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ORCHESTRA | BAROQUE ENSEMBLE | STRING QUARTETS

2021–2022 SEASON

ANNIVERSARY

Two great locations in the heart of Santa Fe. The amenities are first class, the staff is excellent and the residents can’t help but enjoy

their lifestyle. Now with two locations, El Castillo and La Secoya de El Castillo provide an ideal place to enjoy your senior years. The best years of your life start now.

250 E Al ameda St re e t • Sa n t a F e , N M 8 7 5 0 1 505- 988- 2877 • E l C a s t i l l o R e t i re m e n t . c o m

TABLE OF CONTENTS 2

Welcome Letters

Schedule of Events

About Us

Concert Programs & Notes

Orchestra Roster

Principal Patrons

Artist Biographies

String Quartets

Apprentice Artists

Baroque Ensemble

A Short (and Incomplete) History of Women in Classical Music

Women of Distinction Initiative

Rise of a Roving Band of Troubadours

Community Engagement

Artist Dinners & Receptions

The Coda Circle

Our Supporters

Volunteer Thank You & Tribute

Santa Fe Pro Musica Recordings

Legacy Giving

Advertiser Index 1

WELCOME TO SANTA FE PRO MUSICA’S 40 TH SEASON! It is such a huge honor and thrill for me to be named the artistic director of Santa Fe Pro Musica. I am so excited about our future and, most importantly, about bringing LIVE music to our audiences this year. This season will be all about the celebration of glorious music, live performances, and of our community of passionate listeners. It has been a joy to plan the 2021–22 season in collaboration with Tom O’Connor and Carol Redman, whose legacies will be celebrated throughout this 40th season. We have a spectacular season that will feature some of the most exciting and renowned artists performing today. We will experience the inspiring artistry of the Dover, Castalian, Borromeo, St. Lawrence, and Diderot String Quartets, as well as the Cuarteto Casals. We welcome back our beloved Pro Musica Orchestra with guest conductors Benjamin Hochman, Mei-Ann Chen, and David Felberg. In addition to the great classical works, we offer new works created by the newest generation. And the season will culminate with Tom O’Connor and the Pro Musica Orchestra, vocal soloists, and chorus performing Haydn’s magnificent and transcendent oratorio, The Creation. I look forward to greeting you throughout the season as we celebrate the gift of live music in person! With great anticipation,

ANNE-MARIE McDERMOTT | ARTISTIC DIRECTOR

Live music. It soothes the soul, excites the senses, and can express the emotions and experiences we often find difficult to put into words. It is one of the vital ways we come together and connect, both with ourselves and each other. It is you, the audience, along with the extraordinary artists and musicians we bring to you this season, who make the magic. May your presence in our audience inspire your sense of hope and your love of the arts. Thank you for joining us in celebrating Santa Fe Pro Musica’s 40th anniversary season! We are grateful for the vision Tom O’Connor and Carol Redman conceived of many years ago, their decades of dedication, and their passionate commitment which continue to generate unforgettable musical experiences. I am honored and grateful to join with our artistic director Anne-Marie McDermott, as well as the board of directors and staff of Pro Musica, in inviting you to journey with us into this next decade of excellence, imagination, and artistry.

ANDREA CASSUTT | EXECUTIVE DIRECTOR 2

DEAR FRIENDS, RIENDS, The past 18 months have been dominated by the health, economic, and social impacts of COVID-19. Such challenges often trigger strong feelings, such as sorrow, hopefulness, anger, and gratitude. During this time, I have become more thankful for the Pro Musica family, and I would like to share my gratitude list with you. • I am thankful for our talented staff, who worked tirelessly to uphold our mission. • I am thankful for our Board of Trustees, who opened their checkbooks and rolled up their sleeves to shepherd us through this crisis. • I am thankful for the foundations and government agencies that were flexible and generous in their support. • I am thankful for the talented musicians, who grace our stages and bestow upon us beautiful music. • I am thankful for Anne-Marie McDermott, who lights up a room with her fingers on a keyboard, as well as with her sparkling personality. • I am thankful for Andrea Cassutt, who will graciously lead Pro Musica into its fifth decade. • I am thankful for Tom O’Connor and Carol Redman, whose spirits and core values permeate Santa Fe Pro Musica. They have both been incredible role models to me, and I truly cannot thank them enough. • I am also extraordinarily thankful for you, our concert patrons. We all share a common love of music, and Santa Fe Pro Musica would not exist without you! Thank you all for being here for us. We are here for you. Warmest regards,

TIM TERELL | PRESIDENT, BOARD OF DIRECTORSTSANTA FE PRO MUSICA BOARD F TRUSTEE During the past year we worked behind the scenes to build a new season that honors the commitments to artists and ensembles whose engagements were canceled by the pandemic. With patience, deliberation, and optimism we did the careful work of imagining the 2021–22 season with a return to sharing with you the joys of live music. The pages of this program book are a roadmap to the imaginations of great composers and artists. Sometimes they merely wish to entertain us; at other times they lift our spirits with a message of our shared humanity transcending daily struggles. The wait is finally over! In celebration of our 40th anniversary, and with Pro Musica’s new artistic director, Anne-Marie McDermott, and our new executive director, Andrea Cassutt, we are gratefully returning to concert stages and live music. Patience, resilience, and optimism have been our watchwords. Now we can make our dreams come true.

TOM O’CONNOR

CAROL REDMAN

COVER | Peter Chapin | Fun House Two Drypoint, oil pastel, and gouache | 18 x 16 inches | peterchapinpaintings.com

A warm welcome to Pro Musica’s 40th season

pasatiempomagazine.com 24

2021–22 SCHEDULE OF EVENTS Events by Date SEP 22 | Coda Circle SEP 24 | Youth Concert SEP 25–26 | Season Opening Orchestra Concert SEP 26 | Gala Season Opening Reception

Events by Series ORCHESTRA SERIES LENSIC PERFORMING ARTS CENTER September 25–26 | Season Opening Concert November 6–7 | Fall Orchestra Concert December 29–30 | Vivaldi’s Four Seasons (St. Francis Auditorium) January 29–30 | Winter Orchestra Concert April 30–May 1 | Season Finale: Haydn’s The Creation

STRING WORKS SERIES ST. FRANCIS AUDITORIUM October 17 | Dover Quartet with pianist Anne-Marie McDermott February 13 | Castalian String Quartet February 19 | Cuarteto Casals March 6 | Borromeo String Quartet with pianist Anne-Marie McDermott (Lensic Performing Arts Center) March 27 | St. Lawrence String Quartet (Lensic Performing Arts Center) LORETTO CHAPEL SERIES December 18–24 | A Baroque Christmas April 14–16 | Holy Week—Diderot String Quartet ARTIST DINNERS & RECEPTIONS September 26 | Coyote Den November 7 | Restaurant Martín February 13 | Santacafé May 5 | Four Seasons at Rancho Encantado

YOUTH CONCERT SERIES September 24 November 5 January 28 April 29 COMMUNITY ENGAGEMENT EVENTS December 28 | Family Concert February 13 | Lecture and Demonstration March 6 | Masterclass March 26 | Haydn Discovery CODA CIRCLE EVENTS September 22 | Why Is Mozart So Hard To Play? January 26 | Cross-Cultural Conversations April 13 | Why Historical Instruments? April 21 | Haydn’s The Creation All programs and artists are subject to change. 5

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Santa Fe Pro Musica

ABOUT US The mission of Santa Fe Pro Musica is to bring together outstanding musicians to inspire and educate audiences of all ages through the performance of great music. Founded in 1980 by Thomas O’Connor, Music Director Emeritus, and Carol Redman, Associate Music Director, Pro Musica offers a variety of classical music programs in historic Santa Fe venues, including an Orchestra Series in the Lensic Performing Arts Center, a String Works Series presenting world-renowned string quartets in St. Francis Auditorium and the Lensic, and the Loretto Chapel Series featuring chamber music on historical instruments. Santa Fe Pro Musica has received many accolades, including a GRAMMY nomination, a five-year affiliation with the Smithsonian Institution, recognition for our decades-long support of women composers in classical music, and a successful, multi-faceted community engagement program that encourages people of all ages to develop a life-long relationship with the power of music.

Board of Trustees Tim Terell | President Kay Swindell | Vice President Alexander Purdue | Treasurer Dylan O’Reilly | Secretary Bernard van der Hoeven | Emeritus, Immediate Past President Scott Baker Richard Bentley Ann Caldwell Robert González Martin Hauer-Jensen Edward J. Kvet Ginnie Maes Joanne Peppiatt-Combes Kathie Reed Louise Singleton Jessica Smucker Ian Strong Christopher Watson Kristin Watson M. Carlota Baca | Emeritus J. Revell Carr | Emeritus David Cost | Emeritus C. Byron Kohr | Emeritus Darryl Lindberg | Emeritus

Mailing Address P.O. Box 2091 Santa Fe, NM 87504-2091 Office Address 1512 Pacheco Street, Suite D201 Santa Fe, NM 87505 Telephone 505.988.4640 Email info@sfpromusica.org Website sfpromusica.org

Administrative Staff Anne-Marie McDermott Artistic Director Andrea Cassutt Executive Director Thomas O’Connor | Music Director Emeritus & Conductor Laureate Carol Redman Associate Music Director Alaina Diehl Marketing Manager Lydia Milá Garmaier | Director Of Artistic Operations & Administration Nancy Ondov Business Manager Lisa J. Van Sickle Box Office Manager Mark Zero Development Manager & Grant Writer

Season 2021/22 Cuarteto Latinoamericano with Thomas Gallant September 19

Academy of St. Martin in the Fields Chamber Ensemble October 26

Maxwell Quartet January 14

Poulenc Trio February 11

Simon Trpčeski April 10 More information on our website or call 505 662 9000

Southwest Contemporary

curated and critical perspectives on arts and culture southwestcontemporary.com

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santafesymphony.org GUILLERMO FIGUEROA, PRINCIPAL CONDUCTOR CARMEN FLÓREZ-MANSI, CHORAL DIRECTOR

September 12, 2021—4:00 PM Season Opener

February 13, 2022—4:00 PM Dvořák, Higdon & Rouse

THE LENSIC

ANTHONY BARFIELD Invictus

JENNIFER HIDGON blue cathedral

STEVE REICH Duet for Two Violins for Strings Alexi Kenney, Violin Guillermo Figueroa, Violin

CHRISTOPHER ROUSE Flute Concerto Jesse Tatum, Flute

ASTOR PIAZZOLLA The Four Seasons of Buenos Aires Alexi Kenney, Violin NIKOLAI RIMSKY-KORSAKOV Capriccio espagñol, op.34 Oct 10, 2021—4:00 PM Beethoven's Emperor THE LENSIC

LUDWIG VAN BEETHOVEN Symphony No. 2 in D Major LUDWIG VAN BEETHOVEN Piano Concerto No. 5 “Emperor” Drew Petersen, Piano Nov 20, 2021—7:00 PM Nov 21, 2021—4:00 PM Handel's Messiah

FLORENCE PRICE Symphony No. 1 in E Minor GIUSEPPE VERDI La Forza del Destino Overture ANTONÍN DVOŘÁK Cello Concerto in B Minor, op.104 Mark Kosower, Cello April 28, 2022—7:00 PM Celebrating Stravinsky CATHEDRAL BASILICA OF ST. FRANCIS OF ASSISI

Mary-Hollis Hundley, Soprano Ann McMahon Quintero, Mezzo Alex Richardson, Tenor Evan Bravos, Baritone

David Felberg, Violin Dana Winograd, Cello Elaine Heltman, Oboe Stefanie Przybylska, Bassoon

December 12, 2021—4:00 PM Christmas Treasures THE LENSIC

Wolfgang, Amadeus, Mozart Symphony No. 38 in D Major “Prague”

December 24, 2021—5:00 PM A Night at the Opera

IGOR STRAVINSKY Symphony of Psalms

THE LENSIC

MIKHAIL GLINKA Ruslan and Ludmila Overture

TRUST AWARD RECIPIENT

THE LENSIC

FRANZ JOSEPH HAYDN Sinfonia concertante

January 16, 2022—4:00 PM Mozart, Haydn, Glinka & Fung

2020 BORLETTI-BUITONI

March 20, 2022—4:00 PM Romantic Legacies

THE LENSIC— Gary Wedow, Guest Conductor

CHRISTMAS EVE COLLABORATION WITH THE SANTA FE OPERA

Alexi Kenney

ANTONÍN DVOŘÁK Symphony No. 8 in G Major

VIVIAN FUNG

Concerto for Trumpet and Orchestra

Mary Elizabeth Bowden, Trumpet

May 15, 2022—4:00 PM SEASON FINALE THE LENSIC

CHARLES IVES The Unanswered Question FELIX MENDELSSOHN Violin Concerto in E Minor Rubén Rengel, Violin JOHANNES BRAHMS Symphony No. 2 in D Major

FRANZ JOSEPH HAYDN Trumpet Concerto in E-flat Major Mary Elizabeth Bowden, Trumpet

WOLFGANG AMADEUS MOZART Symphony No. 41 “Jupiter Symphony”

Programming, dates, and soloists are subject to change. Visit our website for the most up-to-date information.

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Congratulates Santa Fe Pro Musica on their 40th Season!

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WE’VE MISSED YOU. Welcome to our 2021-2022 season! We’re thrilled to bring you LIVE performances by some of the world’s most renowned and influential artists — Rhiannon Giddens, Cécile McLorin Salvant, Martha Graham Dance Company, Ray Chen, and dozens of others — at venues across Santa Fe.

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2021 JOSHUA HABERMANN | ARTISTIC DIRECTOR

F E S T I VA L

NOCHE BUE N A DECEMBER 11 - 22, 2021

In its 2021 Winter Festival, the Santa Fe Desert Chorale builds on its long-standing commitment to music by Hispanic composers. New works and beloved carols from South, Central, and North America make for a joyful celebration of the season, and a Santa Fe tradition not to be missed!

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Thank You To Our Sponsors

Nochebuena, also known as the Poinsettia, is a flower of pre-hispanic heritage and a popular symbol of the holidays. Photos: Zina Jundi 18

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We celebrate your 40 years of performing great music.

Together we inspire and educate.

THE WORKS All 12 concerts, 15% discount ORCHESTRA SERIES (Sat or Sun) 5 concerts, 10% discount

We are delighted SFYSA youth

STRING WORKS SERIES 5 concerts, 10% discount

become your future audiences and outstanding musicians.

LORETTO CHAPEL SERIES 2 concerts, 5% discount

Get to know us, visit sfysa.org

CREATE-YOUR-OWN PACKAGE Any 2–4 concerts, 5% discount 5 or more concerts, 10% discount RISK-FREE TICKETING

Our 2021–22 ticket policy gives you full flexibility to purchase tickets now and change plans later. Exchanges, credits, refunds, and ticket donations are available to all ticket holders.

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Congratulations to Santa Fe Pro Musica for 40 years of beautiful music

Concert Programs & Notes 2021–2022

25 25

Photoby byChris ChrisCorrie Corrie Photo

SEASON OPENING CONCERT WELCOME BACK! LENSIC PERFORMING ARTS CENTER SATURDAY, SEPTEMBER 25 | 7 pm SUNDAY, SEPTEMBER 26 | 3 pm Santa Fe Pro Musica Orchestra Benjamin Hochman, conductor and piano Anne-Marie McDermott, piano

WOLFGANG AMADEUS MOZART Overture to Così fan tutte (from K. 588) WOLFGANG AMADEUS MOZART Concerto in E-Flat Major for Two Pianos, K. 365 Allegro Andante Rondo. Allegro

Intermission LUDWIG VAN BEETHOVEN Symphony No. 5 in C Minor, Op. 67 Allegro con brio Andante con moto Scherzo. Allegro Finale. Allegro

Orchestra Series Concert Underwriters | Carol Redman and Thomas O’Connor, in honor of David Cost Artist Sponsors of Anne-Marie McDermott | Ginnie Maes and Scott Baker Women of Distinction Initiative Underwriter | Sallie Bingham Benjamin Hochman | Exclusive Representation | Kirshbaum Associates, Inc. New York, NY. Benjamin Hochman has recorded for Avie Records and Artek Recordings. Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s Orchestra and Youth Concert Series. 26

MOZART & BEETHOVEN Wolfgang Amadeus Mozart (1756-1791)

Mozart’s Overture to Così fan tutte (from K. 588) is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, with timpani and strings (5 minutes). The overture originated during the 17th century as an instrumental introduction to an opera or ballet. Its purpose was to alert the incoming and mingling crowd that the show was about to begin. In this role it was often referred to as a “noise killer” or “curtain raiser.” Sometimes composers included themes from the theatrical work that follows the overture, other times not, and sometimes composers used their overtures interchangeably with other works. Mozart’s comic opera Così fan tutte, simply translated as “all women behave this way,” was commissioned by Emperor Joseph II and premiered in Vienna in 1790. The plot of the opera is relentlessly implausible, involving two pairs of interchangeable lovers, deceit, cuckoldry, and hijinks. The overture begins with a short but serious introduction—juxtaposing yearning oboe solos with rude orchestral interjections—then suddenly tumbles into a bubbling presto. This overture contains scant melodic material from the opera itself, instead creating a madcap atmosphere of fun, mischief, bluster, and mock-seriousness. The Concerto in E-Flat Major for Two Pianos, K. 365 is scored for two solo pianos, pairs of oboes, clarinets, bassoons, horns, and trumpets, with timpani and strings (25 minutes). In 1777, Mozart embarked on an 18-month tour to Munich, Augsburg, Mannheim, Paris, and Strasbourg, hoping to find employment in one of Europe’s cultural centers. Despite the admiration Mozart garnered and the connections he made at the courts of Munich and Mannheim, no appointments were forthcoming. He won some renown in Paris, but he was not able to make his way to the centers of power and influence. Not only had Mozart failed to find new employment, but his mother, who had accompanied him on this tour, died while they were in Paris. Upon Mozart’s return to Salzburg in 1779, he wrote the Concerto for Two Pianos, K. 365, presumably for himself and his sister Maria Anna, also a gifted keyboard player. According to the New York Philharmonic Archives, “Nineteenth-century romantics were not the only ones for whom music could be a consolation, even an escape. The warmth of this concerto is no pose. Its gaiety is no smiling mask, no paradoxical denial of his personal feelings. Indeed, it is quite possible that Mozart’s feelings for his sister, the overflowing affection, the joyous entente cordiale reflected in the dialogue of the two pianos, were actually intensified by his failed trip and grim professional discouragement.” In this concerto, the orchestra primarily provides background support, allowing the conversation to flow

between the two pianists. The first movement, Allegro (quickly), is playful and good natured. The second movement, Andante (flowing), presents contented sighing figures contrasting with gently teasing gestures, with just a few stern reprimands thrown in. The finale is a happy-themed rondo with contrasting episodes. “Mozart delights in the almost operatic interplay of the two instruments, not to mention the wondrous racket of racing scales, rumbling Alberti bass lines, and clangorous trills” (Phillip Huscher, Chicago Symphony Orchestra).

Ludwig van Beethoven (1770-1827)

The Symphony No. 5 in C Minor, Op. 67 is scored for pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, with timpani and strings. A piccolo, contrabassoon, and three trombones make appearances in the last movement, extending the sonic dimensions (35 minutes). Beethoven stretched the Viennese classical tradition that he inherited from Mozart and Haydn into a revolutionary new style of “grandiose dimensions, profound utterances, and highly willful rhetoric of unprecedented power” (Charles Rosen, The Classical Style, 1971). Beethoven’s Symphony No. 5, composed and premiered in 1808, is one of classical music’s most popular and recognizable works, partly because of the famous four-note motif that dramatically opens and permeates the entire work. Ever since Beethoven composed this symphony, commentators have attempted to give that phrase some programmatic significance. Beethoven’s friend Anton Schindler presumably quoted the composer as saying it represented “fate knocking at the door.” Carl Czerny, one of Beethoven’s students, claimed “the little pattern of notes had come to Beethoven from a bird’s song heard as he walked in the Prater Park in Vienna.” Whether it has a programmatic significance or not, the motif unquestionably has musical importance as it recurs throughout the symphony. Beethoven uses these four notes as a germinal idea that regenerates into new phrases, forms, and guises. The “fate theme” is the main subject of the opening movement, Allegro con brio (fast, with fire), which has been described as “a stirring, dogged and desperate struggle” (Hermann Kretzschmar, 18481924). The contrasting slow movement, Andante con moto (flowing, with motion), is constructed around a rapturous melody with a series of variations that cover a wide range of thought and verge on a sense of improvisation. The third movement, Scherzo (capricious), is laid out in the typical three-part form; its outer sections make use of the “fate theme,” while a ghostly fugue provides contrast in the middle section. Beethoven linked this scherzo to the Finale with an astonishing transition, generating intense anticipation over an insistent beat in the timpani, then bursting into blazing light and grandly sweeping aspirations, creating “a path from strife to triumph” (Michael Steinberg, music critic).

DOVER QUARTET ST. FRANCIS AUDITORIUM SATURDAY, OCTOBER 17 | 3 pm Joel Link, violin Bryan Lee, violin Milena Pajaro-van de Stadt, viola Camden Shaw, cello with Anne-Marie McDermott, piano WILLIAM GRANT STILL Lyric Quartette (Musical Portraits of Three Friends) The Sentimental One (On a plantation) The Quiet One (In the mountains of Peru) The Jovial One (In a pioneer settlement)

CHRIS ROGERSON Dream Sequence (world premiere) Introduction—Lullaby I Nightmare I Lullaby Nightmare II Afterword

Intermission FELIX MENDELSSOHN Quartet in D Major, Op. 44, No. 1 Molto allegro vivace Menuetto, un poco allegretto Andante espressivo ma con moto Presto con brio

String Works Series

Artist Sponsor of Anne-Marie McDermott | Scott Baker Women of Distinction Initiative Underwriter | Sallie Bingham The Dover Quartet appears by arrangement with the Curtis Institute of Music, where it serves as the Penelope P. Watkins Ensemble in Residence. Thank you to the New Mexico Museum of Art for their support of Pro Musica’s String Works Series.

STILL, ROGERSON & MENDELSSOHN William Grant Still (1895–1978)

Lyric Quartette (Musical Portraits of Three Friends) (15 minutes) William Grant Still was raised in Little Rock, Arkansas, where his stepfather nurtured the youth’s musical interests by taking him to operettas and buying Red Seal recordings of classical music, while his grandmother sang him African-American spirituals. He took violin lessons and taught himself cello and oboe. He attended Wilberforce University and the Oberlin and New England Conservatories of Music. At the end of his college years, he took part in myriad musical activities from jazz and popular music to classical music and musical theater. He orchestrated music and played violin, cello, and oboe in bands and orchestras (classical and popular), and collaborated with W. C. Handy, Paul Whiteman, Eubie Blake, Artie Shaw, and others. William Grant Still is considered an important part of the Harlem Renaissance, which flourished between the World Wars (1919-1934) and encompassed African-American literature, art, theater, and music. In 1934 William Grant Still moved to California, where he received three Guggenheim Fellowships (1934, 1935, 1938), conducted the Los Angeles Philharmonic, and arranged music for films. He composed nearly 200 classical works, including operas, symphonies, ballets, choral works, chamber music, and art songs. His home is designated a Los Angeles Historic-Cultural Monument. The Lyric Quartette was composed sometime between 1939 and 1945 and is dedicated to his friend, the violinist Joachim Chassman. In the manuscript, there are two sets of titles for this work, and we include both titles here. The identities of the three characters (Musical Portraits of Three Friends) are not known. The Sentimental One (On a plantation) is gently playful, like a good soul and constant friend, and is based upon African-American spirituals. The Quiet One (In the mountains of Peru) is based on an Inca melody and elicits a warmly introspective character. The work concludes with The Jovial One (In a pioneer settlement), which is energetic and playful, with some country fiddling, some call-and-response, and sometimes a tinge of the blues.

Chris Rogerson (b. 1988)

Dream Sequence is written for string quartet and piano (30 minutes). For information about Chris Rogerson, please see Artist Biographies on page 53. Rogerson’s new work Dream Sequence was commissioned by Bravo! Vail Music Festival for the Dover Quartet and pianist Anne-Marie McDermott, and was originally scheduled to premiere at the festival in August of 2020. Because of the Covid-19 pandemic, the festival canceled the performance and has generously allowed Santa Fe Pro Musica to present the world premiere.

“There has been much scientific research about people having vivid dreams as a result of the pandemic and quarantining. My work Dream Sequence could be viewed as a reflection of my response to the pandemic. The first movement presents ideas that will appear later in the piece, though in fractured form; this gives way to a rocking lullaby. The second movement, Nightmare I, is steady and tense; the third movement is a tender lullaby and a nod to Ravel. The fourth movement is a more frozen, stricken nightmare. Finally, Afterword is an extended version of a previous work written for two violins and piano. This expansive movement was written after the death of the great soprano Jessye Norman, and contains several references to Strauss’ Four Last Songs, an iconic recording of hers and one of my favorite pieces. I try to evoke a sense of timelessness and wistfulness while also capturing the sweetness and poignancy of sleep.” —Chris Rogerson, Summer 2020

Felix Mendelssohn (1809–1847)

Quartet in D Major, Op. 44, No. 1 (30 minutes) The late 1830s were a successful and happy time for Mendelssohn. He had just been appointed conductor of the Leipzig Gewandhaus Orchestra (1835), gotten married (1837), garnered accolades as a composer, and was recognized as an authority on the music of the old baroque masters Bach and Handel. During 1837–38, Mendelssohn wrote three quartets dedicated to Crown Prince Oscar of Sweden, titled Trois Grands Quatuors (Op. 44). He wrote them for the string quartet founded by Ferdinand David, concertmaster of the Leipizig Gewandhaus Orchestra and the violinist for whom Mendelssohn would later compose his great E Minor Violin Concerto (1844). Ultimately, Mendelssohn wrote six complete string quartets, plus several other juvenile, unpublished, or unfinished attempts. The Quartet in D Major, Op. 44, No. 1 is filled with light and joy. The key of D major is particularly brilliant for the string instruments, and Mendelssohn writes for that quality. The first movement, Molto allegro vivace (very fast and lively), is celebratory—an exuberant, high spirited conversation between the four instruments. The second movement, Menuetto, un poco allegretto (a little fast), is gentle and floats with grace and refinement. The contrasting middle section harkens to the fairies and sprites that would appear again later in his A Midsummer Night’s Dream (1843). The wistful slow movement, Andante espressivo ma con moto (flowing, expressive but with motion), is a radiant song without words, a simple melody with plucked accompaniment like a troubadour singing to his beloved. The brilliant finale, Presto con brio (very fast, with fire), is a driving saltarello (from the Italian, “to jump”), a whirlwind version of the 15th-century dance and reminiscent of the final movement of his Symphony No. 4, “Italian” (1833). 29

FALL ORCHESTRA CONCERT LENSIC PERFORMING ARTS CENTER SATURDAY, NOVEMBER 6 | 7 pm SUNDAY, NOVEMBER 7 | 3 pm Santa Fe Pro Musica Orchestra Mei-Ann Chen, conductor Bella Hristova, violin REENA ESMAIL Teen Murti JOSEPH HAYDN Concerto in C Major for Violin, Hob. VIIa:1 Allegro moderato Adagio Finale. Presto

Intermission PYOTR ILYICH TCHAIKOVSKY Serenade in C Major, Op. 48 Pezzo in forma di sonatina Valse Élégie Finale (Tema russo)

Orchestra Series

Women of Distinction Initiative Underwriter | Sallie Bingham Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s Orchestra and Youth Concert Series.

ESMAIL, HAYDN & TCHAIKOVSKY Reena Esmail (b. 1983)

Teen Murti is scored for string orchestra (10 minutes). This work was commissioned by the River Oaks Chamber Orchestra and premiered in 2013 in Houston with Mei-Ann Chen conducting. For Reena Esmail’s biography, please see “Women of Distinction Initiative” on page (46). In Hindi, “teen murti’’ means three (teen) statues, figures, or representations (murti), and Esmail’s piece plays on this title by presenting three tableaux. Each tableau is rooted in a specific Hindustani raga, with its characteristic musical elements, and each raga is then interwoven with Western classical music techniques. This work is a blend of Indian and Western cultures and of contrasting musical elements, with the sounds of India juxtaposed with the sounds of America (hints of Copland and Bernstein). At turns evocative and energetic, yearning gestures alternate with an almost manic modern dance. The work opens evocatively with dark grumbling in the bass instruments and heartbreaking sighing gestures in the treble instruments, followed by a strongly syncopated dance with exotic flourishes and ripped pizzicatos. The second evocative episode emerges with the deep grumbling motif leading to dark-toned declamations from a solo cello, answered by higher-pitched swirling spirits. And the third and final section features those sighing figures alternating with another exuberantly accented dance. The piece concludes abruptly and quietly.

Joseph Haydn (1732–1809)

Concerto in C Major for Violin and String Orchestra, Hob. VIIa:1 (18 minutes) In 1761 Haydn joined the imposing musical establishment of the Esterházy court as assistant music director, becoming director in 1765. Shortly after his arrival, Haydn wrote the Violin Concerto in C Major, his first, for Luigi Tomasini (1741–1808), the concertmaster of the court orchestra. Of the four concertos for violin that Haydn wrote, two were clearly written for the Italian Tomasini (“fatto per il Luigi”), and the two others—one of which is lost— were written for an unknown violinist of apparently modest skills. This concerto is a showpiece for the violinist and pays tribute to Tomasini’s brilliant technique. The first movement, Allegro moderato (moderately fast), presents a variety of motifs from dance-like to song-like. The violinist takes this material and embellishes it in a virtuosic Italian style, with rapid scales, flashy trills, and high-wire acts. The orchestra

provides brief interjections in addition to continuous support. The eloquent Adagio (at ease) is like a serenade that features a gentleman singing to his beloved with simple accompaniment of a guitar (here played by string pizzicatos). The ebullient Finale. Presto features athletic figurations favored by the Italians combined with the sassy wit that would later become a Haydn trademark. Brief orchestral interludes provide relief from the intensely virtuosic episodes, allowing the violinist (and us) to catch our breath.

Pyotr Ilyich Tchaikovsky (1840–1893) Serenade in C Major for Strings, Op. 48 (30 minutes)

Tchaikovsky’s admiration for the music of Mozart is well documented. When Tchaikovsky was 10 years old, he heard a performance of Mozart’s opera Don Giovanni and confessed to having felt “for the first time, the emotional power of music.” Thirty years later, in a letter to his patroness Madame von Meck, he wrote, “Of all the great composers, I feel the most affection and love for Mozart.” In September, 1880, Tchaikovsky was working on his thunderous 1812 Overture and an orchestral serenade that he said would be his “homage to Mozart.” He wrote to von Meck, “The 1812 Overture will be very showy and noisy, but will have no artistic merit because I wrote it without warmth and without love; but the Serenade, on the contrary, I wrote from an inner compulsion. This is a piece from my heart.” The Serenade for Strings was first performed in St. Petersburg in 1881. Originally, a serenade (Latin, serenus, serene) was a tranquil piece sung or played outdoors. Its vocal form dates back to the medieval period, when the serenade was a favorite way for a gentleman to honor his beloved. Later, as an instrumental form popular during the 17th and 18th centuries, the serenade continued to be performed outdoors and consisted of many short movements including dances, marches, and instrumental airs. The 19th century adopted the serenade as a concert piece, no longer banished to the outdoors. However, it remained a lighter instrumental work without the proportions or weight of symphonic music. The first movement of the Serenade, Pezzo in forma di sonatina (Piece in the form of a little sonata), opens with a slow introduction, a beautiful and richly-scored chorale, and then proceeds to a full development of two contrasting themes. The second movement, Valse, is an elegant waltz and a tip of the hat to Mozart’s minuets. The third movement, Élégie, is lyrical and darkly emotional. And the last movement, Finale (Tema russo), is based on a Russian folk song. It opens slowly and subdued with muted strings and then falls into a brisk dance, continually building. Just when we think it’s going to end, Tchaikovsky flexes his dramatic abilities and brings back the chorale from the very beginning—truly a breathless moment! This quotation ties the whole piece together, but Tchaikovsky is not yet finished—the Russian dance comes back ever faster to a brilliant conclusion. 31

Loretto Chapel Series

A BAROQUE CHRISTMAS LORETTO CHAPEL DECEMBER 18–21 and 23–24 6 pm and 8:30 pm each evening Guest Artists Clara Rottsolk, soprano Dominique Labelle, soprano Kim Pineda, flute Santa Fe Pro Musica Baroque Ensemble Stephen Redfield, leader and violin I David Felberg, violin II; Jeffrey Smith, viola James Holland, cello Aaro Heinonen, bass; David Solem, organ (performed without intermission) GEORGE FRIDERIC HANDEL Concerto Grosso in B-Flat Major, Op. 6, No. 7 Largo. Allegro — Largo — Andante — Hornpipe

GEORG PHILIPP TELEMANN Sonata Seconda in G Minor, from the Paris Quartets, TWV 43:g1 Andante — Allegro — Largo — Allegro

ANTONIO VIVALDI Concerto in F Major for Violin and Organ, RV 542 Allegro — Largo — Allegro

GEORGE FRIDERIC HANDEL Every sight these eyes behold — If God be for us — My vengeance awakes me Dominique Labelle, soprano Dec 18 (8:30 pm), Dec 20 (6 pm & 8:30 pm) Dec 23 (6 pm & 8:30 pm), Dec 24 (6 pm)

GEORGE FRIDERIC HANDEL Ombre pallide — Credete al mio dolore — Tornami Clara Rottsolk, soprano Dec 18 (6 pm), Dec 19 (6 pm & 8:30 pm) Dec 21 (6 pm & 8:30 pm), Dec 24 (8:30 pm)

MICHEL BLAVET Concerto in A Minor for Flute Allegro — Gavotte — Allegro

TRADITIONAL CAROLS The Holly and the Ivy — The Sussex Carol — Wexford — Wassail 32

Concert Sponsor | The Fasken Foundation The Fasken Foundation is focused on empowering its nonprofit partners to transform the lives of underserved youth in the Permian Basin and Northern New Mexico, with a particular emphasis on the potential for growth and development realized through music education.

Thank you to the Loretto Chapel for their support of Pro Musica’s Loretto Chapel Series.

HANDEL, TELEMANN, VIVALDI, BLAVET & TRADITIONAL CAROLS George Frideric Handel’s (1685–1759) Concerto Grosso in B-Flat Major, Op. 6, No. 7 is scored for

two violins, viola, cello, bass, and keyboard (15 minutes). This concerto is from a set of twelve Concerti Grossi, Opus 6, that were originally written as instrumental interludes for his large-scale vocal works. The individual concerti were collected together and published in 1739. The Concerto Grosso, Op. 6, No. 7 opens with a majestic Largo (broadly) that is followed by a sparkling Allegro (quickly) and ends with a brief return to the Largo. The second Largo elicits tender sorrow. The Andante (flowing) starts out robustly and majestically, but falls to anguished pleading. The last movement, Hornpipe, is an exuberantly joyful mariners’ dance, though full of misplaced accents, as if danced by inebriated sailors.

Georg Philipp Telemann’s (1681–1767) Sonata Seconda in G Minor, TWV 43:g1 is scored for flute,

violin, cello, and keyboard (11 minutes). In the late 1730s, Telemann wrote a set of twelve quartets for a stellar group of French musicians, including the flutist Michel Blavet (see Blavet, below). The Sonata Seconda features a robust, Italian concerto style in both Allegro (fast) movements, with brilliant figuration, almost manic energy, and clashing counterpoint (multiple melodic lines occurring simultaneously). The two slow movements are conversational: the opening Andante (flowing) is tinged with gentle despair, and the third movement, Largo (broadly), is like a quiet, dreamy conversation.

Antonio Vivaldi’s (1678–1741) Concerto in F Major for Violin and Organ, RV 542 is scored for solo

violin and organ, with strings (12 minutes). There are only two extant concertos by Vivaldi for solo violin and organ. These two instruments mostly converse in compact dialogue where short phrases are exuberantly tossed about. Both Allegros (quickly) are brisk, brilliant, and fun. The middle movement Largo (broadly), is sweet, tender and yearning.

George Frideric Handel (1685–1759) “had an unerring gift for melody, and a striking ability to depict human character musically in a single scene or aria, gifts used with great dramatic power in his operas and oratorios” (Britannica).

Arias sung by Dominique Labelle Every sight these eyes behold describes the visit of the Queen of Sheba

to Solomon’s splendid court and her respect for the “fair truth distilled from his lips” (from Solomon, 1748). If God be for us speaks of His love in giving us the strength to live our lives, despite obstacles (from Messiah, 1741). My vengeance awakes me is a call to action to fight tyranny (from Athalia, 1733).

Arias (from Alcina, 1735) sung by Clara Rottsolk Ombre pallide (Pale shadows) is about the loss of power and the consequent feelings of helplessness. Credete al mio dolore (Believe that I suffer) is a plea for forgiveness and a declaration of love. Tornami (I returned) is about deceit and lost love.

Michel Blavet’s (1700–1768) Flute Concerto in A Minor is scored for solo flute, two violins, cello, and

keyboard (13 minutes). French composer Michel Blavet was the principal flutist in the Paris Opera Orchestra and King Louis XV’s private chamber ensemble. Blavet was considered the most distinguished flutist of his day and was the flutist for whom Telemann wrote his Paris Quartets (see Telemann, above). The Flute Concerto is an example of the merging of Italian and French styles of music. The two outer movements (Allegro, quickly) are in the virtuosic Italian style, with brilliant figuration and sequences. The slow middle movement is a set of two contrasting dances (gavottes) in the refined French style.

Traditional Carols This set of Christmas carols is uniquely arranged by the Pro Musica Baroque Ensemble for voice, flute, strings, and organ (12 minutes).

The Holly and the Ivy is a British folk tune from the 18th century, but with roots in the medieval period when churches were decorated with holly (representing joy and peace) and ivy (representing rebirth), and evergreens in general (representing everlasting life through Christ). The Sussex Carol was originally found in The Small Garland of Pious and Godly Songs (1684) by Luke Wadding, an Irish Franciscan bishop. The carol relates how Christians rejoice at the coming of their Redeemer. The Wexford Carol first appears in County Wexford, Ireland and dates to the 12th century. It is a simple retelling of the nativity story with a distinctly Irish charm. Wassail (“wes hale,” meaning good health) is from an old English Christmas tradition when carolers would travel from house to house singing for money, mince pies, or a bowl of spiced ale.

VIVALDI’S FOUR SEASONS ST. FRANCIS AUDITORIUM WEDNESDAY, DECEMBER 29 | 7 pm THURSDAY, DECEMBER 30 | 7 pm Santa Fe Pro Musica Orchestra Colin Jacobsen, leader and violin Stephen Redfield, violin GEORG PHILIPP TELEMANN Burlesque de Don Quixote, TWV 55:G10 Overture—Awakening—Attack—Amorous Sighs— Sancho Panza—Rocinante and Dapples—Slumber

JOHANN SEBASTIAN BACH Concerto in D Minor for Two Violins, BWV 1043 Allegro moderato—Adagio—Finale. Presto

Intermission ANTONIO VIVALDI The Four Seasons Spring Summer Autumn Winter

Orchestra Series

Concert Sponsor | M. Carlota Baca, in honor of Stephen Redfield Artist Sponsor of Colin Jacobsen | A generous donor, in loving memory of Guillermo Náñez-Falcón Thank you to the New Mexico Museum of Art for their support of Pro Musica’s Orchestra Series.

TELEMANN, BACH & VIVALDI Georg Philipp Telemann (1681–1767) Burlesque de Don Quixote is scored for strings and keyboard (16 minutes).

Telemann’s musical parody of Miguel de Cervantes’ novel Don Quixote (1605) has been described as one of the most brilliantly imaginative of all Baroque works and is a masterpiece of characters and events recreated through music. The three-part Overture sets the stage with pompous sections bookending a feisty middle section. Then follow six scenes: Quixote dreaming about knightly adventures (Awakening); fighting monstrous windmills (Attack); longing for Princess Dulcinea (actually a peasant girl) in Amorous Sighs; a roughing-up of Sancho Panza for not paying their bills; mocking Quixote’s old horse and Sancho Panza’s donkey (Rocinante and Dapples); and concluding with Quixote dreaming of more adventures as he falls asleep (Slumber).

Johann Sebastian Bach (1685–1750)

Concerto in D Minor, BWV 1043 is scored for two solo violins, strings, and keyboard (17 minutes). Between 1717 and 1723, Bach was employed by Prince Leopold of Anhalt-Cöthen, a music-loving nobleman whose orchestra was considered one of the finest in Europe. It was during this tenure that Bach created much of his best instrumental music, including solo concertos, the six Brandenburg Concertos, the four orchestral suites, and the great solo works for violin and cello. Bach was interested in the new Italian-style concerto and studied the works of Italian masters, especially those of Antonio Vivaldi. Bach’s Concerto for Two Violins incorporates several Italian concerto characteristics: the three-movement model consisting of a slow movement between two fast movements and the use of sequences and contrasts between the full ensemble and the soloist or solo group (in this case, the two violins). In general, Bach’s violin concertos are not virtuoso showpieces as Vivaldi’s tend to be, but are a masterful blend of Italian structural elements with German contrapuntal writing (musical lines that move independently from each other but are melodically and rhythmically imitative).

Antonio Vivaldi (1678–1741)

The Four Seasons is scored for solo violin, strings, and keyboard (45 minutes). In the 16th and 17th centuries, Italy experienced a zenith of violin making, performance, and composition. It began with the Amati family of violin craftsmen in Cremona, who passed their knowledge

on to the Stradivari and Guarneri families. This superb school of violin making inspired an equally superb school of violin playing and composition led by Vivaldi, Corelli, and Tartini. Vivaldi, the most prolific composer of this stellar group, developed the concerto form, a design that has prevailed for over 300 years. Vivaldi’s violin concertos The Four Seasons constitute one of the most famous and beloved collections of string music. Each concerto is prefaced by a poem (written by Vivaldi) that describes its content, and through quotations in the score, specific parts of the poems are illustrated in the music. Their programmatic nature brings seasonal sights and sounds to the imagination. Spring I. Spring has arrived; the birds welcome it in joyful song, the breezes murmur. The sky darkens, there is thunder and lightning, but then the birds return and sing again. II. The shepherd sleeps under the rustling trees, his dog at his side. [The solo violin depicts the sleeping shepherd and is asked to play very softly. The orchestral violins illustrate the rustling trees, and they too must play very softly, but the violas depict the barking dog and Vivaldi instructs them to play very loudly.] III. Nymphs and shepherds dance to the sound of bagpipes under the glorious spring sky. Summer I. Man and beast languish under the hot sun and desiccated pines. The cuckoo, turtledove, and nightingale sing. Strong winds challenge sweet zephyrs. The shepherd boy cries out in fear. II. He stirs his weary limbs, fearful of the lightning and the storms of insects. III. Thunder shakes the heavens and knocks down the grain. Autumn I. The peasants celebrate the good harvest with dance and song. They drink wine and become sleepy. [Vivaldi marks some of the solo violin passages with the heading ‘the drunkard.’] II. Everyone stops singing and dancing and falls asleep. III. The hunter sets out with horns, guns, and dogs. The wild beasts flee, but become tired and are caught. Winter I. Shivering in the cold and in the icy wind, stamping one’s feet to keep warm, chattering teeth. II. Content by the fire while the rain beats down. III. Walking on the ice, first carefully, then boldly, slipping and falling, walking securely again until the ice breaks, the winds fight each other, but winter still brings pleasure.

WINTER ORCHESTRA CONCERT LENSIC PERFORMING ARTS CENTER SATURDAY, JANUARY 29 | 7 pm SUNDAY, JANUARY 30 | 3 pm Santa Fe Pro Musica Orchestra David Felberg, conductor Anne-Marie McDermott, piano Kathryn Mueller, soprano REENA ESMAIL The History of Red WOLFGANG AMADEUS MOZART Concerto in B-Flat Major for Piano and Orchestra, K. 450 Allegro Andante Allegro

Intermission FELIX MENDELSSOHN Symphony No. 4 in A Major, Op. 90, “Italian” Allegro vivace Andante con moto Con moto moderato Presto and Finale. Saltarello

Orchestra Series

Artist Sponsor of Reena Esmail | Richard Bentley and Elaine Wang Meyerhoffer, in honor of David Cost Artist Sponsor of David Felberg | Elaine Wang Meyerhoffer, in honor of Chatter These performances of The History of Red are supported by Sallie Bingham’s generous underwriting of our Women of Distinction Initiative. Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s Orchestra and Youth Concert Series.

ESMAIL, MOZART & MENDELSSOHN Reena Esmail (b. 1983)

The History of Red is scored for solo soprano, flute (piccolo), oboe (English horn), clarinet, bassoon, two horns, trumpet, percussion, harp, and strings (20 minutes). The History of Red is a co-commissioned project initiated by soprano Kathryn Mueller, led by Santa Fe Pro Musica, and including the River Oaks Chamber Orchestra (Houston), Orlando Philharmonic (Florida), and The Knights (New York City). It features music written by Reena Esmail on a text by Chickasaw poet Linda Hogan, and explores the color red’s association with life, death, and the will to survive. “Arguably the most stirring of colors, red is symbolic of various extremes. From prehistoric cave paintings to modernday medicine, the vibrant hue has a significant history within the existence of humankind” (Lawrence Elizabeth Knox, Houston Chronicle, 2021). Esmail describes the work: “The singer grapples with the world around her. There are times when you want the soprano to have to fight to make herself heard over the orchestra, but there are other times where you want the orchestra to be able to support her. She’s creating this world that she’s then having to bear the consequences of living in.” Esmail continues, “I wrote this piece as the pandemic was raging around the world, as the effects of decades of racism hit a new fever pitch in the U.S., and as we headed into the 2020 presidential election with so much trepidation. My own complicated history [Indian-American], and the history of our time, is also embedded in this piece.” The last lines of Linda Hogan’s poem, more than simply agreeing to confront her own history, craves a deep engagement with it: This life in the fire, I love it. I want it, this life.

Wolfgang Amadeus Mozart (1756–1791)

The Concerto in B-Flat Major for Piano and Orchestra, K. 450 is scored for solo piano with an orchestra that includes one flute, two oboes, two bassoons, two horns, and strings (25 minutes). Mozart didn’t write his piano concertos as pure art for art’s sake but as market-driven commodities. After he had used up one concerto, he went on to write the next one, always finding new ways to excite his audience so they would keep coming back for more. The Concerto in B-Flat Major, K. 450 is the second of three keyboard concertos composed during the winter of 1785–86 in preparation for a series of concerts Mozart would be presenting in Vienna. The first movement, Allegro (quickly), radiates pure joy and happiness. At the outset, the orchestra presents the two main themes: the first theme is playful and cheeky, and the contrasting second theme features

gracefully falling gestures. The soloist then enters with a theatrical call to attention before taking up each theme in turn. From here, Mozart tosses around dialogue, collaboration, and confrontation between the orchestra sections and the piano, reshaping and developing the themes in myriad ways. The second movement, Andante (flowing), is song-like and quietly yearning. After a prolonged piano and string orchestra conversation, the delayed entrance of the winds provides a refreshing brightness and strength. Mozart pivots from sorrow to gaiety with the onset of the finale (Allegro). Here we have the first appearance of the flute, which adds a remarkable silver sheen and sparkle to the music. The simple, carefree, and energetic theme is first stated by the piano, but Mozart turns it into an obstacle course of dazzling scales and glittering passagework with the strings and winds providing the tune.

Felix Mendelssohn (1809–1847)

Mendelssohn’s Symphony No. 4 in A Major, Op. 90 “Italian” is scored for an orchestra with pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, with timpani and strings (26 minutes). Felix Mendelssohn was born into a wealthy Jewish family in Germany. He was a precocious child, profiting from the wide cultural and intellectual interests of his family and friends. In 1829, he began a three-year tour of Europe, visiting the British Isles, Austria, Germany, Hungary, and Italy. Though his social calendar was full, he disciplined himself to write music until noon every day. When his work was done, he visited cultural and historical sites, explored the countryside, and spent evenings socializing and concert-going. While in Italy Mendelssohn finished a sketch for a new symphony. After returning to Germany in the fall of 1832, and spurred on by a commission from the London Philharmonic Society, Mendelssohn filled in his sketches for what would become his Italian Symphony. He declared that all of Italy features in this work: its people, its landscapes, and its art. The first movement, Allegro vivace (fast and lively), is a celebration of melody, rhythmic vitality, and orchestral color. The second movement, Andante con moto (flowing, with motion), features a solemn pilgrims’ march and was probably inspired by Mendelssohn’s experience of a religious procession in the streets of Naples. The third movement is a smooth-flowing minuet, Con moto moderato (moderate, with motion), graceful with an easy assurance and an unexpected fanfare-like theme that sounds at once solemn and tongue-in-cheek. The wild, whirling finale (Presto) was inspired by two popular Italian folk dances: the saltarello, a lively and leaping 16th-century country dance, and the tarantella, named for the spider Lycose tarantula whose bite causes a hysterical condition resulting in wild whirling motions. 37

CASTALIAN STRING QUARTET ST. FRANCIS AUDITORIUM SUNDAY, FEBRUARY 13 | 3 pm Sini Simonen, violin Daniel Roberts, violin Ruth Gibson, viola Christopher Graves, cello WOLFGANG AMADEUS MOZART Quartet in D Minor, K. 421 Allegro moderato Andante Menuetto. Allegretto Allegretto ma non troppo

ALBAN BERG Quartet, Op. 3 Langsam Mäßige Viertel

Intermission FRANZ SCHUBERT Quartet in G Major, D. 887 Allegro molto moderato Andante un poco moto Scherzo. Allegro vivace – Trio. Allegretto Allegro assai

String Works Series

Concert Sponsor | Timothy Terell Additional Support | WESTAF (the Western States Arts Federation) Thank you to the New Mexico Museum of Art for their support of Pro Musica’s String Works Series.

MOZART, BERG & SCHUBERT Wolfgang Amadeus Mozart (1756–1791) Quartet in D Minor, K. 421 (27 minutes)

Mozart had great respect for Haydn and was inspired to write a set of six string quartets modeled on the elder composer’s Opus 33 quartets (1781). Composed between 1782 and 1785, Mozart dedicated his set to Haydn. The String Quartet in D Minor, K. 421 is the second of the Haydn series and is considered one of Mozart’s most intense works, along with his Piano Concerto No. 20, the fateful element in his opera Don Giovanni, and his unfinished Requiem, all in the brooding key of D minor. The quartet opens with a sighing gesture of profound sadness and is interspersed with contrasting exclamations, both lightly cheerful and darkly steadfast. Mozart develops these elements over the course of the movement without completely dispelling the darkness. The second movement, Andante (flowing), begins with wistful tenderness, but the music can’t completely escape its dark origins. The third movement, Menuetto, is almost martial in character, with a contrasting middle section of lightness, playfulness, and pizzicatos. The finale, Allegro ma non troppo (not too fast), is a set of four variations, rhythmically intricate with shifting harmonies that moderate but cannot drive away the dark clouds, until the fourth variation when the sun finally, but only briefly, shines through.

Alban Berg (1885–1935) Quartet, Op. 3 (21 minutes)

Alban Berg was a Viennese composer and, along with Anton Webern and Arnold Schoenberg, was one of the leaders of the “New Viennese School” (the old school being represented by Haydn, Mozart, and Beethoven). Rooted in the late-romantic tradition of Brahms and Mahler, this new school boldly moved beyond standard harmonic structures and created “free atonality” and “structured atonality,” or Schoenberg’s 12-tone system, though Berg did not completely adopt Schoenberg’s method. Berg’s Opus 3 is his only string quartet, composed in 1910 at age 25. According to his wife Helene, the inspiration for this quartet was born of the frustration they experienced when her father disapproved of their relationship. This tension is evident in the quartet, which is full of despair and anger, but also glimmers of hope and feelings of tenderness. The work is highly contrapuntal (multiple musical lines occurring simultaneously) and imbued with strange and wonderful colors. Both movement titles, Langsam (slowly) and Mäßige Viertel (moderately in four), share contrasting themes, though the second movement is generally more agitated. One theme is a sighing

figure encased in a suspension of time. It is altered in many ways, including through augmentation, diminution, and inversion, and emotionally recast from gentle to angry with gradations in between. Another theme establishes a rhythmic beat, sometimes martial and driven, sometimes gentle like a heartbeat, or splintered like heartbreak. It is the development of these various themes, within a dense matrix yet resulting in a lyrical texture, that creates a masterful juxtaposition within the piece. The work pushes itself to the edge of romantic expressionism and is “Like an eruption of the subconscious, a dream/nightmare cast pervades throughout” (earsense.org).

Franz Schubert (1797–1828)

Quartet No. 15 in G Major, D. 887 (45 minutes) Schubert began composing string quartets when he was thirteen, initially to play with his family. His two brothers were violinists, his father played the cello, and Schubert took the viola part. Over the course of his short life, he composed 15 complete string quartets and another five one-movement quartets of varying sophistication. In Schubert’s early quartets, the first violin is the primary voice with the other instruments playing supporting roles. In his later quartets, the division of parts is more adventuresome, each instrument bringing its own character and presence to the music, creating a conversation among equals. The Quartet No. 15 in G Major is Schubert’s last string quartet. It was written in the space of ten days in June, 1826, and published posthumously in 1851. The first movement, Allegro molto moderato (quickly but with moderation), has been described as a “mercurial and fundamental battle between light and dark” (earsense.org). It features two themes that evolve in successive waves as each interrupts the other while growing more elaborate and varied. While many composers deconstruct their themes into smaller parts (easier to mix and match), Schubert expands them. He never says the same thing twice, preferring that each reoccurrence brings a change of instrumentation, texture, rhythm, or key, but sometimes only as a subtle nuance or slight reshaping. One might hear repetition on the surface, but upon deeper listening one discovers “endless diversity exploiting gorgeous, resilient musical ideas in a constant state of transformation” (earsense.org). For film aficionados, parts of the first movement are used in Woody Allen’s 1989 comedy-drama Crimes and Misdemeanors. The second movement, Andante un poco moto (flowing with a little motion), is vast and surges with dark passion. The next movement, Scherzo (capricious), is much lighter and shorter than the other movements and breaks the spell “like a poignant dream lost in the ensuing tumult” (earsense.org). The finale, Allegro assai (very fast), is a perpetual motion, high-spirited dance, full of whirlwind activity with only a few respites to allow you to catch your breath. 39

CUARTETO CASALS ST. FRANCIS AUDITORIUM SATURDAY, FEBRUARY 19 | 7 pm Vera Martínez Mehner, violin Abel Tomàs, violin Jonathan Brown, viola Arnau Tomàs, cello JOSEPH HAYDN Quartet in A Major, Op. 20, No. 6 Allegro di molto e scherzando Adagio cantabile Menuetto. Allegretto Fuga a 3 soggetti. Allegro

LUDWIG VAN BEETHOVEN Quartet in F Major, Op. 135 Allegretto Vivace Lento assai, cantante e tranquillo Grave – Allegro, “Der schwer gefaßte Entschluß”

Intermission DMITRI SHOSTAKOVICH Quartet No. 9 in E-Flat Major, Op. 117 Moderato con moto – Adagio – Allegretto – Adagio – Allegro (played without pause)

String Works Series

Concert Sponsors | Winky and Bernie van der Hoeven Cuarteto Casals is represented by ARTS MANAGEMENT GROUP, INC. Thank you to the New Mexico Museum of Art for their support of Pro Musica’s String Works Series. 40

HAYDN, BEETHOVEN & SHOSTAKOVICH Joseph Haydn (1732–1809)

Quartet in A Major, Op. 20, No. 6 (16 minutes) In 1772, Haydn composed his opus 20 set of six quartets, which are considered the first masterpieces, by any composer, for the medium of string quartet: two violins, viola, and cello. The Quartet, Op. 20, No. 6 is the most conservative of the set, and by Haydn’s standards, “relatively well behaved” (Richard Wigmore, 2011, Hyperion Records). It is bright, cheerful, and optimistic; even the academic fugue in the finale has a sunny disposition. The first movement, Allegro di molto e scherzando (very fast and capricious), features the first violin in a joyful and playful theme with supporting roles for the other players. The second movement, Adagio cantabile (at ease, singing), continues to feature the first violin in a serenely radiant aria accompanied by murmuring figurations. The Menuetto. Allegretto (a little fast) is elegant, though with a sense of whimsy. It is eminently danceable and without Haydn’s usual pranks of displaced beats and unexpected silences. The quartet concludes with Fuga a 3 soggetti (fugue on three subjects), a glorious and uplifting tribute to J. S. Bach. Here we are “listening to four rational people conversing among themselves” (Johann Wolfgang von Goethe, 1749–1832). Haydn instructs the music to be played “in a hushed voice throughout” (sempre sotto voce) but presents us with a surprise at the very end.

Ludwig van Beethoven (1770–1827)

sequence 48 times while waiting for the first violinist, who appears to be lost, to find her place. Sometimes they get together and run up and down scales, and then stop for no apparent reason. The third movement, Lento assai, cantante e tranquilo (very slow, singing and tranquil), the longest movement in the quartet, is a simple hymn-like song, humble, yet profound, and “it will slowly and perfectly break your heart” (earsense.org). The last movement is prefaced with the words “Der schwer gefaßte Entschluß” (the difficult decision). The music begins with a slow introduction (Grave) presenting a dark threenote motif that raises the question: “Must it be?” The following Allegro (fast) answers the question by inverting that three-note motif into a musically affirmative statement that triumphantly exclaims, “It must be!”

Dmitri Shostakovich (1906–1975)

Quartet No. 9 in E-Flat Major, Op. 117 (25 minutes) Shostakovich is “a symbol of the terrible history of his country and his generation, and living proof of the fortitude and triumph of the human spirit under the most trying circumstances” (Harlow Robinson, Shostakovich, The Complete String Quartets, 1990). As a child Shostakovich witnessed World War I. As a teenager he lived through the Russian Revolution. As a young man he survived Stalin’s purges. As a mature artist he saw the horrors of World War II and the Nazi blockade. Finally, at the end of his life, he experienced the thawing of Soviet society.

Quartet No. 16 in F Major, Op. 135 (27 minutes) Beethoven’s String Quartet, Op. 135 is his last string quartet and adds an exclamation point to a long line of breathtaking quartets begun by Haydn and nurtured by Mozart. Beethoven dedicated this last quartet to Johann Wolfmayer, a successful cloth merchant and tailor. During the last three years of Beethoven’s life, Wolfmayer would sometimes make a new coat for him and then secretly bring it to Beethoven’s room, place it upon a chair, and spirit away the old one. Beethoven was not unaware of this kindness and was generous in return. In a letter to his publisher dated October, 1826, Beethoven wrote, “Here is my last quartet [Opus 135]. It will be the last; and indeed, that is the reason why I have written the motto: The difficult decision— Must it be?—It must be, it must be!” Beethoven died five months later, on March 26, 1827. The first movement, Allegretto (a little fast), is gracious and refined. It varies between melodic lyricism and complicated counterpoint (multiple independent lines occurring simultaneously). The second movement, Vivace (lively), is rife with rhythmic jokes likely to convince the players that they are making mistakes. Mid-movement, the three lower parts have to repeat the same five-note

Shostakovich’s 15 string quartets span 36 years of his life. “One can follow the quartets and thereby follow Shostakovich, an immensely creative and sensitive Soviet citizen weathering the myriad personal and global devastations of the 20th century” (Kai Christiansen, earsense.org). Shostakovich did not usually revise his works, however, in 1961 when he had finished the first version of his Quartet No. 9, “in an attack of healthy self-criticism, I burnt it in the stove.” Starting over, he finished it in 1964. This quartet is exuberant, full of contrasts and packed with counterpoint (multiple melodic lines occurring simultaneously), but with a sparse and disruptive texture. The first movement, Moderato con moto (moderate, with motion), presents three contrasting themes—an austere melody, a murmuring current, and a stark dance—featured in an array of juxtapositions. The second movement, Adagio (at ease), is yearnful, sorrowful and hymn-like. The third movement, Allegretto (a little fast), is a manic, hard driving polka followed by another Adagio reflecting the previous one, but more uncomfortable and more menacing. The last Allegro is an intense and turbulent tour-de-force, “gathering themes from all the previous movements in a kaleidoscopic denouement complete with a bristling fugue” (Kai Christensen, earsense.org). 41

BORROMEO STRING QUARTET LENSIC PERFORMING ARTS CENTER SUNDAY, MARCH 6 | 3 pm Nicholas Kitchen, violin Kristopher Tong, violin Mai Motobuchi, viola Yeesun Kim, cello with Anne-Marie McDermott, piano BÉLA BARTÓK Quintet in C Major for Piano and Strings, Sz. 23 Andante—Vivace. Scherzando— Adagio—Poco a poco più vivace (played without pause)

Intermission ADOLPHUS HAILSTORK III Quartet No. 2, Variations on “Swing Low, Sweet Chariot” CLAUDE DEBUSSY Quartet in G Minor, Op. 10 Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré – En animant peu à peu – Très mouvementé et avec passion

String Works Series

Concert Sponsor | Kathie Reed Women of Distinction Initiative Underwriter | Sallie Bingham Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s String Works Series.

BARTÓK, HAILSTORK & DEBUSSY Béla Bartók (1881–1945)

Quintet in C Major for Piano and Strings, Sz. 23 (40 minutes) The Hungarian pianist and composer Béla Bartók wrote his Piano Quintet in 1903, not long after he graduated from the Liszt Academy in Budapest. At this time he was still influenced by late-romantic trends and techniques and was just beginning to explore his Hungarian roots. The work was premiered in Vienna in 1904 by the Prill Quartet and with Bartók playing the piano part. Bartók was fond of this early work, but it did not find acceptance among audiences or performers, and in 1921 he withdrew it from the public. In 1963 the music was rediscovered among Bartók’s papers and published in 1970. With an understanding and appreciation of the full trajectory of Bartók’s compositional development, this work is enjoying a revival. “If it does not represent what the mature Bartók was to become—well the same can be said of the early works of Beethoven and Stravinsky” (Harold C. Schonberg, 1973, The New York Times). Bartók’s Piano Quintet is full of spirit, rhythmic energy and captivating tunes. It is divided into four sections or movements, but it is written as one continuous piece. The first section, Andante (flowing), is an emotionally rich journey on a sorrowful path with excursions into anguished outbursts, some sunny weather, and with just a few glimpses of a distant Hungarian landscape. The second section, Vivace. Scherzando (very fast, capricious), is vigorous and darkly playful with Bartók’s signature 2+2+2+3 meter. A contrasting section is based on a simple and tender folk song. The third section, Adagio (at ease), is a brooding gypsy song, varied from a simple statement to an impassioned romantic outpouring. The final section, Poco a poco più vivace (little by little, faster), is temperamental and full of hearty dance tunes, gentle songs, and folk fiddling.

Adolphus Hailstork III (b. 1941) Quartet No. 2, Variations on “Swing Low, Sweet Chariot” (15 minutes)

Adolphus Hailstork’s early musical training was at the Episcopal cathedral in Albany, New York, where he was a boy soprano and where he took piano lessons. He remarks that he initially identified with the European American classical music traditions, but “because I did not grow up in the South, I hadn’t been aware of the Deep South African American culture. It was only after the rise of the civil rights era in the 1960s that I started really observing. Since then, I’ve tried to integrate African American elements with my Euro training, and sometimes my works are strictly without any racial influence and sometimes they are. And sometimes I blend them and juxtapose them. I like to tell people that I’m a cultural hybrid.” Hailstork is currently Professor of Music and Eminent Scholar at Old Dominion University, Norfolk, Virginia.

His music has been played by the Philadelphia Orchestra, Chicago, Boston, and Detroit Symphonies, and the New York and Los Angeles Philharmonics. His current project is a requiem cantata for George Floyd. Hailstork’s String Quartet No. 2 was written in 2013 and is based on the African American spiritual “Swing Low, Sweet Chariot.” On its surface, this spiritual appears to be about death (“coming for to carry me home”), but it is considered a “coded song” that refers to the 19th century’s Underground Railroad—those secret routes and safe havens for escaped slaves finding their way to the free states. The writer James Baldwin (1924–1987) remarked that these coded spirituals were “subtle, difficult, dangerous, and tragic expressions of an enslaved people yearning for freedom.” Hailstork’s string quartet variations are an exploration of this emotionally charged drama. They are brilliantly inventive, with rhythmic and melodic motifs tossed about, and present an intensely emotional journey from jolly to desperate, from tender to brash, and from angry to resigned.

Claude Debussy (1862–1918)

Quartet in G Minor, Op. 10 (25 minutes) Debussy’s String Quartet (1893) assumes the mold of a traditional string quartet form comprising four movements: a sonata-allegro form, a rhythmic scherzo, a lyrical slow movement, and an energetic finale. But within this predictable template, Debussy’s music sounds completely new with exotic scales and rhythms, unconventional chords, unique melodic structures, and a wealth of dazzling figurations. The first movement, Animé et très décidé (animated and very resolute), opens with a rhythmically robust figure from which Debussy shapes the entire quartet. This sturdy theme is juxtaposed with a tender version, playing off each other and creating intense energy and heated colors. In the second movement Assez vif et bien rythmé (very fast and rhythmic), Debussy sets the viola’s incessant theme against a backdrop of powerful pizzicato chords. A plaintive second theme provides balance and respite from the constant energy and allows the music to fade away at the end. The third movement, Andantino, doucement expressif (flowing and gently expressive), is somber and yearning, yet tinged with tenderness. The finale begins slowly (Très modéré ) but gradually accelerates to the main tempo, marked Très mouvementé et avec passion (lots of movement and with passion). As this music unfolds, the quartet’s opening theme appears in a variety of guises, first in a misty statement, then gradually louder and louder until it appears with a fiery energy driving to a brilliant conclusion. That such an apparently rigid thematic unity is so unobtrusively disguised within a rich variety of music is testament to Debussy’s fertile imagination and his extraordinary skill as a composer. 43

ST. LAWRENCE STRING QUARTET LENSIC PERFORMING ARTS CENTER SUNDAY, MARCH 27 | 3 pm Geoff Nuttall, violin Owen Dalby, violin Lesley Robertson, viola Christopher Costanza, cello WOLFGANG AMADEUS MOZART Quartet in E-Flat Major, K. 428 Allegro non troppo Andante con moto Menuetto. Allegro Allegro vivace

ERICH WOLFGANG KORNGOLD Quartet No. 3 in D Major, Op. 34 Allegro moderato Scherzo. Allegro molto Sostenuto. Like a Folk Tune Finale. Allegro con fuoco

Intermission CÉSAR FRANCK Quartet in D Major Poco lento—Allegro Scherzo. Vivace Larghetto Finale. Allegro molto

String Works Series

Concert Support | WESTAF (the Western States Arts Federation) Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s String Works Series.

MOZART, KORNGOLD & FRANCK Wolfgang Amadeus Mozart (1756–1791) Quartet in E-Flat Major, K. 428 (26 minutes)

In 1781, the 25-year-old Mozart finally left his family home in Salzburg and moved to Vienna, the cultural capital of Europe. Here he met the elder composer Haydn. They became friends and played in string quartets together at Mozart’s apartment. Haydn had just published his revolutionary string quartets Opus 33 and Mozart eagerly studied them. Fresh with inspiration, Mozart composed a set of six quartets between 1782 and 1785 and dedicated them to Haydn: “Here they are then O great man and dearest friend, these six children of mine.” The first movement, Allegro non troppo (not too fast), opens with a broodingly dissonant figure. All four instruments are concerned partners in the conversation to bring light to a dark landscape and wander through a variety of themes, including playful, tender, and brusque. However, Mozart is always ready to declare that all is in jest. In the second movement, Andante con moto (flowing, with motion), Mozart suspends time with a blurred sense of pulse. Again, all four instruments are rapt conversationalists in this shadowy world of things alluded to but not revealed. The Menuetto. Allegro (quickly) is poised and playful with the beat firmly re-established only to be knocked off again with some guffawing, some stuttering, and some stuck passages that go round and round like being caught in a traffic circle—where do I get off? The contrasting middle section is brooding, asymmetrical and chromatic, picking up the dissonant threads of the previous two movements. The finale, Allegro vivace (quickly, with life), is just rollicking fun and banishes the gloom of the preceding movements. It sounds like children’s teasing and horseplay, but nothing too serious, or too serious for long!

Erich Wolfgang Korngold (1897–1957) Quartet No. 3 in D Major, Op. 34 (25 minutes)

As a young boy growing up in Vienna, Korngold was surrounded by a rich classical music culture and responded by writing and performing music of his own. Upon the Nazi occupation of Austria in 1938, Korngold fled Europe and settled in Los Angeles, where he had previously worked, along with many other German and Austrian émigré writers, composers, actors, film directors, and producers. Ultimately, Korngold wrote music for 16 Hollywood films, winning two Oscars and was nominated for two more. He wrote classical works in addition to his film scores. However, Korngold stated that, “I have never drawn a distinction between music for films, for operas or for concerts.” His movie scores were symphonic and operatic in their scope. By bringing the screen to the concert stage, Korngold opened the world of classical music to exciting new possibilities. Korngold’s Quartet No. 3 dates from 1945. It is crafted in a classic four-movement design with references to music from his film scores throughout.

The first movement, Allegro moderato (moderately fast), features slippery motifs that become more disjunct and violent before subsiding at the end into an uneasy calm. The second movement, Scherzo. Allegro molto (playful, very fast), sparkles with rhythmic vitality and brilliant string writing. The contrasting lyrical middle section uses a melody from his film Between Two Worlds (1944). The third movement, Sostenuto, Like a Folk Tune, explores the sorrowful love theme from his 1941 film The Sea Wolf. The final movement, Allegro con fuoco (fast, with fire), pays tribute to Korngold’s Hollywood neighbor, Igor Stravinsky. Its fiery vitality gradually evolves into a jolly theme that Korngold later used in his 1946 film Devotion. Occasionally he returns to that dark slippery motif from the first movement, but it is quickly overridden with a bright joie de vivre.

César Franck (1822–1890) Quartet in D Major (40 minutes)

César Franck grew up in Belgium; his father was French and his mother German. He studied piano and organ at the Liège and the Paris Conservatories. In 1858 he was appointed organist at the Basilica of Saint Clotilde in Paris, where he became famous for his thrilling improvisations. In 1872 he was appointed organ professor at the Paris Conservatory. It was not until 1871 (at almost 50 years old) that Franck began composing music in earnest, including sacred music, some symphonic music including one symphony, and some chamber music including one violin sonata and one string quartet (1890). He was equally at home in both German and French musical styles, weaving French lyricism within a German framework. He was also inspired by the chromatic sensuality of the music of Richard Wagner (1813– 1883) and the cyclical structural ideas pioneered by the Hungarian pianist Franz Liszt (1811–1886). Franck’s String Quartet in D Major opens with an impassioned introduction, Poco lento (a little slowly), that leads to the Allegro (fast). Here a troubling figure builds, heaping theme upon theme to a supercharged emotional outpouring, only to dissipate into the Poco lento heard at the beginning. Its energy now spent, it has become a quiet acceptance of lost passions. For the second movement, Scherzo. Vivace (capricious, fast), Franck brilliantly creates a blustery night of swirling goblins, styled as if Mendelssohn wrote his Midsummer Night’s Dream (1842) for Halloween. In the third movement, Larghetto (somewhat slow), Franck spins a longbreathed noble melody, building from “ambiguous, floating harmonies and haunting, whispered textures” (Benjamin Pesetsky, 2018) to an impassioned outcry, then subsiding in waves to a quiet conclusion. The Finale. Allegro molto (very fast) is cyclical in design, recasting themes from all the previous movements with unexpected and surprising juxtapositions, and creating the effect of an astonishing cast of thousands. 45

Loretto Chapel Series

HOLY WEEK DIDEROT STRING QUARTET LORETTO CHAPEL THURSDAY, APRIL 14 | 7 pm FRIDAY, APRIL 15 | 7 pm SATURDAY, APRIL 16 | 7 pm Adriane Post, violin Johanna Novom, violin Kyle Miller, viola Paul Dwyer, cello (performed without pause) JOSEPH HAYDN The Seven Last Words of Christ on the Cross L’Introduzione. Maestoso e Adagio Sonata I: Largo Pater dimitte illis, quia nesciunt, quid faciunt (Father forgive them for they know not what they do) Sonata II: Grave e Cantabile Hodie mecum eris in Paradiso (Today you will be with me in Paradise) Sonata III: Grave Mulier, ecce filius tuus (Woman, behold your son) Sonata IV: Largo Deus meus, utquid dereliquisti me? (My God, why have you forsaken me?) Sonata V: Adagio Sitio (I thirst) Sonata VI: Lento Consummatum est (It is finished) Sonata VII: Largo In manus tuas, Domine, commendo spiritum meum (Father into your hands I commit my spirits) Il Terremoto (Earthquake)

Concert Sponsor | Kay Swindell, in memory of John Swindell Thank you to the Loretto Chapel for their support of Pro Musica’s Loretto Chapel Series.

HAYDN Joseph Haydn (1732-1809)

The Seven Last Words of Christ on the Cross Arranged by Haydn for string quartet (60 minutes) By 1785, Haydn had already written more than 80 symphonies, 34 string quartets, over 60 keyboard sonatas, and dozens of operas, masses, and cantatas. He had spent nearly his whole career in the private employ of Central European aristocrats. But then he received a surprise request from a small Spanish church. The commission was from a Jesuit priest in the Andalusian city of Cádiz, on the southwestern coast of Spain. Padre José Marcos Sáenz de Santa María (1738–1804) was director of the Hermandad de la Santa Cueva (Brotherhood of

the Sacred Cave) and administrator of their chapel, the Oratorio de la Santa Cueva. Though Padre José had taken a vow of poverty, he came from a wellconnected family, and in 1781, with donations from friends and family, he began to enlarge and remodel the chapel. In 1785 he inherited an unexpected peerage and a fortune to go with it. Padre José was now also Don José, the Marqués de Valde-Íñigo. He decided that the wealth suddenly placed at his disposal should go into the chapel’s building fund. Santa Cueva was once what the name suggests: an underground chapel whose dark stone interior was as plain as a hermit’s cell. Ultimately, Padre José commissioned an architect to add a magnificent chapel above the ground. He commissioned Spain’s most celebrated painter, Francisco Goya, to paint three religious scenes for the new building. On receipt of his inheritance in 1785, one of the priest’s first decisions was to ask Haydn, Europe’s most celebrated composer, to write music to be performed during Holy Week and inspired by the Seven Last Words of Christ on the Cross, according to the gospels of Matthew, Luke, and John. The commission was clear and explicit. Padre José wanted a musical meditation on each of the seven last words or utterances of Christ, plus an introduction and conclusion, to be written for a large orchestra that included pairs of flutes, oboes, bassoons, horns, and trumpets, with timpani and strings. After the musical introduction, Padre José would utter the first of the seven words and deliver a sermon upon its meaning; then the first instrumental sonata would be performed while he prayed before the altar. After seven such sermons and sonatas, the music would conclude with the terrifying earthquake, proclaiming Christ’s death on the cross. This was to be the most transformative Easter service Cádiz had ever heard. The first performance was scheduled for Good Friday, 1786, but this was unlikely to have occurred. The underground chapel was too small for the required size of the orchestra and the upper (and larger) chapel was not completed for another decade. The first documented performance was in the Auersperg Palace in Vienna, on March 26, 1787. There, in a secular space on a Monday afternoon, there were no sermons, but the audience heard an extraordinary ninemovement sacred work for orchestra. Haydn was a Roman Catholic, and this commission led him into some of the most reflective and deeply emotional music he ever wrote. The core of the work is this sequence of seven prayerful, meditative instrumental sonatas. These are framed by a substantial and intense introduction and a short, explosive conclusion (The Earthquake). In a comment to a friend (1787), Haydn remarked that, “Each word is expressed by purely instrumental means in such a way as to make the most profound impression on even an inexperienced listener’s soul.” This sensibility was echoed in a music journal of the day, which stated that, “We are able to guess in practically every note what the composer meant to convey by it.” Following the music as it interacts with its implicit text gives us a rare chance for a sublime contemplative experience.

Orchestra Series

SEASON FINALE HAYDN’S THE CREATION

Underwritten by Johnanna McLaughlin and Melody Maureen McLaughlin, in memory of Charles McLaughlin

LENSIC PERFORMING ARTS CENTER SATURDAY, APRIL 30 | 7 pm SUNDAY, MAY 1 | 3 pm Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor laureate Clara Rottsolk, soprano (Gabriel and Eve) Brian Giebler, tenor (Uriel) Andrew Garland, bass (Raphael and Adam) Polyphony: Voices of New Mexico Maxine Thévenot, director

JOSEPH HAYDN The Creation PART ONE From chaos is created light, the heavenly bodies, the earth, the bodies of water, weather, and plant life.

Intermission PART TWO The creation of sea creatures, birds, animals, and man. PART THREE The first morning in the Garden of Eden—Adam and Eve’s praise of all creation and their mutual love.

JOSEPH HAYDN (1732-1809) Haydn’s The Creation is written for a four-part chorus and three vocal soloists, a fortepiano, and an orchestra with three flutes, two oboes, two clarinets, two bassoons, contrabassoon, two horns, two trumpets, three trombones, timpani, and strings. (1 hour and 45 minutes) An oratorio is a large-scale musical composition for orchestra, vocal soloists, and chorus. It differs from opera in that it does not have scenery or costumes and the singers are not expected to act. Most oratorios have biblical themes, but some secular oratorios are based on themes from Greek and Roman mythology. Oratorios usually contain an overture, recitatives used to advance or clarify the action, arias to express the emotional content of the drama, and choruses that comment upon the proceedings. Haydn was inspired to write an oratorio after two visits to England in the 1790s, during which he heard the oratorios of George Frideric Handel (1685–1759). After his second visit, Haydn returned to Vienna with an anonymous libretto, in English, titled The Creation of the World. The libretto had presumably been written for Handel, who never set it to music. Baron Gottfried van Swieten, a music-loving nobleman, made the German translation of the text, which is based on Milton’s Paradise Lost, the first two chapters of Genesis, and Psalms 19 and 145. Haydn worked on The Creation from October, 1796, to April, 1798, the longest time he had ever spent on a single composition. He drove himself to the point of exhaustion working on the project and collapsed into illness after conducting the premiere performance. “I was never so devout as when I was at work on The Creation; I fell on my knees each day and begged God to give me the strength to finish the work.” The completed work was rehearsed before a full audience at the Schwarzenberg Palace on April 29, 1798. Hundreds more crowded into the streets around the Palace hoping to hear the eagerly anticipated work, and police were needed to keep order. The first official performance (in German), held the next day, was a private affair. Those invited included wealthy patrons of the arts, government officials, prominent composers and musicians, and

Concert Underwriters | Johnanna McLaughlin and Melody Maureen McLaughlin, in memory of Charles McLaughlin Women of Distinction Initiative Underwriter | Sallie Bingham Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s Orchestra and Youth Concert Series.

Orchestra Series

nobility from several countries. The Creation had its London premiere the following year (in English). All told, The Creation was performed 40 more times in Vienna during the remaining decade of Haydn’s life, a testament to the oratorio’s popularity. The arias and choruses of The Creation are often prefaced with a brief recitative. The recitatives are taken directly from the Book of Genesis, while the following arias or choruses elaborate upon the biblical verse. In Parts I and II, the three vocal soloists represent angels who narrate and comment on the six days of creation. Part I celebrates the creation of light, the earth, the heavenly bodies, bodies of water, weather, and plant life. Part II celebrates the creation of sea creatures, birds, animals, and man. Part III takes place in the Garden of Eden and narrates the happy first hours of Adam and Eve. Choral praise greets each day’s successful completion. The biblical story of the creation of the universe lends itself to colorful descriptions, and Haydn composed masterly tone paintings for the orchestra. The oratorio opens with an extended orchestral introduction entitled “Representation of Chaos” with shifting, ambiguous harmonies on muted strings, brass, and timpani. In the ensuing recitative, Raphael tells us that “the earth was without form, and void,” and this is reflected in the sparse emptiness of the orchestral accompaniment. The choir continues in a mood of hushed stillness until the words “and there was light,” when the full orchestra sounds a sudden, massive fortissimo. While this is perhaps the most startling dramatic gesture of the work, there are many instances of evocative tone painting, such as the storm scenes, the sunrise music, and the depiction of birds and animals. Listen for the roars of the lion, played fortissimo by the contrabassoon and trombones; the tiger’s “sudden leap” with upward thrusts of fast notes played by the violins; the whale portrayed by the double bass; larks, turtle-doves, and nightingales played by the clarinet, bassoons, and flute respectively; and the “sinuous trace” of the crawling worm by a slow chromatic line from the low strings. Haydn adopts a florid, lofty style for the angels, but for Adam and Eve the writing is simpler and more folk-like. Haydn’s bold use of orchestral color, his adventurous harmony and his exceptional rhythmic and melodic inventiveness bring the creation of the world to life with an operatic vividness and power. As James Keller wrote in his program notes for the New York Philharmonic, “The pleasure of experiencing Haydn’s The Creation . . . lies less in the inevitable trajectory of the plot—we all know the story, and it contains no real sense of conflict—than in the wide-eyed wonder with which the composer visits its familiar contours. A childlike quality pervades the work, as if Haydn were relating the narrative to young listeners who had never heard it before.”

ROSTER SANTA FE PRO MUSICA ORCHESTRA

Cello

Concertmaster

James Holland* Sally Guenther Melinda Mack Claire Onuf David Schepps Dana Winograd

Stephen Redfield

Violin

Megan Holland* Jennie Baccante Elizabeth Baker Margaret Carpenter Christine Chen David Felberg Lisa Grodin Carol Hawkins Madelyn Kingston** Carla Kountoupes Katherine Okesson Julie Parcells Yuko Shimokawa Jeffrey Smith Jessica Smucker

Bass

Aaro Heinonen* Robert Barney Sam Brown Toby Vigneau

Flute

Clarinet

Jeffrey Brooks* Sam McClung* Megan Snow Josephine Wells

Christopher Smith* Julia Erdmann Hyams

Trumpet

Brian Shaw* Joe Vandiver Micah Hood* Christopher Buckholz Henry Mankin Law

Angela Gabriel

Keyboards

David Solem*

Harp

Rachel Mazzucco*

Section players in alphabetical order

Our sincere thanks to the generous donors of the Principal Patron Program who make a 3-year commitment to the Pro Musica Orchestra and its musicians.

Concertmaster, Stephen Redfield Jean and Gene Stark

Principal Viola, Kim Fredenburgh Christine and Frank Fredenburgh

Violin, David Felberg Marilyn Macbeth and Forrest Carlton

Principal Horn, Christopher Smith Judith Rowan and Richard Schacht

Principal Second Violin, Megan Holland Elizabeth Harcombe and Michael Carter, Carol Redman and Thomas O’Connor, M. Carlota Baca, and Louise Singleton, in memory of former board member John Singleton

Principal Cello James Holland Mary and David Cost

Principal Patrons David and Mary Cost with cellist James Holland

Horn

Timpani & Percussion Douglas Cardwell* Jeffrey Cornelius*

*Principal Player **Apprentice Artist

Thomas O’Connor and 40th Anniversary Season Podium Patrons Honey and Peter Chapin

Stephanie Przybylska

Piccolo

Kevin Vigneau* MaryAnn Shore

PRINCIPAL PATRONS

Contrabassoon

Trombone

Oboe

Kim Fredenburgh* Allegra Askew Claire Christensen** Allie Norris Gail Robertson Erin Rolan Laura Steiner

Crawford Best* Elizabeth VanArsdel

Valerie Potter* Jesse Tatum* Jennifer Lau Dorothy Bowers Wu Alaina Diehl

Viola

Bassoon

Timpani, Douglas Cardwell Mary Rankovich and Dennis Kanka

ARTIST BIOGRAPHIES

For more information about our artists, visit our website at sfpromusica.org. There you can access links to the artists’ websites, which are full of photos, articles, reviews, videos, and more.

Mei-Ann Chen

CONDUCTOR is music director of the MacArthur Award-winning and GRAMMYnominated Chicago Sinfonietta, chief conductor of Austria’s Recreation Grosses Orchester Graz, artistic partner with Houston’s River Oaks Chamber Orchestra, artistic director and conductor of the National Taiwan Symphony Summer Festival, and guest conductor with many other orchestras throughout the Americas, Europe, and Taiwan. Awards include “Top 30 Influencers” by Musical America, Taki Concordia Fellowship, First Prize Winner of the Malko Competition, and ASCAP awards for innovative programming. Originally from Taiwan, Chen came to the U.S. to study violin and conducting at the New England Conservatory and the University of Michigan.

Reena Esmail

COMPOSER is an IndianAmerican composer who weaves together the worlds of Indian and Western classical music. She is currently the Los Angeles Master Chorale’s artist-in-residence. Other awards and positions include Seattle Symphony’s composer-inresidence, United States Artist Fellow, Kennedy Center Citizen Artist Fellow, and the Hinrichsen Award from the American Academy of Arts and Letters. Commissions include Kronos Quartet, Imani Winds, Santa Fe Desert Chorale, Conspirare, Chicago Sinfonietta, River Oaks Chamber Orchestra, and the symphonies of Richmond, Albany, Seattle, and Baltimore. She studied at The Juilliard School, the Yale School of Music, and she received a Fulbright-Nehru grant to study Hindustani music in India.

David Felberg

CONDUCTOR & VIOLIN performs throughout the Southwest as a soloist, in recitals, chamber music, and orchestral concerts. He is praised for his “fluid phrases, rich focused tone, rhythmic precision, and spot-on intonation” (Santa Fe New Mexican). He is the artistic director, co-founder, violinist, violist, and conductor of Chatter (Albuquerque), concertmaster of the Santa Fe Symphony, associate concertmaster of the New Mexico Philharmonic, and is a member of the Santa Fe Pro Musica Orchestra and Baroque Ensemble. Felberg, an Albuquerque native, received a Bachelor of Arts in History (University of Arizona) and a Master of Music in Conducting (University of New Mexico).

Andrew Garland

BARITONE is noted for his “exceptional dramatic focus” (WQXR Operavore). He has sung with the opera companies of Seattle, Minnesota, New York City, Boston Lyric, Philadelphia, and others; with the orchestras of Colorado, Atlanta, Houston, and others; and baroque ensembles including Boston Baroque, Handel & Haydn Society, and Emmanuel Music. His latest solo CD, American Portraits, was listed No. 1 on Amazon Best Sellers in Classical. Andrew has music degrees from the University of Massachusetts at Amherst and Cincinnati College-Conservatory of Music. He is currently Assistant Professor of Voice at the University of Colorado-Boulder.

Brian Giebler

TENOR Acclaimed for his “most impressive, bright, clear tone and lively personality” (The New York Times), Giebler performs with GRAMMY Award–winning Conspirare (Texas), GRAMMY-nominated Seraphic Fire (Florida), the Handel & Haydn Society (Boston), Cleveland Orchestra, Apollo’s Fire (Cleveland), and Carmel Bach Festival. In New York he has performed with the American Classical Orchestra, Trinity Baroque Orchestra, Clarion Music Society, and Trinity Wall Street Choir. He is a graduate of the University of Maryland, Eastman School of Music, University of Michigan, and an alumnus of the Royal Academy of Music (London), the Aspen Opera Theater, and the Oregon Bach Festival.

Benjamin Hochman

CONDUCTOR & PIANO regularly appears in multiple guises as an orchestral soloist, recitalist, chamber musician, and conductor. Originally from Israel, he studied at the Curtis Institute and Mannes College of Music and is a 2015 graduate of The Juilliard School’s conducting program. As a pianist he has performed with most of the world’s great orchestras and music festivals. He currently serves on the piano faculty and is a research associate at Bard College in New York and Berlin. Hochman is a LIncoln Center Avery Fisher Career Grant winner and has recorded an extensive and prize-winning discography including The New York Times Best Recording of 2015, “Variations”.

Linda Hogan

POET & WRITER (Chickasaw) is a writer of poetry, fiction, and essays that illuminate environmental and Indigenous issues. She is formerly with the Institute for American Indian Arts, the University of Colorado, and was the Chickasaw Nation’s writerin-residence. She was a finalist for the Pulitzer Prize, the International Impact Award (Ireland), and the National Book Critics Circle Award. Hogan has won numerous awards including the Thoreau Prize, Oklahoma Book Award, Mountains and Plains Book Award, Colorado Book Award, and fellowships from the Lannan Foundation, the National Endowment for the Arts, and the Guggenheim Foundation. She is honored in the Chickasaw Nation Hall of Fame and currently lives in Colorado. 52

Bella Hristova

VIOLIN Acclaimed for her powerful performances and compelling command of her instrument, The New York Times wrote Hristova “played with expressive nuance and a rich tone, particularly attractive in the violin’s plummy lower range.” She is a 2013 Avery Fisher Career Grant winner, also winning First Prize in the 2009 Young Concert Artists International Auditions, First Prize in the 2007 Michael Hill International Violin Competition (New Zealand), and Laureate of the 2006 International Violin Competition of Indianapolis. Born in Bulgaria, she studied at the Mozarteum (Salzburg) and the Curtis Institute of Music (Philadelphia). She plays a 1655 Nicolò Amati violin.

Colin Jacobsen

VIOLIN & LEADER is “one of the most interesting figures on the classical music scene” (Washington Post). He is an Avery Fisher Career Grant–winning soloist, a touring member of Yo-Yo Ma’s famed Silk Road Ensemble, and founder of the string quartet Brooklyn Rider and the orchestra The Knights. Jacobsen was recently selected from among the nation’s top visual, performing, media, and literary artists to receive the United States Artists Fellowship. A graduate of The Juilliard School and the Royal Conservatory of the Hague, Colin plays a Joseph Guarneri filius Andreae violin (1696) and a Samuel Zygmuntowicz violin (2008).

Anne-Marie McDermott

PIANO is a consummate artist who balances a versatile career as a performer, recording artist, and arts administrator. She performs over 100 concerts a year at music festivals (Santa Fe, Mostly Mozart, La Jolla, Caramoor, Aspen, others), chamber music series (Lincoln Center, others), and is featured in concertos with most major American orchestras. She is the artistic director of the famed Bravo! Vail Music Festival, the Ocean Reef Chamber Music Festival (Florida), the McKnight Chamber Music Festival (Oklahoma), and the Avila Chamber Music Celebration (Curaçao). She studied at the Manhattan School of Music and was a winner of both the Young Concert Artists and Avery Fisher Career Grant competitions.

Kathryn Mueller

SOPRANO Recognized for her “lovely tone and easy agility” (San Francisco Classical Voice), Mueller has three GRAMMY nominations and performs with Seraphic Fire (Florida), New Trinity Baroque (New York), the Santa Fe Desert Chorale, Tucson Chamber Artists, Arizona Opera, Bach Collegium San Diego, Los Angeles Chamber Orchestra, American Bach Soloists (San Francisco), Portland Baroque Orchestra, and symphony orchestras throughout the U.S. She is a long-time collaborator with Santa Fe Pro Musica, with many performances on our Baroque Christmas and Holy Week concerts in Loretto Chapel. She is the initiator of Pro Musica’s The History of Red project.

Stephen Redfield

VIOLIN is concert-master with the Santa Fe Pro Musica Orchestra and leader of the Baroque Ensemble, positions he also holds with Conspirare (Texas), the Arizona and Victoria (Texas) Bach festivals, and La Follia Austin Baroque. He also is a regular member of the Atlanta Baroque Orchestra. He has performed as a soloist and chamber musician throughout the U.S. and is a prizewinner in the Coleman and Monterey Chamber Music competitions. Redfield is a long-time performer with the Oregon Bach Festival where he contributed to numerous recordings, including their GRAMMY-awarded CD. He is professor of violin at the University of Southern Mississippi.

Chris Rogerson

COMPOSER Rogerson’s music has been praised for its “virtuosic exuberance” and “haunting beauty” (The New York Times) with performances by the symphonies of San Francisco, Atlanta, Houston, Kansas City, and Indianapolis; the Attacca, Brentano, Dover, Escher, and Jasper String Quartets; esteemed artists Yo-Yo Ma, Ida Kavafian, and Anne-Marie McDermott; and in prestigious venues including Carnegie Hall, Alice Tully Hall, the Library of Congress, the Kennedy Center, Wigmore Hall (London), Chicago’s Symphony Hall, the Rudolfinum (Prague), and Radio France. Rogerson studied at the Yale School of Music, Princeton University, and the Curtis Institute of Music where he is currently on the Musical Studies faculty.

Clara Rottsolk

SOPRANO Acclaimed for her “pure and shining” voice (Cleveland Plain Dealer), Rottsolk has had solo performances with Atlanta Baroque, American Bach Soloists (San Francisco), American Classical Orchestra (New York), Bach Collegium San Diego, Colorado Bach Ensemble, San Francisco Early Music Society, Seattle Baroque Orchestra, Pacific MusicWorks, Trinity Wall Street Choir, and at many festivals including Berkeley Early Music, Boston Early Music, Carmel Bach, Indianapolis Early Music, and Philadelphia Bach. A native of Seattle, Rottsolk graduated from Rice University and Westminster Choir College. She is currently based in Philadelphia where she teaches voice at Swarthmore, Haverford, and Bryn Mawr colleges.

Maxine Thévenot

CHORAL DIRECTOR Originally from Saskatchewan, Canada, Thévenot currently lives in Albuquerque. She is the founder and director of the professional choral group Polyphony: Voices of New Mexico, on the music faculty at the University of New Mexico, and is the director of music at the Cathedral of St. John. She studied at the University of Saskatchewan, the Manhattan School of Music, and is an Honorary Fellow of the National College of Music, London, U.K. Locally she has served as chorus master for Pro Musica, Performance Santa Fe, the New Mexico Philharmonic, and others. Thévenot is also a recording artist, composer, and award-winning organist.

Polyphony: Voices of New Mexico

Under the artistic leadership of Maxine Thévenot, Polyphony: Voices of New Mexico is a professional choral ensemble of highly trained vocal artists who reside in New Mexico. Founded in 2007, the Albuquerque-based ensemble is committed to performing not only the great works of the past, both sacred and secular, but also works by contemporary American and Latino composers. They perform the full-spectrum of choral music, from a cappella to large-scale orchestral-choral works, and have collaborated with New Mexico’s finest orchestras, including Santa Fe Pro Musica, the New Mexico Philharmonic, and Performance Santa Fe. 53

STRING QUARTETS

Borromeo Quartet

Named after the picturesque Borromean Islands in Lake Maggiore in Northern Italy, this quartet is currently in residence at the New England Conservatory, the Taos School of Music, the Heifetz International Music Institute, and previously with National Public Radio’s Performance Today. They were prize winners at the International String Quartet Competition (France), also winning an Avery Fisher Career Grant, the Lincoln Center’s Martin E. Segal Award, Young Concert Artists International Auditions, and the Cleveland Quartet Award. Admired and sought after for its fresh interpretations, this quartet has been hailed for its “edge-of-the-seat performances” and called “simply the best” (Boston Globe).

Castalian Quartet

has been named the 2019 Royal Philharmonic Society Young Artist of the Year. In 2018, the Quartet was the recipient of the Merito String Quartet Award/Valentin Erben Prize and a Borletti-Buitoni Trust Fellowship Award. They have performed widely in Europe and made their North American debut in 2019–20. Founded in 2011 and based in London, the Quartet derives their name from the Castalian Spring in the ancient city of Delphi. According to Greek mythology, the nymph Castalia transformed herself into a fountain and created a source of poetic inspiration for all who drink from her waters. 548

Cuarteto Casals

is based in Barcelona where they are quartet-inresidence at the Escola Superior de Musica. Since their inception in 1997 at the Escuela Reina Sofía in Madrid, Spain, they have received first prizes at the Wigmore Hall International String Quartet Competition (London) and the Johannes Brahms Competition (Hamburg). A prize from the BorlettiBuitoni Trust enabled them to acquire a collection of baroque and classical period bows which gives the group “a sonic signature entirely its own” (The New York Times). They have presented concerts in most of the world’s great concert halls and have created an extensive discography.

Diderot Quartet

Named after the 18th-century French philosopher, the Diderot Quartet brings a fresh approach to works of the classical-period masters. They came together in 2012, having first met at the Oberlin Conservatory of Music and The Juilliard School. The four musicians share a background in historical performance and a passion for the string quartet genre—they found the thrill of exploring the quartet repertoire on period instruments to be irresistible. They have performed for concert series and music festivals across the U.S., served as faculty for Oberlin’s Baroque Performance Institute, and for five years were the quartet-inresidence at the Washington National Cathedral.

APPRENTICE ARTISTS

Dover Quartet

“Few young American ensembles are as exciting and accomplished as the Dover Quartet” (The New Yorker). They are the ensemble-in-residence at the Curtis Institute of Music where they formed in 2008. Their name pays tribute to Dover Beach by fellow Curtis alumnus Samuel Barber. They also hold residencies with the Kennedy Center (Washington, DC), Northwestern University, Amelia Island Chamber Music Festival (Florida), and Artosphere (South Carolina). They skyrocketed to stardom in 2013 following a stunning sweep of prizes, including the first prize at the Banff International String Quartet Competition. They’ve also won an Avery Fisher Career Grant and the Fischoff Chamber Music Competition.

This prestigious, invitation-only program was established 16 years ago to provide professional experiences for those high school musicians who have demonstrated exceptional levels of musical skill and maturity. Young musicians who exhibit these qualities are invited to join the Pro Musica Orchestra and participate in rehearsals and concerts at the professional level. The 2021– 22 Apprentice Artists are Madelyn Kingston, violin, and Claire Christensen, viola. Please read about these outstanding young artists.

Claire Christensen

VIOLA is a senior at the New Mexico School for the Arts where she studies viola with Allegra Askew. She previously studied with Carla Kountoupes, Lee Harvey, and Karles McQuade. Christensen is a long-time member of the Santa Fe Youth Symphony, has performed with the New Mexico All-State Orchestra for three years, and has participated in the Northern New Mexico Honors Orchestra and Solo & Ensemble Festival. She loves playing in large ensembles and traveling, so her recent trip to South Korea with the Icheon Sister Cities International Youth Orchestra was a dream come true!

Madelyn Kingston

St. Lawrence Quartet

Established in 1989 in Toronto, the St. Lawrence Quartet performs over 120 concerts annually worldwide and is known for its “vigorous and original approach” (The New York Times) and “impassioned performances full of operatic lyricism and structural insight” (The New Yorker). Named for Canada’s mighty St. Lawrence River, they are currently ensemble-in-residence at Stanford University where they like to explore musical connections with other departments, including the Schools of Music, Medicine, Education, and Law. Their awards include the German Record Critics’ Award, Canada’s JUNO Award, two GRAMMY nominations, winner of the Banff International String Quartet Competition, and the Young Concert Artist International Auditions.

VIOLIN is a senior at the New Mexico School for the Arts (NMSA) and performs with their chamber orchestra and jazz ensemble. She began studying violin with Rick Lohmann and Margaret Carpenter at Santa Fe Talent Education and currently studies with Carla Kountoupes and Richard Rood. She is the concertmaster of the Santa Fe Youth Symphony Orchestra and is a member of the Con Vivo Galistea Quartet. Kingston also performs in jazz and rock groups around Santa Fe, plays varsity soccer for Santa Fe High School, and is a member of NMSA’s award-winning Supercomputing Challenge Team. 55

BAROQUE ENSEMBLE David Felberg

VIOLIN (see Artist Biographies, page 51.)

Aaro Paavo Heinonen

BASS was appointed principal bass with the Kansas City Symphony upon graduation from Indiana University’s Jacobs School of Music. Two years later he was appointed principal bass with the Aspen Chamber Orchestra, Post Classical Ensemble (Washington, DC), and the Colorado and Music-in-the-Mountains festivals. In addition to chamber music and solo appearances, Aaro is the principal bassist with the Santa Fe Pro Musica Orchestra and Baroque Ensemble and regularly performs with the Dallas, Baltimore, Fort Worth, and National symphonies.

James Holland

CELLO is currently principal cellist for the Santa Fe Pro Musica Orchestra and Baroque Ensemble, the Breckenridge Music Festival, and formerly for the Charleston Symphony. He performs chamber music throughout New Mexico, is a prominent member of Chatter (Albuquerque), and is artistic director of Albuquerque Chamber Soloists. He received performance degrees from the University of Alabama and the Eastman School of Music. He can be heard on jazz legends Eddie Daniels’ and Roger Kellaway’s award-winning live recording “Duke at the Roadhouse.”

Dominique Labelle

SOPRANO “Expressively and artistically a master” (Washington Post), Labelle has performed with the leading baroque groups worldwide including Philharmonia Baroque (San Francisco), Mostly Mozart Festival and Orchestra of St. Luke’s (New York), Budapest Music Festival, Las Palmas de Gran Canaria, Royal Concertgebouw Orchestra (Amsterdam), I Musici de Montréal, and others. She is from Canada, trained at McGill and Boston Universities, and is currently professor of voice at McGill University. She has made recordings on Virgin Veritas, Deutsche Harmonia Mundi, RCA Victor Red Seal, Koss, Denon, New World, Carus, and Musica Omnia labels. 56

Kim Pineda

FLUTE has performed on historical flutes, recorders, and as a conductor throughout the U.S., Canada, Israel, and on NPR. Founder and music director of Seattle-based Grand Cru Baroque, he has performed with leading early music ensembles in the U.S. and has recorded on the Focus, Centaur, and Origin Classical labels. Pineda received his PhD in musicology from the University of Oregon, and taught at Sam Houston State and Texas Tech Universities before moving to Santa Fe. Pineda is currently the head of the social studies department at Española Valley High School.

Stephen Redfield

VIOLIN & LEADER (see Artist Biographies, page 53.)

Clara Rottsolk

SOPRANO (see Artist Biographies, page 53.)

Jeffrey Smith

VIOLA has performed with many baroque groups including the Orchestra of New Spain, Austin Baroque Orchestra, Jeune Orchestre de l’Abbaye, Bloomington Bach Cantata Project, and others. In 2016 he was viola soloist in Mozart’s Sinfonia Concertante at La Petite Bande Summer Academy (Italy). Jeffrey also plays modern violin with area groups including Santa Fe Pro Musica, San Juan Symphony, and Opera Southwest. He serves as chair of Early Music America’s Emerging Professional Leadership Council.

David Solem

ORGAN has bachelor’s and master’s of music degrees from The Peabody Conservatory of Music in Baltimore where he studied organ, harpsichord, and piano. He has over 30 years of experience in liturgical music production and has taught applied music and choral arts at Loyola University in Chicago. Solem is currently the assistant organist for the First Presbyterian Church of Santa Fe on Grant Street and is a Jungian psychoanalyst in private practice here in Santa Fe.

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A SHORT (AND INCOMPLETE) HISTORY OF WOMEN IN CLASSICAL MUSIC

It was once thought that the act of writing music could be harmful to women’s health. In 1772, after hearing a recital given by the gifted singer, virtuoso keyboardist, and composer Marianna Martines (1744–1812), the music historian Charles Burney remarked that “Her performance indeed surpassed all that I had been made to expect,” but he expressed concern that the physical demands of composition, including craning the neck, squinting the eyes, and overtaxing the brain, might compromise her talents. “It is a pity,” he concluded, “that her writing should affect her voice.” Another obstacle was the opinion that women’s perspectives and creative achievements were substantially inferior to men’s. Virginia Woolf, in her 1929 essay A Room of One’s Own (Harcourt, Brace & Company, pp. 76–77), remarked about this underestimation of women’s writing: Since a novel has a correspondence to real life, its values are to some extent those of real life. But it is obvious that the values of women differ very often from the values which have been made by men; naturally, this is so. Yet it is the masculine values that prevail. This is an important book, the critic assumes, because it deals with war. This is an insignificant book, because it deals with the interpersonal relationships between women. A scene in a battlefield is more important than a scene in a shop. This perspective was also applied to women’s musical compositions, which were often regarded as small-scale works of light substance. During the 18th and 19th centuries, it was generally acceptable for women to present their music in domestic settings but not in public, where the large-scale production of operas and orchestral works was the domain of men. In 1791, the French statesman Charles Maurice de Talleyrand addressed this public-private dichotomy. On the topic of education, he stated, “Men are destined to live on the world stage, a public education suits them. The paternal home is better for the education of women, as they need to accustom themselves to a calm and secluded life.”

Women musicians circumvented these male-imposed strictures by hosting private inhome concerts and invitation-only salons. As these events were small-scale, so too were the musical compositions, as they neatly complemented the logistics of small chambers and small audiences. However, small-scale does not necessarily mean insubstantial—content can be complex and deeply emotional even when expressed with few resources. Schubert was a master of this, as was Emily Dickenson. Nadia Boulanger

Over the centuries, women’s musical abilities have been acknowledged and applauded—a beautiful voice or an extraordinary keyboard performance cannot be ignored. However, the possibility that women had creative intelligence was more difficult to accept. Here are some of the obstacles that women have overcome in the classical music world.

During this period it was also unthinkable for women to participate on any level with orchestras (except as chaperoned audience members). On this issue, the famous English conductor Sir Thomas Beecham (1869-1961) declared, “I do not like, and never will, the association of men and women in orchestras . . . As a member of the orchestra once said to me, ‘If she is attractive I can’t play with her, and if she is not, I won’t.’” Women orchestral conductors have had an even longer struggle in gaining acceptance, as this position of authority at the head of an orchestra was considered unacceptable by classical music organizations and audiences alike. The idea that a woman could lead an orchestra of men (as orchestras were all male until the mid-20th century) was received with hostility or derisively ridiculed. Women were perceived as incapable of possessing the stronger attributes and leadership skills required of a conductor. However, if women did possess such qualities, they were often scorned for acting masculine. As recently as 2014, a prominent male conductor remarked that women could conduct, “. . . if they choose the right pieces, if they take more feminine music. Bruckner or Stravinsky will not do, but Debussy is okay.” Despite the obstacles, by the late 20th century, women in classical music were building networks and empowering themselves. Now, with representation in all areas of classical music, from famous soloists and award-winning composers, to members and leaders of orchestras, to public school teachers and university professors, the 21st century is resonating with the voices of women. Let’s hear them!

Additional support for the Women of Distinction Initiative comes from: Academy for the Love of Learning, M. Carlota Baca, Sallie Bingham, J. Revell Carr, Donald Clewell, The Edith M. Timken Family Foundation, form & concept, Sheila Gershen, Pamela and Richard Hanlon, Lannan Foundation, Karen Mosbacher, Melinne Owen and Paul Giguere, Jo Redmon, Kay Swindell, Timothy Terell, Thornburg Investment Management

WOMEN OF DISTINCTION INITIATIVE Since 1980, Santa Fe Pro Musica co-founders Thomas O’Connor and Carol Redman have been informally but consistently presenting the works of women composers, initially through their organization The Ensemble of Santa Fe and then later through its reincarnation as Santa Fe Pro Musica. In 2013, Pro Musica initiated its “Women Composers Project” and formalized its efforts in bringing women composers into mainstream classical music programming. In 2018, Pro Musica extended this program to include women conductors and leaders, and with generous underwriting from Sallie Bingham, this has become the “Women of Distinction Initiative.” To date, Pro Musica has presented 54 concert programs that have featured 43 works by women composers and brought eight women conductors to the Lensic. For the 2021–22 season, Pro Musica proudly brings a new roster of women artists to the stage.

ANNE-MARIE McDERMOTT, pianist and the new artistic director of Santa Fe Pro Musica, is a featured soloist performing works by Mozart in our September and January orchestra concerts. She also performs with the Dover Quartet in October and the Borromeo Quartet in March. MEI-ANN CHEN, music director of the MacArthur Award-winning and GRAMMY-nominated Chicago Sinfonietta, conducts the Pro Musica Orchestra in November in works by Reena Esmail, Haydn, and Tchaikovsky. MAXINE THÉVENOT, acclaimed for her “solid musicianship and technical security and poise” (The American Organist), is the director of Polyphony: Voices of New Mexico and chorus master for our season finale, Haydn’s The Creation.

THE HISTORY OF RED is a co-commission project led by Santa Fe Pro Musica and joined by River Oaks Chamber Orchestra (Texas), Orlando Philharmonic (Florida), and The Knights (New York). This new work was initiated by and features soprano Kathryn Mueller, with music by Reena Esmail and text by poet Linda Hogan. REENA ESMAIL is an award-winning Indian-American composer who weaves together the worlds of Hindustani and Western classical music traditions. LINDA HOGAN Chickasaw) is a poet, storyteller, and writer. She has received many honors, including the prestigious Lannan Literary Award, and was a Pulitzer Prize finalist. KATHRYN MUELLER is a three-time GRAMMY-nominated soprano. She grew up at the edge of Arizona’s White Mountain Apache Reservation and has a long association with Santa Fe Pro Musica. THANK YOU! This important project would not be possible without the generous support of Sallie Bingham. Sallie resides in Santa Fe and is a writer, teacher, feminist activist, and philanthropist. She is founder of the Kentucky Foundation for Women and the Sallie Bingham Center for Women’s History and Culture at Duke University. 59

THE RISE OF A ROVING BAND OF TROUBADOURS 40+ YEARS OF SANTA FE PRO MUSICA By Bernard van der Hoeven with Carol Redman

Imagine 1977, a young New Mexico couple, eminent woodwind musicians Tom O’Connor and Carol Redman, joining string and keyboard–playing friends, initially nine in all, embarking on a musical journey through New Mexico playing classical music for everyone—real troubadours of music for the people. That’s how it all started—the Santa Fe Pro Musica we know. Their initial funding came from three CETA grants (Comprehensive Employment and Training Act), each of six month’s duration. From 1978 to 1980 our roving band performed over 100 free concerts across New Mexico, in small towns, Pueblos, schools, churches, parks, markets, senior centers, hospitals, libraries, scientific labs, and even the state penitentiary. Once the CETA grants ran out, the troubadours morphed into the Ensemble of Santa Fe, which was formally established on June 6, 1980. With the successful CETA track record, other grants easily followed, including funding from the National Endowment for the Arts and New Mexico Arts. Performance venues now centered in Santa Fe and included St. Francis Auditorium, the Great Hall at St. John’s College, Loretto Chapel, Santuario de Guadalupe, and the Lutheran church in Los Alamos. By 1991, the Ensemble was performing 20 concerts per season, with five to seven artists per concert. In addition to performing in all these concerts, Tom and Carol did all the administrative work—creating concerts, hiring musicians, purchasing music, scheduling rehearsals, securing venues, paying bills, and creating and distributing publicity materials. Consider for a minute that there was no internet in those days. Tom and Carol would get into Tom’s 1963 Volvo and head out across the landscape between Santa Fe and Los Alamos. With Tom driving, Carol affixed flyers to all approved surfaces at libraries, stores, senior centers, telephone poles, and more. Their concerts were usually sold out. In 1994, the Ensemble was given the opportunity to establish an orchestra series, in addition to their ongoing chamber music concerts—a situation that triggered the change in name. Hiking through the Arroyo Calabasas just northwest of Santa Fe, Tom and Carol came up with the name “Santa Fe Pro Musica.” They wanted a name that would be flexible and not restricted to any particular classical music format—chamber music or orchestra? Why not both? Tom remarked about the group’s legacy: “The Ensemble of Santa Fe performed 14 years of chamber music concerts with artists from across the Southwest and guests of international acclaim, and commissioned 11 new works under its Music in America project.” In his opening comments for the 1994–95 season, Tom wrote: “It is with anticipation and excitement that we welcome you to SANTA FE PRO MUSICA!” The first season included 27 performances of 12 programs of baroque, classical, and contemporary music for orchestra and chamber ensemble. In 1996, Tom and Carol acted on their interest in baroque instruments and attended a two-week Baroque Performance Institute at the Oberlin Conservatory of Music. Here they met several giants of the baroque musical world. These experts were hired to play concerts with Santa Fe Pro Musica, and Tom, Carol and other orchestra members played as seconds to the experts. What a perfect way to learn the craft! Why historical instruments? Imagine that the pleasure of reading Pablo Neruda in Spanish is like playing Bach on baroque instruments. Bach keenly exploited the sound and special characteristics of the instruments of his time. These qualities can get lost in translation to modern instruments. 60

During this period Santa Fe Pro Musica became a Smithsonian Affiliate (1999–2004), and a stream of extraordinary opportunities came their way. Through this connection, in 2001 Pro Musica hosted a quartet of decorated Stradivarius string instruments (c. 1700s) from the Smithsonian collection, and in the following year a quartet of Amati string instruments (c. 1600s). These instruments were played in sold-out performances, and were also on public display at the Gerald Peters Gallery. The insurance, logistical, and security issues involved in bringing these multimillion-dollar instruments to New Mexico? Think separate airline flights, armed guards, and New Mexico State Police escorts. Another high-water mark of the Smithsonian relationship was the successful concert tour in 2000, the 250th anniversary of Bach’s death, of Bach’s St. Matthew Passion, performed at William and Mary College, Williamsburg, VA; at the National Presbyterian Cathedral in Washington, DC; at Oberlin College’s Finney Chapel; at the Faith Lutheran Church in Albuquerque; and concluding at the Santa Maria de la Paz Catholic Church in Santa Fe. Pro Musica’s continuing exploration of Bach’s genius occasioned annual Bach Festivals from 1998 to 2008, each comprising week-long offerings of orchestral and chamber music. The grand finale of the Smithsonian Affiliation was the creation of two exceptional CDs—the small ensemble versions of Mahler’s Fourth Symphony and Das Lied von der Erde (Song of the Earth), which received a GRAMMY Nomination for Best Classical Album/Small Ensemble and favorable reviews in the Washington Post and Chicago Tribune, among others. Of particular note during this decade was the Pro Musica benefit event featuring the star cellist Yo-Yo Ma with his friends Colin Jacobsen (violin) and Joel Fan (piano) at the Santa Fe Opera in the summer of 2003. It was so successful that the concert was held up for 45 minutes as state police were called in to untangle the serious traffic congestion from Highway 285 onto Opera Drive. The next major transition for Pro Musica was Tom’s decision to step away from playing oboe and become a conductor. The catalyst for this new role occurred in 2005 when Tom initiated a collaboration between Pro Musica and the National Dance Institute (NDI-NM) of a choreographed version of Prokofiev’s Peter and the Wolf. Since he personally identified so strongly with this project, he decided to conduct it himself. Thus he partook of the forbidden fruit, and it was delicious! Over the succeeding years the mutual respect between Tom and the musicians deepened, as Tom’s depth of knowledge, his ideas, his leadership and his belief in the collaborative spirit of musicmaking became abundantly evident. Musicians have since remarked about the inspiring “Pro Musica experience.” And now Pro Musica enters yet another chapter. The internationally acclaimed pianist Anne-Marie McDermott, now the artistic director of Santa Fe Pro Musica, takes over the helm from Tom and Carol. McDermott has been applauded as “one of the great American pianists of her generation” (Philadelphia Inquirer) and her performances have been described as “quite simply, playing of the highest order” (Fanfare Magazine). She brings her stature as an international performing artist and an arts leader to the community of Santa Fe. Pro Musica’s future is bright and exciting under this new leadership. Stay tuned! 61

COMMUNITY ENGAGEMENT From its initial season 40 years ago, Santa Fe Pro Musica has been committed to a multifaceted music education and outreach program for Northern New Mexico. This approach allows us to meet the needs of a wide range of people: kids who are attending a classical music event for the first time; students whose musical goals may be college- and career-oriented; and adults who want to learn more about classical music. Join us in developing a life-long relationship with classical music! YOUTH CONCERTS Every season the Pro Musica Orchestra performs a series of Youth Concerts at the Lensic for thousands of local students, introducing them to the excitement of live classical music. These events are free to public, private, and homeschooled students. Reservations are required. For more information, contact the Pro Musica Box Office. • SEPTEMBER 24—the music of Mozart and Beethoven • NOVEMBER 5—the music of Reena Esmail, Haydn, and Tchaikovsky • JANUARY 28—the music of Reena Esmail, Mozart, and Mendelssohn • APRIL 29—Haydn’s The Creation This season, because of the Covid-19 pandemic, the September and November Youth Concerts will be video recorded without audience. These videos will then be freely available on our website. Details to be determined. Stay tuned! MEET THE MUSIC Want to know more about classical music and improve your listening skills? Arrive one hour before each Pro Musica Orchestra concert at the Lensic and hear lively conversations with our guest artists. Included with your ticket purchase.

Thank You

FAMILY CONCERT TUESDAY, DECEMBER 28 AT 10 am St. Francis Auditorium The Family Concert is the perfect way for you and your family to get a look inside the world of classical music. Join us for an hour-long exploration of the music of the baroque masters Telemann, Bach, and Vivaldi. Free for those under 18, $5 for everyone else. Reservations required. For more information contact the Pro Musica Box Office.

Musical Explorations

Learn about the mechanisms of music-making in these casual, up-close and interactive events. Always free and open to the public. CASTALIAN STRING QUARTET SUNDAY, FEBRUARY 13 AT 10 am St. Francis Auditorium Lecture and demonstration about the music of Mozart, Alban Berg, and Franz Schubert BORROMEO STRING QUARTET SUNDAY, MARCH 6 AT 10 am Lensic Performing Arts Center A masterclass featuring select student ensembles coached by members of the Borromeo String Quartet ST. LAWRENCE STRING QUARTET SATURDAY, MARCH 26 AT 7 pm First Presbyterian Church Haydn Discovery—witness Haydn unpacked and explored!

ARTIST DINNERS AND RECEPTIONS Join us at some of Santa Fe’s finest restaurants for conversation and community with Pro Musica’s guest artists, ensembles, and orchestra members. Artist Dinners include a three-course meal with wine. The Reception includes sumptuous small bites, wine, and a cash bar. Reservations are required. Please call Lydia Milá Garmaier at 505.988.4640 x 1001. GALA SEASON OPENING RECEPTION AT COYOTE DEN SUNDAY, SEPTEMBER 26 With conductor Benjamin Hochman and pianist Anne-Marie McDermott $60 per person ($24 tax-deductible) ARTIST DINNER AT RESTAURANT MARTÍN SUNDAY, NOVEMBER 7 With conductor Mei-Ann Chen and violinist Bella Hristova $95 per person ($40 tax-deductible) ARTIST DINNER AT SANTACAFÉ SUNDAY, FEBRUARY 13 With members of the Castalian String Quartet $95 per person ($40 tax-deductible) REDMAN-O’CONNOR CELEBRATION AT FOUR SEASONS RANCHO ENCANTADO THURSDAY, MAY 5 Please join us in honoring our founders, Thomas O’Connor and Carol Redman. At the close of our 40 th season and the beginning of their retirement, please join us as we celebrate their four decades of musical and educational contributions to the cultural fabric of Santa Fe and Northern New Mexico. Three-course meal with wine | $150 per person ($70 tax-deductible) 64

THE CODA CIRCLE

Here are some of the events that await you this season! Other special events and opportunities will be announced throughout the year. WHY IS MOZART SO DIFFICULT TO PLAY? WEDNESDAY, SEPTEMBER 22 AT 5:30 pm Artistic director and pianist Anne-Marie McDermott talks Mozart with conductor and fellow pianist Benjamin Hochman. CROSS-CULTURAL CONVERSATIONS WEDNESDAY, JANUARY 26 AT 5:30 pm Award-winning composer Reena Esmail and conductor-violinist David Felberg discuss Eastern and Western music traditions. WHY HISTORICAL INSTRUMENTS? WEDNESDAY, APRIL 13 AT 5:30 pm Members of the Diderot String Quartet reveal how historical instruments inspire and change the musical language. HAYDN’S THE CREATION THURSDAY, APRIL 21 AT 5:30 pm The music scholar and award-winning writer James M. Keller explores Haydn’s cinematic masterpiece The Creation. $1,250 per person for the entire season ($875 tax-deductible). For memberships and more information, please call Lydia Milá Garmaier at 505.988.4640 x 1001.

ARTWORK | facing page: Karen Mosbacher. Oil on canvas. Inspired by Clara Schumann, Romance for Viola and Piano (1. Andante molto)

Join fellow music aficionados outside the concert hall at curated events exploring the world of classical music. These membership-only gatherings feature guest artists, scholars, and live performances, and are opportunities to delve deeper into music and the art of music-making. Enjoy intimate concerts in private homes and unique spaces, enhanced with fine food and wines, and stimulating conversation and company.

Corporate Support

Corporate Matching Gifts

Foundation Support

Academy for the Love of Learning Coyote Den Four Seasons Resort Rancho Encantado Heritage Hotels & Resorts, Inc. Hutton Broadcasting Inn on the Alameda KHFM KSFR KUNM La Fonda on the Plaza Lensic Performing Arts Center Los Alamos Daily Post New Mexico Museum of Art Open Kitchen LLC Paper Tiger Patina Gallery PayPal Giving Fund Restaurant Martín Santa Fe New Mexican Santa Fe Selection Santacafé Southwest Contemporary The Sage Hotel Thornburg Investment Management Walter Burke Catering, Inc.

Amazon Smiles IBM International Foundation Levi Strauss & Co. Lexis Nexis Risk Solutions Los Alamos National Security LLC Miller Stratvert, P.A.

Abeles Foundation Edith M. Timken Family Foundation Evelyn L. Petshek Arts Fund, Santa Fe Community Fdn. The Fasken Foundation James N. Cost Foundation Lannan Foundation Mickey Inbody Charitable Foundation Mumford Family Foundation The E. Nakamichi Foundation Santa Fe Pro Musica Endowment Fdn. The Thornburg Foundation WESTAF

Memorials

In Memory of: Carla Freeman Donald Joseph Percious Georgia Greenfield Charles “Fish” Greenfield Loren Jacobson Linda Goodman Joseph Kiser Laura Kiser Lydia Levine Richard Bentley Betty Jo Nye Betty and Kyle Nye Rosemary O’Connor Robert MacFarlane Adam B. Ritchie Martha Ritchie John Singleton Vicki Ahl and Byron Kohr Barbara Chatterjee Campo Conejos HOA Janyth and Ferol Fell Mary Hoagland Scott Horsley Richard Koeppe Linda and Linda Larkin Robert Palmer Jean Pryor and William Brown Louise Singleton John T Swindell Mary and David Cost Claire Swindell and Shawn Ferron Kay Swindell Kelly and Richard Swindell Stewart and Lee Udall James McGrath Carolina Woo Richard Bentley Keith Wright Donise Wright

2021-22 Coda Circle Members

M. Carlota Baca Richard Bentley Mary and David Cost Elizabeth and John Eastman Marilyn Macbeth and Forrest Carlton

Government Support City of Santa Fe Arts & Culture Department National Endowment for the Arts New Mexico Arts New Mexico Finance Authority Santa Fe County Small Business Administration

Education and Outreach Donors Harriett and Harris Barber Joanie Puma Bennet Kay Dunkley Judith and Robert Eagan The Fasken Foundation Maria and John King Lensic Performing Arts Center Judith and Donald Machen Mickey Inbody Charitable Foundation Suzanne and Richard Molnar Candace and Frank Norris Joanne and James Peppiatt-Combes Marianne Christina Reuter Timothy Terell

Dedications

In honor of: M. Carlota Baca Barbara Lenssen and Keith Anderson Richard Bentley Elaine Wang Meyerhoffer Ruth Burstrom’s birthday Ruth Burstrom and Niels Chapman Revell Carr Patricia and James Morris David Cost Ms. Elaine Wang Meyerhoffer Pam Geyer Anonymous Peter Glankoff Richard Greenberg Carol Ann Koz Stuart Kirk Marilyn Mallinson Luke Mallinson Marilyn Mallinson’s birthday Rebecca Flagg Theo Mallinson Anne-Marie McDermott Virginia Browning and Joseph Illick Judy and Bruce Moorad Joanne and James Peppiatt-Combes Carolyn and Preston Reed Marianne Reuter Judith Rowan and Richard Schacht Laurel Schnitzer Howard Sherry

Judy Nix and Mary Ellen Degnan Jane Wetzel Thomas O’Connor Jean and Gene Stark Barbara I. Strange Al Purdue Laurie Wong Stephen Redfield Debby and Bruce Lieberman Carol Redman and Thomas O’Connor Anonymous Terry and John FitzPatrick Kay Swindell Ann Caldwell Lisa van Sickle Cynthia Baughman and James Mickle Greg and Pat Walke Ginny Hogan Nancy and George Yankura Leslie Smith and James Selby

Women of Distinction Donors

Academy for the Love of Learning M. Carlota Baca Sallie Bingham J. Revell Carr Donald Clewell The Edith M. Timken Family Foundation form & concept Sheila Gershen Pamela and Richard Hanlon Lannan Foundation Karen Mosbacher Melinne Owen and Paul Giguere Jo Redmon Kay Swindell Timothy Terell Thornburg Investment Management

Louise Singleton Silvia and Alex Speyer Kris and John Stichman Kay Swindell Timothy Terell Winky and Bernie van der Hoeven Joan and Truel West

We offer our heartfelt gratitude to supporters of Santa Fe Pro Musica for their generous contributions made May 1, 2019 through August 15, 2021. You are an important member of the Pro Musica family! If, despite our best efforts, we have misspelled your name or missed any other details of your contribution to this season, please let us know by calling 505.988.4640.

Impresario ($50,000+) Sallie Bingham Mary and David Cost Johnanna McLaughlin Timothy Terell

Virtuoso ($20,000+) Scott Baker Honey and Peter Chapin Johanna Cinader Sara Montgomery and Dylan O’Reilly Catherine Oppenheimer Carol Redman and Thomas O’Connor Martha Ritchie Jean and Gene Stark Winky and Bernie van der Hoeven

Conductor ($10,000+) M. Carlota Baca Don Clewell Christine and Frank Fredenburgh Lori Gallagher and Curtis Huff Catherine and Darryl Lindberg Marilyn Macbeth and Forrest Carlton Ginnie Maes Karen Mosbacher Joanne and James Peppiatt-Combes Sheri and Alexander Purdue Mary Rankovich and Dennis Kanka Charles Redman Beth and Joel Scott Louise Singleton Jessica and Phil Smucker Kay Swindell

Director ($5,000+) Vicki Ahl and Byron Kohr Joanne and Richard Akeroyd Richard Bentley Ruth Burstrom and Niels Chapman Donald Close Terry and John Fitzpatrick The Rebecca Frenkel Estate Dawn and Peter Glankoff Robert González and Stephen Redfield Elizabeth Harcombe and Michael Carter Kathy and Ed Kvet Judith and Bruce Moorad Cynthia Ross and Martin Hauer-Jensen Judith Rowan and Richard Schacht Peter Schanck Robert Shlaer Silvia and Alex Speyer Kris and John Stichman Christopher Watson Kristin and Mac Watson Joan and Truel West Nancy Zeckendorf

Leader ($2,500+) Perry Andrews III Jan and Richard Bowers Virginia Browning and Joe Illick J. Revell Carr

Maureen and Christopher Carusona Elizabeth and John Eastman John Hufnagle Jean and Donald Lamm Kay and Anthony Marks Elaine Wang Meyerhoffer Carolyn and Preston Reed Kathie Reed Marianne Reuter William Rogers Gay and Graham Sharman Howard Sherry Catherine and Ian Strong Andrea Tuch and Patrick Lannan

Sustainer ($1,000+) Bonnie Binkert and Michael Melody Joan Blythe and John Clubbe James Bradbury Adele Caruthers and Harry Bixby Marcia and George DeGarmo Martha Anne Dorminy Ariane Eberhardt and Brian Crone Paula and Steven Fasken Julanna Gilbert and Robert Coombe Gwen Gilligan David Goodrich and Brian Clarke Stephanie Greene Donna and Hal Hankinson Sheila and Edward Heighway Bernhard Holzapfel Brigit and Jorg Jansen Mary and Eric Jolly Stuart Kirk Karen Kolbert Carol and Peter LaDelfe Carolyn Lamb and Stephen Reed Maria and Stephen Lans Berit Leonard and William Swift Richard Leonardon Josephine Levy Thom Maciula and Fish Greenfield Evelyn McClure Esther and Ralph Milnes Judy Naumburg and Stuart Bluestone Claudia Baxter Nelson Carol and Clair Nielson Abigail and Joel Olson Ethel and Tony Paap Cindi and Jerald Parker Jerry Richardson Anders Richter Anne Harris-Rudy and Steven Rudy Laurel Schnitzer Aaron Stern Joyce and Steve Stivers Claire Swindell and Shawn Ferron Suzanne Timble Edith Timken and Tony Wilkins Bernie Toobin Joan Vernick Nancy Wirth Barbara and Mel Yost

Patron ($500+) Nancy and Harro Ackermann Francoise and Len Alexander

Supporters Patricia Bacha and Paul De Stefano Elizabeth Baker and Toby Pugh Harriett and Harris Barber Mikaela Barnes Helen and James Becker Rachel Belash and Bob Burman Jean and John Berghoff Ingrid Bucher Ann Caldwell Pamela Culwell and Charles Case Linda Dean and John Kitzmiller Margo Dichtelmiller and Nancy Katz Frances Diemoz and Alan Webber John Donaldson Judith and Robert Eagan James Faris Patricia Feather Sandra and James Fitzpatrick Harlan Flint Suzanne and Norman George Marian and Robert Haight Pamela and Richard Hanlon Carol and John Hawkins Bill Hoadley Laura and Joseph Kiser Kimberly Kmentt Corrine Kratz Barbara Lenssen and Keith Anderson Debby and Bruce Lieberman John Madigan Linda and Mervin Moore Patricia and James Morris Nancy Newton and Dave Grusin Allie Norris Kay Northcutt Judith and Arthur Reeder Margaret and Harry Ritchie Mariah Sacoman and Dale Kronkright Jenna and Wilson Scanlan Susan and John Shaffer Judy and Robert Sherman Adair Waldenberg and Jon Peck Linda Wickstra Nancy and George Yankura Mary Beth Yates

Supporter ($250+) Anonymous Cynthia Baughman and James Mickle Karen Beall and Dale Haworth Sheila and David Bogost Leslie Bowen and Dennis Bley Terry Brownell Linda Carey Susan Cedar and Gary Lowenthal Karen Christiansen Janet Clow and David Cunningham Richard Cowles Barbara Culbert Sheryl and Michael DeGenring Eleanor Eisenmenger Sandra and James Fitzpatrick Charles Freuden Sheila Gershen David Geyer David Hawkanson Duane Henry Pat Hummer and Al Pitts 67

Pamela Hyde and Maggi Konzen Margaret Keller Barbara and Wayne King Maria Soledad and John King Frank Lawler Liz and Alan Lerner Joan Lombardi and Lee Nash Paula Lozar Ali MacGraw Luke Mallinson Ashley and Paul Margetson Irene and Terence Moyes Roxanne Howe-Murphy and James Murphy Steven Oakey and Brent McGee Melinne Owen and Paul Giguere Jan and Jim Patterson Melanie and Edward Ranney Clare and Jack Ratliff Crennan Ray Jo Redmon Julia Rhymes and Sally Whiteley Roberta and William Richards Mary and Robert Riggs Sally and Don Roberts Felicia Rocca Rutledge Ralph Scala Eve and Jeffrey Schamis Catharine Scheibner and Carrie Haag Ronald Lee Sedillo Marjorie and Robert Selden Rebecca and Thomas Shankland Elizabeth and Olivier Simon Patricia and George Simon Martha and Ken Simonsen Meredith Speers and Seamus Malin Deborah Stanley Susan and Cary Stickney Mary and Robert Stroupe Toni and Scott Temple Joe Vandiver Katie Updike and Robert Wagner Janislee and William Wiese Kimberly Wiley and James Ransom David Wilkinson Laurie Wong

Donor ($100+) Anonymous Lenore Alarid Damaris Ames and Peter Lloyd Carol Armbruster Leatrice Armstrong Josephine and James Ball Barbara Beames and Michael Liebman Natalie and Barry Beller Judith Benkendorf Joanie P. Bennet Adrienne and Stephen Bing Martha Blomstrom and Hugh Balaam William Blumenthal Isabel and Jeremiah Brackbill Keri and Michael Brinegar Sally Brown Carolyn Burns and James Hammerberg Pat and Joseph Casadone Mary and Brian Cassidy Barbara Chatterjee Christine Chen Ronnie and Joseph Cohen Kenneth Collins Jane Phillips-Conroy and Glenn Conroy Judith and Gordon Crocker Anne Culver Eudice and Les Daly 68

Mark Davis Cathryn and David Delude Judi Dickerson and Neil Gader Alaina Diehl Lotte Lieb Dula Bonnie Ellinger and Paul Golding Betty Farrell Rebecca Flagg

Adriana and Michael Foris Verena and Hans Frauenfelder J Arthur Freed Kathryn and Michael Gendel Linda Schoen Giddings and Daryl Giddings John Giovando Linda Goodman Peter Gould Diane and Bill Graves Richard Greenberg Shelly and Herman Haase Marie F. Harper Anna Jane Hays Mary Hoagland Georgianna and Louis Hoffmann Ginny Hogan Scott Horsley Betsy and Thomas Jones Sharon and Mac Jones Helen and Ray Juzasitis Marianne Kah Cynthia Kahn Linda Kenney Candice Kern and Stephen Westheimer Carol Ann Koz Helen Lamberton and William Gates Cathy and James Leonard Martha Liebman Doris Lodwig William Loeb Randi Lowenthal John T. Lyles Jackie and Robert MacFarlane Judith and Donald R. Machen Theo Mallinson Robert Marcum Dorothy Massey Marjorie and Robert McCarthy Robert McDonald James McGrath Paula and Christian Miller Elizabeth Mitchell Suzanne and Richard Molnar Susan More Jess Nicholas and Michael Grissom Candace and Frank Norris Charles Palmer Robert Palmer Donald Percious Matilda Perkins and Michael Freeburger Bridgette Philipp and Frank Welch Revelle Cristina Phillips Gail and Douglas Pine Jean Pryor and William Brown Sali Randel and Bernard Ewell Clare and Jack Ratcliff Bruce Redford David Rile David Rogers Charlotte A. Rowe Ann and Bernard Rubenstein Robert Russell Daniel Rusthoi David Ruttenberg Pamela and Mike Ryan Patricia Saloom and Charles Beaumet

Barbara and Gene Sanger Nan and Arthur Saponara Isabel and Gordon Saunders Dan Schiller Jane Schoenfeld and Donald Levering Barbara and Glen Smerage Helen Smith Leslie Smith and James Selby Robin Smith Deborah and Howard Spiegelman Ann Steadman Diana and John Stege Kari L. Stevenson Douglas Sutherland Donald M. Topkis Natasha Torres John Tregear David Walther Gene Wampfler Deborah Weiss Jane Wetzel Norman Williams Dan Winske Jean and John Ed Withers Donise Wright

Friend (under $100) Anonymous Claudia Ahlstrom Dr. Merritt J. Aldrich Peg Andre Richard K. Beaubien Catherine Beeson Thomas M. Bockman Christine Boss Arthur Brown Joyce and Howard Cady Kristin Carlson Aida J. Dearteaga and Marcia Arevalo Huntley Dent Jan Denton and John Andrews Hope Dubois Kay Dunkley Nader Ebrahimi Janyth and Ferol Fell Christine and Bill Field Sally and Alan Gass John Gonsiorek Charles Gregory Sharon D. Gregory Mata Gyeviki The Rev. Mabry Hampton Kenneth Hare Diane Heath David Izraelevitz Brenda and Michael Jerome Jeff Johnson Bo Keppel Lucretia and Richard Koeppe Barbara Kuzminska Linda Larkin and Hal Bolton Kimberly Macloud Boguslaw Malecki Jim Marquez Mary Ann Martinez Caroline and Rodney Mason Patrick McDaniel Terrie Moore Thomas Morales Sergio Moyano F Richard Nichol Betty and Kyle Nye Nancy Ondov Stephen Palmer Pam Parfitt and Brian Morgan

Carolyn Robinson Laurence Roderick Elizabeth and James Roghair Nancy Rowland Melanie Runge Karen Schiffbauer Jessica Shaw Lea and David Soifer Barbara Strange Kelly and Richard Swindell Mary Thomas Alice Tinkle Jean and Richard Van Camp Deborah and Hubert van Hecke Melody Van Hoose Mona Wecksung Angela Welford Chad Western June and Fred Yoder

Musicians’ Emergency Fund Contributors

This fund was created in March 2020 to support artists’ fees for cancelled performances due to the pandemic. Thanks to your contributions of cash and donated tickets from cancelled concerts, Pro Musica raised over $60,000, all of which went to pay our musicians for their lost wages. Thank you!

Anonymous Nancy and Harro Ackermann Dr. Merritt J. Aldrich M. Carlota Baca Patricia Bacha and Paul De Stefano Scott Baker Josephine and James Ball Richard Beaubien Judith Benkendorf Richard Bentley Harry Bixby Dr. William Blumenthal Joan Blythe and John Clubbe Thomas Michael Bockman Sheila and David Bogost Leslie Bowen and Dennis Bley Keri and Michael Brinegar Arthur Brown Terry Brownell Ingrid Bucher Ruth Burstrom and Niels Chapman Joyce and Howard Cady J. Revell Carr Honey and Peter Chapin Don Clewell Donald Close Mary and David Cost Richard Cowles Barbara Culbert Pamela Culwell and Charles Case Mark J Davis Linda Dean and John Kitzmiller Aida Dearteaga and Marcia Arevalo Huntley Dent Lotte Lieb Dula Ariane Eberhardt and Brian Crone Nader Ebrahimi Bernard Ewell and Sali Randel James Faris Patricia Feather Terry and John FitzPatrick Suzanne and Norman George Sheila Gershen Julanna Gilbert and Robert Coombe Dawn and Peter Glankoff John Gonsiorek David Goodrich and Brian Clarke Stephanie Greene Charles Gregory Sharon Gregory Mata Gyeviki

Anne Harris-Rudy and Steven Rudy Duane Alan Henry Bernhard Holzapfel Roxanne Howe-Murphy and James Murphy David Izraelevitz Jeff Johnson Maria Soledad and John King Carol Ann Koz Barbara Kuzminska Carolyn Lamb and Stephen Reed Helen Lamberton and William Gates Berit Leonard and William Swift Cathy and James Leonard Elisabeth and Alan Lerner Debby and Bruce Lieberman Catherine and Darryl Lindberg Randi Lowenthal Paula Lozar Marilyn Macbeth and Forrest Carlton Judith and Donald Machen Kimberly MacLoud Boguslaw Malecki Robert Marcum Kay and Anthony Marks Mary Ann Martinez Dorothy Massey Elizabeth Mitchell Sara Montgomery and Dylan O’Reilly Judith and Bruce Moorad Linda and Mervin Moore Terrie Moore Claudia Nelson Carol and Clair Nielson Candace and Frank Norris Kay Northcutt Melinne Owen and Paul Giguere Charles Palmer Joanne and James Peppiatt-Combes Matilda Perkins and Michael Freeburger Bruce Redford Kathie Reed

Judith and Arthur Reeder Jerry Richardson Anders Richter David Rogers Cynthia Ross and Martin Hauer-Jensen Nancy Rowland Ann and Bernard Rubenstein Melanie Erb Runge Pamela and Mike Ryan Isabel and Gordon Saunders Peter Schanck Dan Schiller Jane Schoenfeld and Donald Levering Ronald Sedillo Marjorie and Robert Selden Rebecca and Thomas Shankland Jessica Shaw Patricia and George Simon Helen Smith Lea and David Soifer Deborah A Stanley Diana and John Stege Kari Stevenson Kris and John Stichman Catherine and Ian Strong Timothy Terell Edith Timken and Tony Wilkins Donald Mark Topkis Natasha Torres Winky and Bernie van der Hoeven Melody Van Hoose Adair Waldenberg and Jon Peck David Walther Christopher Watson Kristin and Mac Watson Deborah Weiss Angela Welford Joan and Truel West Chad Western Janislee and William Wiese Barbara and Mel Yost

Thank You, Volunteers! Pro Musica is grateful to our family of volunteers that helps sustain music and education programs in Santa Fe. Your efforts make a profound impact and heighten the cultural vitality of our community. Lenore Alarid Gretchen Anderson Patricia Boies Elizabeth Buddington Brian Cassidy Mary Cassidy Mary Ray Cate Barbara Chatterjee Ken Collins Lavonne Cornett Shawn Deasy Kay Dorko Donna Eagles Elisabeth Farley Daryl Giddings Linda Schoen Giddings Peter Glankoff Linda Goodman Dennis Kanka Annette Kelley Bo Keppel Doga Kurkcuoglu Barbara Kuzminska Joan LaMarque Reuben LaMarque Beata Lewis John Lyles Jim Mallinson Marilyn Mallinson

Ron Maltais Sharon McCawley Kristina McKeown Alexis McNaughton Barbara Miller Estelle Mille Linda Miller Marsha Montgomery Allie Norris Janet Peacock Jon Peck Jaime Phillips Mary Rankovich Jo Redmon David Rogers Sally Ann Sadler Camille Sammeth David Sammeth Janine Sammeth Ken Simonsen Martha Simonsen Erin Taylor Alice Tinkle Jolanta Tuzel Walter Tuzel Morgan Watson Edna Reyes Wilson Harvey Wilson Kitty Wood

Carol Toobin, beloved Santa Fe Pro Musica volunteer for many years, and a charter member of Coda Circle, passed away in 2020. We will miss her tireless energy, enthusiastic support, and always smiling face.

Santa Fe Pro Musica on CD

Available for purchase at Santa Fe Pro Musica events and through the Pro Musica office.

Britten

Serenade for tenor, Horn and StringS Simple SympHony

VaugHan WilliamS ten Blake SongS

John ElwEs, tEnor ChristophEr smith, horn santa FE pro musiCa orChEstra thomas o’Connor, ConduCtor and oboE

Recordings

Britten

Serenade for Tenor, Horn and Strings BRITTEN Simple Symphony VAUGHAN WILLIAMS Ten Blake Songs

Mahler

A Baroque Christmas

Mozart & Haydn Festival

Das Lied von der Erde 2008 Grammy Nomination for Best Classical Album Small Ensemble

Symphony No. 4

Mozart Piano Concertos No.17 K453 & No.25 K503

Conrad Tao, piano Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor

Recordings

Mozart

Piano Concertos

S A N TA F E S O P H I S T I C AT I O N

Santacafe.com

2 3 1 Wa s h i n g t o n Av e n u e

505.984.1788

LEGACY GIFTS

Become a part of Santa Fe Pro Musica’s future! Through a variety of charitable gift options, you can fulfill your personal and financial goals while furthering Pro Musica’s mission. A heartfelt thank-you to all our generous Legacy donors. “We love Santa Fe Pro Musica. It has brought us such great joy to hear the excellent orchestra at the Lensic, and the holidays wouldn’t be the same without A Baroque Christmas in Loretto Chapel. We’ve arranged a gift through our estate plan to ensure that future generations have the same wonderful listening opportunities.” -Forrest Carlton and Marilyn Macbeth For information about legacy gifts, please contact executive director Andrea Cassutt at 505.988.4640. M. Carlota Baca Dr. Harold and Norma Brown Clifford and Marcie Burton Forrest Carlton and Marilyn Macbeth Mary and David Cost

Cover Art Peter Chapin Fun House Two Drypoint, oil pastel, and gouache 18 x 16 inches peterchapinpaintings.com

In-Kind Gifts Richard Bentley J. Revell Carr Eleanor Eisenmenger Lydia and Herbert Garmaier Stephanie and Stuart Hamilton Elizabeth Harcombe and Michael Carter Maria Soledad and John King

Dawn and Peter Glankoff William Kilgarlin Andrew Nowak Thomas O’Connor and Carol Redman Lorraine Schechter

Helen Lyons Museum of New Mexico Foundation Shops Abigail and Joel Olson Joanne and James Peppiatt-Combes Carol Redman and Thomas O’Connor Judith Rowan and Richard Schacht Santa Fe Botanical Garden Gift Shop Kay Swindell Winky and Bernie van der Hoeven Kristin and Mac Watson

Events Committee Richard Bentley Chair Lydia Milá Garmaier Assistant Chair J. Revell Carr

Stephanie Hamilton Beata Lewis Clare Maraist Joanne Peppiatt-Combes Carol Redman

Laurel Schnitzer Louise Singleton Mark Zero