Mercury Program Book 2024-25 Vol. 1

VOL. 1 • OCT–NOV 2024

2024/25 SEASON BOCCHERINI’S NIGHT IN MADRID OC T. 12

CLASSICAL PIANO TRIOS OC T. 24– 27

ENGLISH ROMANTIC STRINGS N OV. 9

Elinor Frey Cello

Antoine Plante Artistic Director Program Book One

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River Oaks District deBoulle.com 2

Mercury Chamber Orchestra

CONTENTS 4 5

Musician Roster Note from Antoine Plante PROGRAMS

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Boccherini’s Night in Madrid Classical Piano Trios Guest Artist Bios English Romantic Strings ABOUT MERCURY

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Mercury Vision, Mission & Approach Mercury Education & Community Programs Mercury by the Numbers Artistic Director Bio 2024-2025 Juilliard Fellows MERCURY SUPPORTERS

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Patron Society Listing Mercury Donors Foundation, Corporate & Government Support Mercury Board and Administrative Team Program Book One

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2024-2025

MUSICIAN ROSTER Antoine Plante, Conductor

24 / 25 Season

Lynn Wyatt Artistic Director Chair

VIOLIN

CELLO

BASSOON

Jonathan Godfrey Concertmaster Anabel Ramírez Assistant Concertmaster Oleg Sulyga Principal Second Violin Joanna Becker Ryan Cheng* Lucinda Chiu Laura Cividino Matthew Detrick Andrés González Jackson Guillen Marisa Ishikawa Kana Kimura Matt Lammers Maria Lin Manami Mizumoto Sean O’Neal Cristina Prats-Costa* Emily Richardson Katrina Savitski Jacob Schafer Ervin Luka Sešek Rachel Shepard Ariya Tai Hannah Watson

Eunghee Cho, Principal Matthew Dudzik Ellie Traverse Herrera Kristiana Ignatjeva Caroline Nicholas Annamarie Reader

Nate Helgeson, Principal Georgeanne Banker Allen Hamrick

VIOLA Kathleen Carrington, Principal Amber Archibald Matthew Carrington Rachel Halvorsen Matthew Weathers Rainey Weber

DOUBLE BASS/VIOLONE

TRUMPET Kris Kwapis, Principal Amanda Pepping

Deborah Dunham, Principal Paul Ellison Erik Gronfor Elvis Martinez Antoine Plante

HORN

THEORBO/GUITAR

PERCUSSION/TIMPANI

Héctor Torres González Principal

FLUTE David Ross, Principal Immanuel Davis Andrea LeBlanc

OBOE David Dickey, Principal Pablo Moreno Pablo O’Connell Margaret Owens

CLARINET Thomas Carroll, Principal Elise Bonhivert

Todd Williams, Principal Burke Anderson Nate Udell

Jesús Pacheco, Principal

HARPSICHORD/ORGAN Mario Aschauer, Principal Bryan Anderson Brad Bennight

HARP Caitlin Mehrtens, Principal

TEACHING ARTISTS Kathleen Carrington Andrés González Daphnee Johnson Stephen Martin Brenda Rengel Mayara Velásquez *Mercury-Juilliard Fellow

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Mercury Chamber Orchestra

A NOTE FROM THE

ARTISTIC DIRECTOR Dear Friends, Welcome to our 24th season! We’re thrilled to begin with three exceptional programs exploring the vibrant streets of Madrid, the refined elegance of Classical Vienna, and the lush landscapes of English Romanticism. Each program is designed to transport you into a unique musical world.

A Night in Madrid will whisk you away to the lively streets of 18th-century Spain. Through Boccherini’s “Night Music” and his thrilling “The House of the Devil,” we experience the energy and dramatic flair of Spanish music. His Cello Concerto, featuring the wonderful Elinor Frey, and his “Fandango,” add grace and passion to the evening.

Our Classical Piano Trios concert will shine a light on the brilliance of Viennese Classicism through the genius of Haydn, Mozart, and Koželuch. This program showcases the beautiful interplay between the fortepiano, violin, and cello performed by our own Mario Aschauer, Jonathan Godfrey, and special guest Elinor Frey. Together they will reveal the grace, wit, and emotional depth that has made Classical-era chamber music beloved by audiences for centuries.

Finally, we make a heartfelt journey with English Romantic Strings, a program that highlights some of the most beloved string compositions from England’s great composers. Elgar’s Serenade and Elegy offer tender emotion and lyricism, while Warlock’s Capriol Suite brings

a spirited, dance-like character to the concert.

Vaughan Williams’ sweeping Fantasia on a Theme

by Thomas Tallis and Holst’s lively St. Paul’s Suite evoke the rich traditions and pastoral beauty of the English countryside, creating a moving and atmospheric musical experience.

It is my hope that these three programs will inspire, transport, and delight you. We are thrilled to have you join us on this musical journey, and I look forward to sharing these unforgettable moments with you.

With warmest regards,

Antoine Plante Artistic Director Program Book One

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Downtown Series

Boccherini’s Night in Madrid Antoine Plante, Conductor Elinor Frey, Cello October

13’

12 / 2024

Night Music of the Streets of Madrid, Op. 30, No. 6 I. II. III. IV. V. VI. VII.

Wortham Center, Cullen Theater

24 / 25 Season

LUIGI BOCCHERINI (1743–1805)

22’

The Ave Maria Bell The Soldiers’ Drum The Minuet of the Blind Beggars The Rosary Street Parade The Drum The Retreat of the Military Night Watch

Cello Concerto in B-flat major, Op. 482 I. II. III.

Allegro moderato Andante grazioso Rondo

Intermission 23’

Quintet for Guitar and Strings, G. 448 “Fandango” I. II. III. IV.

20’

Pastorale Allegro maestoso Grave assai Fandango

Symphony No. 4 in D minor, Op. 12, No. 4 “The House of the Devil” I. II. III.

Andante sostenuto – Allegro assai Andantino con moto Andante sostenuto – Allegro con molto

This concert is dedicated to Stephen & Kristine Wallace in celebration of their extraordinary support.

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uigi Boccherini, although a contemporary of Haydn and Mozart, stands apart from those canonical composers from the late eighteenth century for several reasons: he spent the majority of his career – from 1768 until his death in 1804 – in Spain where he was influenced

by Iberian customs and music; he was strongly attracted to programmatic composition; and, as a cello virtuoso, his output is distinguished by concertos and concertante parts for his instrument. The opening Quintettino (little quintet) in C Major illustrates all three qualities.

The program depicts a specific nocturnal scene from the streets of late eighteenth-century Madrid: promenades, dancing, and singing in the neighborhood of a military barracks as heard against the background Hail Mary prayer and Rosary devotions.

This little quintet depicts the music heard at night in the streets of Madrid, from the bells sounding the Ave Maria through the final withdrawal for the night […] Everything here that does not comply with the rules of composition should be pardoned for its accurate depiction of the things being represented.

Until recently, Boccherini was thought to have composed eleven concertos for the cello, but a twelfth was identified only in the late 20th century, receiving its first modern performance in 1987 and published edition in 1994. The concerto on this program is known as his ninth, and its history, too, has been obscured by the fact of a late 19th-century edition that intermingles movements of different concertos and altered Boccherini’s orchestration. The original movements of this concerto, however, are

To set the scene (first movement), Boccherini instructs that all play pizzicato in imitation of the striking bells when they signal the Hail Mary prayer.

After this [second movement], the First Violin will enter, imitating as loudly as possible the drums from the soldiers’ barracks as they, too, play and recite the Hail Mary.

DOWNTOWN SERIES Boccherini’s Night in Madrid

We can piece this program together from the composer’s movement-by-movement instructions in a manuscript copy of the score, beginning with the following note:

The minuet is repeated after a brief pause, and then followed by the Rosary devotion (fourth movement), played “very broadly and without a strict beat; very sweetly and with gracefulness,” with the pizzicatos imitating bells and a cello obbligato “to be played on the third string, imitating the bassoon.” For the Passa Calle (fifth movement), Boccherini explains the origin of this ground-bass genre, (i.e., the passacaglia) as “the manner of playing and singing known by the Spanish as the Passa Calle – that is, walking the streets, in which people more or less entertain themselves by singing during the night.” The solo first-violin passage, marked fortissimo, that follows is meant to imitate drumming, which marks the soldiers’ curfew (sixth movement).

The soldiers’ marching return to barracks (finale) is marked maestoso with the string tremolos imitating drums.

For the Minuetto of the Blind Beggars (third movement), Boccherini instructs the musicians to play “gracelessly” (con mala grazia) and for the cellists “to place their instruments across their knees while playing pizzicato with the fingernails of the hand turned like that of a guitar player” – and adding “with harshness” (con asprezza).

Program Book One

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24 / 25 Season easily accessible and featured on this program.

One characteristic of Boccherini’s concerto style is his imaginative writing for the solo cello, which comprehends the motoric figuration and passagework of the first movement, the elegiac lyricism of the second, and the dancelike lilt and tunefulness of the finale. The relationship between the solo and ensemble bears mentioning because Boccherini creates a distinctive type of concerto-ritornello form in which the ensemble’s ritornello statements create bookends around extended and thematically varied cello solos. Thus, the opening movement articulates a sonata form with expositions for both orchestra and solo cello. After this, however, the development is marked only by a brief tutti passage; the recapitulation is brought in not by the orchestra, but by the cello; and the orchestra reappears for its final ritornello only to frame the solo cadenza. The finale, is a rondo form, but one in which the bulk of the material, both

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Mercury Chamber Orchestra

refrains and episodes, are woven into the cello’s solos while the orchestra makes only opening and concluding appearances. The overall effect throughout Boccherini’s concerto is to throw the soloist into especially high relief in comparison with other concertos of his time.

The Quintet for Guitar and Strings is similar to the Quintettino in drawing its inspiration from the popular and folk music of Spain, and then adding to that characteristic flavor with a guitar. The Pastorale is hardly exclusive to Spain, but it does signal Boccherini’s interest in folk culture, and we recognize the genre from its gentle compound meter, bird-call imitations, and the drone effect of slow-moving harmonies.

The second movement – a sonata form with a distinctively virtuosic cello part – has neither genre designation nor programmatic description, but nonetheless captures the feel of a vigorous folk dance. The third movement furnishes a brief but solemn introduction to the finale, the

Fandango for which the whole of the Quintet is named. Boccherini’s Fandango captures the percussive steps and strummed accompaniment of the eighteenth-century Spanish folk dance. As elsewhere in his music, virtuosic solos, especially for the cello, color this movement and add variety to the repeated strains of the dance.

The Allegro assai that follows the opening Andante presents a lively, major-key sonataform, whose contrasting theme areas each feature assorted ideas in an energetic mood created by tremolo strings, forte outbursts, and rapid passagework. The second movement, marked Andantino con moto, continues in a dramatic vein with a suspenseful, nervous mood created by the tip-toeing main theme, persisting syncopations, and extended diminished harmonies at the cadential high points. The finale is Don Juan’s Inferno music cast into a sonataform in Boccherini’s arrangement. The Sinfonia’s nickname – “La casa del diavolo” (the house of the devil) – does not originate with Boccherini, but it does suit the extended string tremolos, subito-forte bursts on diminished chords, and fiery passagework of this movement. The exaggerated style of this piece also fits with what we might see as Boccherini’s artistic credo: in a letter to the poet and playwright Marie-Joseph Chénier in 1799, he declared, “music without emotions and passions is meaningless.”

Gregory Barnett ©

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DOWNTOWN SERIES Boccherini’s Night in Madrid

The inspiration for Boccherini’s Sinfonia in D Minor, “La casa del diavolo” lies in his musical experiences before he went to Spain, when he spent several seasons playing in Vienna’s theater orchestras. One of the pieces he accompanied was Christoph Gluck’s ballet Don Juan (1761), whose concluding music depicts the Don’s descent into hell. That music appears in Boccherini’s arrangement as the finale to his Sinfonia. Boccherini was also inspired by Gluck’s opera, Orfeo ed Euridice (Vienna, 1762), whose scene of Orpheus confronting the Furies in Hades forms the basis of the slow introduction to the first and last movements of the Sinfonia, which pits plaintive divisi cellos (Orpheus) against a stern orchestral tutti (Furies).

Building Your Legacy:

For more information about how you can make a gift that endures for future generations, contact Brittany Schroeder, Development Manager of Individual Giving, at Brittany@mercuryhouston.org. *401(k), 403(b), SEP IRA accounts, and other retirement accounts do not qualify.

Program Book One

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Empowering through Music ConocoPhillips is a proud sponsor of the Mercury Chamber Orchestra and this year’s ConocoPhillips Neighborhood Series.

Mercury continues to receive critical and audience acclaim for its innovative and welcoming performances, while also impacting the lives of young Houstonians through award-winning music education programs. We commend the orchestra on its mission to serve the community by celebrating the power of music—through teaching, sharing, and performing with passion, intimacy, and excellence.

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www.conocophillips.com

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© ConocoPhillips Company, 2024. All rights reserved.

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ConocoPhillips Neighborhood Series

Classical Piano Trios October 24 • 7:30PM

15’

Trio in G minor, P.IX:45

Heights Saengerhalle

I. II. III.

October 26 • 2:30PM Memorial MDPC

23’

October 27 • 7:00PM The Woodlands Dosey Doe

Allegro Adagio Allegro con fuoco

WOLFGANG AMADEUS MOZART (1756–1791) Piano Trio in B-flat major, K. 502 I. II. III.

October 26 • 6:30PM & 8:30PM Museum District MFAH

LEOPOLD KOŽELUCH (1747–1818)

14’

Allegro Larghetto Allegretto

NEIGHBORHOOD SERIES CLASSICAL PIANO TRIOS

Jonathan Godfrey, Violin Elinor Frey, Cello Mario Aschauer, Fortepiano

FRANZ JOSEPH HAYDN (1732–1809)

Piano Trio No. 39 in G-major, Hob. XV:25 “Gypsy” I. II. III.

Andante Poco adagio, cantabile Rondo all’Ongarese: Presto Program Book One 11

winner of a Diapason d’Or, and Early Italian Cello Concertos, winner of the 2023 JUNO Award for Classical Album of the Year (small ensemble). Her critical editions of Dall’Abaco’s cello music is published in collaboration with Walhall Editions.

Elinor Frey

24 / 25 Season

Cello

Born in Seattle and living in Montréal, Elinor Frey is a leading American-Canadian cellist, gambist, and researcher.

Her albums on the Belgian label Passacaille and Canadian label Analekta – many of which are world premiere recordings – include Giuseppe Clemente Dall’Abaco Cello Sonatas,

Elinor is the artistic director of Accademia de’ Dissonanti, an organization for performance and research. She has performed throughout the Americas and in Europe in recital and with numerous chamber ensembles and orchestras (Rosa Barocca, Constantinople, Les idées heureuses, Il Gardellino, Tafelmusik, Pacific Baroque Orchestra, etc.). As a guest leader (London Symphonia, Ontario, Kingston Baroque Consort, Dorian Baroque, Siren Baroque, and others) Elinor specializes in Galant and earlyClassical ensemble repertoire.

In March 2023, she performed Boccherini and Sammartini concertos with the Australian Brandenburg Orchestra and in May 2023, she performed the Telemann Suite for viola da gamba and orchestra with Symphony Nova Scotia, Halifax.

Recipient of dozens of grants and prizes supporting performance and research, including the US-Italy Fulbright Fellowship (studying with Paolo Beschi in Como, Italy) and a recent research residency at the Orpheus Institute in Ghent, Elinor holds degrees from McGill, Mannes, and Juilliard.

She teaches Baroque cello and performance practice at McGill University and the Université de Montréal and is a Visiting Fellow in Music (2020–2023) at Lady Margaret Hall, Oxford University. Frey was awarded Québec’s Opus Prize for “Performer of the Year” in 2021.

Mercury performing at the Dosey Doe in The Woodlands.

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Violin A founding member of Mercury Chamber Orchestra, violinist Jonathan Godfrey has served as Concertmaster and violin soloist

He has concertized in the US and abroad, performing solo and chamber music recitals in Boston, Chicago, Cleveland, Houston, Interlochen, and Kansas City, as well as

in conducting at 17 years old, before graduating high school.

His passion for the study of primary sources to uncover how musical works were conceived and performed attracted Mario to pursue a Ph.D. in musicology at the University of Vienna.

Mario Aschauer Fortepiano Mario Aschauer is an accomplished conductor, harpsichordist, and musicologist who has made his life’s work the interface of music scholarship and performance. A native of Linz, Austria, Mario began his musical education early, earning a conservatory degree

Mario is founder and artistic director of Harmonia Stellarum Houston, an ensemble of vocal and instrumental virtuosos that fuses historical authenticity with artistic innovation. As a dedicated performer on historical keyboard instruments Mario has appeared on the stages of numerous renowned early music festivals such as Resonanzen Vienna (Austria), Bach Fest Leipzig (Germany), and Itinéraire Baroque en Périgord Vert (France). Among his recent recording projects is an album featuring world premiere recordings of works

by Giovanni Valentini, Claudio

Guanajuato, León, Monterrey, and Santiago, Mexico; Yokohama, Kyoto, Matsumoto, Sapporo, Date, and Tokyo, Japan; and Quito and Ambato, Ecuador.

A music educator as well, Mr. Godfrey has taught for twentyfive years, including positions on the violin faculty of both the Interlochen Arts Camp and the Rocky Mountain Summer Conservatory. Mr. Godfrey is also the co-director of Prelude Music Classes for Children, a school of music for young children and their families that teaches the researchbased music and movement program Music Together® and a co-founder of the Prelude Music Foundation.

Merulo, and anonymous 17th-century composers.

Mario’s book on 18th-century keyboard treatises was published by leading music publisher Bärenreiter (Kassel, Germany), for whom he has also produced new critical editions of works by Schubert, Beethoven, and Mozart.

Mario held a position as researcher at the Austrian Academy of Sciences and was a fellow at the Yale School of Music before he moved to the United States. Currently he is a tenured Associate Professor at Sam Houston State University, where he also directs the Center for Early Music Research. Additionally, he teaches harpsichord and basso continuo at Rice University’s Shepherd School of Music and serves as organist at First Lutheran Church, Houston.

CONOCOPHILLIPS NEIGHBORHOOD SERIES CLASSICAL PIANO TRIOS

Jonathan Godfrey

since the orchestra’s inception.

A graduate of Rice University, Mr. Godfrey has performed with many ensembles including the Houston Symphony, the Houston Bach Society, the IRIS Chamber Orchestra, and the River Oaks Chamber Orchestra. He has also served as Concertmaster of the Sinfonietta Cracovia, The Houston Grand Opera Orchestra, The American Radio Chamber Orchestra, Orchestra X, and the Pacific Music Festival Orchestra.

Program Book One 13

Downtown Series

English Romantic Strings Antoine Plante, Conductor

November

9 / 2024

18’

St. Paul’s Suite, Op. 29, No. 2 I. II. III. IV.

Wortham Center, Cullen Theater

24 / 25 Season

GUSTAV HOLST (1874–1934)

16’

Jig: Vivace Ostinato: Presto Intermezzo: Andante con moto Finale (The Dargason): Allegro

RALPH VAUGHAN WILLIAMS (1872–1958) Fantasia on a Theme by Thomas Tallis

Intermission 6’ 12’

EDWARD ELGAR (1857–1934) Elegy for Strings in C minor, Op. 58 Serenade for Strings in E minor, Op. 20 I. II. III.

11’

Allegro piacevole Larghetto Allegretto

PETER WARLOCK (1894–1930) Capriol Suite I. II. III. IV. V. VI.

Basse-Danse: Allegro moderato Pavane: Alegretto, ma up poco lento Tordion: Con moto Bransles: Presto Pieds-en-l’air: Andante tranquillo Mattachins: Allegro con brio

Mercury is pleased to welcome students and families from Mitchell Intermediate School and Timberwood Middle School to tonight’s performance.

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he circumstances of Holst’s St. Paul’s Suite, completed in 1913, lie in his teaching duties at the St. Paul’s Girl’s School in the west-London district of Hammersmith, where he was the head of music and led the student orchestra. For this ensemble, which comprised mostly strings, he typically programmed Purcell, Bach, the occasional Haydn symphony, and for lighter fare, Strauss waltzes. His suite was his first original composition for the girl’s school, and he intended it to be both satisfying to professionals and accessible to his students. The result is a folk-tinged, playful collection of four movements.

The jig demonstrates Holst’s gift for melodic invention within the spirited dance of this opening movement.

The pairing of Elgar’s Serenade, Op. 20 (1892), and Elegy, Op. 58 (1909), recreates the composer’s last recording from August of 1933, in which he conducted these two pieces. In the chronology of his works, they fall on either side of his renowned Enigma Variations, Op. 36 (1899) and Military Marches (“Pomp and Circumstance”), Op. 39 (1901), both of which transformed his reputation from that of a provincial talent to national celebrity. The Serenade and Elegy nonetheless reveal constants in his musical voice that were unaffected by his growing fame: Romantic lyricism and a traditionally tonal idiom within carefully crafted and easily perceptible musical forms, all handled to express nostalgia and even sentimentality. Consider

that Elgar, whose fame leads us to view him as an establishment figure of British music, was born a Catholic shopkeeper’s son in provincial Worcestershire in Protestant, class-conscious Victorian England. The intimate emotionalism in his music ultimately reflects an outsider’s voice.

The three-movement Serenade probably originated as Elgar’s Three Pieces (“Spring Song,” “Elegy,” and “Finale”), which was performed in 1888, but not preserved. The revised version, titled Serenade, was first performed in 1892 by a group that Elgar had founded by gathering his violin students and other local amateurs as the Worcester Ladies’ Orchestral Class. The Serenade’s first movement, a ternary form, begins and ends in E minor with a middle section in E major. The restless viola motif that begins the piece recurs throughout the movement as accompaniment to its series of cantabile melodies. The second movement, another ternary form, exemplifies Elgar’s style of yearning lyricism in which the arch-shape of the main theme is accentuated by melodic leaps that are emphasized by forte or sforzando surges. The finale begins with a similarly accented melodic arch-shape, but the mood is changed from tender to dance-like and playful. This opening

DOWNTOWN SERIES ENGLISH ROMANTIC STRINGS

The title of the second movement, Ostinato, refers to the Baroque-era genre that comprises variations on a repeating bass line and harmonic pattern, but Holst’s ostinato is a quick fournote motif (E-D-C-D) in the violins that persists throughout the movement and cuts across both triple- and duple-meter measures. Holst’s Intermezzo alternates slow, exotic-sounding music with a vigorous tune that is thought to have been inspired by a visit that he made to Algeria in 1908. The last movement originated as the finale of Holst’s Suite Nº 2 for a concert wind ensemble and appears here transcribed for strings. The music is based on a tune from English folk dance, “Dargason,” which Holst introduces in each string part. Soon after, he adds the tune of “Greensleeves,” which makes a brief appearance at first but comes back more prominently in combination with “Dargason” toward the end of the movement.

Program Book One 15

24 / 25 Season

leads to a reprise of the restless motif from the first movement (now played by the second violins) that precedes the first-movement key and melody in E major. The complete piece thus articulates a thematic rounding in its reprise of earlier material, but against larger tonal progression from minor to major.

Elgar composed his Elegy for Strings in June, 1909 in response to a request for a dirge by members of London’s centuries-old music guild, the Worshipful Company of Musicians, after their Junior Warden had died unexpectedly and tragically. The Worshipful Company, in existence since the sixteenth century, was a once-powerful union that had evolved into a society for the promotion of music through scholarships and prizes. With his Elegy, Elgar produced a masterpiece of gentle consolation, hushed sorrow, and in a few passages, expressively Wagnerian dissonance. Members of the Worshipful Company were well pleased with the result, and, according to one member, “When any member of our Guild, who has won the regard of his fellow liverymen, passes away, we now have this Dirge performed, and each time I hear it, it grows in impressiveness and tends to raise one’s thoughts to a better world above!”

Under the pseudonym of Peter Warlock, Philip Heseltine was primarily a composer of songs,

16 Mercury Chamber Orchestra

but his interests included folk music and history, too. He composed his Capriol Suite in 1926 after having provided the foreword to a modern edition of the late sixteenth-century dance treatise Orchésographie by Jehan Arbeau. The title of Warlock’s Suite is taken from the fictional student in Orchésographie, Capriol, whom Arbeau instructs in courtly dancing in order to improve Capriol’s social standing. Warlock named the six movements of his Suite for the dance steps and music that he found in Arbeau’s treatise: the moderate triple meter of the BasseDanse opening evokes the subtle step-gliding of the original choreography; the slow dactylic rhythm of Pavane matches the noble solemnity of the late-Renaissance form of that dance; the vigorous compound meter of the Tordion reflects the energetic twisting steps for which the dance was named; the swaying line of dancing couples, from which the branle takes its name, also inspired the frenetic, scherzo-like quality of Warlock’s Bransles; Pieds-en-l’air (feet in the air) refers to a hop-and-kick dance step, which appears here as a gentle and lyrical interlude; and the crunching dissonances of the final movement, Mattachins, evoke the clashing of blades in this sword dance from Arbeau’s treatise.

Gregory Barnett ©

Program Book One 17

MISSIOn 24 / 25 Season

Celebrating the power of music through teaching, sharing, and performing with passion, intimacy, and excellence.

VISION • Be the most welcoming and innovative arts institution in Houston.

• Become an exemplary period instrument ensemble for the Nation.

• Transform the lives of a diverse audience through music.

18 Mercury Chamber Orchestra

APPROACH Mercury Chamber Orchestra performs on period instruments to capture the authentic sound of composers from the Baroque, Classical, and Romantic eras.

These instruments differ from their modern equivalents by featuring gut strings, wooden flutes and oboes, valveless horns and trumpets, and leather-skinned drums. This versatility with instruments and performance-style offers you a singular listening experience.

Program Book One 19

EDUCATION & COMMUNITY ENGAGEMENT

24 / 25 Season

Mercury begins each season with its annual free community concert at Miller Outdoor Theatre over Labor Day Weekend. This year, over 5,000 Houstonians came together to experience a lively Baroque program, “Vivaldi & Telemann,” featuring recorder virtuoso Vincent Lauzer.

Mercury performing at Miller Outdoor Theatre

Mercury’s education programs reach numerous schools in Houston ISD and neighboring districts each school year, actively engaging and inspiring the lives of over 5,000 students. Mercury’s education team is hard at work with the start of the 2024 school year. For the fourth consecutive year, Teaching Artists Kathleen Carrington (Mercury Principal Violist) and Daphnee Johnson (Cello) engage about ninety students in grades second through fifth at Scarborough Elementary in classes three times a week. Mercury begins a new residency with the Edison Arts Center in Fort Bend County. This afterschool program will initially engage ten students twice each week with Mercury Education Manager and Violinist, Andrés González.

Mercury addresses educational needs by providing access to high-quality music education through in-school residencies which offer private lessons, coaching, mentorship, and group instruction to underserved students within the community.

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Mercury’s in-school residency

By linking to school curriculum and standards, Mercury’s in-school performances serve as a dynamic learning platform, covering a diverse array of topics through the medium of music.

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MERCURY BY THE NUMBERS

IN-PERSON CONCERTS ANNUALLY

10

AT-HOME BROADCASTS

$1.7 M ANNUAL OPERATING BUDGET

91% SUBSCRIPTION RENEWAL RATE

21,750

AUDIENCE MEMBERS IN 2023-2024

118

ARTISTS ENGAGED

12+

PUBLIC SCHOOLS SERVED THROUGH EDUCATION PROGRAMS

4,500+

PUBLIC SCHOOL STUDENTS ENGAGED

10,913 SOCIAL MEDIA FOLLOWERS

COUNTRIES REACHED BY STREAMING

BELGIUM CANADA

SINGAPORE AUSTRALIA

Program Book One 21

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raised for his conducting vigor and innovative programming, Antoine Plante has captivated audiences and musicians alike with his ability to bring music to life. Charles Ward of the Houston Chronicle lauded him for leading “an impressive account of the Mozart’s Requiem: authoritative, vigorous, emotionally intense, at times utterly gripping.”

24 / 25 Season

As the founder of Mercury Chamber Orchestra in Houston, Texas, Plante has played a pivotal role in the orchestra’s remarkable growth over its 24-year history. Known for his skillful programming of great classical works like Mozart’s 41st Symphony and Mendelssohn’s Reformation alongside lesser-known gems, he has helped Mercury gain a rapidly growing audience. In 2022, he further extended Mercury’s artistic reach by founding the Mercury Singers, the orchestra’s vocal ensemble.

ANTOINE PLANTE ARTISTIC DIRECTOR, LYNN WYATT CHAIR

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A versatile conductor, Plante excels across a wide repertoire. Equally at home with romantic and modern composers, he also specializes in performing classical and baroque works with period instruments. His expertise extends to staged productions, having conducted numerous operas and ballets. In collaboration with French director Pascal Rambert, Plante produced a modern, critically acclaimed staging of Lully’s Armide in Paris and Houston. He also worked with Dominic Walsh Dance Theater to create the score for Walsh’s ballet Romeo and Juliet. His innovative spirit shone in the multimedia creation of Loving Clara Schumann, a fully staged work featuring orchestra, dancers, and vocal soloists in a compelling dramatic performance.

Plante is a passionate advocate for classical music education. He leads Mercury’s educational outreach program, which brings classroom music education to underserved schools, offers master classes for student orchestras, and provides live performances for schoolchildren.

Under Plante’s leadership, Mercury has grown into a vital cultural institution in Houston, presenting over 40 concerts per season in a variety of venues, making music accessible to the entire community.

Plante has served as guest conductor for esteemed ensembles, including the San Antonio Symphony, Oregon Bach Festival Orchestra, Chanticleer, Houston Grand Opera, Ecuador National Symphony Orchestra, and Atlanta Baroque.

Antoine Plante grew up in Montréal, Québec, Canada and lives in Houston, Texas.

THE MERCURY-JUILLIARD FELLOWSHIP

2024/2025 FELLOWS Cristina Prats-Costa Violin

Ryan Cheng Violin

This initiative, a collaboration between The Juilliard School of Music Historical Performance Program and Mercury Chamber Orchestra, encourages the development of talented young instrumentalists and fosters a strong relationship between two major players in America’s period instrument performance scene.

Each spring, Mercury holds auditions at Juilliard, selecting two post-graduate students to participate in a one-year fellowship with the ensemble. Fellows will perform with Mercury during the season, gaining valuable performance experience while introducing Houston to the next generation of great period performance musicians.

Program Book One 23

Soprano Raven McMillon, Grand Finals Winner of the 2021 Metropolitan Opera Laffont Competition, to perform on Sunday, November 17 at 3:00 p.m.

Courtesy: Lynn Lane

24 / 25 Season

“Rejoice in New Voices!”

Soprano Raven McMillon will perform a concert recital at First Congregational Church to benefit the Houston District’s Metropolitan Opera Laffont Competition.

Ms. Bethany Self, Principal Coach for Opera studies at Rice University, will accompany Ms. McMillon for this one-hour program of opera arias, art songs, and spirituals.

Light refreshments will be available following the performance.

We welcome enthusiastic opera fans.

Admission is free.

Donations are welcomed.

See www.facebook.com/MetCompHouston for event information.

First Congregational Church is located at 10840 Beinhorn Road, Houston, 77024.

24 Mercury Chamber Orchestra

29TH CONCERT SERIES 2024-2025 SEASON

WORLD-CLASS MUSIC EXPERIENCE IN AGGIELAND THE MOANIN’ FROGS

LOS ANGELES GUITAR QUARTET

six saxophones

BACH TO BRAZIL

FRE E

March 22, 2025 Saturday, 5 pm A&M United Methodist Church

CON CER October 13, 2024 T Sunday, 5 pm Century Square, College Station

R U C K U S

FR CON EE CER T

MIRÓ STRING QUARTET

flute, violin, bassoon, cello, guitars, bass, harpsichord

HAYDN, SHAW, BEETHOVEN

FR CON EE CER T

April 6, 2025 Sunday, 5 pm St. Thomas Episcopal Church

November 10, 2024 Sunday, 5 pm First Presbyterian Church

Friends of Chamber Music’s World Cultural Heritage Composition at the

THE STRING QUEENS violin, viola, cello

February 1, 2025 Saturday, 5 pm A&M United Methodist Church

FR CON EE CER T

WORLD SHAKUHACHI FESTIVAL April 20, 2025 Sunday, 4:30 pm Rudder Theatre

BUY TICKETS

TICKETS TBA

fcmtx.org

ALL CONCERTS TAKE PLACE IN BRYAN–COLLEGE STATION, TX Nina Astin Winkler Charitable Trust

Nina Heard Astin Charitable Trust

Rea Charitable Trust

Eugene Edge III Charitable Trust

Program Book One 25

24 / 25 Season

Mercury’s Patron Society recognizes individuals making annual leadership gifts of $2,500 or more. Patron Society members receive complimentary valet parking at Downtown concerts, Green Room access at intermission and after the concert, invitations to private concerts and events, and other exciting benefits.

1.

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6.

Photo Credits: 1. Lynn Wyatt & Antoine Plante. 2. Martha Eskew, Robert Navo, Ginny Hart, Blake Eskew.

3. Keith & Julie Little. 4. Michael & Marsha Bourque and June & Steve Barth. 5. Dee Kreft, Michael & Gayle Collins, Maggie Kolanski.

6. Jonathan Godfrey & Ana Trevino-Godfrey 7. Lori Muratta, Kirsten Jensen, Marlana Doyle 8. David & Kelly Rose and Gary & Lisa Cohen 7.

26 Mercury Chamber Orchestra

8.

PATRON SOCIETY Mercury Chamber Orchestra gratefully recognizes the following individuals for their leadership support of our artistic, educational, and community engagement programs through generous annual gifts and participation in special events. For more information about joining the Patron Society, please contact Brittany Schroeder, Development Manager, Individual Giving at brittany@mercuryhouston.org or 713-533-0080.

PLATINUM PATRON SOCIETY

GOLD PATRON SOCIETY

($15,000-$24,999) Mollie & Wayne Brunetti* Mariko & John Jordan* Rosemary Malbin* Rose Ann Medlin & William E. Joor III* Kelly & David Rose*

SILVER PATRON SOCIETY

($10,000-$14,999) Martha & Blake Eskew* Rebecca Fieler* Mrs. Warren Kreft* Lori Muratta & Antoine Plante Gaby & Kenny Owen*

BRONZE PATRON SOCIETY

($5,000-$9,999) Jessica & Jay Adkins Marsha & Michael Bourque* Donna & Mike Boyd* Mary Kay & Walter Mark Buehler Joe & Kim Caruana Robert N. Chanon*

PATRON SOCIETY

($2,500-$4,999) Mark Berry* Thomas Bevilacqua & Karen Merriam* Mindy & Josh Davidson* Carmen Delgado & Duane C. King* Nan Earle* Marilyn & Bill Eiland* Mary Foster & Don Desimone* Caroline Freeman Peter & Chris Godfrey Nancy & Carter Hixon* Janice & Timothy Howard* Nick Jameson Lili & Hans Kirchner* Julie & Keith Little* Forrest Lumpkin* Angelika & Michael Mattern* Dr. Maureen O’Driscoll-Levy Ruth & Michael Pancherz* Andrew J. Sackheim* Sasha Van Nes* & James E. Smith Douglas & Carolynne White* Courtney Williams MD*

MERCURY PATRON SOCIETY LISTING

($25,000 and above) June & Steve Barth* Patricia Branton & William Gould* Kirsten Jensen & David Kerley* Dr. & Mrs. Christopher Prince* Kristine & Stephen Wallace* Lynn & Oscar Wyatt Anonymous

Marcia & Thomas Faschingbauer* Debra & Mark Gregg Virginia Hart & Robert Navo* Cristela & Bill Jonson* Lloyd Kirchner* D M Marco* Carol & Joel Mohrman* Neil Sackheim & Stephen Voss* Robert Sartain* Linda & Tom Sparks Ralf van der Ven Nina & Michael Zilkha* Anonymous*

*Indicates a Mercury Season Subscriber As of September 30, 2024 Program Book One 27

Annual Support Mercury Chamber Orchestra gratefully recognizes the following individuals who support our artistic, educational, and community engagement programs through generous annual gifts and participation in special events. For more information, please contact Brittany Schroeder, Development Manager, Individual Giving at brittany@mercuryhouston.org or 713-533-0080.

24 / 25 Season

BENEFACTORS

($1,000-$2,499) Greer Barriault & Clarruth Seaton James & Barbara Becker John Robert Behrman* Dr. Joan H. Bitar* Capital Builders Carl R. Cunningham The Carl & Phyllis Detering Foundation Dr. Will & Sharon Donovan Rena & Richard D’Souza Gary Gardner & Peg Palisin* Connie & James Garson* Leonard Goldstein & Helen Wils* Shannon & Jamie Mann Betsy & Rick Weber Anonymous*

SUPPORTERS

($500-$999) Joel Abramowitz & Rita Bergers* Thomas Beach* D. Bentley* Melinda & Bill Brunger Gilbert Cote* Zed S Choi Miriam & Harold Hudson Mary Angela Knauss Mary & Rodney Koenig Penny & Sean Lewis* Deborah Lugo & Andrés González Candice & Roger Moore* Steve & Elaine Roach* Tricia & Steve Rosencranz Meredith & Ralph Stone

28 Mercury Chamber Orchestra

Cheryl Verlander & Chuck Bracht Amy Waldorf Geoffrey Walker & Ann Kennedy Kimberly & Trey Wilkinson Anonymous

DONORS

($150 - $499) David Bartlow Dr. Jerry L. Bohannon* Gwen Bradford Becky Browder* Rustin Buck* C. Robert Bunch* Drs. Yvonne Chen & Brandon Bell Yun Shin Chun Steven Cowart Valerie Cramer* Irene & Bryan Crutchley* Benée & Chris Curtis* Carla & Michael Deavers Dana Dilbeck* Risha & Patrick Dozark Corey Eickenloff* Roberta & Peter Ferenz* Sydney Free* Angelica Garza Leslie Gassner Vernon Gillette* Dennis Griffith & Louise Richman Dr. Tamara Miner Haygood* Kirk Hickey & William Maguire Richard & Ruth Hirschfeld Anne Houang Shane Hudson* Brad & Alida Johnson* Allen Karger* Cheryl M. Katz Frank & Lynda Kelly* Edward Kenny* Dennis and Casey Kiley* Georgia & Stephen Kimmel*

Victoria & Alex Lazar Mrs. Laura Leib* Eli Levinowitz Jim & Ellana Livermore* Juan Ignacio Mangini Rebecca Marvil Nancy Wynne Mattison* John H. Meltzer* Steve & Kerry Morby Jim O’Rourke Will & Emily Perry Ed & Janet Rinehart* Jim Robin* Melanie L. Rogers* Dorry Shaddock* Carol & Tom Sloan* Richard & Joan Spaw* Tommy Swate Lindsey & Cory Vanarsdel* Beatriz & Peter Varman* Adriana Wechsler & Patrick Kelly* Janet & Rich Wheeler The Cruz-Wiley Family Elizabeth D. Williams* Dr. Robert K. Wimpelberg & Peter Hodgson* Martha & Richard Wright* Paul & Andrea Yatsco* Tom Young & Steve Nall Anonymous (3)

FRIENDS

(up to $149) Keith Anthis Tonia Ayres Jerry S. Baiamonte Lesly Barrientos Krisa Benskin Daniel Biediger* Daniel & Helene Booser Kathy & Walker Brickey* Wm. F. Brothers, Jr.* Leslie Brown Michael & Michaele Brown*

Andrew Hubbard* Srivathsan Iyengar Richard H. Johnigan, III Michele Joy & Tom Shahriari Weldon Kuretsch* Kimberly Leishner Jorge E. Lopez-de-Cardenas Lisa Marcelli David & Mary Jo Martin James McFarland The Miller Family Ana Chacon Morales Robb & Audrey Moses Caleb Mwika Carol & Barry Myones Dr. Stacy & Mr. Ronan O’Malley Ugochukwu Onochie Julie & Chip Oudin* Jehan-Francois Paris* Jose Pastrana Maria Olga Patino Tim & Robin Phillips Dr. Dennis Pieters Ava Plummer* The Power Family Elizabeth Price Patricia de Groot & Marc Puppo* Patricia Rathwell*

Jorge M. Rivas Daniel Robison* Stephen Ronczy* Rumpelstiltskin Charles & Andrea Seay Craig & Ann Shepard Hinda Simon James Smith Claudia Soler Alfonso Baxter & Patricia Spann Tyler Starkel Mark Stine Barbara J. Taake* Susan L Taylor* Ellie Tyson Katherine Vukadin Jim Winn Edith A. Wittig John B. Zodrow Anonymous (80) *Indicates a Mercury Season Subscriber As of September 30, 2024

ANNUAL SUPPORT LISTING

Ian John Butler Ignacio Carrion Claudia Castillo Alex Hobart Corwin Roseline et Karl Alexander Crabtree* Lesa Curry Lesley Douthwaite Clarice Droughton* Frank & Mariam Dumanoir Todd & Emma Edwards* Kellie Ekeland Sepideh Fashami K. Ferguson Mark & Alicia Filley Chalon Fontaine Laurent Fouilloud-Buyat Bolivar Fraga Svetlana Franklin Terry Gardner Gail Gould Mark Happe Alma Harris Jean Harris Genevieve Hernandez Richard Hickman Lai Ho Mark Hoose* Luke Howe*

SAVE THE DATE

GALA CHAIRS Ally Shell—van Koolwijk & Martijn van Koolwijk

FRIDAY, FEBRUARY 28TH Thompson Houston

Program Book One 29

GIFTS IN HONOR OR MEMORIAL Drs. Yvonne Chen & Brandon Bell, in honor of Meghan & Kevin Downs Lesa Curry, in honor of Ana Treviño-Godfrey & Jonathan Godfrey Carl A. Detering Jr., in honor of J. Michael Boyd Dr. Bill & Sharon Donovan, in honor of Patrick Donovan Caroline Freeman, in memory of Marion Merseburger Laurent Fouilloud-Buyat, in honor of Christian Fouilloud-Buyat Gail Gould, in memory of Steven Friedlander Nick Jameson, in memory of Karin Fliegel Jameson Elias Levinowitz, in honor of Jonathan Godfrey Rosemary Malbin, in loving memory of Michael Malbin Juan Ignacio Mangini, in memory of Oscar R. Mangini, M.D. Lisa Marcelli, in memory of Stephen H. Friedlander The Miller Family, in memory of Sheldon Miller

24 / 25 Season

Will & Emily Perry, in honor of Kenny & Gaby Owens The Power Family, in memory of Rosemary Power Patricia Rathwell, in honor of Mark Rathwell Robert Sartain, in memory of Margaret A. Reinke Trey Wilkinson, in honor of Vey Spin Tom Young & Steve Nall, in honor of Simone Plante John B. Zodrow, in honor of The Kirchner Family We greatly appreciate each gift and have made every effort to ensure the accuracy of this listing.

Please notify us of any inaccuracies or omissions at help@mercuryhouston.org.

30 Mercury Chamber Orchestra

Foundations, Corporate, and Government Support Mercury Chamber Orchestra gratefully recognizes the following foundations, corporations, and government entities that support our artistic, educational, and community engagement programs through generous annual grants and sponsorships. For more information, please contact Chloe Bruns, Development Manager, Institutional Giving at chloe@mercuryhouston.org or 713-533-0080.

CONDUCTOR’S CIRCLE

CONCERTMASTER’S CIRCLE

($50,000 - $74,999) The Brown Foundation, Inc. The Cullen Trust for the Performing Arts

PLATINUM CIRCLE

($25,000 - $49,999) ConocoPhillips Houston Arts Alliance Texas Commission on the Arts The Wyatt Foundation

GOLD CIRCLE

($15,000 - $24,999) De Boulle Diamond & Jewelry Miller Outdoor Theatre Advisory Board National Endowment for the Arts Shell Oil Company Foundation

SILVER CIRCLE

($10,000 - $14,999) Adell, Harriman, & Carpenter, Inc. Lucius & Eva Eastman Fund The Albert and Ethel Herzstein Charitable Foundation The Sartain & Tamez Family Trust Fund at the Chicago Community Foundation South Coast Terminals Western Midstream SLT

BRONZE CIRCLE

($5,000 - $9,999) Acretio Arts Connect Houston Bp Foundation Chevron Citi ExxonMobil Foundation Haynes Boone Mexcor International Platform Partners Spotlight Energy, LLC Truist

FOUNDATIONS, CORPORATE & GOVERNMENT SUPPORT LISTING

($75,000 +) Houston Endowment Inc. Anonymous

Program Book One 31

Your Mercury Experience Etiquette Out of respect for the musicians and your fellow audience members, please be sure to silence your mobile devises and refrain from texting or talking during the performing. Disruptive patrons will be asked to leave.

Thank you to our Season Sponsors

24 / 25 Season

Late Seating Late seating is often available during the first convenient break in the performance and is always at the discretion of the ushers. Always allow plenty of time for traffic, parking, and getting to your seat.

Devices Recording of Mercury performances by camera, audio, or video equipment is prohibited. You are welcome to take pictures before or after the orchestra performs. Please share your experience on social media.

Food & Beverage At our venues, outside food and drink are not allowed. Wortham Center performances have food and beverages for sale in the Grand Foyer and Prairie Lobby. Drinks may be brought into the Cullen Theater for the performance.

Tickets Subscribers may exchange their tickets to any performance at no cost. Single tickets are not eligible for exchange or refund. If you are unable to make a performance, your ticket may be donated prior to the concert for a tax-donation receipt. Donations and exchanges may be made in person, over the phone, or online.

Mercury is funded in part by grants from the City of Houston and Harris County through the Houston Arts Alliance and the Texas Commission on the Arts.

Follow us!

Administrative Offices 2900 Weslayan Street, Suite 500 Houston, TX 77027 Phone: 713.533.0080

@mercuryhouston

Hours: 9 AM – 5 PM Monday-Friday www.mercuryhouston.org

32 Mercury Chamber Orchestra

COMING SOON

LOVING CLARA SCHUMANN Wortham Center, Cullen Theater

CELEBRATED ARTIST. PASSIONATE LOVER. DEVOTED FRIEND.

FEBRUARY 8 • 8:00PM FEBRUARY 9 • 2:30PM

A mixed media experience featuring music by Clara Schumann, Robert Schumann & Johannes Brahms Program Book One 33

24 / 25 Season

Mercury Board and Administrative Team Board OF DIRECTORS

Administrative Team

Steve Barth President

Antoine Plante Artistic Director, Lynn Wyatt Chair

Keith Little Treasurer

Brian Ritter Executive Director

Rebecca Fieler Secretary

Chloe Bruns Development Manager, Institutional Giving

Blake Eskew Immediate Past President

Brittany Schroeder Development Manager, Individual Giving

Antoine Plante Artistic Director

Arely Castillo Patron Relations Manager

Brian Ritter Executive Director

Katie DeVore Operations Manager

Marsha Bourque

Matthew Carrington Personnel Manager & Music Librarian sponsored by Rebecca Fieler

Kevin Downs Sofia Durham Marcia Faschingbauer Bill Guest Ginny Hart Kirsten Jensen Lloyd Kirchner Forrest Lumpkin Rose Ann Medlin Kenny Owen James E. Smith Ana Treviño-Godfrey Ralf van der Ven Stephen Wallace Lynn Wyatt Special Advisor

34 Mercury Chamber Orchestra

Andrés González Education Manager Rachel Piero Stage Manager Sectorlab LLC Marketing Consultant Tyler Starkel YPTC Accountant BEND Productions and Ben Doyle Videography Melissa Taylor Graphic Designer

COMING SOON

BACH’ S St. John Passion Wortham Center, Cullen Theater

MARCH 22 • 8:00PM

FEATURING The Mercury Singers Betsy Cook Weber, Director Nicholas Phan, Evangelist Program Book One 35

Boccherini’s Night in Madrid OCT 12 English Romantic Strings NOV 9 Christmas with Nicole Heaston DEC 7 Vivaldi, Handel & Bach JAN 11 Loving Clara Schumann FEB 8 & 9 Bach’s St. John Passion MAR 22 Mendelssohn’s Violin Concerto MAY 17

CONOCOPHILLIPS Neighborhood SERIES Classical Piano Trios OCT 24-27 English Baroque Christmas DEC 19-22 Bach to Joropo APR 10-13 mercuryhouston.org

36 Mercury Chamber Orchestra

SEASON AT A GLANCE

24 / 25 Season

dOWNTOWN SERIES

713.533.0080