Concert Programs & Notes

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.

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.

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)

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.

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.

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)

Orchestra Series

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.

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

Concertmaster

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

Viola

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

Cello

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

Bass

Aaro Heinonen* Robert Barney Sam Brown Toby Vigneau

Flute

Valerie Potter* Jesse Tatum* Jennifer Lau Dorothy Bowers Wu

Piccolo

Alaina Diehl

Oboe

Kevin Vigneau* MaryAnn Shore

Clarinet

Jeffrey Brooks* Sam McClung* Megan Snow Josephine Wells

Bassoon

Crawford Best* Elizabeth VanArsdel

Contrabassoon

Stephanie Przybylska

Horn

Christopher Smith* Julia Erdmann Hyams

Trumpet

Brian Shaw* Joe Vandiver

Trombone

Micah Hood* Christopher Buckholz Henry Mankin Law

Timpani & Percussion

Douglas Cardwell* Jeffrey Cornelius* Angela Gabriel

Keyboards

David Solem*

Harp

Rachel Mazzucco*

*Principal Player **Apprentice Artist Section players in alphabetical order

PRINCIPAL PATRONS

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.

Thomas O’Connor and 40th Anniversary Season Podium Patrons

Honey and Peter Chapin

Concertmaster, Stephen Redfield

Jean and Gene Stark

Violin, David Felberg

Marilyn Macbeth and Forrest Carlton

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 Viola, Kim Fredenburgh

Christine and Frank Fredenburgh

Principal Horn, Christopher Smith

Judith Rowan and Richard Schacht

Principal Cello James Holland

Mary and David Cost

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.

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. 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. 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. 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.

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.

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.

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.

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.

APPRENTICE ARTISTS

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

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.

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.

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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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.

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.

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!

Nadia Boulanger

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.

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. 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!

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

to those who support our Community Engagement Programs! Harriett and Harris Barber | Joanie Puma Bennet | Kay Dunkley | Judith and Robert Eagan | The Fasken Foundation | Maria Soledad 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 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 40th 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)

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.

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.

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.

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

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 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

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

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

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+) 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

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 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 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

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 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.

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.

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

VaugHan WilliamS

ten Blake SongS

santa FE pro musiCa orChEstra thomas o’Connor, ConduCtor and oboE

Recordings

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

Mahler

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

Mahler

Symphony No. 4

Mozar t Piano Concer tos

N o.17 K4 5 3 & N o. 2 5 K 5 0 3 Conrad Tao, piano

S anta Fe Pro Musica O rc hestra Thomas O ’Connor, conduc tor

Recordings SANTA FE SOPHISTICATION

Piano Concertos

A Baroque Christmas Mozart & Haydn Festival

Santacafe.com 231 Washington Avenue 505.984.1788

Cover Art

Peter Chapin Fun House Two Drypoint, oil pastel, and gouache 18 x 16 inches peterchapinpaintings.com 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 Dawn and Peter Glankoff William Kilgarlin Andrew Nowak Thomas O’Connor and Carol Redman Lorraine Schechter

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 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

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