosophical reflections on the state of the world. But this song is actually a "relacion" in the form of a decima. A relacion is a humorous romance song that borders on the ridiculous and is humorously absurd. "Mujer de Cien Maridos" is about a woman who goes from one man to another, and while she is with one man she starts a new love with another, never giving her pledge to any of them. All the songs in Retablos were chosen for their melodic nature and not the specific story of the lyrics. By starting each movement featuring the pito melody, this music sanctifies and celebrates ordinary life. WITOLD LUTOSLAWSKI Born 1931, Warsaw Died 1994, Warsaw Bucolics  Witold Lutoslawski’s music has always been bidirectional. On the one hand, he composed works that eclectically embrace contemporary styles, including neo-classicism and serialism—even John Cage’s aleatory (random) style. On the other hand, he idolized Bartók and followed his example, drawing

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creative inspiration from Polish folk music and dances, incorporating them into colorfully orchestrated works. While he emulated Bartók in many ways, some of his works based on folk music are less dissonant and more tonal, in line with the works of Zoltán Kodály. In 1952, Lutoslawski composed Bucolics, five children’s miniatures based on Kurpian folk melodies. It was written for piano and arranged for two violas, or viola and cello, in 1962. Kurpie, a region in northeastern Poland, has its own unique culture and traditions. The Bucolics cover a variety of moods, from energetic “dances” with irregular phrasing and cross rhythms to pensive “contemplations.” This work is more inspired by Bartók than Kodály. Most of Lutoslawski’s early works were lost in the destruction of Warsaw during World War II. After the war, he worked briefly for Polish Radio, but as soon as his renown as a composer spread, he devoted himself exclusively to composition. He is considered one of Poland’s leading twentieth-century composers. JŌ KONDŌ Born 1947 ,Tokyo Standing In his music, Jō Kondō tries to combine Western techniques with Japanese traditions, particularly focusing on the differences in instrumental timbres. Kondō composed Standing in 1973. The instrumentation is free, only subject to the restriction of three instruments of different families. It has been played by many different instrumental combinations, the premiere featuring flute, marimba and piano. "This work is one of my first compositions based on the idea of ‘Sen no ongaku’ (linear music)," Kondō has said. Linear music resembles the medieval hocket, where a melody is shared by more than one contrapuntal voice, the parts never singing at the same time. Each voice remains silent while another sings, sometimes alternating every other note. While Kondō does not strictly adhere to this compositional principle, the three instruments seldom play simultaneously. Resulting from sound reverberation and decay, the notes are played staccato so that they don’t overlap. Typical of midtwentieth-century composers, Kondō manipulates

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program notes MASTERWORKS & MASTERPIECES the single melodic lines in inversion, retrograde and retrograde inversion, as in a serial composition. JOHN STEINMETZ Born 1951, Oakland, CA Songs and Dances for Oboe and Bassoon As a composer, bassoonist, educator, and humorist, everything John Steinmetz writes or says about himself should not be taken too seriously. He writes: "I suppose what drew me into music was its effect on me, as well as the fun of riding music's changing energies with other people. I kept tinkering with both performing and composing, trying out different styles, different formats, different roles, different attitudes, different jobs. I have pursued all of these things … without big plans in mind, using an approach called 'groping and blundering.' Only through looking back can I see what I'm up to." Steinmetz's compositions are mostly chamber pieces prominently involving double-reed instruments. He composed Songs and Dances in 2013 on commission from a consortium of oboists and bassoonists. According to the composer, “The music of Songs and Dances grew from things that I love: the lilting groove of a certain Bach aria, drum patterns from a West African processional in a similar groove, a heartstopping song in a Shakespeare production (it turned out to be an American folk song called "Long Time Traveler"), and some infectious joy bursting from a pop song on the radio. It was a while before I knew

where any of it was leading. Quotations, alterations, and additions came into play, and gradually this suite took shape.” Songs and Dances (which was co-commissioned by Stefanie Przybylska, The Santa Fe Symphony’s principal bassoon) opens with a quirky, repeated fanfare—no Magic Flute overture this. After a prolonged pause, the lively dances begin, often tuneful and replete with musical jokes and allusions to styles of the past. Because this is largely a contrapuntal piece, the semi-quotes from Bach are the most obvious, including a riff on the aria “Mache dich, mein Herze, rein” from the third part of the St. Matthew Passion. BÉLA BARTÓK Born 1881, Banat, Hungary Died 1945, New York City Selections from Duos for Two Violins                 Like his close friend, the composer Zoltán Kodály, Béla Bartók was concerned with the musical education of children. He composed many piano pieces for children, mostly based on his extensive collection of folk music from Southeast Europe and the Middle East, and culminating in the monumental Mikrokosmos. Béla Bartók, Jr., the composer’s son, wrote: “Although taking their ages into account, [Bartók] looked on children as full human beings. He sought to give them every possible help in improving their level of

Rebecca Ray, Oboe; Stefanie Przybylska, Bassoon

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program notes MASTERWORKS & MASTERPIECES

Dave Tolen, Percussion; Lori Lovato, Principal Clarinet; Jennie Baccante , Violin

education. As far as music went, he tried to establish a basic musicianship in the malleable core of a child's character, which would enable the child to develop into a more worthwhile member of the human race.”

FREDERICK FRAHM Born 1964, Hemet, CA

In 1930, musicologist and music teacher Erich Doflein (1900-1977) approached Bartók, requesting permission to adapt several of the composer’s piano pieces for two violins, as part of a series of graded study pieces for young violinists. Under the name of music-educational theory, Doflein and his wife developed a system of progressive musical education that combined contemporary music and older music suited for teaching purposes.

Organist and composer Frederick Frahm boasts a long list of compositions, most of them for organ. Early Sunday Morning, one of his non-organ pieces, had its world premiere in 2019 in Albuquerque, where Frahm is a Parish Musician at Canterbury Episcopal Church. He composed the work in in 2018, inspired by Edward Hopper’s 1930 painting of that name. The painting portrays a city street facing a row of two-story brownstones, the first floor of which are shops, including a barbershop with an old-fashioned barber pole in front. The signage in the shop windows is obscure, and there is a fire hydrant in front of the shop at the left. The upper story windows seem to be for apartments. The somber colors of the building contrast with the light-blue sky running across the top of the painting.

Bartók preferred to write new duos, creating 44 works, advancing in difficulty, that he published in four volumes in 1933. All but two are based on authentic folk themes, including Hungarian, Slovak, Romanian, Serbian, Ukrainian and Arabic melodies. His goal was to present to young players the beautiful simplicity of folk music. While written with pedagogical intent, the pieces transcend their teaching aims to stand by themselves as perfectly poised works. They comprise a wide variety of tempi and moods. Various groupings—some suggested by the composer—are frequently performed in concert.

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Early Sunday Morning for Oboe and Viola                                                   

The absence of people in the painting suggests a kind of loneliness, echoed in the opening section. There follows an energetic contrapuntal dialogue between the two instruments that emphasizes playful inversions. The mood turns pensive again with a cadenza for the viola. The piece concludes with a return to the opening.

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program notes MASTERWORKS & MASTERPIECES

David Felberg, Concertmaster; Nicolle Maniaci, Principal Violin II; Dana Winograd, Principal Cello; Kim Fredenburgh, Principal Viola; Guillermo Figueroa, Violin

LUDWIG VAN BEETHOVEN Born 1770, Bonn Died 1827, Vienna

Vienna, and another publisher brought out a pirated edition. It resulted in three years of acrimonious claims and counterclaims.   

String Quintet in C Major, op.29          

Beethoven composed his only original string quintet in 1801, dedicating it to one of his patrons, Count Moritz von Fries—to whom he would also dedicate two violin sonatas and the Seventh Symphony.

The Quintet shows a remarkable advance in Beethoven’s style compared to that of the six op.18 Quartets, which were published only a year earlier and dedicated to Haydn, the “inventor” of the Classical string quartet. Several of his earlier piano sonatas that predate the Quintet, however, hint at the kind of passion and expansive harmonic palette one hears in the first movement.

The composer published the quintet the following year, but by then he had become a musical force in

Program Notes by Joseph & Elizabeth Kahn www.wordprosmusic.com

        Allegro moderato  

Carla Kountoupes, Violin

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Jennie Baccante, Violin


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a taste of beethoven Casa Rondeña Winery

of note

Toby Vigneau, Double Bass

Casa Rondeña owner, John Calvin, is also a trained flamenco guitarist with a soft spot for supporting local music. The title Harmonious Blacksmith may have been inspired by the sound of a hammer on an anvil, or a blacksmith Handel heard singing the tune, or it may have been named after a blacksmith, William Lintern, who also played the harpsichord.

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r

program GIOACCHINO ROSSINI

Duetto in G Major for Cello and Bass Allegro Melinda Mack, Cello; Toby Vigneau, Bass

FRIEDRICH GRÜTZMACHER

Weihegesang (Consecration Hymn), op.65 Dana Winograd, Principal Cello; Melinda Mack, Cello; Lisa Collins, Cello; James Holland, Cello

JOHANN SEBASTIAN BACH

Suite No. 6 for Solo Cello, arranged for Cello Quartet by Colin Hampton Sarabande Gavottes Dana Winograd, Principal Cello; Melinda Mack, Cello; Lisa Collins, Cello; James Holland, Cello

GEORGE FRIDERIC HANDEL

Suite No. 5 in E Major, HWV 430, The Harmonious Blacksmith for Oboe and Bassoon Elaine Heltman, Principal Oboe; Stefanie Przybylska, Principal Bassoon

JOACQUÍN TURINA

La oración del torero (The Bullfighter’s Prayer), op.34 for strings Nicolle Maniaci, Principal Violin II; Valerie Turner, Violin Viola da Braccio, Viola; James Holland, Cello; Sam Brown, Bass

LUDWIG VAN BEETHOVEN

3 Duets for Clarinet and Bassoon, arranged for Clarinet and English Horn Duet No. 1 Rondo Lori Lovato, Principal Clarinet; Rebecca Ray, English Horn

LUDWIG VAN BEETHOVEN

Wind Quintet in E flat Major, Hess 19 Allegro Jeffrey Rogers, Principal Horn; Peter Erb, Horn; Katelyn Benedict, Horn Elaine Heltman, Principal Oboe; Stefanie Przybylska, Principal Bassoon

ANDRÉS MARTÍN

Tango Across the Border Toby Vigneau, Bass; Sam Brown, Bass

DAVE ANDERSON

Blew Cheeze Toby Vigneau, Bass; Sam Brown, Bass

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program notes A TASTE OF BEETHOVEN GIOACHINO ROSSINI Born 1792, Pesaro, Italy Died 1868, Paris

come off like the traditional operatic cavatina/cabaletta pair that usually signal a change in situation or mood for one or more characters.

Duetto in G Minor for Cello and Bass

FRIEDRICH GRÜTZMACHER Born 1832, Dessau Died 1903, Dresden

Allegro Between 1810 and 1829, Gioachino Rossini wrote an astonishing 38 operas, sometimes at a pace of three per year. Then, at age 37, he quit. For the rest of his long life he concentrated on his avocation as a gourmet cook and grew appropriately in bulk. He composed only sporadically and, except for church music, primarily wrote small works he tossed off for the entertainment of his friends. He published more than 150 musical miniatures in a collection that he called Péchés de vieillesse (Sins of old age). But even before his retirement, Rossini loved to entertain, and he wrote short chamber pieces for performance at his soirees and other occasions. One of these is this Duetto for Cello and Double Bass, composed in London in late 1824, sometime between writing the operas Semiramide and Il Viaggio a Reims. It was commissioned by an amateur cellist, Sir David Salomons, who performed it with double bass virtuoso Domenico Dragonetti, known as the Paganini of the double bass. It was not published until 1969. The Duet is a little three-movement sonata, punctuated by mini-cadenzas to show off the virtuosic features of the two instruments. The first movement features a tremolo motive that recurs like a rondo refrain. Unsurprisingly, the central movement is a sentimental cavatina. The finale is a rondo. The two final movements

Weihegesang (Consecration Hymn), op.65 Noted cellist and composer Friedrich Grützmacher is remembered today primarily for his audacious recreation of the spurious Boccherini Cello Concerto No. 9, put together from bits and pieces of the latter's other works and his own additions. He spent much of his life as a principal cellist and educator in Leipzig and Dresden, and as a virtuoso performer throughout Europe, especially in Russia. In 1898, he was principal cellist in the premiere of Richard Strauss' Don Quixote. The Weihegesang owes much to Felix Mendelssohn. JOHANN SEBASTIAN BACH Born 1685, Eisenach, Germany Died 1750, Liepzig Suite No. 6 in D Major for Solo Cello, BWV 1012, arranged for Cello Quartet by Colin Hampton Sarabande Gavottes Cello works were not common throughout Europe in Bach’s time. In fact, we know of only one composer other than Bach, Domenico Gabrielli (1659–1690), who wrote for the instrument—he composed 7 ricercari (or fugues) for solo cello.

Elaine Heltman, Principal Oboe; Stefanie Przybylska, Principal Bassoon; Katelyn Benedict, Horn; Peter Erb, Horn ; Jeffrey Rogers, Principal Horn

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program notes A TASTE OF BEETHOVEN

James Holland, Cello

The actual date of compositions of the Six Suites is not known, but they are thought to have postdated the Six Solo Violin Sonatas and Partitas, which may have spurred Bach to try his hand at a companion set for a bass instrument. In the cello suites, as in the violin partitas and suites, arpeggios, melodic figurations and double stops create the effect of complete harmonies and counterpoint, as well as the ability of the listeners to supply in their heads a fuller harmonic context. Bach’s cello suites were popular during his lifetime but, like much of his music, were largely forgotten or ignored after his death. It fell to famous cellist Pablo Casals (1876–1973) to bring them to the attention of the public, after he had discovered an old copy of the sheet music in a thrift shop in Barcelona. Suite No. 6 in D Major reflects the lack of construction standards for string instruments in the seventeenth and early eighteenth centuries. The suite was apparently written for a five-string miniature cello, or violoncello piccolo, with a fifth string tuned to E, a perfect fifth above the A upper string of the standard cello. Playing this piece on the modern four-string instrument poses challenges, requiring very high positions and close fingering to reach the highest notes. In mood, the sixth suite is the sunniest of the set.

GEORGE FREDERICK HANDEL Born 1685, Magdeburg Died 1759, London Suite No. 5 in E Major, HWV 430, The Harmonious Blacksmith for Oboe and Bassoon During most of his life and up to the present, George Frederick Handel’s fame has rested primarily on his large vocal works, operas, and later, oratorios. As a result, his instrumental music, especially his harpsichord works, has suffered neglect. But, considering his harpsichord suites, he was probably one of the finest virtuosos on that instrument. Handel wrote these suites for his own use and for teaching, possibly for his pupil, Princess Anne. In 1720, at the height of his popularity, pirated editions of his music appeared all over Europe. To counter this, he published eight suites in the first of three volumes of his harpsichord music, with the following comment: “I have been obliged to publish some of the following Lessons, because surrepticious and incoherent copies of them had got Abroad.” The date of the original composition of these works is unknown. Suite No. 5 is probably Handel’s most popular because of its last movement. The first three movements, Prélude, Allemande and Courante, are the usual dance

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program notes A TASTE OF BEETHOVEN A TASTE OF BEETHOVEN

The last movement, following the stately statement of the theme, subdivides the notes further and further, ending with an avalanche of 30-second notes in the last variation. This movement, Air with Five Variations, is now known as The Harmonious Blacksmith. There have been several theories about how the movement got its name, which was not recorded until the 19th century. Explanations include that it was inspired by the sound of a hammer on an anvil; that Handel heard a blacksmith singing the tune; and that it was named after a blacksmith, William Lintern, who also played harpsichord and published the piece so that he could sell copies. JOAQUÍN TURINA Born 1882, Seville Died 1949, Madrid La oración del torero (The Bullfighter's Prayer), op. 34 Like so many composers from middle-class families, Joaquín Turina was railroaded into a “real job”— studying medicine, despite the fact that his father was a painter. But Turina soon took up with his muse and began training as a composer and pianist in his native Seville. After completing the opera La Sulamita (the name of the Queen of Sheba), he tried—unsuccessfully—to make his career in Madrid. Further studies and friendship with Manuel de Falla modified his ambitions and influenced his chamber and orchestral music; was as tuneful as

de Falla's. In 1905, Turina set out for Paris, where he remained until the outbreak of World War I, adopting a more pan-European style. Although advised by Isaac Albéniz to use Spanish folk material in his compositions, Turina resisted until his return to Spain, trying to give his music more international flavor. Upon his return, he decided to “fight bravely for the national music of our country.” Turina composed La oración del Torero in 1925, originally for the Aguilar Lute Quartet, and immediately transcribed it for string quartet. He described his inspiration: "One afternoon of bullfighting in the Madrid arena ... I saw my work. I was in the court of horses. Behind a small door, there was a chapel, filled with incense, where toreadors went right before facing death. It was then that there appeared, in front of my eyes, in all its plenitude, this subjectively musical and expressive contrast between the tumult of the arena, the public that awaited the fiesta, and the devotion of those who, in front of this poor altar, filled with touching poetry, prayed to God to protect their lives.” It is not difficult to discern Turina’s program in the music. Frequent, dramatic tempo changes and agitated tremolos suggest the torero’s difficulty maintaining his focus in the face of the noise of the crowd and his own anxiety. By the end of the Quartet, however, he settles into fervent concentration.

Luke Gullickson, Harpsichord; Stefanie Przybylska, Principal Bassoon

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program notes A TASTE OF BEETHOVEN LUDWIG VAN BEETHOVEN Born 1770, Bonn Died 1827, Vienna Three Duets for Clarinet and Bassoon Duet No. 1 in C Major, WoO 27/1 Rondo In addition to his 138 works with opus numbers (172 if you count several works under one opus number, like the opus 18 String Quartets), Beethoven left behind about 700 shorter pieces – some early works, some on commission for friends, and many unfinished fragments. Among these Werke ohne Opus (WoO) are three duets of uncertain authenticity for clarinet and bassoon—possibly an early work from the Bonn period, composed between 179 and 1792 and published in Paris in 1810. One suspects that these duets might be spurious because of their publication date and location. Napoleon, in whom Beethoven had been deeply disappointed as he began to gobble up Europe, was supposed to have been dedicatee of the Third Symphony. The fact that the Duets were published in Paris while Napoleon was rampaging through Europe suggests that they may have been pirated or even composed by someone else seeking to benefit from the famous composer’s name. That practice was fairly common; Beethoven’s contemporary, composer and publisher, Johann Nepomuk Hummel, promoted the first copyright laws in Prussia. LUDWIG VAN BEETHOVEN Born 1770, Bonn Died 1827, Vienna Quintet for Oboe, 3 Horns and Bassoon, Hess 19 Allegro Beethoven never threw anything away; he carried his hoarded mess from residence to residence. Among his most important and carefully maintained possessions were his sketchbooks, repositories of musical ideas that he considered for future development, and unfinished works. These represent a wonderful source for tracing the composer’s creative process, and every scrap is gold. Beethoven started this Quintet in 1793, apparently intending it to be a wind sextet, but never filled out the

The Symphony

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Sunday, May 9 @ 4 PM

2021 Spring Virtual Concert Series

program notes A TASTE OF BEETHOVEN A TASTE OF BEETHOVEN

clarinet line, except for tempo markings. All that remains of the autograph is 22 measures of the recapitulation of the first movement, a probably complete Adagio and 19 bars of the minuet. In 1862, with only these fragments to go on, Vienna's music director Leopold Zellner reconstructed the first movement, filling out the enormous gaps, but left the rest incomplete. Zellner extrapolated from the last 22 bars of the first movement to reconstruct the exposition—not an impossible task since he only needed to adjust the key changes between the two sections. The development is another matter. This is the section where the composer was permitted to fantasize on the material from the exposition, maybe even adding a little more musical content. Most of the movement, therefore, is Zellner, working from themes composed by the master. Finishing unfinished works is certainly not unheard of. Transcriptions and orchestrations abound. This Quintet was a relatively small undertaking compared to the reconstruction of Mozart’s Requiem, Mahler’s Tenth Symphony or the completion of Alban Berg’s opera, Lulu, which erupted into a scandal as Berg’s widow tried to prevent it.

ANDRÉS MARTÍN Born Buenos Aires Tango Across the Border for Double Bass Duo Johannes Brahms was haunted by the ghost of Beethoven, a hang-up that caused him to continually put off composing his first symphony: “You don’t know what it is like always to hear that giant marching along behind me,” he wrote to the conductor Hermann Levi. Any Argentinian tango composer might feel the same way, living in the shadow of master of tango, Astor Piazzolla. Piazzolla transformed the tango, adapting it to different styles and venues--from the bar to the concert hall. Bassist Andrés Martín has composed extensively for his instrument, including three concertos. Tango Across the Border, composed in 2011, is his foray into the tango world, borrowing many gestures from Piazzolla, but that’s where the comparison begins to fade. Tango is a three-movement sonata, the first movement of which is a fugue that would probably raise Bach’s eyebrows. The movement gradually slows down and morphs into a lyrical Adagio, the melodic

Nicolle Maniaci, Principal Violin II; Valerie Turner, Violin; Sam Brown, Bass; Viola da Braccio, Viola; James Holland, Cello

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program notes A TASTE OF BEETHOVEN line played by one bass while the other maintains the tango rhythm as an ostinato. A brief cadenza introduces the final movement, which focuses more on rhythm than melody. Martín’s work is certainly a window into the bass world that symphonygoers seldom hear.

and small ensembles, including a Concerto for Bass Trombone and String Orchestra. He has also composed works for unusual chamber ensembles, including the Quintet for Oboe, Clarinet, Violin, Viola and Double Bass; the Bass Quartet; two symphonies, and a work for trombone and brass choir.

Martín has contributed many works to the double bass repertory. He currently teaches at his non-profit institute, Contrabasos de Baja California, which runs an annual international double- bass festival and chamber music course in Tijuana.

Anderson composed the Seven Double Bass Duets in 1996, commissioned by his father, Edwin Anderson, bass trombonist with the Cleveland Symphony Orchestra. As one would image from the title, Blew Cheeze is a humorous piece. In fact, given Anderson’s interest in composing for the trombone, one might think the listener is set up for a bad pun. Instead, Anderson allows the string bass to break free from its staid but critical function in the orchestra. He puts on display the various techniques and styles for the instrument: a nice Classical sonata-allegro movement; some jazz strumming, lyrical bowing—with a few blue notes thrown in.

DAVID ANDERSON Born 1962 Seven Double Bass Duets Blew Cheeze David Anderson, principal bassist for the Louisiana Philharmonic, began composing in 1984, when he realized the scarcity of solo repertoire for his instrument. Since then, his published work has expanded to other solo instruments, as well as for chamber orchestras

Program Notes by Joseph & Elizabeth Kahn www.wordprosmusic.com

Dana Winograd, Principal Cello; Melinda Mack, Cello; Lisa Collins, Cello; James Holland, Cello

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Sunday, May 30 @ 4 PM

2021 Spring Virtual Concert Series

tate meets mozart School for Advanced Research

of note

Melinda Mack, Cello

Dr. Louis W. Ballard is the acknowledged father of Native American composition. Harpist and composer Alfredo Rolando Ortiz plays the Paraguayan harp. Shawi’ Impanompa’ (Raccoon Talk) is based on an ancient Chickasaw Raccoon Song —a rhapsodic expression of raccoons, known as chattery troublemakers. 86

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program STEPHANIE BERG

Trio for Oboe, Horn and Harp Elaine Heltman, Principal Oboe; Jeffrey Rogers, Principal Horn; Anne Eisfeller, Principal Harp

JEROD IMPICHCHAACHAAHA’ TATE

Raccoon Talk Carla Kountoupes, Violin

WOLFGANG AMADEUS MOZART

Flute Quartet No. 1 in D Major David Felberg, Concertmaster; Kim Fredenburgh, Principal Viola; Dana Winograd, Principal Cello; Jesse Tatum, Principal Flute

LOUIS W. BALLARD

Ritmo Indio Jesse Tatum, Principal Flute; Elaine Heltman, Principal Oboe; Stefanie Przybylska, Principal Bassoon; Lori Lovato, Principal Clarinet; Jeffrey Rogers, Principal Horn

ALFREDO ROLANDO ORTIZ

Habanera Gris, arr. by Tyler Emerson for Harp and Vocals Anne Eisfeller, Principal Harp Vocalists: Charlotte Sandelin, Soprano Kathleen Echols Crumbacher, Soprano Kathrine Keener, Soprano Kehar Koslowski, Soprano Doug Escue, Tenor Gabriel Gabaldon, Tenor Travis Bregier, Tenor Richard Schacht, Bass

FRANCISCO BRAGA

A Sonorous Dialogue to the Moon for Oboe and Bassoon Rebecca Ray, French Horn; Stefanie Przybylska, Principal Bassoon

GABRIELA LENA FRANK

Leyendas: An Andean Walkabout Tarqueada Chasqui Coqueteos Carla Kountoupes, Violin; Gabriela da Silva Fogo, Violin Christine Rancier, Viola; Melinda Mack, Cello

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Sunday, May 30 @ 4 PM

2021 Spring Virtual Concert Series

program notes TATE MEETS MOZART STEPHANIE BERG Born Kansas City, MO, 1983 Trio for Oboe, Horn, and Harp "Composition, I find, is much like cooking,” states composer and clarinetist Stephanie Berg on her Website. “It’s all about proportion, balance, and the interplay of contrast and unity. But at the end of the day, no matter how complex your ideas are, how innovative your dish is, it still has to taste good." Berg composed the Trio for Oboe, Horn and Harp in 2016, when she was Composer of the Year at the Arkansas Symphony Orchestra, to celebrate the marriage of the Symphony’s principal horn and oboe. As such, the Trio is tuneful and upbeat, the oboe and horn in a constant but always harmonious dialogue in which neither instrument dominates—something like a sendoff for a sunny, cloudless union. JEROD IMPICHCHAACHAAHA' TATE Born Norman, OK, 1968 Shawi' Imanompa' (Raccoon Talk) The son of a Chickasaw father and an Irish mother, Jerod Impichchaachaaha’ Tate grew up in a family professionally involved in music, dance and theatre. He received his training as a pianist and composer at Northwestern University and the Cleveland Conservatory of Music, and his mother commissioned his first composition, Winter Moons, a ballet that explores traditions of the tribes from the Northern Plains and Rockies.

Tate, who has been inspired in ways of combining ethnic and Classical traditions through the music of Bela Bartók, writes: "I didn't mix my identities of being a classically trained musician and being an American Indian. I never saw that there was even a possible relationship between those two until I started composing. And that's when they came together in a way that made me feel just wonderful.” Tate composed Racoon Talk in 2019 on commission from violinist Katie Lansdale, explaining: "Shawi’ Impanompa’ is a work for solo violin and audience participation,” Tate writes. “The work is based on an ancient Chickasaw Raccoon Song, which is stated in its pure form, at the beginning, in natural harmonics. The melody returns, many times, in different iterations. The entire work is a rhapsodic expression of raccoons, known as chattery troublemakers, in my tribe. Raccoon is also a formal tribal clan, to which my family belongs. "There are four textures that the audience creates, during the violin soloists playing. The soloist, or an assistant, cues the audience for each texture. The audience is encouraged to confidently fill the hall with these sounds: 1. Finger snapping. Snap with both hands, rapidly, creating a popcorn sound. 2. Stomping is in a very solid and steady rhythm established by the soloist.

Jeffrey Rogers, Principal Horn; Lori Lovato, Prinicpal Clarinet

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3. Whisper the words, ‘chatter, chatter,’ over and over, creating the sound of rain or spirits talking. 4. Final applause is to be loud and exiting and with yelling of the words ‘chatter, chatter,’ over and over!" WOLFGANG AMADEUS MOZART Born Salzburg, 1756 Died Vienna, 1791 Flute Quartet No. 1 in D Major, K. 285 Andante Adagio In 1777, Mozart was on one of his many extended leaves from his patron and nemesis, the Archbishop of Salzburg Hieronymus von Colloredo, looking for a permanent position to fit his talents. Accompanied by his mother, he wandered from city to city on his way to Paris. In Mannheim, he had received a significant down payment on a commission from a German music lover and amateur flutist, Ferdinand DeJean, to concertos and other works featuring the instrument. The commission produced two flute concertos, an Andante for flute and orchestra, and three flute quartets. There should have been more to come, but apparently DeJean refused to pay Mozart in full up front, and the composer refused to fulfill the rest of the commission until he received all of the money. Mozart, who always maintained that he hated the flute, complained about the working conditions to his father, explaining why he

Jerod Impichchaachaaha' Tate

Carla Kountoupes, Violin

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Sunday, May 30 @ 4 PM

2021 Spring Virtual Concert Series

program notes TATE MEETS MOZART hadn’t completed DeJean’s commission: “... you know that I become quite powerless whenever I am obliged to write for an instrument I cannot bear.” The Quartet is noted for its haunting second movement Adagio, with the flute accompanied by pizzicato strings. LOUIS W. BALLARD Born 1931, Miami, OK Died 2007, Santa Fe, NM

A Quincentennial Event,” at Carnegie Hall on January 9, 1992. ALFREDO ROLANDO ORTIZ Born Cuba, 1946 Habanera Gris (Gray Habanera), arranged by Tyler Emerson for Harp and Vocals

Harpist Alfredo Rolando Ortiz was born in Cuba and grew up in Venezuela, where he started playing the Venezuelan folk harp, later switching to the Ritmo Indio Paraguayan harp. He studied medicine in Colombia, and then moved to the United States to study music Native American composer, artist, and educator Louis therapy. He eventually returned to his first love, the W. Ballard has been called the father of Native American harp, full time. On New Year's Eve 1980, he played the composition. Born in Oklahoma, he was educated from harp in the delivery room during the birth of his second age six at the Seneca Indian Training School, a boarding daughter. school that he considered as brainwashing AmericanOne of Ortiz’s specialties is improvisation, and harpists Indian children to abandon their language and culture. are expected to add their own ornamentation to He started playing the piano while in high school. He traditional folk melodies such as Habanera Gris. continued his studies in music, ending with a degree in music education from the University of Tulsa. ANTÔNIO FRANCISCO BRAGA Born Riode Janeiro, 1868 Although he was trained in Western music, Ballard was Died Rio de Janeiro, 1945 deeply rooted in the music and dance traditions of his culture. He continuously tried to merge the Native Indian A Sonorous Dialogue to the Moon for Oboe and French Horn musical tradition with Western music styles. Little is known about the details of the unlikely trajectory Ballard composed the woodwind quintet Ritmo Indio: A of Brazilian composer Antônio Francisco Braga’s early Study in American Indian Rhythms in 1969 for the Dorian life. He began his musical studies at an orphanage Wind Quintet. The piece won the first Marion Nevins for abandoned children, where he led the band. He McDowell Award for American Chamber Music, and continued at the Conservatory of Rio de Janeiro, was featured as the opening work at the Gala Quintet eventually earning a scholarship to study in Paris of the Americas concert, “Discovering the New World:

Stefanie Przybylska, Principal Bassoon; Rebecca Ray, Oboe

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program notes TATE MEETS MOZART with Jules Massenet. His composition Hino à Bandeira Nacional (Hymn to the National Flag) was adopted as the national anthem upon the establishment of the Brazilian Republic. He composed in all forms, including opera, as well as many military marches. The date of composition of A Sonorous Dialogue to the Moon, originally written for alto saxophone and bassoon, is unknown. Braga incorporates the local rhythms that have become synonymous with Brazilian music, both classical and popular. GABRIELA LENA FRANK Born Berkeley, CA, 1972

2001. The inspiration was "... the idea of mestizaje as envisioned by the Peruvian writer José María Arguedas, where cultures can coexist without the subjugation of one by the other … ” Frank composed Leyendas for string quartet, later expanding it for string orchestra. Leyendas recalls the sound and imitates Andean indigenous instruments, interpolating traditional melodies, harmonies and rhythms into a European “Classical” ensemble. Originally consisting of six movements, the three on this program include: Tarqueda imitates the sound of the tarka, a heavy wooden duct flute that is blown harshly in order to split the tone.

Selections from Leyendas: An Andean Walkabout Tarqueada Chasqui Coqueteos American composer and pianist Gabriela Lena Frank was born in Berkeley, California, to parents of widely mixed background: Her mother is of Peruvian-Chinese ancestry and her father of Lithuanian Jewish descent. A graduate of Rice University in Houston and the University of Michigan at Ann Arbor, Frank has traveled extensively in South America, drawing on its folk culture as inspiration for her compositions. The recipient of a Guggenheim Fellowship in 2009, she is currently composer-in-residence with the Philadelphia Orchestra and Vanderbilt University. Frank composed Leyendas: An Andean Walkabout in

Chasqui depicts a legendary figure from the Inca period, the chasqui runner, who sprinted great distances to deliver messages between towns separated from one another by the Andean peaks. Although we know of no indigenous Inca music, Frank has created a musical fantasy in which she imagines the musical and instrumental palette of an ancient civilization. Coqueteos is a flirtatious love song sung by gallant men known as romanceros, who sing in harmony against a backdrop of what Frank envisions as a vendaval de guitarras (“storm of guitars”). Program Notes by Joseph & Elizabeth Kahn www.wordprosmusic.com

Jesse Tatum, Principal Flute

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Sunday, June 20 @ 4 PM

2021 Spring Virtual Concert Series

bach on stage

The Lensic Performing Arts Center Principal Conductor

of note

Jeffrey Rogers, Principal Horn

Dr. Louis W. Ballard is the acknowledged father of Native American composition. Harpist and composer Alfredo Rolando Ortiz plays the Paraguayan harp. Shawi’ Impanompa’ (Raccoon Talk) is based on an ancient Chickasaw Raccoon Song —a rhapsodic expression of raccoons, known as chattery troublemakers. 92

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program JOHANN SEBASTIAN BACH

Brandenburg Concerto No. 3 in G Major, BWV 1048 Allegro David Felberg, Concertmaster; Nicolle Maniaci, Principal Violin II; Guillermo Figueroa, Violin; Kim Fredenburgh, Principal Viola; Viola da Braccio, Viola; Christine Rancier, Viola; Joel Becktell, Assistant Principal Cello; Melinda Mack, Cello; Lisa Collins, Cello; Terry Pruitt, Principal Bass; Luke Gullickson, Harpsichord

GEORGE FRIDERIC HANDEL

Water Music, Suite No. 2 in D Major, arr. for Double Reeds and Harpsichord Hornpipe Elaine Heltman, Principal Oboe; Rebecca Ray, Oboe; Stefanie Przbylska, Principal Bassoon; Leslie Shultis, Bassoon; Elizabeth vanArsdel, Contrabassoon; Luke Gullickson, Harpsichord

PHILIP GLASS

Piece in the Shape of a Square David Felberg, Concertmaster; Jesse Tatum, Principal Flute

GEORGE WALKER

String Quartet No. 1 "Lyric for Strings" The Santa Fe Symphony Strings

PAUL ANKA

My Way, arranged for cello quartet Joel Becktell, Assistant Principal Cello; Melinda Mack, Cello; Lisa Collins, Cello; James Holland, Cello

ERIC WALTERS

Flight for String Orchestra Sonata for Four Horns Allegro

ASTOR PIAZZOLLA Milonga del ángel, arranged for cello quartet Joel Becktell, Assistant Principal Cello; Melinda Mack, Cello; Lisa Collins, Cello; James Holland, Cello

Jeffrey Rogers, Principal Horn; Katelyn Marie Lewis, Horn; Peter Erb, Horn; Allison Tutton, Horn Serenade for String Orchestra, op.48 2021 SPRING VIRTUAL CONCERT SERIES UNDERWRITERS

FULL CONCERT UNDERWRITER:

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Gregg Antonsen | Marion Skubi

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Sunday, June 20 @ 4 PM

2021 Spring Virtual Concert Series

program notes BACH ON STAGE JOHANN SEBASTIAN BACH Born 1685, Eisenach, Germany Died 1750, Liepzig Brandenburg Concerto No. 3 in G Major BWV 1048 Allegro The Brandenburg Concerto No. 3 has presented scholars and performers with a surprising number of problems, and those who feel that it is more of a chamber music piece than an orchestral concerto may have a point. They note that it is scored for three violin parts, three viola parts and three cello parts, plus bass and continuo, and therefore so modest an ensemble belongs in a small room suited to intimate music rather than the concert hall. The competing view notes that the three cellos, which usually play in unison, create an overpowering sound in the lower register that must be compensated for by increasing the number of violins and violas—thus, the work demands a chamber orchestra just to keep the voices balanced. In any case, the piece takes its character from the outer movements, both marked by bright energy and the warm sound of a string ensemble. Bach left no tempo marking for the first movement, but it is considered some form of Allegro. (The concluding movement is also Allegro.) The sturdy main theme, heard immediately, dominates the movement; it is a long theme, but Bach builds the movement on parts of this theme, with brief

figures tossed between different voices, rocking along and meshing beautifully. At certain points, instrumental solos emerge briefly from the orchestral texture, then quickly return to the ensemble. Bach composed the six concertos--which were actually revisions of works he had composed some years earlier for the court at Köthen--for Christian Ludwig, the brother of Prussia’s King Wilhelm I. The manuscripts were found among Ludwig’s papers after his death. Philip Spitta dubbed them the Brandenburg Concertos in his 1873 biography of Bach--after Ludwig’s official title, the Margrave of Brandenburg--and the name was forever attached to them. —Program note by Eric Bromberger GEORGE FRIDERIC HANDEL Born 1685, Magdeburg Died 1759, London Hornpipe from The Water Music, arranged for Double Reeds Despite their familiarity, the Water Music suites, particularly the first one, are fraught with musicological mysteries. The myths and legends surrounding these works are as well known as the music itself. Everyone “knows” that Handel’s employer, George, Elector of Hanover and heir to the British throne, was miffed with his Kapellmeister for both overstaying a leave

David Felberg, Concertmaster; Kathie Jarrett, Assistant Concertmaster

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program notes BACH ON STAGE of absence in England and for writing laudatory compositions for England’s Queen Anne, whose childlessness set him up to succeed her. We also “know” that when George became king of England, Handel arranged a suite to be played on a barge on the Thames as part of a royal regatta in order to get back into the good graces of the angry monarch. Unfortunately, little of the story is substantiated. Handel did write his first Water Music Suite in 1715, a year after George’s accession to the British throne, and there is ample evidence that he wrote the Suite for the Royal River Festival. But there is no hard evidence that the composer had ever been out of favor with George, as evidenced by a Te Deum written for the king in 1714 and a Royal payment to Handel in 1715. Nevertheless, there is no convincing documentation, either pro or con, on the various stories of Handel’s relationship with the King at that point in his career. The traditional Baroque suite at that time consisted of four to six movements based on a standard menu of court dances. The Water Music Suites, however, incorporate non-dance movements, most of which bear only tempo marking and no title at all. The instrumentation varies from movement to movement, but usually employs oboes, bassoons and horns – typical instruments for outdoor performances – in addition to strings and continuo (which were probably later additions for indoor performances). PHILIP GLASS Born 1937, Baltimore Piece in the Shape of a Square Philip Glass, probably the most frequently performed living classical composer, composes in two different media. He writes for his Philip Glass Ensemble, made up of electronically amplified instruments, and also for conventional symphony orchestra and opera. Glass was influenced strongly by the varieties of scales, or modes, of the Indian raga and the North African maqaam. From these he learned the hypnotic effects of repetition and, striving to obtain a maximum effect with a minimum of means, he found his niche in Minimalism. The premiere of his surrealistic opera Einstein on the Beach in 1976 helped catapult Glass to fame. Einstein was followed by more than two dozen other operas and numerous film scores. Glass’ orchestral works, including twelve

symphonies, are generally more tonal and traditional. Glass’s minimalist technique involves taking a single phrase of music, subtly changing one note at a time, thereby affecting the harmony as well as the melody. Glass composed Piece in the Shape of a Square in 1967 as a duet for two flutes. (For this performance, it’s played with flute and violin.) The two performers play in counterpoint, moving in opposite directions along the square. Halfway through the piece, they meet in the middle and then repeat the whole piece in retrograde. This visual element echoes what happens musically. The higher instrument repeats a short ostinato motif in which the highest pitch is also the highest pitch in the piece. As Glass explained in his memoir Words Without Music, “It’s as if you counted to ten, and then counted back from ten to one again.” GEORGE WALKER Born 1922, Washington, DC Died 2018, Montclair, NJ String Quartet No. 1 Lyric for Strings Composer, pianist and educator George Walker achieved an important series of African-American “firsts” in his long career: The first black graduate of Oberlin College Conservatory and the Curtis Institute of Music, the first Doctor of Musical Arts from Eastman School of Music, the first black composer to study with Nadia Boulanger, the first instrumentalist to appear with the Philadelphia Orchestra (playing Rachmaninov’s Piano Concerto No. 3) and the first African- American composer to receive the Pulitzer Prize for Music (1996). His autobiography, Reminiscences of an American Composer and Pianist, was published in 2009. Walker was an unashamed neo-romantic, having lived for nearly a century that saw countless developments in musical style from Schoenberg to Cage – and back. He was a prolific composer, whose works are reminiscent of those of Samuel Barber. The Lyric for Strings originated from the second movement of Walker’s String Quartet No. 1, composed in 1945. In a certain sense, it is a doppelgänger of Barber’s Adagio for Strings, which was also extracted from a string quartet. Both works are tonal and spin out a single melody in free variation.

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Sunday, June 20 @ 4 PM

2021 Spring Virtual Concert Series

program notes BACH ON STAGE ASTOR PIAZZOLLA Born 1921, Mar del Plata, Argentina Died 1992, Buenos Aires

PAUL ANKA Born 1941, Ottawa, Canada

Milonga del Angel Everyone knows that it takes two to tango, but no one can agree on the origin of the dance: Whether it ultimately derived from African drumming, Spanish Gypsy music or native Indian sources is still in dispute. For 150 years, the characteristic Latin rhythm has been shaped and adapted to nearly every Spanish-speaking national culture. The arrabal, the squalid immigrant slums of the late 19th century outside Buenos Aires, bred its own version of the tango, a popular song laced with bitter urban protest. By the 1930s it had developed into a pessimistic song expressing a fatalistic outlook on love and life. It was into this world that the parents of Astor Piazzolla arrived from Italy. And it was the music of the arrabal that shaped Piazzolla’s entire career. After a stint in Paris from 1954 to 1955, studying composition with Nadia Boulanger, Piazzolla returned to Argentina to form his first Tango Octet and later his renowned Tango Quintet. The Quintet featured the bandoneón, violin, piano, electric guitar and bass. Influenced by his studies in Paris and by classical forms, Piazzolla set his compositions a cut above the traditional tangos. No longer dance music, they became concert music, although for the nightclub rather than the concert hall. And over the decades, his name has been inseparably associated with the tango. Nevertheless, the psychological intensity and sophistication of his music so infuriated the traditionalists that he was repeatedly physically assaulted and even threatened with a gun to his head during a radio broadcast. Milonga del Angel, composed in 1965, belongs to a group of “Angel” tangos composed between 1957 and 1965 (the others are Muerte del Angel, Tango del Angel, Resurreción del Angel, and Introducción al Angel). Milonga is a dance music style, a more relaxed tango, with humorous music and dance gestures.

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My Way Frank Sinatra’s signature song was set to the music of the French song Comme d'habitude, composed and written by French songwriters Claude François and Jacques Revaux I 1967. Paul Anka heard the song while on vacation in France, and he liked it so much that he flew to Paris to negotiate the rights. He acquired adaptation, recording and publishing rights for the staggering sum of one dollar, with the provision that the composers would retain their original share of royalty rights. Anka then rewrote the song specifically for Sinatra, subtly altering the melodic structure and changing the lyrics. He wrote his version in four hours. “I called Frank up … and said, 'I've got something really special for you,’ ” Anka told Neil McCormick of London’s Daily Telegraph. "When my record company caught wind of it, they were very pissed that I didn't keep it for myself. I said, 'Hey, I can write it, but I'm not the guy to sing it.' It was for Frank, no one else." (Despite this, Anka did end up recording the song very shortly after Sinatra's recording was released.) In 1968, Sinatra recorded the song in one take, and it was released in early 1969 on the My Way LP and as a single. It reached No. 27 on the Billboard Hot 100 chart and No. 2 on the Easy Listening chart in the U.S. In the U.K., the single became the song with the most weeks on the Top 40 (75 weeks). It spent another 49 weeks in the Top 75. Although Sinatra's daughter Tina said that the singer eventually came to hate the tune―calling it “selfserving and self-indulgent”―its popularity has endured. It has been recorded by performers as diverse as Elvis Presley and Sid Vicious, who did a punkrock version with different lyrics. "You could read 'My Way' as a kind of metaphor for the World War II generation that Frank Sinatra represented, looking back at 20th-century history in this kind of cosmic defiance," Jason King, a professor at NYU's Clive Davis Institute of Recorded Music, told NPR in a 2019 interview. “Saying, 'Look, I did it the way I wanted to do it, and I did it right. I'm looking back at all this history, and I'm OK with it.' " My Way also is the

santafesymphony.org


program notes BACH ON STAGE pop tune most commonly chosen as a funeral anthem in the United Kingdom, indicating that thousands of people identify with its theme. ERIC NASH WALTERS Born 1968, Ithaca, NY Died 2016, Santa Fe

"Cruising Altitude," "Turbulence," and "Touching Down." "Eric looked for ways in this piece to engage players with different performance energies between sections,” says Frahm. "In this way, the ensemble could engage in telling a robust story about flying in a plane, something with which all of us are quite familiar."

Flight for String Orchestra Walters was a cellist with the Santa Fe Symphony, and co-founder (with Symphony violinist David Felberg) Composer and cellist Eric Nash Walters, who was of the Chatter Ensemble. Flight was dedicated to very involved in music education in middle and high Symphony violinist Nicolle Maniaci. schools, wrote this piece for the Bosque School in Albuquerque—part of a set of four string works CARLOS CHÁVEZ written for students. The aim was to capture the Born 1899, Mexico City young musician’s imagination with abstract works Died 1978, Coyoacán, Mexico that have a certain feel or character. Walters and composer Fred Frahm finished editing the scores, Sonata for Four Horns publishing the digital performances on Soundcloud, Allegro just weeks before Walters died in 2016. Mexican composer Carlos Chávez was the bestFlight, written in 2014, offers a musical description of known musical ambassador of his country for more a plane ride. The four sections are titled "Takeoff," than 50 years. Educated primarily as a pianist, he was

James Holland, Cello; Lisa Collins, Cello; Melinda Mack, Cello; Joel Becktell, Cello

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Sunday, June 20 @ 4 PM

2021 Spring Virtual Concert Series

program notes BACH ON STAGE

Allyson Tutton, Horn; Peter Erb, Horn; Katelyn Marie Lewis, Horn; Jeffrey Rogers, Principal Horn

largely self-taught in composition and conducting. He composed more than 200 musical works in nearly all genres and conducted many major orchestras in the U.S, Latin America and Europe. He also held important government positions in the arts in Mexico, lectured, and wrote extensively about music and its place in society. In 1921, with the ballet El Fuego Nuevo, on an Aztec theme, Chávez established himself as the foremost exponent of Mexico’s cultural nationalism in music, a trend epitomized by his Symphony No.2 (“Sinfonia India”) of 1935. But his nationalistic interests did not prevent him from composing concurrently in other styles. His love of Ancient Greek drama inspired his Symphony No.1, the cantata Prometheus Bound, and the ballet La Hija de Cólchide (The Daughter of Colchis) [Medea]. Chávez composed the Sonata for Four Horns in 1929. This was a period during which composers were choosing among a variety of stylistic elements: tonality vs. atonality, free atonality or serialism, Neoclassical

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form vs. novel ways of presenting themes and structure. Chávez’s music often falls in between the cracks. The Horn Quartet exemplifies this tendency clearly in that the composer retains¬ the classical sonata structure but without the conventional key relationships. The themes are hardly melodic, but Chávez repeats them frequently enough so that they stick in the listener’s head. While the cadences are frequently tonal, the Quartet is freely dissonant and sometimes even bi-tonal. Absent are any folkloric allusions. Program Notes by Joseph & Elizabeth Kahn www.wordprosmusic.com

IMAGE RIGHT: David Felberg, Concertmaster, and Jesse Tatum, Principal Flute, on The Lensic rooftop filming Philip Glass's Piece in the Shape of a Square.

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2020–2021 SEASON

symphony supporters We gratefully acknowledge the following individuals and organizations for their generous support. Contributors are listed according to their July 1, 2020 to April 1, 2021, cumulative non-designated giving. If you would like to make a gift to The Santa Fe Symphony Orchestra & chorus, please visit santafesymphony.org/donate or call 505.983.3530.

Tchaikovsky Group ($100,000+) Boo Miller Beethoven Group ($25,000- $99,999) Ann Neuberger Aceves Kathryn O’Keeffe Suzanne Timble, PhD, JD Angles’ Circle (Single $6000- $11,999, Couple $12,000- $24,999) Michael and Julie Dawson Susan and Steven J. Goldstein, MD Conductors’ Circle (Single $3000-$5999, Couple $6000-$11999) Zella and Larry Cox Joel M. Goldfrank Michael Grissom and Jess Nicholas Shirley and E. Franklin Hirsch Phyllis Lehmberg Diane and John Lenssen Ginnie Maes Dee Ann McIntyre Dr. Penelope Penland Teresa Pierce, CFP®, CIMA® Laurie Rossi Nan Schwanfelder Beth and Joel Scott Howard Sherry Elizabeth VanArsdel Everett Zlatoff-Mirsky 100

Musicians’ Circle (Single $1500-$2999, Couple $3000- $5999) Perry C. Andrews, III Shane Cronenweth Bernard Ewell and Sali Randel Maria and Edward Gale Ambassador David and Connie Girard-diCarlo Betty Virginia Gold Marilyn Hebert Richard Henderson Ginger Lawrence Gary Lutz and Margaret Johnson Eileen R Mandel Steven Ovitsky Carmen Paradis and Brian McGrath Cindi and Jerald Parker Frances Richards Dr. Gerald P. and Kathleen M. Rodriguez Dee and John Rush Nikki Schwartz and David Hofmann Gay and Graham Sharman Rosina and Robert Short Marion and Joe Skubi Ken Stilwell Katherine Updike Kevin Waidmann and Donald Shina Cynthia and Samuel Wolpert Nancy Zeckendorf santafesymphony.org

Symphony Club (Single $750- $1499, Couple $1500- $2999) Anne Beckett Virginia Browning and Joseph Illick Caroline and Daniel Crupi Joan and Thomas Dalbey Allegra and Jim Derryberry Lorna Dyer and Jerry Watts Ariane Eberhardt and Brian Crone Abram Eisenstein Marilyn Forbes David Frank and Kazukuni Sugiyama Nancy Gardner Stephanie Greene Ann Griffith Ash Gene and Gwen Gritton S. Scott Hankins and Randall Hayden Bertram Heil Brigit and Jorg Jansen Steven Klenke Philip Kruger Patricia Kushlis Dr. Ann LeMay Evelyn McClure Bernadette McGuire-Rivera and Henry Rivera Audrey Miller Sarah Nolan Donald Percious Melanie and Ed Peters Thorne Carol Raymond Alice Redmond-Neal and David Neal


symphony supporters Marianne Christina Reuter William Rogers Richard Schacht and Judy Rowan Linda Schoen Giddings and Daryl Giddings John Scully Robin and Bobbie Smith Marcia Torobin Joan Vernick James Webster Benefactors (Single $450- $750, Couple $450- $1500) Ann Alexander Mary Azcuenaga Jimmy D. Allen James Atwood Nancy and Craig Bellati Dr. William Blumenthal Kathleen and James Brown Terry Brownell Elaine and William Chapman Pamela Culwell and Charles Case Dedria and Norbert Dickman John Donaldson Judy and Bob Eagan Paul Early Jeanne Forrester and Thomas Vosburgh Richard Hawkins Sheila and Edward Heighway John Horning Brenda and Michael Jerome Steven Klenke Patricia M Klock Therese Kohl and Preston Peaden Anne and Bruce Legler Eileen and Mike Mabry David Matthews

Luanne and Steve Moyer Nancy Newton and Dave Grusin Clair and Carol Nielson Marilyn J. O’Brien Linda Osborne Jan and Jim Patterson Doug and Patricia Peterson Dr. and Mrs. Matt Poage Julia Thymes and Sally Whiteley Anders Richter Martha Romero Nancy Rowland Nancy L. Scheer Barbara and Glen Smerage Marja and Everett Springer Carol and Thomas Stephens Andrea and Robert Van Gundy Frances Diemoz and Alan Webber Lisa and John Wilhelmsen Judith and Gordon Wilson Sylvia Wittels and Joe Alcorn Leshek Zavistovski Supporters ($250-$449) Nancy and Harro Ackermann Patricia and Robert Anker Loretta Armer Rev. Talitha Arnold Debra Ayers and Greg DePrince Mikaela Barnes Scott A Barron Steven D. Berkshire Henry Chris Bierwirth Julio Blanco and David Manno Beth Bloomfield Roswitha and Werner Bohm Suzanne Breslauer Robert Craig Brown Ruth and Thomas Buhl Janet Clow and David Cunningham Nancy J. Colalillo The Symphony

Judy Costlow Barbara and John Counts Catherine López Curland and John Serkin Eudice and Les Daly Nancy Dickenson Marcia and Douglas Dworkin Patricia and Joseph Fasel Sharon Franco and Joe Hayes Helen C. Gabriel Patrick Galbreath and James Marx Suzanne and Norman George Linda and Stanford Gerber Clarice Getz Elizabeth Harcombe and Michael Carter Harriett and Wendell Harris Ann and Jerry Hicks Maya Hoffman Kathleen and Brad Holian Gloria Holloway Sallie Holloway Vicki and Clint Hurt Edward Hutton David Jarrett David J. Jennings Betsy and Thomas Jones Jill Jones and William Majorossy Barbara and Wayne King Jenifer and Grayson Kirtland Corinne Kratz Gary Thomas Lang Barbara and David Larson Elizabeth Lauer Kathryn McKnight and Lynn Mostoller Esther and Ralph Milnes Richard and Suzanne Molnar Nancy Ann Murphy Doris Meyer and Richard Hertz Scott Norville Mary Overpeck 101


2020–2021 SEASON

symphony supporters Jan and Jim Patterson Ann Rea Laura and Phillip Sena Susan and John Shaffer Judy and Gordon Sharman Leslie and Roger Simon Bryan Sperry Bernadette Snider Linda Suydam Tim Terell Robert Wagner Joyce and Joseph Weiser Joan and Truel West Judith Williams and Elliot Stern Donald Winkelmann Associates ($125-$249) Martha E. Alderson-Lewellen Maryann and Paul Allison Gregg Antonsen Janice Arrott Susan Bachechi Pamela M. and John Barton Luana and Charles Berger Anne and Jeff Bingaman Martha Blomstrom and Hugh Balaam Jerry Bork Paul and Christine Branstad Suzanne and James Brock Edward R. Brown William Broyles Anne and John Burton Stephen Clary Sharon Cooper Teresa and David Cremers MaryAnn Crowe and Paul Ganzenmuller Anne M. Culver Gregory and Christine Davis Patricia Emerson June and George Ferrill 102

Susan Eileen Fredrickson Jay Fries Stacey Goodwin Keri Goorley John Gordon and Roman Lujan Cheryl Graham Dr. Sheila Hafter Gray Diane and Gerald Gulseth Susan and Richard Habakuk Ronald Halbgewachs Luis Hernandez Tim Hill William L. Hill Georgianna and Louis Hoffmann Melanie A. Hornstein Rebecca and Steve Howard Kathie Jarrett Bob Josephs Robert Josephs and Donna Peth Carolyn and Joseph Karnes Bruno and Genowefa Keller Genia Keller Catherine Kessler Andrea and Jeffrey Kramer Frank Lawler Ellie Leighton Allison and Don Lemons Jimmy Leung Sandra Liggett William J. Lock William Loeb Randi Lowenthal Kathy and John Matter Tiia and George McLaughlin Renee D. Mesack Paula and Christian Miller Alexander Mitchell Mary and Timothy Mitchell Susan and Charles Mize Susy Moesch Valerie Montoya George Moore Dr. Susan Elizabeth Morgan santafesymphony.org

Patricia Morton Melinne Owen and Paul Giguere Margaret Page and Michael Pearce Pam Parfitt and Brian Morgan Christopher S. Ray Kathie Reed Gwynne Richards Roberta and William Richards John Roby Dr. Brenda M. Romero Robert Russell Daniel Rusthoi Pamela and Mike Ryan Fran Salkin and Jonathan Beamer Katherine Sanchez Carla Self and Joe Nedley Susan Shamshoian-Sakamoto Patricia and George Simon Vladimir Sochor Dr. Ann L. W. Stodder Ah Loce Supreme Nicholas Tauro Dr. Brandon Taylor Rosemary M Thompson Dr. Stephen Gerard Tramel Janet L .Trent Susan and Michael Uremovich Carolyn D. Vantress Penelope Vasquez Margaret Veneklasen Tobi Watson Tillmann Weisser Verena Welser Carol Williams Mary Louise Williams Patsy Williamson Robert Willis Dan Winske Claire and Jim Woodcock Patricia and Nolan Zisman


symphony supporters Friends ($25-$124) Kathleen M. Adams Marguerite Adams Cameron Claudia Ahlstrom Catherine Allen and Paul Rooker Elizabeth Allred and Sidney Singer Deborah Anderson Margaret Anderson Barbara and Kenneth Aran John Arden Diane and Tom Arenberg Mary Arenberg Dr. Richard Arimoto Jamie Bair Diana Baker Janice Baker Holly Baldwin James Ballard Randall Balmer and Catharine Randall Caitlin Barnes Marilyn and Cris Barnes Robert Basler Suzanne Baum Constance and Douglas Beck Susan Beckert Cynthia J. Beeman Bruce Bender Ana Benscoter Kim Berge Ellen and Paul Biderman John David Blagg Douglas Boike Walter Borton Megan Boudreau Bruce Bradford Mary and Christopher Bradley Seth M. Bradley Shelly Brock Valerie Brooker Stuart Brown

Susan Brown Constance Burke and William Leeman Patrick P. Burke Judith Byrne Lois Callaghan Lorrie Campbell Stephen Canny Patricia Carlton Par and Joseph Casadone Rita Cash Dr. Christine Cassel Karen J. Castillo Stuart P. Castle Erin M Cave Mari Chavez Mario Chavez Anne Chognard and James Ammerman Gini Chrisco Barbara and Aaron Clark Christine Clark Darlene Clark Jeff Clark Laurie and Mark Cleveland Marilyn H. Cohen Michael L. Cook Barbara Anne Cooper Deborah S. Cornelius Judy Crocker Elizabeth Crysler and William Johnstone Sloan Cunningham Helen Dannatt Michelle L. Davis Linda Dean and John Kitzmiller Pamela Washburn DeLisse Kathleen Denson Beth and Robert Detwiler Nancy and Chris Deyo Roberta W. Diblasi Gay Dillingham Elizabeth Doak and Katy Braziel The Symphony

Susan Drobeck and Samuel Berne Jackie Dulle William H. Earnhart Jaime Easchief Melissa Eason Leeness Elisade Molly Elkind Sheila and Donald Enemark Jennifer Erixon Julia Catherine Faber William Fajman Annelyse Feiereisen Beth Suzanne Findley Sandra Fitzpatrick Roxanne Fleszar Isaac Foli Steven Forde Mary J. Fowler Martha C. Fox Kim Fredenburgh and Kevin Vigneau Heather Frost Jamie Gagan Patricia Gardner Suzanne P. Gebhart Leah George Elaine Germano Wallace Giles Barbara Goede Jane R. Goldberg Michael Golden and Pamela Schackel Anita Gonzales Linda Goodman Jay Gould Virginia and Nils Gould Jim Graves David Grifith Jessica Groothuis and Steven Lustig Henry Grosman Leonard Grossman 103


2020–2021 SEASON

symphony supporters Barbara Hadley and John Burke Mary Ann Hale Judith and Neal Hansen Kathy Haq Christopher L. Harrop Doug J Henschel Richard Hensleigh Ruth Hiland Judy Holly Roxanne Howe-Murphy Debra Hughes Elizabeth Hume Edelma Huntley Vivien Cienfuegos Ide William Ireland Rachel Jankowitz Paulette Y. Johnston Barbara J. Jones Julie Jones Susan and David Joplin Ted Karpf Katherine E. Keener John Kennison Kathleen King Virginia and LLonald King Dr. Roberta Kline Sande G. Knight Andrew T. Kramer Craig Kruschwitz Diane Le Zotte Virginia and Maurice Lierz Richard Lindahl Mike List Ann Livingston Joan Lombardi and Lee Nash Irvin Longenbaugh Barbara Luboff Rob Lunn Nancy and Frederick Lutgens Marilyn Macbeth and Forrest Carlton Donald Machen Robert Michael Malone Rosalba Maniaci 104

Robert Marcus Judith Benkendorf Marks and Norman Marks Anthony Marshall Catherine A. Martin Larry Martine Mark Matthiessen Ruth Maxey Robert and Marjorie McCarthy Marie H. McCullough Annie McElderry Zurbay David E. McNeel Janet and Amos Melendez John Mezoff Andre Francisque Michaudon Carleen Miller Bettina Milliken Kirstin Mitchell Linda and Mervin Moore Marie Dawn Moore Diane Morrissette and Phil Geller Sharon and Emil Mottola Eugene Mroz Margaret and John Muchmore Jim Murphy Mark Murray Samera Nasereddin Doris J. Nash Subrata Nath Willa Nehlsen Donald E Newell Betsy S. Nichols Chris Nierman Leila Norris Scott Obenshain Sarah Smith Orr Ana Marie Ortiz-Harris David Papworth Marcia Parulo Shepard Nurit and Yehuda Patt Sarah Patton Janet Peacock Roger S. Peterson santafesymphony.org

Rebecca Phillips Edward Platte Bronwyn Poole Nicholas Potter Julianne Powers Brenda Priddy Sheri and Alexander Purdue Pamela Quay James Raborn Norman Paul Race Edmond Rader Courtney Rae Ruth and Daniel Rael Faye Rafferty Tahlia Rainbolt and Richard Atkinson Susan Rankert Barbara and Donald Rej Lilith Ren Miranda Rensberger Abby Richardson Olivia Riley Jacquelyn Robins Carolyn Kay Robinson Felicia Rocca Rutledge David Rogers Elizabeth B. Roghair James E. Roghair David P. Rose Richard Rosenthal and Patricia DeBoom Patsie E Ross Henry and Julie Rothschild Kathleen and Marvin Rowe Kristin Rowley Steven Rudnick Mary Cay and Ward Russell Richard Ryder Hilbert Sabin Larry Sachs Charlotte and Kenneth Sandelin Michael Saver Joann and Edward Schilling Eva Schmatz


symphony supporters Cynthia Schmidt-Shilling Irene Schneider Diane Lynn Schuemann Martin Schultz Suzanne Schutze Jeannette Scott Shirley B. Scott, MD Sandra Lee Seligman Kevin Shade Jeffrey Alan Shafer Leslie Shaw and Peter Frank Colleen and Art Sheinberg Jennifer Sholund Cynthia Sibley Anne Silver Gerald Silverstein Dr. Lauren Sims-Norville Ali Smith Kelly Smith Mary Anne Snow Gayle Snyder Joan M. Spaw Howard and Deborah Spiegelman Keri L. Stevenson Sally E. Stoker Evangeline Swift Jesse Tatum Lynda S. Tatum George E. Taylor Jamie Taylor Enid and Roy Tidwell Edith Timken and Tony Wilkins Michele Tisdale Donald Topkins Joey Troy Jane and Michael Trusty Olga Tsipis Deb Tummins Toni S. Turner Nick Upton Adrian Vanderhave Diva and Floyd Vasquez Adriana Judith Vazquez, MD

Christy A. Vezolles Darlene Vigil Galina and Rudolph Vigil Candace M. Volz Karissa Wade Rose-Marie and Duane Wallace David Walther Alison R. Watt Deborah Weirick Kristofer Westphal Pamela Wickiser-Dunn Gerald Hugh Wilkie Bronwya Willis Wanda V Workman Anna F. Yoder Deanna Young Bee Zollo Musician Relief Fund 2021 Ann Neuberger Aceves Carolyn Acree Marguerite Adams Cameron Perry C. Andrews, III Ilia Aranda de Bradbury Diane and Tom Arenberg Susan B. Arkell Ivan Ashleman Mikaela Barnes Mary Benziger Rhonda A. Blech Martha Blomstrom and Hugh Balaam Seth M. Bradley Robert Bronsink Susan Brown Susan Burkhardt Joanne and William Burnett Annette Burns Leslie Caldwell Lorrie Campbell Donna D. Clark Mary Jane Cope Michael and Julie Dawson Pamela Washburn DeLisse James and Allegra Derryberry The Symphony

Lori DeVargas William L. Donnelly Abram Eisenstein Anne Christine Eisfeller Leeness Elisade Jose Figueroa Sharon Franco and Joe Hayes Susan and Steven Goldstein Dr. Sheila Hafter Gray Stephanie Greene Doug J. Henschel Shirley and E. Franklin Hirsch Eric Hoover William Ireland Gretchen and Brian Johnson Caroline King Jenifer and Grayson Kirtland Philippa Klessig Corinne Kratz Phyllis Lehmberg Sandra Levine Richard Lindahl Andrea London Gary Lutz Debbie and Greg Mack Eileen R. Mandel Curtis J. Mark Jacobo Marquez Sue Mathys Evelyn McClure Mary Meredith Audrey Miller Boo Miller Carleen Miller Sara Mills Esther and Ralph Milnes Kurt Moberg Lillian Montoya Ms. Jamelle Morgan Kathryn Nun Darrel D. Owen Cindi and Jerald Parker Julianne Powers Barbara and Leonard Rand 105


2020–2021 SEASON

symphony supporters Lisa Ray Marianne Christina Reuter Edna and Harvey Reyes-Wilson Laurence E Roderick Nestor Romero Carol Ross Laurie Rossi and John Scully Kathleen and Marvin Rowe Dee and Augustus Rush Judith Rowan and Richard Schacht Cynthia Schmidt-Shilling Jack Seigel Laurel Sharp Joann Altrichter and Robin Tawney Robert D. Taylor Rosemary M Thompson Valerie Turner and Guillermo Figueroa Sakina and Hans von Briesen Kevin Waidmann and Donald Shina Anne Weaver and Stephen Thompson Celina White Janislee and William Wiese Lisa and John Wilhelmsen Ann Bagley Willms Robert Winn Joyce Wolff Thomas M Wood Everett Zlatoff-Mirsky Donations in Honor of Ann Neuberger Aceves, by Ellie Leighton Evelyn Armstrong, by Rebecca Ray E. Franklin Hirsch, by Debbie Crawford Dr. Penelope Penland, by Gale and Charles MacNeill 106

Stefanie Przybylska, by Thomas Marciano Leslie Shultis, by Thomas Marciano Richard White, by Margaret and Casey Olson Donations in Memory of John Greenspan, by The ALH Foundation Mickey Inbody, by The Mickey Inbody Charitable Foundation Beryl Lovitz, by Barbara and John Berkenfield Susan Bragdon and Paul Sonnenschein Michelle Vetter Linda Wilkinson Mort Morrison, by Laurie Gantz Ronald Rinker, by Ronald E Rinker Charitable Trust, John R Geiger Trustee Seth M. Bradley Marsha and Bill Campbell Deborah W. Morris Russ and Sumi Seacat Foundations, Donor Advised Funds, Estates, and Trusts ALH Foundation Del Norte LOV Foundation Evelyn L. Petshek Arts Fund The Lannan Foundation Los Alamos National Laboratory Foundation

The Mickey Inbody Charitable Foundation, Inc. Mumford Family Foundation Santa Fe Community Foundation Seahollow Family Gift Fund Storr Family Fund, at the Santa Fe Community Foundation Susan and Steven J. Goldstein Charitable Fund, Santa Fe Community Foundation Susan and Gary Katz Charitable Fund Donations in Support of the Musician Education Committee Ann Neuberger Aceves Mary Azcuenaga Kevin Borg Judy Crocker Nancy Dickenson Diane and Gerald Gulseth Barbara and David Larson Phyllis Lehmberg Bettina Milliken Esther and Ralph Milnes Carol Raymond Merle and Franklin Strauss Kevin Waidmann and Donald Shina Alan M. Webber Patsy Williamson Friends of The Symphony Chorus Kevin Borg Bettina Milliken

Thank you for your support! santafesymphony.org


The Santa Fe Symphony, 1984, St. Francis Auditorium

37 years ago!

Founded in 1984, The Santa Fe Symphony is a bold and successful collaboration between musicians and all who appreciate live performance. Thirty-seven years later, The Symphony comprises 65 professional musicians and over 80 choristers—all New Mexico residents. Our phenomenal musicians have trained at esteemed conservatories such as Juilliard and Northwestern and have performed with globally recognized orchestras. Over the years, The Symphony has been praised for its diverse programming, from beloved masterworks to premieres by Pulitzer Prize–winners! After a year of performing innovative and nationally recognized virtual performances at iconic Northern New Mexico locations, we look forward to continuing our legacy and plan for a triumphant return to live performance in 2021–2022. See you in the fall! The Santa Fe Symphony performed its first concert September 2, 1984. We were energized by the packed house at St. Francis auditorium and the free will offerings which brought in $1,800—The Symphony’s founding stake hold. The concert was an all-volunteer effort of the musicians, conductor, and friends who stepped forward for the cause. One such person was Gene B. Kuntz, who recently passed away at age 90. When in the summer of 1984, I announced this inaugural concert, Gene did not hesitate to volunteer, along with his wife Pat, to manage the reception area, welcome the attendees and collect the at-the-door contributions. He stayed on to be the Symphony’s founding treasurer, not that we had much money in those early days—we didn’t even have a shoestring budget more like a dental floss budget.

Gene B. Kuntz

With his previous service on the boards of The Santa Fe Opera, Santa Fe Chamber Music Festival, and Santa Fe Festival of the Arts—as well his business experience—Gene and Pat were the proprietors of Santa Fe’s first Hallmark Card & Shops and other businesses. Their stepping forward to "get their hands dirty" was a real boost for the fledgling Santa Fe Symphony board. I also recall The Symphony’s first gala in October 1986: Gene and Pat Kuntz were the entire gala committee, and they did so much more in subsequent years.

Before moving to Santa Fe in 1970, Gene built a remarkable career as a professional trumpeter. At age 18, he was a member of the Pittsburgh Symphony. At 25, he was a member of the Metropolitan Opera Orchestra and during the summer months The Santa Fe Opera, beginning with its founding season. Gene was my trumpet teacher, mentor, and friend. In this, The Symphony’s 37th season, I greatly appreciate the opportunity to share with you a bit of The Symphony’s history and this tribute to a person who was critical to the Symphony taking flight. —Gregory W. Heltman, Founder of The Santa Fe Symphony and Executive Director, 1984–2018

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FREE VIDEOS

santafesymphonytv.org

SFS@Home To keep the music playing during this extended intermission from live music, The Santa Fe Symphony proudly presents its exciting new SFS@Home series FREE on Santa Fe Symphony TV. This new online series brings beautiful performances by your Santa Fe Symphony musicians straight to the big screen at home or your mobile device. Watch from anywhere! Visit santafesymphonytv.org/sfshome to watch now.

Enjoy virtual videos of the orchestra, solo performances, small ensembles, and duos playing various masterworks, available to watch for free—from anywhere—all season.

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Download The Santa Fe Symphny TV App!

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Digital Premiere!

Watch your ENTIRE Symphony Orchestra performing the brilliant and popular Intermezzo from the ‘Zarzuela,’ or Spanish Operetta, La boda de Luis Alonso! This rousing work by Spanish composer Gerónimo Giménez is the perfect vehicle for the talent and virtuosity of our dedicated musicians and is offered to you FREE on Santa Fe Symphony TV! We hope this gift of music serves to lift your spirits in these trying times. We look forward to sharing great music with you next season!

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MEMBERSHIP BENEFITS

support your symphony! Listed below are just a few of the many ways you can support The Santa Fe Symphony Orchestra & Chorus. Full descriptions and details of the benefits available can be found on the following pages and on our website. MEMBERSHIPS

BUSINESS PARTNERSHIPS

Annual direct/unrestricted gifts to The Symphony’s General Fund are vital to our day-to-day operations and support season programming. Different membership levels receive a variety of benefits.

Businesses gain exposure to our sophisticated Symphony audience through a variety of marketing options, including the opportunity to sponsor concerts and education programs.

REACH FOR THE STARS

ADOPT-A-MUSICIAN

This is your opportunity to underwrite the performance of one or more of our acclaimed guest artists or guest conductors. Exclusive benefits are associated with this program.

When you Adopt-A-Musician, you honor that musician’s exceptional dedication and effort while helping to sustain high levels of support for our professional tenured orchestra members.

CONCERT DEDICATIONS

FRIENDS OF MUSIC EDUCATION

Dedicate a Symphony concert to honor or memorialize a loved one, or celebrate a friend or family member’s special occasion!

By supporting or participating in our many music education and community outreach programs, you can help change the lives of nearly four thousand students and seniors in Santa Fe each year.

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FRIENDS OF THE CHORUS Our chorus will sing your praises! Your gift will fund workshops, coaching, and other educational tools to develop singing skills—enabling us to present more choral masterworks each season. PLANNED GIVING—OVATION SOCIETY Generous and farsighted supporters who make The Santa Fe Symphony or The Foundation a part of their estate planning become members of this extraordinary group. ENDOWMENT GIFTS A gift to The Foundation is one of the most lasting and powerful resources a donor can offer, ensuring a sustained source of revenue for The Symphony into the future. VOLUNTEER! We welcome your time, help, and expertise for administrative support in The Symphony office and assistance at special events. If you’d like to be involved more frequently, we are also currently seeking year-round Events Committee members! To make a contribution to The Santa Fe Symphony Orchestra & Chorus or The Foundation for The Santa Fe Symphony, or to learn more about specific programs, please call 505.983.3530, Monday through Friday, 10:00 am to 4:00 pm, or visit santafesymphony.org/donate.

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MEMBERSHIP BENEFITS

support your symphony! Members of Symphony Club, Musicians’ Circle, Conductors’ Circle, Angels’ Circle, Beethoven, and Tchaikovsky Groups enjoy our most popular member benefit, the elegant Musicales—one-of-a-kind gatherings held throughout the year in some of Santa Fe’s finest homes and galleries. Visit with Symphony family and friends while enjoying hors d’oeuvres and fine wine, followed by a musical performance by our highly accomplished Symphony musicians and some of the world’s most talented guest artists. Donors at higher levels receive invitations to increasingly more intimate gatherings. Special thanks to our Symphony Family members who host our Musicales.

our most popular member benefit!

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Following each of our Sunday afternoon performances at The Lensic, we offer something unique—a private reception just a short walk from the theater. Still uplifted by the concert, members of our Symphony Club, Musicians’ Circle, Conductors’ Circle, and above gather with their guests at The Symphony Club Room at Galerie Züger. While relaxing with wine and hors d’oeuvres, you can meet our guest artists and conductors, chat with members of the orchestra and chorus, and mingle with our Board members and other patrons. Many thanks to the owners of Galerie Züger and Art Advisor Mary Felton for their gracious hospitality, Casa Rondeña Winery for donating their award-winning wine

symphony club members have the most fun.

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MEMBERSHIP BENEFITS

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Gift amount

Underwrite a concert

Complimentary tickets E-Notes: electronic program notes Symphony Club Musicales The Symphony Club Room Placard in The Lensic lobby on concert day Musicians’ Circle Musicales Extraordinaires Conductors’ Circle Musicales Royales Private chamber music concert

Preferred subscription seating options

Acknowledgment in Program Book Concert and event email announcements Dress rehearsal invitations

individual memberships

Friends

$25–$124

Associates

$125–249

Supporters

$250–449

Benefactors

$450–$749 Individual

Couple

Symphony Club

$750

$1,500

Musicians’ Circle

$1,500

$3,000

Conductors’ Circle

$3,000

$6,000

Angels’ Circle

$6,000

$12,000

Beethoven Group

$25,000–$99,999

Tchaikovsky Group

$100,000 and above

Non-Membership Supportt

Benefiits

Gift Amount

Adopt-A-Musician

Introduction to and photo opportunity with adopted musician, invitation to attend an orchestra dress rehearsal (sponosrs of principal musicians and higher may sit on-stage during the dress rehearsal), Concert Insert and Adopt-AMusician poster acknowledgement

$600 Section Musician $1,000 Principal Musician $2,000 Concertmaster

Reach for the Stars

Four tickets to your underwritten concert, introduction to and photo opportunity with the guest artist, on-stage seat during dress rehearsal, recognition from stage during concert, acknowledgment in Concert Insert and advertisements, and invitation to post-concert reception

$5,000

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Business Gold Club

The Symphony Gift amount

Tickets to your sponsored concert

“Thank you” page in Program Book

Acknowledgment in Program Book Concert and event email announcements Placard in The Lensic lobby on concert day Symphony Club Musicales Business Logo in Season Brochure and Program Book Print and radio advertising acknowledgement Recognition from The Lensic stage on concert day Musicians’ Circle Musicales Extraordinaires

business memberships

Business Friends up to $99

Business Associates $100–$499

Business Benefactors $500–$999

Business Leaders $1,000–$2,499

Business Council $2,500–$4,999

Half-page 8 Sponsor-In-Part: $5,000

Full page 12 Full Sponsor: $10,000

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THANK YOU!

adopt-a-musician 2020–2021 $5,000 Principal Conductor $2,000 Concertmaster $1,200 Assistant Concertmaster

$600 Symphony Section Musician $1,000 Principal Musician

$3,000 Choral Director $600 Symphony Chorister

Bring recognition to the brilliant musicians who make the music happen! Adopt-A--Musician and honor their exceptional dedication and effort. You may select any member of the orchestra or chorus who is not currently adopted, as well as adopt more than one musician.

Donations in Support of the 2020–2021 Adopt-A-Musician Program: Kathleen Adams adopted Carla Kountoupes, Violin II

Jane Goldberg adopted Allegra Askew, Viola

Britt Ravnan adopted Gregory W. Heltman, Trumpet

Ann Alexander adopted Gloria Velasco Violin II

Cheryl Graham adopted Elaine Heltman, Principal Oboe

Perry C. Andrews III adopted Gabriela da Silva Fogo, Violin II James Holland, Cello Alan Mar, Violin I

The Highland Swimmers adopted Anne Karlstrom, Violin II

Laurie Rossi adopted Donna Bacon, Violin I Laura Dwyer, Flute Erin Espinoza, Cello Leslie Shultis, Bassoon

Kathleen and Brad Holian adopted Dana Winograd, Principal Cello

Row S Ladies adopted Rebecca Ray, Oboe

Pamela S. Hyde adopted Kenneth Dean, Principal Timpani Stefanie Przybylska, Principal Bassoon

Beth and Joel Scott adopted Emily Erb, Clarinet

Hank Bahnsen adopted Viola da Braccio, Viola Zella and Larry Cox adopted —In Honor of the Bell Family Byron Herrington, Principal Trombone

David and Jody Larson adopted David Tolen, Principal Percussion

Dianne Cress adopted Christine Rancier, Viola

Eileen R. Mandel adopted Kerri Lay, Violin I

Julie and Michael Dawson adopted Joel Becktell, Assistant Principal Cello

David and Jane McGuire adopted Sam Brown, Double Bass

Chris and Nancy Deyo adopted Jennie Baccante, Violin I

Tina Mier and Mona Garcia adopted Kathie Jarrett, Assistant Concertmaster

Christine and Frank Fredenburgh adopted Kimberly Fredenburgh, Principal Viola Tobias Vigneau, Double Bass

Sara Mills and Sam Brown adopted Lisa Collins, Cello

Nancy C. Gardner "La Rueda" Barbara Clark, Viola Carol Swift, Violin I Jeff Rogers Horn, Principal

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Teresa Pierce adopted Lori Lovato, Principal Clarinet Jesse Tatum, Principal Flute Tahlia Rainbolt and Richard Atkinson adopted Brynn Marchiando, Principal Trumpet

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John Scully adopted Peter Erb, Horn Katelhyn Marie Lewis, Horn Lynn Mostoller, Trombone Allison Tutton, Horn Elliot Stern and Judith Williams adopted Guillermo Figueroa, Principal Conductor Franklin and Merle Strauss adopted David Felberg, Concertmaster Suzanne Timble adopted Anne Eisfeller, Principal Harp Kevin Waidman and Frank Hirsch adopted Richard White, Principal Tuba Everett Zlatoff-Mirsky adopted Nicolle Maniaci, Principal Violin II


Is there a Symphony musician you’ve always wanted to meet? When you Adopt-A-Musician you honor our individual musicians’ exceptional dedication and effort while helping to sustain high standards of professional support for our tenured musicians members. You will be introduced to your adopted musician and invited to attend an orchestra dress rehearsal. Sponsors of principal musicians may sit within the instrument section—as close as possible to their musician. Your participation also includes the opportunity to be photographed with your adopted musician(s).

BENEFITS All adoptions will be acknowledged under the adopted orchestra member's image on The Symphony website at santafesymphony.org/orchestra for one year following the adoption. An acknowledgement of your participation in the Adopt-A-Musician program will also appear on the Symphony Supporters and Adopt-A-Musician pages in the Program Book. To adopt a musician, learn more about the Adopt-A-Musician program, or if you would like information about other ways to support The Santa Fe Symphony, please contact our Development Officer Callie O’Buckley at (505) 983.3530, ext. 406 Monday through Friday 10:00 AM to 4:00 PM or cobuckley@santafesymphony.org. The Symphony

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FOUNDATION

board president

We would like to express our sincere thanks to all of our generous supporters for their many contributions to The Foundation for The Santa Fe Symphony over the years—and especially this year. With this help, The Foundation has raised almost $3 million from grants, donations and investment earnings. These assets enable The Foundation to help support The Symphony’s performances, its many outreach programs, and its day to day operations. The Symphony Foundation’s mission is to effectively manage its assets—to preserve, safeguard and conservatively grow its investments—so that it can make regular contributions to The Symphony. We can do this only with the continued contributions from our many supporters. Thank you. We are living in unprecedented times. The Symphony faces the challenge of continuing to develop and present outstanding programs that meet our constituencies’ needs, but under significant public health constraints. We thank our talented musicians, dedicated staff, and supportive volunteers for all their efforts, hard work, and contributions to help us achieve these goals under these circumstances. Our programs would not be possible without the help of many others, people who support The Symphony by attending The Symphony’s programs, by giving gifts of time and money, and by including The Santa Fe Symphony Orchestra & Chorus in their estate plans. Funds are required to put on great performances, especially in challenging times like these. These programs would not be possible without our loyal supporters—all of them. We continue to be grateful for your help. The Santa Fe Symphony Orchestra & Chorus is a sound, cherished organization that will continue to offer the very best music to our audiences. Please continue to help support our activities—now more than ever. Again—thank you. Brian McGrath Foundation President

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FOUNDATION board of directors

David Felberg, Cncertmaster; Gabriela da Silva Fogo, Violin

Brian McGrath

Robin Smith

Eileen Mandel Brian McGrath Marion Skubi Robin Smith

Teresa M. Pierce

Los Alamos National Bank

Dr. Penelope Penland

The Symphony

Ann Neuberger Aceves

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2020–2021 SEASON 2020 2020––2021 2021 Season SEASON

foundation supporters We gratefully acknowledge the following individuals and organizations for their generous support of The Foundation. The following contributors are listed according to their cumulative non-designated giving since The Foundation’s inception in 1998: The Tchaikovsky Society ($200,000+) Ann Neuberger Aceves Founding Member Eddie and Peaches Gilbert Founding Members Gladys and Julius Heldman Founding Members Boo Miller Roy R. and Marie S. Neuberger Foundation—Founding Members The Ellington Society ($50,000+) Edwin Thorne Jr. and Melanie Peters Thorne—Founding Members Estate of Francis Essig Richard and Claire Gantos The Mendelssohn Society ($25,000+) Helen and Bertram Gabriel Founding Members Estate of Mrs. Georges Dapples The Bernstein Society ($10,000+) Drs. Gilbert M. Maw and Jenny M. Auger Maw Estate of Duane “Pete” Myers Carl and Patricia Sheppard The Gladys and Julius Heldman Circle of Friends Helen Gabriel ($50,000) ($10,000+) Marion and Joe Skubi ($5,000+) Michael and Sheryl DeGenring Diane and Peter Doniger Ambassador David and Connie Girard-diCarlo Brian McGrath and Carmen Paradis ($2,000+) Jean and John Cheek, deceased Lee Dirks Dr. James Fries Cameron Haight Sue Lovitz, deceased, Dr. Beryl Lovitz, deceased

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Joyce Nicholson Mick and Genie Ramsey Frances E. Richards ($1,000+) Charmay Allred, deceased Keith Anderson and Barbara Lenssen Ann Griffith Ash David and Maggie Brown Mike and Julie Dawson Charles Gulick Robert and Marian Haight Bertram Heil Gregory and Elaine Heltman Evelyn and David Kloepper Dr. and Mrs. James McCaffery Dee and Bill Moore Ted and Alice Oakley Tom and Sarah Penland Lee and Mimi Powell James Sullivan Nancy and William Zeckendorf, deceased Everett and Janet Zlatoff-Mirsky, deceased Other Foundation Friends Rick and Kathy Abeles George Aceves Martha Albrecht Ann Alexander and Richard Khanlian, deceased Anonymous Gerald Arnold Susan Arnold and Ralph Poelling Julie and William Ashbey Julie and David Ashton Hank Bahnsen Sam and Ethel Ballen Vera Barad and Edward Marks F. K. Bateman Linda and Bill Bein Celia Berlin Elliot Blum and Ann Reifman Helen and Richard Brandt Leona Bronstein Norma Brown, deceased, and Harold Brown, deceased

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Norma H. Burch Raymond Burkard Elva and Bob Busch Julius and Helen Cahn David and Lisa Caldwell J. Susan Cedar and Gary Lowenthal Aaron Clark and Barbara Schmidt Clark Judith Margo Clark Diane Copland Diane Shaw Courtney Zella and Larry Cox Grover Criswell and Kathryn Van der Heiden Hugh and Haley Curtin Brian F. Dailey and Florian Art Garcia Edgar Foster Daniels, deceased Josette and Volker De La Harpe Joel and Janet DeLisa Dorothy Dorsey Al Dos Santos Mary E. Eisenberg Hal and Carole Eitzen Helen Eubank Bernard C. Ewell Thomas and Nancy Feine Stephen Flance Jeffrey and Megan Fries Stephen W. Gibbs and Lynn Matte-Gibbs Elizabeth Glascock Linda Goff Charles and Diane Goodman Julianne Bodnar and John Greenspan, deceased Kurt and Maria Haegele Marianne Hale Kitty Carlisle Hart, deceased Barbara Hays Arthur Hemmendinger Roth and Sarah Herrlinger Thomas George David Hesslein Ann and Jerry Hicks Constance Hillis C. W. and Gail Hornsby Ira and Virginia Jackson Medora and James Jennings Colleen Jones Patricia and Alfred Judd Sara and Jim Killough Sandra Kirmer


foundation supporters Dr. and Mrs. Joseph C. Kiser Patricia Klock Kay Delle Koch Ronnie Koenig and Marc Feldman Camille and David Kornreich Susan Krueger David and Jody Larson Lynn F. Lee Phyllis and Stanford Lehmberg, deceased Ellie Leighton Ann and Bill LeMay, deceased Barbara Hays and Miranda and Ralph Levy Carole Light and Alex Redmountain Elizabeth Lubetkin Lipton Martin and Mildred Litke Harvey Litt George and Norma Litton Andrea London Matthew Roy London Patricia London Linda Mack and Wynn Berven Colleen Mahon-Powers Paul and Nancy Malmuth Dr. Marilyn Mason John McCusker

Karen McGrath Andre Michaudon Audrey Miller Ann Morgan Margaret Morgan and David Cohn Richard and Patricia Morris Steve and Luanne Moyer Pat Mueller-Vollmer Ruth Nelson and Thomas Murphy Jim Neuberger Roy S. Neuberger, deceased Betsy S. Nichols Richard A. Nulman Bob Nurock Frank and Dolores Ortiz Concha Ortiz y Pino de Kleven Melinne Owen and Paul Giguere Janet M. Peacock J. Michael Pearce and Margaret M. Page John Pedotto Valerye Plath William and Ronnie Potter Joshua Quesada Harriet Raff Ronald Rinker, deceased James M. C. Ritchie

Jesse Tatum, Principal Flute; Stefanie Przybylska, Princiapl Basson The Symphony

Charles and Mara Robinson Gerald and Kathleen Rodriguez Brett Roorbach Kimberly Roos Barbara Rosenblum Hilda Rush Molly and Tony Russo, deceased Donna Saiz Dorothy Salant Allen and Mary Anne Sanborn Nancy Scheer Beatrice and M. C. Schultz Noel Schuurman Edward Seymour Donald Shina and Kevin Waidmann Christine Simpson Karen Sonn Frank and Karen Sortino Harold Steinberg Emily and Peter Coates Sundt Jeff and Georgann Taylor Hunter and Priscilla Temple Enid and Roy Tidwell Connie Tirschwell Patrick Toal

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foundation supporters Sandy and Gene Tomlinson Don and Emma Lou Van Soelen Roberta Van Welt Marlene Vrba Suzanne Watkins Bernard and Moira Watts Joy S. Weber Truel and Joan West Dorian Wilkes T. C. and Dora Williams Barbara Windom and Victor di Suvero Marilyn and Marvin Winick Nancy Wirth Marcia Wolf Marilyn Worthington Gilda Zalaznick Nolan and Patricia Zisman Foundations, Funds, and Trusts Anonymous Dominion Foundation

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Donald T. Regan Charitable Foundation Bar-Levav Family Foundation Garfield Street Foundation The Harold Brown and Norma C. Brown Revocable Trust Lackner Family Endowment Fund McCune Charitable Foundation, Santa Fe Sidney and Sadie Cohen Foundation Thorne Family Fund, Santa Fe Community Foundation Donations to The Foundation In Honor of: Ann Aceves, by Ellie Leighton My sister, Ann Neuberger Aceves, by Roy S. Neuberger, deceased Ray Besing, by Joyce Nicholson

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Greg and Elaine Heltman, by Joyce Nicholson Marian and Ernest Karlson, by Gerald and Kathleen Rodriguez Lori Lovato, by Zella and Larry Cox Joyce Nicholson Beth and Joel Scott, by Joyce Nicholson Donations to The Foundation In Memory of: Ann Mahon Bradstreet, by Joyce Nicholson Franz and Amalia Chrobok, by Kurt and Maria Haegele Ken Coleman, by Michael and Sheryl DeGenring Ruthe Coleman, by Ann Neuberger Aceves Michael Melody and Bonnie Binkert


foundation supporters Bertram Gabriel Jr., by Ann Neuberger Aceves Helen Gabriel David Grayson, by John and Peggy Polk Samuel Grossman, by John and Jean Cheek Chris Gulick, by Charles Gulick Gladys and Julius Heldman, by Dee and Bill Moore Gladys Heldman, by Ann Neuberger Aceves Keith Anderson and Barbara Lenssen Helen Gabriel Joyce Nicholson Harriet Heltman Sally Joseph, by Harriet Raff Bennett Marcus, by Enid and Roy Tidwell

Don and Emma Lou Van Soelen Marielle McKinney, by Edgar Foster Daniels Lee Dirks Josette and Volker de la Harpe Gladys and Julius Heldman Ira and Virginia Jackson Miranda and Ralph Levy Richard A. Nulman Concha Ortiz y Pino de Kleven Frank and Delores Ortiz, deceased James M. C. Ritchie Edward Seymour Emily and Peter Coates Sundt Suzanne Watkins Barbara Windom and Victor di Suvero Nancy and Bill Zeckendorf, deceased Roy R. Neuberger, by Ann Neuberger Aceves

Jan Arleen Nicholson, by Joyce Nicholson Ambassador Frank Ortiz, by Ann Neuberger Aceves Betty Rutledge, by Ann and Bill LeMay, deceased Dona Haynes Schultz, by Charmay Allred, deceased Pat Wismer, by Christine F. Wismer Emily Zants Business Donations to The Foundation In Kind Eun K. Hong, CPA

Thank you for sustaining our legacy.

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foundation

endowments

By investing in The Foundation for The Santa Fe Symphony Orchestra & Chorus, you leave a perpetual, personal legacy, ensuring that our community continues to experience the incredible power of orchestral music for generations to come. Contributing to the Foundation enhances The Symphony’s mission of producing world-class music and music education programs in a permanent way. Over the past 20 years, the Foundation has reached nearly $3 million in total assets. The annual distributions from these invested assets provide almost 10% of the Symphony’s annual operating budget.

Named Chairs The Eddie & Peaches Gilbert Gregory W. Heltman Founder’s Chair ($1,000,000)

The Boo Miller Assistant Concertmaster Chair ($200,000)

The Ann Neuberger Aceves Principal Conductor Podium ($500,000)

The Dr. Penelope Penland Principal Cello Chair ($150,000)

The Boo Miller Principal Percussion Chair ($150,000)

The Diane & Peter Doniger Principal Harp Chair ($150,000)

Designated Endowments Lloyd & Virginia Storr Music Library Fund ($50,000)

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Forever Mentor Program John & Marte Murphy ($50,000)

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The Regan/Doniger Fund and The DeHaan National Orchestra Program for The American Pianists Association Fellow Presentation ($55,000)


create a legacy! There is no more powerful gift than one to future generations. Create your own permanent legacy through The Foundation for The Santa Fe Symphony—call 505-983-3530 for more information today!

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Do something for tomorrow today.

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ovation society The Ovation Society was established by the Board of Directors of The Foundation for The Santa Fe Symphony to recognize generous and future-minded donors who have designated The Foundation or The Symphony in their planned giving. The many options available include trusts, charitable gift annuities, life insurance, and 401(k) retirement saving plans. Please check with your financial advisor to determine what may be most appropriate for you. Members of the Ovation Society who have magnanimously remembered us in their Estate Planning: Anonymous Anonymous in Memory of Gladys and Julius Heldman Ann Neuberger Aceves Gregg Antonsen Stephen and Amanda Apodaca David and Maggie Brown Raymond and Mary Ann Burkard Marilyn Casabonne Jean Cheek Zella Kay Cox Daniel Crane Hugh and Haley Curtin

Helen C. Gabriel Fred and Shelley Glantz Susan Goldstein and Steven J. Goldstein, MD Elaine and Gregory W. Heltman Eileen Mandel Drs. Gilbert M. Maw and Jenny M. Auger Maw Joyce M. Nicholson Carmen Paradis and Brian McGrath Dr. Penelope Penland Genie Ramsey Britt Ravnan and Michael Ebinger

Laurie Rossi Vera Russo Donald Shina, MD and Kevin Waidmann Marion Skubi Hunter and Priscilla Temple Melanie Peters Thorne and Edwin Thorne Jr. Elizabeth VanArsdel Gretchen Witti Nancy Zeckenorf

The Santa Fe Symphony would like to acknowledge the following members of the Ovation Society who have passed on. We are eternally ghrateful for thier generosity. Charmay Allred Dr. Harold & Norma Brown Mrs. George Dapples Francis Essig

Anthony Russo Patricia Sheppard Bernice E. Weiss

The Symphony

Margaret “Mickey” F. Inbody Emily Zants Janet Zlatoff-Mirsky

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MUSIC EDUCATION

We took it online this season The Santa Fe Symphony's music education programs reach nearly 4,000 youth in Santa Fe and the surrounding area each year. With tailored programs for elementary, middle, and high school students—as well as adult learners—The Symphony transforms thousands of lives each year. Play your part and support these award-winning programs today—visit our website at santafesymphony.org or call our office at 505.983.3530 to learn more!

Discovery Concerts The Symphony introduces over 1,500 fourth graders to the wonder of symphonic music through its bilingual Discovery Concerts each fall! Students are bused from Santa Fe, Pojoaque, Española, and Pueblo schools to The Lensic each year for a full orchestral concert featuring a bilingual storyteller presenting Prokofiev's Peter & the Wolf.

Music Mentoring In partnership with Santa Fe Public Schools, The Symphony's Mentorship program offers 750+ hours each year of professional individual and small group lessons in strings, brass, percussion, woodwinds, guitar, keyboard, and voice. This nationally awardwinning program prepares students for challenging opportunities in music and life, nurturing their creative talent while forming personal bonds with important role models.

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…with virtual music mentoring! Instrument Scholarship Program Have a beloved but unused instrument collecting dust? Put it in good hands through The Symphony's Instrument Scholarship Program! The Symphony will refurbish and gift these high quality instruments to promising middle and high school students who have submitted a formal request.

Music for Seniors Catch The Symphony around town! This series features informal Symphony ensemble performances at community venues and retirement communities throughout Santa Fe, as well as opportunities for seniors to meet Symphony musicians and ask questions.

Southside Library Concerts Gather the kids and join The Symphony for FREE FAMILY concerts at the Santa Fe Public Library's Southside Branch! This family-friendly series features Symphony musicians who demonstrate their instruments and play a variety of popular and classical music, fostering a connection with children and providing a chance for them to conduct the ensemble! These concerts are geared toward kids ages five to ten, but all ages are welcome! MEC Chair

Richard Rudman, MD

MEC Commiittee

Zella Cox Charles DeMuth Leanne D. DeVane Mathew Frauwirth Don Percious Frances Richards

Roberta Robinson Laurie Rossi Dr. Richard Rudman Patsy Williamson

The Santa Fe Symphony's 2020-2021 Music Education Programs are made possible by:

SUSAN GOLDSTEIN STEVEN J. GOLDSTEIN, MD

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MUSIC EDUCATION

Science of Sound—santafesymphonytv.org We have partnered again with the Santa Fe Institute for a new educational series! Available to watch for FREE on Santa Fe Symphony TV. Join SFI Professor Cris Moore with select Symphony musicians and special guests as they go behind the scenes to learn about science and music. As each epsiode releases, it is distributed to teachers in Santa Fe Public Schools as a tool for music education during at-home learning!

What is the connection between size and pitch? Volume and timbre? Can you beatbox on a tuba?

Many thanks to Executive Producer Dr. Penelope Penland for generously funding Episode 1 with special thanks to Thornburg Investments for generously funding Episodes 2 and 3.

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2021—2022 WE'VE RESERVED A SPACE FOR YOU! Advertise your business in The Santa Fe Symphony Orchestra & Chorus's 2021–2022 . Our full color, professionally bound program is placed in the hands of thousands of music lovers annually at some of Santa Fe’s most prestigious venues and iconic locations. Combined with our exciting new Virtual Concert Series on SantaFeSymphonyTV.org, The Symphony's audience is larger than ever before! We have increased our reach to a digital audience and are pleased to offer advertising opportunities for you in addition to print. Support your Santa Fe Symphony while we help broaden the reach of your business to the performing arts world. Our live season of performances at The Lensic Performing Arts Center, Cathedral Basilica of St. Francis of Assisi, and St. Francis Auditorium will kick off September 12, 2021, plus three digital installments over the course of the season. Let's connect today! Our advertising rates are intentionally low—we aim to subsidize the cost of our program books while providing great exposure for our advertisers and sponsors. If you are interested in, or would like to learn more about, advertising opportunities with The Santa Fe Symphony, please visit santafesymphony.org/advertising or contact: , Creative Director | The Santa Fe Symphony, PO Box 9692, Santa Fe, NM 87504 Monday through Friday— 10 AM to 4 PM | 505.983.3530 | knun@santafesymphony.org 132

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digital and print Let's convert our patrons into your customers! Most of our patrons live in Santa Fe and contribute to The Symphony year-round. They dine at local restaurants on the day of the concert and many of them shop at galleries and fine retail stores. The Symphony also attracts tourists and vistors from the surrounding regions. And all of our patrons require financial, insurance, banking , and healthcare services. Does your business fall into any of these categories? Give us a call today! The Symphony The Symphony

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advertisers index Blue Rain Gallery.............................................................7 Casa Rondeña Winery................................................... 18 Century Bank.................................................................39 Christus St. Vincent...................................................... 64 Coronado Paint & Decorating....................................... 91 Dougherty Real Estate....................................................4 Enterprise Bank & Trust................................................ 27 First National 1870...........................................................9 Fix My Roof LLC.............................................................38 KHFM Classical Public Radio 95.5................................ 64 Morgan Stanley, The Pierce/Miller Group....................59 Museum Hill Café.......................................................... 19 Neuberger Berman and Faith David Pedow itz........... 31 Santafe.com.................................................................. 77 The Santa Fe Opera..................................................... 2–3 Thornburg Investment Management..........................35 WildEarth Guardians.....................................................54

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Thank you. Your loyal support of our Virtual Concert series kept the music playing during unprecedented times. We look forward to seeing you live this fall!

The Symphony

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2020-2021 Commemorative Program Book  

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