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40TH

ORCHESTRA | BAROQUE ENSEMBLE | STRING QUARTETS

ANNIVERSARY

2023–2024 SEASON

Congratulations on Celebrating another Season of Musical Excellence! Proud Supporter of Santa Fe Pro Musica

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TABLE OF CONTENTS

Highlights from the Lensic Presents 2023-24 Season

Jacob Jonas The Company | Nov 10

Peking Acrobats | Feb 1

Taj Mahal Quartet & Sona Jobarteh | Mar 1

Kings Return Christmas | Dec 7

Terence Blanchard, E-Collective, & Turtle Island String Quartet | Feb 22

American Ballet Theatre Studio Company | Mar 28

Welcome Letters

Schedule of Events

About Us

Concert Programs & Notes

Orchestra Roster & Principal Patrons

Artist Biographies

Apprentice Artists

String Quartets

Baroque Ensemble

Women of Distinction Initiative

Youth and Education

The Discovery Series

Our Supporters

Volunteer Thank You

Santa Fe Pro Musica Recordings

Colin Jacobsen Recordings

Legacy Giving

Advertiser Index

F U L L C A L E N D A R AT L E N S I C .O R G

SE A SON SP ONSOR

SEASON SUPPORT

SE A SON MEDIA SP ONSOR

WELCOME TO SANTA FE PRO MUSICA’S 42 ND SEASON! Musicians are always looking to find the “source code” for each piece we play—the key that can unlock music’s full expressive potential. In my first full season as Artistic Director of Santa Fe Pro Musica, we invite you to join us on our journey to seek out music’s source, that life force that makes live music the magical and irreplaceable thing that it is. The music we bring you speaks to the full spectrum of human emotion and experience, encompassing music past and present, with roots in a wide range of musical epochs and cultures. From the tragic grandeur of Mozart’s Requiem to the intimate communication of some of the world’s finest string quartets; from the epic traversal of Bach’s complete cello suites to rare gems by female composers of the Baroque era, we bring you music that helps us make sense of a strange and fragmented world, excites us, and brings us a sense of peace. I’m so grateful to be a part of this Pro Musica family, built by co-founders Thomas O’Connor and Carol Redman over decades, and comprised of the Pro Musica musicians, who pursue that “source code” with a generosity of spirit, supported by our dedicated Board and accomplished Staff. But none of this work would be worth it without you, the listener, so our deep gratitude goes to you for being here with us throughout the season. Thank you for your support as all of us together keep the torch burning bright for great music in Santa Fe!

COLIN JACOBSEN | ARTISTIC DIRECTOR

COVER | Sachi Oba, artist. Made of Stars, 2021. Acrylic on gallery-stretched canvas, 40 x 40 x 1.75 inches. Sachiobaart.com 2

LEGACY AND COMMUNITY NTA FE PRO MUSICA BOARD F TRUSTEE Dear Friends of Santa Fe Pro Musica, We gather in the concert halls of Santa Fe to share the rich legacy that is the classical music tradition. The legacy of Pro Musica is the result of our collective devotion to this music—music that enriches and deepens our emotional and intellectual lives. For over four decades, in fellowship with each other, we have grown and sustained Pro Musica’s unique offerings in orchestral and baroque music, string quartets, commissions, and outreach programs. There is a role for each of us who cares about the experiences of performing, listening, and sharing our love for music that moves us like no other art form. And, it is up to us, together, to sustain Pro Musica for the benefit of the Santa Fe community, now and for the future. The support you offer through your audience participation, ticket purchases, and donations is the fuel that keeps Pro Musica humming. Together we can make great music. Thank you for your generous support! Sincerely,

THOMAS O’CONNOR | INTERIM EXECUTIVE DIRECTOR & CONDUCTOR LAUREATE

Welcome to Pro Musica’s 2023–2024 season of superb music. We are excited to share the passion we have about Pro Musica with you. On behalf of Pro Musica’s Board of Trustees, we are proud to present a season of musical excellence and inspiring concerts by Pro Musica’s esteemed musicians and guest artists. This season’s innovative selection of concerts is programmed by Artistic Director Colin Jacobsen in collaboration with Pro Musica’s Senior Advisor and Co-Founder Carol Redman. This season includes three epic Orchestra concerts at the Lensic Performing Arts Center (Source Code, Celebrate Mozart, and The Mozart Requiem), five masterful String Quartets at St. Francis Auditorium at the New Mexico Museum of Art (Brooklyn Rider, Diderot, Brentano, Elias, Quatuor Ébène), our Holiday Bach Festival at St. Francis Auditorium, and our ever-popular Baroque Holy Week celebration at First Presbyterian Church. Quite an outstanding selection, isn’t it? We invite you to participate in our premiere Discovery Series, an array of intimate performances, dinners, demonstrations, and conversations where you can enhance your appreciation and understanding of the season’s concerts. This is a time of rebirth, renewal, and looking forward toward Pro Musica’s future. Your invaluable support, for which we are ever-so-grateful, is the reason we are able to keep going. Thanks for always being there for us! Enjoy!

SCOTT BAKER | PRESIDENT, PRO MUSICA BOARD OF TRUSTEES

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2023–24 SCHEDULE OF EVENTS Events by Date Nov 1 | Discovery Series Nov 3 | Youth Concert Nov 4 | The DNA of Music Nov 5 | Orchestra—Source Code

Events by Series ORCHESTRA SERIES LENSIC PERFORMING ARTS CENTER Nov 5 | Source Code Jan 28 | Celebrate Mozart Apr 27 & 28 | The Mozart Requiem

BAROQUE SERIES NM MUSEUM OF ART | ST. FRANCIS AUDITORIUM Dec 20–23 & 28–29 | Holiday Bach Festival FIRST PRESBYTERIAN CHURCH Mar 23 & 24 | Baroque Holy Week | Joys and Sorrows DISCOVERY SERIES (see page 56–57 for details) Nov 1 | Tracing the Roots with Colin Jacobsen Nov 4 | The DNA of Music Nov 19 | Iconic Themes with Brooklyn Rider Dec 27 | Bach and Beyond for Families Jan 14 | Why Historical Instruments? with the Diderot Quartet Jan 25 | Mozart’s Birthday Party Feb 11 | Light and Shadow with the Brentano Quartet Feb 25 | The Mechanisms of Music-Making with the Elias Quartet Mar 24 | The Exotic Lives of French Baroque Women Composers Apr 18 | Mozart’s Requiem with Thomas O’Connor (Hosted by RENESAN Institute for Lifelong Learning)

Apr 18 | Discovery Series Apr 26 | Youth Concert Apr 27 & 28 | Orchestra— The Mozart Requiem

YOUTH CONCERT SERIES LENSIC PERFORMING ARTS CENTER Nov 3 | Source Code Apr 26 | The Mozart Requiem

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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, Interim Executive Director and Conductor Laureate, and Carol Redman, Senior Advisor, Pro Musica offers a variety of classical music programs in historic Santa Fe venues, including an Orchestra Series (Lensic Performing Arts Center), a String Quartet Series, presenting world-renowned quartets (St. Francis Auditorium in the New Mexico Museum of Art), the annual Holiday Bach Festival (St. Francis Auditorium in the New Mexico Museum of Art), and Baroque Holy Week concerts featuring chamber music on historical instruments (First Presbyterian Church). 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, multifaceted youth and education program that encourages people of all ages to develop a life-long relationship with the power of music.

Santa Fe Pro Musica 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

Board of Trustees

Administrative Staff

Scott Baker | President C. Fish Greenfield | Vice President Eddie M. Lesok | Treasurer Jean McIntosh | Secretary Ann Caldwell Adam Cohen Frank Farrow Martin Hauer-Jensen Thomas O’Connor Alexander W. Purdue Katherine A. Reed Kay Swindell

Colin Jacobsen Artistic Director Thomas O’Connor Interim Executive Director Conductor Laureate & Co-Founder Kristine Banh Artistic Operations & Community Outreach Manager Nick Barral Box Office Manager & Marketing Assistant Lisa J. Dreger Development Manager Gregg Koyle Orchestra Manager Sam McClung Marketing Manager & Music Librarian Nancy Ondov Business Manager Carol Redman Senior Advisor & Co-Founder

Santa Fe Pro Musica Endowment Foundations Alexander W. Purdue | President Bernard van der Hoeven | Treasurer M. Carlota Baca | Secretary J. Revell Carr | Board Member Darryl Lindberg | Board Member Additional endowment funds at the Santa Fe Community Foundation— The Santa Fe Pro Musica Fund

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2023–24 SEASON ORCHESTRA | BAROQUE ENSEMBLE | STRING QUARTETS

Concert Programs & Notes

With deep gratitude Santa Fe Pro Musica dedicates the 2023–24 Season in honor of David W. Cost

SOURCE CODE— The Roots of Classical Music LENSIC PERFORMING ARTS CENTER SUNDAY, NOVEMBER 5 | 3 pm Santa Fe Pro Musica Orchestra Colin Jacobsen, leader and violin HEINRICH IGNAZ FRANZ BIBER Battalia (Battle Music) Presto I—Gathering of the Troops Allegro—Rowdy Troops Presto II—As the Troops Wait Mars, the God of War Presto III—Excitement Before Battle Aria—Prayer The Battle Adagio—Lament for the Wounded

BÉLA BARTÓK Romanian Folk Dances (arr. Alex Fortes) JESSIE MONTGOMERY Source Code COLIN JACOBSEN A Shadow Under Every Light Intermission TWO NORDIC FOLK SONGS (arr. Colin Jacobsen) Haimlaus (Homeless)—Rekveen (Fiddler) EDVARD GRIEG Holberg Suite Praeludium—Sarabande—Gavotte—Air—Rigaudon

TRADITIONAL MUSIC—FLIGHT (arr. Colin Jacobsen) The Butterfly (Tommy Potts—Irish) Undiu (João Gilberto—Brazilian) Little Birdie (American)

Orchestra Series

Concert Sponsor | Katherine A. Reed Artist Sponsor of Colin Jacobsen | Kay Swindell Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s Orchestra Series and Youth Concert Series.

BIBER, BARTÓK, MONTGOMERY, GRIEG & JACOBSEN Colin Jacobsen programmed this concert to explore the deep and life-giving well of folk music and how it has informed and colored classical music.

Heinrich Ignaz Franz Biber (1644–1704) Battalia (Battle Music) was written in 1673 and is scored for strings (10 minutes).

Battle music was a popular genre from the 16th to 19th centuries, not just for specific battles (Beethoven’s Wellington’s Victory, Tchaikovsky’s 1812 Overture), but also for dramatic and allegorical purposes. The 17th century German composer Heinrich Biber dedicated his Battle Music to Bacchus, god of wine and festivity, implying that this will not be a grim exposé of war. He utilizes unusual string techniques to create a multitude of military soundscapes, including depictions of carousing soldiers, fife and drums, and gunfire.

Béla Bartók (1881–1945)

Romanian Folk Dances (6 minutes) was composed in 1915 for solo piano, and arranged in 2023 by Alex Fortes for Santa Fe Pro Musica. It comprises a set of six very short pieces based on folk tunes that Bartók uncovered during his ethno-musicological work, and a source of inspiration for Colin Jacobsen’s work A Shadow Under Every Light (also on today’s program).

program). After an improvisatory violin solo, you’ll hear a voice coming out of the mists of time from a small Slovakian village, which starts us off on our journey through six Slovak and Moravian folk songs.”

Two Nordic Folk Songs

Arranged by Colin Jacobsen for solo violin and strings (6 minutes). Colin Jacobsen—”With a bit of Norwegian and Swedish heritage, I became enamored with Nordic fiddling traditions, in particular the hardanger fiddle, with its many sympathetic strings (strings that are not played, but vibrate “sympathetically” with other strings). In these arrangements of two fiddle tunes, I wanted to treat the orchestral strings as one giant hardanger fiddle. Heimlaus (Homeless) has some free, improvisatory music offset by the odd rhythms characteristic of hardanger fiddle playing. And Rekveen is the name of a well-regarded fiddler back in the day. I also love the image of the hardanger fiddle player acting as a one-person band, egging on a whole dance party—which to this day is the way much traditional Norwegian dance occurs.”

Edvard Grieg (1843–1907)

The Holberg Suite is written for string orchestra (20 minutes).

In 1884, the Norwegian composer Edvard Grieg wrote a commemorative piece to celebrate the 200th birthday of Jessie Montgomery (b. 1981) the Danish playwright Ludvig Baron Holberg (1684–1754). Source Code was originally written in 2013 for string Grieg cast the movements in 18th century musical forms quartet and then transcribed by the composer for string in tribute to Holberg’s contemporaries Bach and Handel, orchestra (8 minutes). but filled them with the spirit of Scandinavian folk music including hardanger fiddle tunes. A vivacious Praeludium Jessie Montgomery—“The first sketches of Source Code began as transcriptions from African American artists and (Prelude) opens the suite and is followed by a series of writers prominent during the Civil Rights era in the United dances—a touching Sarabande, a perky Gavotte built upon a mock-bagpipe drone, a solemn Air modeled on States. I reinterpreted gestures, sentences, and musical Bach’s Air on the G String, and a lively closing Rigaudon syntax (the bare bones of rhythm and inflection) by or sailor’s dance. choreographer Alvin Ailey, poets Langston Hughes and Rita Dove, and the great jazz songstress Ella Fitzgerald, into musical sentences and tone paintings. This listening Traditional Music—Flight (10 minutes) led me back to the Black spiritual, a significant part Colin Jacobsen—”In this suite of tunes from Ireland, of the DNA of Black folk music (the source code), and America, and Brazil, I’ve chosen to arrange songs that subsequently most American pop music forms that have literally and metaphorically take flight.” developed to the present day.” “Tommy Potts was a great 20th century Irish fiddler known for pushing the boundaries of improvisation within Colin Jacobsen (b. 1978) traditional tunes. I decided to take his tune Butterfly on A Shadow Under Every Light is written for solo violin, a new flight, while still honoring its roots.” with flute, clarinet, strings, and percussion (10 minutes). “Undiu is credited to João Gilberto (1931–2019), the Colin Jacobsen—“I’ve always loved the music of the great bossa nova singer from Brazil. The word undiu is Czech composer and folklorist Leoš Janáček (1854–1928). the onomatopoeic sound that a bird makes. It is the I knew that Eastern European folk music infused his only word used in this song, which gave me the feeling work, that he made field recordings capturing this music, that an instrumental version would translate well.” and that he even notated people’s speech patterns for musical motifs. I was able to locate an out-of-print album “Little Birdie is a traditional American song that I of some of these field recordings and have made a suite arranged as a tribute to the late great Pete Seeger— of these songs for solo violin and chamber orchestra, Little Birdie, what makes you fly so high? It’s because tipping my hat both to Janáček as well as the spirit I’m a true little bird and I do not fear to die … I’ve a behind Bartók’s Romanian Folk Dances (also on today’s short while to be here, and a long time to be gone.”

BROOKLYN RIDER— Songs of Love and Death ST. FRANCIS AUDITORIUM NEW MEXICO MUSEUM OF ART SUNDAY, NOVEMBER 19 | 3 pm Johnny Gandelsman, violin Colin Jacobsen, violin Nicholas Cords, viola Michael Nicolas, cello with Anne Sofie von Otter, mezzo-soprano RUFUS WAINWRIGHT Trois Valses Anglaises (arr. Colin Jacobsen) Watching the monarchs come in We have a friend in common Listen to the queen

FRANZ SCHUBERT String Quartet No. 14, “Death and the Maiden” with selections from Winterreise (arr. Osvaldo Golijov) Der Tod und das Mädchen (original song, arr. Osvaldo Golijov) Movement I. Allegro from String Quartet No. 14 Der Wegweiser (The Signpost) from Winterreise Movement II. Andante con moto from String Quartet No. 14 Die nebensonne (The Sun Dogs) from Winterreise Movement III. Scherzo from String Quartet No. 14, Einsamkeit (Loneliness) from Winterreise Movement IV. Presto from String Quartet No. 14

RUFUS WAINWRIGHT Songs for Lulu (arr. Colin Jacobsen) Who are you New York? Sad with what I have Give me what I want

80-minute concert performed without intermission

Concert Underwriter | M. Carlota Baca, PhD Artist Sponsor of Anne Sofie von Otter Frank Farrow & Edward Jiran

String Quartet Series

Booking direction by David Lieberman Artists Representatives www.dlartists.com | info@dlartists.com Thank you to the New Mexico Museum of Art for their support of Pro Musica’s String Quartet Series.

SCHUBERT, WAINWRIGHT, GOLIJOV & JACOBSEN The Setting

This concert features Schubert’s dark and dramatic String Quartet No. 14, “Death and the Maiden,” and draws on themes of love and death from the pens of the 19th century songwriter Franz Schubert and the 21st century singer-songwriter Rufus Wainwright.

The Composers

Osvaldo Golijov (b. 1960)—Born in Argentina to Eastern European Jewish immigrants, Golijov is a musical omnivore, trained in classical music, but whose music is influenced by tango, klezmer, gypsy, Jewish liturgical, and Middle Eastern musical traditions. Colin Jacobsen (b. 1978)—As a composer and arranger, Jacobsen is influenced by classical and world music traditions, and crafts music for his string quartet Brooklyn Rider, his orchestra The Knights, and for the Silkroad Ensemble. He is now bringing his multiple talents to Santa Fe as Pro Musica’s artistic director. Franz Schubert (1797–1828)—Song writing was one of Schubert’s greatest gifts and his 600 songs are considered one of the pinnacles of the genre. Within the crystalline framework of 18th century classicism, his music captures the emotional ideals of 19th century romanticism. Rufus Wainwright (b. 1973)—Described as “the best songwriter on the planet” (Elton John), Wainwright has created ten albums and is featured in numerous film soundtracks, including Brokeback Mountain, Shrek, Moulin Rouge, and others. Wainwright remarked that he is influenced by the music of Édith Piaf, Al Jolson, Judy Garland, Schubert lieder, and opera.

The Music

Trois Valses Anglaises—Rufus Wainwright’s Trois Valses Anglaises (Three English Waltzes) were written in 2021 and dedicated to the mezzo-soprano Anne Sofie von Otter. The three movements are generally bittersweet in character, and as the title suggests, all dances to some degree. Originally for voice and piano, they were arranged for string quartet and voice by Colin Jacobsen. Watching the monarchs come in depicts enduring a year as consequential as the monarch butterfly’s monumental 2,000 mile migration on wings as fragile as paper. We have a friend in common ruminates on the definition of a shared friend. Are they a known person or just another human, a gaze of fleeting recognition or a tiny escaped molecule? Listen to the queen is set in a dreamscape where one is adrift upon a lake with a world so cold it is steaming. Listen to the queen—she is one’s loyal and confident companion. Der Tod und das Mädchen—Death and the Maiden (original song)

The text by Matthias Claudius (1740–1815) recounts an old European myth where Death demands a pre-nuptial night with a bride-to-be. If she declines, Death will take her betrothed on their wedding day. A fearful maiden begs Death to pass her by, but Death consoles her—”you shall sleep gently in my arms.” In 1817, Schubert arranged this text for voice and piano, and it was recently arranged for voice and string quartet by Osvaldo Golijov. Death and the Maiden—String Quartet No. 14 in D Minor Franz Schubert composed this quartet in 1824 after he suffered through a serious illness and feared death was imminent. It is an intense work based upon his song of the same name. Throughout the quartet, Schubert evokes death in all its guises, from gentle and comforting, to harsh and terrifying. Winterreise—Winter Journey In 1827, Franz Schubert selected 24 verses from Wilhelm Müller’s (1794–1827) Winterreisse and set them for voice and piano. Composed near the end of his life when Schubert was suffering from syphilis, this work is now considered one of the greatest of all song cycles. Selections were arranged for voice and string quartet by Osvaldo Golijov. This story is an ages-old tale—a man is rejected by the woman he loves. In despair, he sets out on a winter’s journey and encounters memories, mirages, and mileposts —metaphors for the soul’s journey and the body’s ultimate destination, death. Der Wegweiser (The Signpost)—The traveler had journeyed endlessly when a signpost pointed the way to a cemetery. “I must travel a road where no one has ever returned.” Die nebensonne (“The Sun Dogs’’)—The traveler sees three suns in the sky. “You are not my suns … I will be happier in the darkness.” Einsamkeit (Loneliness)—He wanders sad and lonely through bright and happy lives around him. “Even when the storms were raging, I was not as miserable.” Songs for Lulu These songs are from Rufus Wainwright’s album All Days are Nights (2010) and were inspired by the impending death of his mother. The title Songs for Lulu refers to the character played by Louise Brooks in the silent movie classic Pandora’s Box (1929) about a young woman whose uninhibited nature brings ruin to herself and to those who love her. Originally written for voice and piano, they were arranged for voice and string quartet by Colin Jacobsen. Who are you New York? is a tribute to Wainwright’s home city—”There are many answers / There are many points …” Sad with what I have, except for you reflects on family failings and the hope Wainwright finds with his partner. Give me what I want is described as a two-minute blast of ragtime and is directed at those who don’t “get” what he (Wainwright) creates.

BACH’S SOLO CELLO SUITES NEW MEXICO MUSEUM OF ART ST. FRANCIS AUDITORIUM Tanya Tomkins, cello PART I WEDNESDAY, DECEMBER 20 | 7:30 pm Suite No. 1 in G Major, BWV 1007 Prélude—Allemande—Courante— Sarabande—Menuetto I and II—Gigue

Suite No. 4 in E-Flat Major, BWV 1010 Prélude—Allemande—Courante— Sarabande—Bourrée I and II—Gigue

Suite No. 5 in C Minor, BWV 1011 Prélude—Allemande—Courante— Sarabande—Gavotte I and II—Gigue

One-hour concert performed without intermission

PART II THURSDAY, DECEMBER 21 | 7:30 pm Suite No. 2 in D Minor, BWV 1008 Prélude—Allemande—Courante— Sarabande—Menuetto I and II—Gigue

Suite No. 3 in C Major, BWV 1009 Prélude—Allemande—Courante— Sarabande—Bourrée I and II—Gigue

Suite No. 6 in D Major, BWV 1012 Prélude—Allemande—Courante— Sarabande—Bourrée I and II—Gigue

One-hour concert performed without intermission

Holiday Bach Festival

Thank you to the New Mexico Museum of Art for their support of Pro Musica’s Holiday Bach Festival.

JOHANN SEBASTIAN BACH (1685–1750) From 1717 to 1723 Bach was employed at the royal court at Anhalt-Cöthen, one of many small German principalities. His patron, Prince Leopold (1694–1728), was an enthusiastic connoisseur of music and provided the composer with a rich and inspiring musical environment. Bach directed an elite ensemble of musicians who were not only distinguished virtuosi, but also eager collaborators. Sacred music was of secondary importance at the Anhalt-Cöthen court and, unhindered by church duties, Bach was able to explore the qualities and characteristics of secular instrumental music. Here Bach composed the six Brandenburg Concertos, the five French Suites and The Well-Tempered Clavier for harpsichord, the four Orchestral Suites, the six solo violin Sonatas and Partitas, and the six Suites for Cello.

The Baroque Suite

Suite is the French word for sequence or series. Originally this 16th century musical form comprised a series of paired and contrasting dances. The content of the suite was varied with the inclusion of an introductory prelude or overture and other optional dances. The dance movements usually unfold in a simple binary form (first section played and repeated—second section played and repeated), are typically arranged in alternating tempos (slow–fast), and are generally all in the same key.

Bach’s Solo Cello Suites

The great cellist Yo-Yo Ma remarked that Bach’s Cello Suites “have given me sustenance, comfort, and joy during times of stress, celebration, and loss. What power this music possesses, that even today, after three hundred years, it continues to help us navigate through troubled times!” There is no autograph manuscript for the six suites, but a 1728 copy exists in the hand of Bach’s second wife Anna Magdalena. Since the cello previously had seldom been used as a solo instrument, the idea of composing such a set was decidedly original, if not revolutionary. Bach played the violin, often leading his ensemble from the concertmaster’s position, and had a thorough knowledge of the string instruments, but he did not play the cello. Perhaps the suites were written for the court cellist Carl Bernhard Lienicke, one of the elite professional musicians recruited in 1717 from the Berlin court orchestra of King Friedrich I of Prussia. If so, what an incredible tribute to a player who was clearly respected by Bach. The six Cello Suites follow the established 18th century form of the baroque dance suite—prélude, allemande, courante, sarabande, gigue—but also include several optional dances. The last two cello suites are distinct from the first four suites in their special demands. Suite No. 5 requires violoncello discordato, a retuning

of the cello strings, with the highest string tuned down from A to G. As a result, the string sounds less brilliant and more mellow because it is under less tension, a particularly suitable coloring for the somber character of C minor. Suite No. 6 was written for a five-stringed cello. Contemporary reports link Bach to the design for this higher-range bass instrument, and the Anhalt-Cöthen court orchestra did possess such an instrument. The extra string was tuned a fifth higher than the standard highest string, providing the cello with greater facility and brilliance in its high register.

The Dances

Préludes were originally 16th century improvised solos for lute or keyboard instruments, and are remarkable for their improvisatory-sounding style, providing a contrast to the stylized dances that follow. “The allemande … is a dance and an address. It is the word, it is the gesture, but it is not a song. To play an allemande well, one should first say it, walk it, and gesticulate it—not sing it.” (Anner Bylsma, The Fencing Master, 1998) The courante is originally from Italy (corrente) and appeared in France in 1533 with the arrival of Catherine de’ Medici, queen consort to King Henry II. The courante employs a fast triple meter filled with running notes and literally means “running.” From Persia and the Orient, the sarabande was originally a wild dance “so lascivious in its words, so ugly in its movements, that it is enough to inflame even very honest people” (Treatise against Public Amusements, c. 1600). The French court of Louis XIII (1601–1643) transformed the sarabande into a noble and serious dance. “A sarabande is passionate and serious, as is a tango” (Anner Bylsma). The gigue is a fast athletic dance marked by a galloping rhythm of triplets, and is similar to the jig of Scotland and Ireland. In his comedy Much Ado About Nothing, Shakespeare calls the jig “hot and hasty.” The optional dances include the menuet, bourrée and gavotte. From the Latin word minutus meaning small, the menuet is marked by small graceful steps and formal movements. The liveliest of the 17th century French country dances, the bourrée is a vigorous dance that was popular with the country folk who danced it in their wooden shoes or while crushing grapes with their bare feet. The gavotte is a country dance that comes from the region around the town of Gap in the French Alps. It is an energetic, leaping dance. .

A BAROQUE CHRISTMAS ST. FRANCIS AUDITORIUM NEW MEXICO MUSEUM OF ART FRIDAY, DECEMBER 22 | 7:30 pm SATURDAY, DECEMBER 23 | 4 pm Santa Fe Pro Musica Bach Ensemble Stephen Redfield, violin and leader Clara Rottsolk, soprano David Solem, organ JOHANN SEBASTIAN BACH Toccata and Fugue in D Minor, BWV 565 ARCANGELO CORELLI Christmas Concerto Grave—Allegro—Adagio. Allegro. Adagio— Vivace—Pastorale

GEORGE FRIDERIC HANDEL Gloria in excelsis Deo Gloria—Et in terra pax—Laudamus te— Domine Deus—Qui tollis—Quoniam

FRANCESCO GEMINIANI La Folia TRADITIONAL CHRISTMAS CAROLS Tomorrow shall be my dancing day Veni veni Emmanuel Patapan Wexford Jesu joy of man’s desiring 75-minute concert performed without intermission

Holiday Bach Festival Artist Sponsor of David Solem | J. Revell Carr Thank you to the New Mexico Museum of Art for their support of Pro Musica’s Holiday Bach Festival.

BACH, CORELLI, HANDEL, GEMINIANI & TRADITIONAL CHRISTMAS CAROLS This concert was programmed by Carol Redman to recreate Santa Fe Pro Musica’s Baroque Christmas concerts that were a popular and beloved tradition in Loretto Chapel.

Johann Sebastian Bach (1685–1750)

Toccata and Fugue in D Minor, BWV 565 is written for solo organ (12 minutes). The Toccata and Fugue in D Minor is one of Bach’s most recognizable works. Written circa 1708, it has subsequently been arranged and adapted for virtually every type of musical performance medium from symphony orchestras to jazz bands, and from film scores to ringtones. The Toccata and Fugue is in two parts. The first part, the brilliant toccata—from the Italian toccare, meaning “to touch,” in reference to a keyboard— sounds improvisatory, though it is meticulously written out. This contrasts with the second section, a fugue involving a purposeful overlapping of themes. The work is rounded off with a short improvisatory section like the opening.

Arcangelo Corelli (1653–1717)

Christmas Concerto is written for strings and keyboard (15 minutes). Corelli, a renowned violinist, composer, and teacher (Vivaldi and Geminiani were his students), wrote a set of twelve concertos for string ensemble, and of this set No. 8, the Christmas Concerto, is the most widely known. The title stems from Corelli’s own inscription on the title page—Fatto per la notte di natale (Written for Christmas Eve). The last movement, Pastorale, was particularly associated with Christmas and represents the shepherds who played rustic music on their journey to visit the Christ child. Though Corelli’s Christmas Concerto is in the quietly apprehensive key of G minor (representative of the journey), he presents the Pastorale in the gently happy key of G major (the adoration of the child).

George Frideric Handel (1685–1759)

Gloria in excelsis Deo is scored for soprano, two violins, cello, string bass, and keyboard (15 minutes). Handel’s splendid small ensemble setting of the mass, Gloria in excelsis Deo, was just rediscovered in 2001 in the library archives of London’s Royal Academy of Music, hidden within a folio of Handel arias. Scholars believe the work comes from the time Handel spent in Rome in the early 18th century when he was commissioned by numerous Roman Catholic cardinals to write sacred music. The fact that Handel, a German Lutheran, found himself writing Catholic music underscores the composer’s stellar reputation and his own artistic flexibility. The text is taken from the Catholic mass and is divided into movements that range musically from virtuoso coloratura arias to quiet longings of supplication. The

opening aria Gloria in excelsis Deo (Glory be to God in the highest) is a joyous, sparkling coloratura aria. The emotion becomes distraught and pleading in Et in terra pax (Peace on Earth). Lighthearted acclamations ring forth in Laudamus te (We praise you). The prayerful Domine Deus (Lord God) is full of supplication and the weight of heavy burdens. Qui tollis peccata mundi (Who takes away the sins of the world) is a foreboding, heartrending declaration about accepting the inevitable. The work ends with a joyful Quoniam tu solus sanctus (For you alone are holy). This is sheer happiness expressed through brilliant coloratura writing.

Francesco Geminiani (1687–1762)

La Folia is written for strings and keyboard (12 minutes). Geminiani was one of the finest violinists and composers of his generation. Born and trained in Italy (Corelli was his teacher), Geminiani moved to London in 1714 and spent most of his career shuttling between London and Dublin. The term folia is derived from the Latin root for “fool” and refers to a 15th century Portuguese dance that was originally a “fool’s dance.” La Folia diverged into two forms—a wild dance and a simple but elegant melody, both imposed upon a standardized chord sequence or repeating bass line (the ground bass). Over the course of three centuries, more than 150 composers have incorporated La Folia into their works, including Bach, Handel, Liszt, and Beethoven. This ground bass creates a platform upon which variations can be played, similar in form to Pachelbel’s famous Canon. Geminiani’s version from 1726, provides us with a dazzling array of 24 variations, including musical conversations and arguments, reversed melodies and accompaniments, and renditions that are slow and others that are brisk and busy—a tour de force to play and to listen to.

Traditional Christmas Carols—unique

arrangements for soprano and instruments crafted by the Pro Musica Bach Ensemble (15 minutes) Tomorrow shall be my dancing day is a 19th century English carol that recounts the life of Christ who invites the sinful to come dancing with him. Veni, Veni Emmanuel (O come, O come Emmanuel) is originally a 12th century Latin chant. A medieval abbot begins with the first stanza of Isaiah 7:14 and continues to intone one stanza on each of seven successive nights. Patapan was written by the Frenchman Bernard de la Monnoye (1641-1728) and tells the story of the nativity against a backdrop of shepherds playing flutes and drums. The Wexford Carol first appears in 12th century Ireland. It is a simple retelling of the nativity story. Jesu, joy of man’s desiring is based upon an uplifting 17th century chorale tune. It has been used by many composers, however, the most famous version is the one by J.S. Bach that you will hear at today’s concert.

BACH AND BEYOND ST. FRANCIS AUDITORIUM NEW MEXICO MUSEUM OF ART THURSDAY, DECEMBER 28 | 7:30 pm FRIDAY, DECEMBER 29 | 7:30 pm Santa Fe Pro Musica Bach Ensemble Colin Jacobsen, violin and leader PHILIP GLASS Company JOHANN SEBASTIAN BACH Violin Concerto in A Minor, BWV 1041 [Allegro moderato] Andante Allegro assai

FELIX MENDELSSOHN String Symphony No. 10 in B Minor Adagio. Allegro. Più presto

Intermission ARVO PÄRT Fratres JOHANN SEBASTIAN BACH Orchestral Suite No. 3 in D Major, BWV 1068 Ouverture Air Gavotte I and II Bourrée Gigue

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BACH, GLASS, PÄRT & MENDELSSOHN Colin Jacobsen programmed this concert to explore Bach’s influences upon later generations. It is anchored by two works of Bach—the warmly tender Violin Concerto in A Minor and the festive Orchestral Suite No. 3. Philip Glass’s Company shares key and architecture with Bach’s violin concerto. Arvo Pärt and Bach share liturgical and theological considerations in their music. Mendelssohn almost single handedly pulled Bach out of the dusty archives and brought him back into the world. So, at the end of 2023, this concert revisits the old, rings in the new, and celebrates the threads that connect them!

Philip Glass (b. 1937)

In 1983, Philip Glass wrote Company as a string quartet, and subsequently arranged it for a string orchestra (10 minutes). Glass has become famous for his distinctive style now known as “minimalism” —a concept that exploits incrementally shifting harmonies and rhythms, like a slowly moving kaleidoscope. The impetus for the piece Company was the novella (1979) of the same name by Samuel Beckett (1906– 1989), the great Irish novelist and playwright. In 1980, Beckett adapted the novella for the stage and reached out to Philip Glass to write some music at the “interstices” (small but important gaps) between the four sections of the play. The music reflects the text that depicts an old man alone in the dark, hearing voices that describe scenes from his boyhood and the torment of his current confinement.

Johann Sebastian Bach (1685–1750)

Violin Concerto in A Minor, BWV 1041 is scored for solo violin, strings, and keyboard (16 minutes). The earliest surviving manuscript of Bach’s Violin Concerto in A Minor dates from 1730, and is one of only two violin concertos from Bach’s pen that have come down to us—the other is the E Major Concerto, BWV 1042. Often included in this list is his beloved Concerto in D Minor, BWV 1043 for two solo violins. The A Minor Concerto has become one of the cornerstones of the violin repertoire. It combines the virtuoso flair and logical form of Vivaldi’s concertos with Bach’s contrapuntal language in which multiple melodies simultaneously weave throughout each other. Each movement follows a similar structure based on a main theme (ritornello, Italian for refrain or return) that is tossed about among the orchestra and soloist. The ritornelli often do not appear in their complete form, but as fragments, commenting on or variously supporting the musical proceedings. Also following the Italian form, the fast, fiery outer movements surround a slower, more meditative inner movement.

Felix Mendelssohn (1809–1847)

String Symphony No. 10 in B Minor (10 minutes) By the age of 14, Mendelssohn had composed a set of twelve symphonies for string instruments. All these symphonies were in the standard three or four movement form with the exception of No. 10, which exists as only a single movement. It is assumed that the other movements are lost. But what an extraordinary movement this is! It opens with a brooding introduction (Adagio, slowly) in the dark key of B minor, a key that characterizes submission but also anxious expectation. Then the movement shifts to an energetic section (Allegro, fast) in the triumphant key of D major. The youthful Mendelssohn expertly crafts and explores these two conflicting qualities.

Arvo Pärt (b. 1935)

Fratres is scored for solo violin, strings, and percussion (10 minutes). The Estonian composer Arvo Pärt created an otherworldly musical style of mystical introspection guided by the spirit of Medieval music, Gregorian chant, and Renaissance polyphony. His piece Fratres (Brothers) was written in 1977 and is based on repetitions of an austere hymn-like theme that are separated by the sound of a drum. The work was conceptualized without fixed instrumentation and for which Pärt has created 17 different versions, attesting to its popularity. Fratres has been described as a mesmerizing set of variations that combine frantic activity with sublime stillness, encapsulating Pärt’s observation that “the instant and eternity are struggling within us.”

Johann Sebastian Bach (1685–1750)

Orchestral Suite No. 3 in D Major is scored for strings and keyboard (20 minutes). Bach’s Suite No. 3 opens with a stately overture as if announcing the arrival of the king. This is followed by a quick contrapuntal section suggesting the intellectual prowess of the king, and then concluding again with the stately style of the opening as the king takes his seat. Then a suite of dances follows. The Air (song) is one of the most recognizable and beloved melodies ever written. Two contrasting Gavottes follow. This peasant dance is originally from the region around the town of Gap (the people are called gavots) in the French Alps. The Bourrée is the most vigorous of the country dances, and was popular with the peasants who danced it in their wooden shoes or while crushing grapes with their bare feet. The suite concludes with the Gigue, a jaunty dance marked by a galloping rhythm of triplets, and similar to the jig from the British Isles. In his comedy Much Ado About Nothing, Shakespeare calls the jig “hot and hasty.” 31

DIDEROT QUARTET— J.S. Bach’s Legacy ST. FRANCIS AUDITORIUM NEW MEXICO MUSEUM OF ART SUNDAY, JANUARY 14 | 3 pm Adriane Post, violin Joanna Novom, violin Kyle Miller, viola Paul Dwyer, cello CAROLINE SHAW Punctum JOHANN SEBASTIAN BACH Selections from The Art of the Fugue Intermission FELIX MENDELSSOHN Quartet No. 2 in A Minor, Op. 13 Adagio. Allegro vivace Adagio non lento Intermezzo Prest. Adagio non lento

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SHAW, BACH & MENDELSSOHN J. S. Bach’s legacy permeates this concert, both subtly and overtly, across continents and centuries. In Punctum, Caroline Shaw quotes from Bach’s St. Matthew Passion and drops in a Lutheran hymn (Bach was Lutheran). Bach’s Art of the Fugue is Bach straight out of the can. And, more obliquely, in 1824 when Mendelssohn was 15, his grandmother gave him a score of the St. Matthew Passion by Bach, then an obscure, old-fashioned composer. Mendelssohn was so fascinated by this extraordinary work that he produced performances of it as often as possible to an enthralled public. Through Mendelssohn’s passion, Bach was reintroduced to the world.

Caroline Shaw (b. 1982) is a New York-based

singer, violinist, and composer with several GRAMMY awards (2019, 2022) and a Pulitzer Prize (2013). She has written over 100 works for arts organizations and celebrities, including the Guggenheim Museum, the philharmonics of Los Angeles and New York, the American string quartet Brooklyn Rider, Yo-Yo Ma, Renée Fleming, and films and TV series including Tár, Dolly Parton’s America, Beyonce’s Homecoming, and others.

specific instrumentation, though arguably it is for keyboard as that was Bach’s instrument, whether harpsichord or organ. Because of this ambiguity, it has since been arranged for many different instrumental ensembles. These arrangements can enhance the clarity of the lines allowing us to more distinctly follow their complex interweavings, unleashing both its brilliant intelligence and its emotional power.

Felix Mendelssohn (1809–1847)

String Quartet No. 2 in A Minor, Op. 13 (30 minutes) In June, 1827, Mendelssohn wrote a song titled “Frage” (Question) about new love and constancy. Is it true? Is it true that there in the arbor You always wait for me? And that you speak about me With the moonlight and the stars? Is it true? Tell me! What I feel, only she can grasp— She who feels with me and stays faithful to me, Eternally faithful.

The term punctum is originally from the Latin “puncture” and currently refers to “a small distinct point.” Shaw was inspired by the French philosopher Roland Barthes (1915-1980) who used the term to refer to a detail in a photograph that pierces or pricks a viewer in a distinctly personal way.

A few months after writing this song, Mendelssohn composed his second string quartet and utilized the song throughout. Even though he had already written two masterpieces, the Octet and Midsummer’s Night Dream, we find him at the age of 18, writing a quartet about being in love.

Punctum (2009) was Shaw’s first string quartet. In addition to Barthes’ concept of punctum, the work’s musical inspiration comes from a Lutheran hymn Bach used in his St. Matthew Passion (1727). The quartet opens with distinctive points of sound, progressing in fragmentary fashion as if each point was a found object and part of a buried whole that is not yet immediately identifiable. Nothing fully develops or coalesces until the Lutheran hymn is played, bringing about clarity and purpose.

The work opens with an Adagio (slowly) calmly asking the question “Is it really true?” but quickly gives way to a turbulent Allegro vivace (Fast, with life) where the song dominates, a tightly constructed movement about conflict and yearning—“No, it can’t be true! … can it?”

Johann Sebastian Bach’s (1685–1750)

The Art of the Fugue is an extraordinary though incomplete work written during the last decade of Bach’s life. It consists of 14 fugues and 4 canons, arranged in increasing complexity, with each example using some variation of a theme that permeates the set. Bach specialist Christoph Wolff (b. 1940) stated that “the governing idea of the work was an exploration in depth of the contrapuntal possibilities inherent in a single musical subject.” Bach utilizes both canons and fugues in this set. Canons involve staggered entrances and multiple repetitions of a complete melody. Fugues also involve staggered entrances, but the subject matter is short and gestural, and involves complex development. The Art of the Fugue exists in an autograph manuscript from the early 1740s. It gives no

The second movement, Adagio non lento (slowly, but not slow) opens peacefully though gives way to an unsettling fugue built upon a slithery chromatic subject that creates more questions, from queasy uncertainty to fear that it’s too good to be true, to outrage that it’s impossible. The calm Adagio returns at the end, and its strains are softly blended with those of the fugue—a reconciliation. The third movement, Intermezzo (in the middle) begins gracefully but with an undercurrent of unease. It soon runs off to one of those shimmering, darting scherzos that Mendelssohn always had up his sleeve. How exhilarating to be in love at the age of 18! But the trepidation returns, only to be overwhelmed at the last moment by the optimism of youth. The fourth movement, Presto. Adagio non lento (Very fast. Slowly, but not slow), starts with a tempestuous declaration by the violin over agitated tremolos in the three lower parts. The main body of the movement recalls the mood of the first movement and literally restates its main theme. Then themes and moods from all the movements are telescoped together—the complexities of love—and end with a complete quotation of “Frage.”

CELEBRATE MOZART LENSIC PERFORMING ARTS CENTER SUNDAY, JANUARY 28 | 3 pm Santa Fe Pro Musica Orchestra Marcello Cormio, conductor Anthony Trionfo, flute WOLFGANG AMADEUS MOZART Divertimento in D Major, K. 136 Allegro Andante Presto

CARL NIELSEN Concerto for Flute and Orchestra Allegro moderato Allegro, un poco

Intermission JESSIE MONTGOMERY Strum WOLFGANG AMADEUS MOZART Symphony No. 41 in C Major, K. 551, “Jupiter” Allegro vivace Andante cantabile Menuetto Molto allegro

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MOZART, NIELSEN & MONTGOMERY This concert was jointly programmed by Marcello Cormio and Carol Redman to celebrate Mozart’s birthday (January 27), and features both an early work (age 16) and a late work (age 32). Also invited to the party are especially colorful works by 20th century Norwegian Carl Nielsen and 21st century American Jessie Montgomery.

Wolfgang Amadeus Mozart (1756–1791) Divertimento in D Major, K. 136 is scored for strings (12 minutes).

Mozart composed the Divertimento, K. 136, one of a set of three, in 1772 in his hometown of Salzburg. Little is known about these pieces but we can surmise that he wrote them for one of his frequent performances at the homes of Salzburg’s leading residents. The opening Allegro (lively) centers around a sunny theme, exuberant in its sheer happiness. Mozart brings in a few clouds but not enough to dampen one’s spirit. Most of the action is in the violins, with the lower strings keeping the beat. The Andante (flowing) is warm and elegant, like taking tea in the parlor, with refined conversation about mostly good news. Here the viola is allowed in the conversation, but the cello still keeps everyone in line. The concluding spirited Presto (as fast as possible) is even more exuberant than the first movement with the violins once again taking charge. An unexpected fugue begins the second half, finally allowing both the viola and the cello to join in the rambunctious play before everyone returns to their proper places.

Carl Nielsen (1865–1931)

The Concerto for Flute and Orchestra (20 minutes) is scored for solo flute with an orchestra that includes pairs of oboes, clarinets, bassoons, horns, and with strings, but features unusually prominent roles for bass trombone and timpani. Carl Nielsen is one of the most important Danish composers. His Concerto for Flute and Orchestra (1926) is extraordinarily colorful with portrayals of the flute as we expect—sunny and pretty, birdlike, the orchestral show-off—but we also hear the flute in anger and disagreement. In the first movement, Allegro moderato (moderately fast), after a dramatic, almost scolding orchestral opening, the flute responds firmly but lyrically, hoping to diffuse the anger. These two points of view permeate the movement. The volatile and mercurial second movement, Allegro, un poco (a little fast) begins with angry orchestral exclamations. As they fade away, the flute enters with a theme that is innocently childlike, as if oblivious to the preceding outburst. The movement continues with a fascinating variety of conversation and argument between the flute and orchestra. The movement ends with a march fading away into the distance, only to leave the flute triumphantly front and center.

Jessie Montgomery (b. 1981)

Strum is scored for string orchestra (8 minutes). It was first written as a string quintet in 2006, then arranged for string quartet in 2008, and then in 2018 for a string orchestra, a testament to its popularity. The work’s title, Strum, refers to the guitar-like strumming of the strings, an element that plays many roles in this piece and serves as a textural motive and the rhythmic foundation. In addition Montgomery writes that this piece “salutes American folk idioms and the spirit of dance.”

Wolfgang Amadeus Mozart (1756–1791)

Symphony No. 41 in C Major, K. 551, “Jupiter” is scored for one flute, pairs of oboes, bassoons, horns, trumpets, with timpani and strings (40 minutes). Mozart wrote his last three great symphonies during the summer of 1788. About Mozart’s Jupiter Symphony there are no references in his letters, nor do we know for what occasion he wrote it or who commissioned it. It is not clear who gave this symphony the name “Jupiter.” This name first appeared on a concert program on October 20, 1819 in Edinburgh, Scotland. Thereafter the nickname “Jupiter” was commonly sighted throughout England and Scotland. By the standards of the time, Mozart’s Jupiter Symphony was a huge work, imposing in its dimensions and pushing against traditional boundaries. The first movement, Allegro vivace (fast and lively), fits the conventional scheme with musical ideas that are stated, developed, and restated. But the development is complex and seems to take pleasure in puncturing comfortable musical truths with sudden outbursts, shocking modulations, and heroic wind bands. The second movement, Andante cantabile (flowing and singing) moves us emotionally as expected, but it also disturbs us with its agitated chromaticism and instability. The Menuetto offers a host of complexities foreign to this usually simple dance. And now for the finale, Molto allegro (very fast), the most revolutionary movement Mozart wrote. Shortly after moving to Vienna (1781), Mozart was introduced to the music of Bach that showed him the possibilities of fugues and counterpoint. This knowledge substantially enriched the finale of this symphony in which Mozart combines conventional classical structures with Bach’s fugal procedures. It opens with a famous, but very simple, liturgical quotation (C-D-F-E) derived from Gregorian chant. He uses six themes and combines five of them to create an astonishing five-part fugue. In 1798 Carl Friedrich Zelter wrote: “Haydn, in one of his newest and finest symphonies in C Major [No. 95] had a fugue as a final movement; Mozart did this too in his tremendous Symphony in C Major [K. 551], in which, as we all know, he pushed things too far …” 35

BRENTANO QUARTET— Chiaroscuro ST. FRANCIS AUDITORIUM NEW MEXICO MUSEUM OF ART SUNDAY, FEBRUARY 11 | 3 pm Mark Steinberg, violin Serena Canin, violin Misha Amory, viola Nina Lee, cello WOLFGANG AMADEUS MOZART Quartet in D Major, K. 499 Allegretto Menuetto. Allegretto—Trio Adagio Molto allegro

DMITRI SHOSTAKOVICH Quartet No. 8 in C Minor, Op. 110 Largo—Allegro molto—Allegretto—Largo—Largo

(played without pause)

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

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MOZART, SHOSTAKOVICH & MENDELSSOHN Chiaroscuro—an artistic technique that uses

contrasting light and shadow to create volume and depth, from the Italian word meaning light-dark. In this concert, contrast is an important element. On the large scale, we present the ebullience of Mozart and Mendelssohn contrasted with the darkness (“various shades of black”) of Shostakovich. On a smaller scale, lighthearted humor contrasts with dense entanglements, and transparent openness with suffocating thickness.

Wolfgang Amadeus Mozart (1756–1791) Quartet in D Major, K. 499 (24 minutes)

In 1785 Mozart had just published a monumental set of six string quartets inspired by and dedicated to Haydn. After this outpouring, Mozart put aside the quartet form for a year before making his next attempt, the Quartet in D Major, K. 499. Always the hustler for cash, Mozart dedicated it to his friend and publisher Franz Anton Hoffmeister, thereby ensuring its publication. The first movement Allegretto (a little fast) opens with a gentle fanfare as all four instruments hop through the notes of the D major triad, ending with four repeated notes. These two motives—the arpeggiated triad and the jolly repetitions of a single note—pervade the movement in a series of loose variations. The Menuetto, usually conceived as a place for toe-tapping energy and mental repose, is more intellectual than expected, with creeping chromatic lines and small imitative points in the dance steps that prepare the way for full-on canonic imitation in the middle section. The Adagio (slowly) suggests an operatic aria in its long singing melodies. Notable is Mozart’s division of the quartet into pairs of upper and lower instruments that echo each other’s sentiments. The finale, Molto allegro (very fast) is full of contrasts— delicate wisps of wit and dense welters of tangled polyphony, playful and intellectual.

Dmitri Shostakovich (1906–1975)

String Quartet No. 8 in C Minor, Op. 110 (20 minutes) Shostakovich dedicated his String Quartet No. 8 “to the victims of fascism and war.” “The sombre dedication fits well with the gravity of the quartet whose moods throughout its five movements reflect various shades of black” (Stephen Harris, 2021). Though it is gloomy and melancholy, this quartet is one of the most loved of Shostakovich’s 15 quartets. This quartet was written in three days in July, 1960 when Shostakovich was working on the music for a Soviet film about the destruction of Dresden during World War II. Another undercurrent concerning the work was discovered from a letter Shostakovich wrote several days later to his friend Isaak Davidovich Glikman—“I reflected that if I die someday then it’s unlikely anyone will write a work dedicated to my memory. So I decided to write one myself.”

Interesting features of this quartet include the use of the composer’s musical signature, DSCH (D-EbC-B), first played by the cello at the beginning of the work, followed by utterances from the three other instruments, and with reappearances throughout the piece. Shostakovich also references earlier works, including quotations from his symphonies nos 1 and 5, his first cello concerto, his music for the 1947 film The Young Guard, his opera Lady Macbeth of the Mtsensk District, Jewish tunes, and a Russian folk song (“Exhausted by the hardships of prison”). While this quartet is clearly full of extra-musical significance, exactly what it signifies remains unclear. Is it a protest against the Soviet state or totalitarianism in general, an intimately personal outcry, or all of these? We will never know, but the journey he has created for us is one of shared humanity, however dark, including despair, outrage, cynicism, resistance, and acceptance.

Felix Mendelssohn (1809–1847)

Quartet in D Major, Op. 44, No. 1 (30 minutes) The late 1830s were a happy period for Mendelssohn. He had just been appointed conductor of the Leipzig Gewandhaus Orchestra (1835), he was recently married (1837), he had garnered accolades as a composer, and he 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 (Opus 44). He wrote them for the string quartet founded by the violinist Ferdinand David, concertmaster of the Leipizig Gewandhaus Orchestra and the dedicatee of Mendelssohn’s great E Minor Violin Concerto (1844). Ultimately, Mendelssohn wrote six complete string quartets, plus several other juvenile, unpublished, or unfinished works. The Quartet in D Major, Op. 44, No. 1 is filled with light and joy. The first movement, Molto allegro vivace (very fast and lively), is celebratory—an exuberant, high spirited conversation between all 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 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 (Italian, “to jump”), a whirlwind version of the 15th century dance, and reminiscent of the final movement of his Symphony No. 4, “Italian” (1833).

ELIAS QUARTET— Groundbreaking! ST. FRANCIS AUDITORIUM NEW MEXICO MUSEUM OF ART SUNDAY, FEBRUARY 25 | 3 pm Sara Bitlloch, violin Donald Grant, violin Simone van der Giessen, viola Marie Bitlloch, cello JOSEPH HAYDN Quartet in G Major, Op. 54, No.1 Allegro con brio Allegretto Menuetto. Allegretto Finale. Presto

IGOR STRAVINSKY Three Pieces for String Quartet Dance—Eccentric—Canticle

Intermission LUDWIG VAN BEETHOVEN Quartet in E Minor, Op. 59, No. 2 Allegro Molto adagio Allegretto Finale. Presto

String Quartet Series

David Rowe Artists Thank you to the New Mexico Museum of Art for their support of Pro Musica’s String Quartet Series.

HAYDN, STRAVINSKY & BEETHOVEN Groundbreaking!

The three works on this program are groundbreaking in diverse ways—each piece breaks rules and provides us with new ways to experience music. Haydn uses his musical wit, including surprising silences and displaced beats, to throw us off balance. Stravinsky overtly shocks us with his rude rhythms and blasphemous instrumental colors. Beethoven turns music from refined entertainment into a monumental emotional experience.

Joseph Haydn (1732–1809)

Quartet in G Major, Op. 54, No. 1 (24 minutes) Haydn’s three string quartets Op. 54, Nos. 1-3, were published in 1789 and dedicated to Johann Tost, a virtuoso violinist with the orchestra at the Hungarian Esterházy Palace where Haydn was the music director. These quartets are inventive, with flamboyant writing for the first violin. The driving first movement, Allegro (fast) of Op. 54, No 1 features quick fire jousting between the two violin parts, with viola and cello providing a solid platform for the games. In the second movement, Allegretto (a little fast) the first violin sings a soaring aria underpinned with sometimes reassuring, sometimes foreboding accompaniments. The dancing Menuetto trips us up with its five-bar phrases. The middle section atones for the trickery with reassuringly regular four-bar phrases. The first violin takes a rest while the cello dances on arpeggios, and the tune is tossed about between viola and second violin. The exuberant finale, Presto (as fast as possible), has everyone playing in the game, until it all comes to a comically stuttering end, like giddy children.

Igor Stravinsky (1882–1971)

Three Pieces for String Quartet (7 minutes) Stravinsky completed his Three Pieces for String Quartet in the summer of 1914, just one year after the premiere of his revolutionary Rite of Spring. Both works are inspired by Russian folk music and share a charged atmosphere reminiscent of a primitive world suffused with pagan ritual. Whereas the Rite of Spring requires an orchestra of 100 musicians and lasts 30 minutes, the Three Pieces utilizes similar musical inspirations but presented in miniature with only four musicians and 7 minutes in duration. The first piece, a rustic Dance, features only four musical gestures: a rhythmic, almost monotonous dance tune in the first violin—four notes intermittently repeated over and over in the second violin—a bagpipe-like drone in the viola—and cello pizzicatos that mimic the sound of a drum. Stravinsky remarked that the second piece, Eccentric, was inspired by a comedian and mime who silently impersonated those around him. The third piece, the liturgical-inspired Canticle, presents dark, dissonant, and irregularly phrased chants that are briefly answered by glowing responses.

Ludwig van Beethoven (1770–1827)

Quartet in E Minor, Op. 59, No. 2, “Razumovsky” (35 minutes) “Beethoven’s 16 string quartets continue and round off in a burst of glory the great tradition begun and already carried to miraculous heights by Haydn and Mozart. Between the three composers we have more than 100 works, which represent some of the most sophisticated, intellectual and beautiful music ever written. There are many things that can be expressed in the extremely private world of the quartet—to which the listener is, in a sense, a permitted interloper—that are not suited for the more public forms of the symphony or opera. This is why in string quartets there are thoughts that are at the same time intimate and daring” —H. C. Robbins Landon (1926–2009). Beethoven composed the three beloved Razumovsky String Quartets, Op. 59 in 1805–1806 for the Russian ambassador to the Court of Vienna, Prince Andrei Razumovsky (1752–1836). The Prince employed a resident string quartet and this “quartet was put entirely at Beethoven’s disposal. Beethoven was as much at home in Razumovsky’s palace as a hen in her coop. Everything he wrote was taken warm from the nest and tried out in the frying pan” —Ignaz von Seyfried (1776–1841). The first movement, Allegro (lively) of the second Razumovsky quartet, begins with two stern chords that recur throughout this movement in various guises—as a dramatic call to order, as an anxious question, and as a repeated stammer. A lyrical yearning theme provides contrast and is mostly unsettled and ambiguous. This edgy, suspenseful music never allows us to drift into complacency, as moments of hushed anxiety explode into ferocious outbursts. The movement’s final measures fade away, as if in resignation. Beethoven’s student Carl Czerny (1791–1857) reported that the inspiration for the second movement, Molto adagio (quite slow) came to the composer “while contemplating the starry sky and thinking of the music of the spheres.” Indeed, there is a deep sense of awe and wonder in this music. A delicate chorale is underpinned with a rhythmic “heartbeat” and both ideas are transformed through their relationship with each other. The Allegretto (a little fast) is generally delicate with the occasional Beethovenian outburst. The first section is mischievous with a rhythmically confusing texture as if each player insists that only they have the correct beat. This section alternates with a second section based on a theme that pays homage to Count Razumovsky’s Russian heritage—a lighthearted, jaunty ditty with a predictable rhythm. The final movement, Presto (as fast as possible), erupts as a wild Slavonic dance, swept forward breathlessly by a radically accelerated version of the second movement’s “heartbeat.” This exhilarating adventure concludes with a furious dance that sweeps the music to its final cadence.

BAROQUE HOLY WEEK— Joys and Sorrows FIRST PRESBYTERIAN CHURCH SATURDAY, MARCH 23 | 7:30 pm SUNDAY, MARCH 24 | 3 pm Clara Rottsolk, soprano With the Pro Musica Baroque Ensemble Stephen Redfield, violin and leader David Felberg, violin Kim Pineda, flute Mary Springfels, viola da gamba David Solem, harpsichord ELISABETH JACQUET DE LA GUERRE Trio Sonata No. 1 in G Minor Grave—Presto.Adagio—Presto. Récit de basse— Aria affettuoso. Adagio

ANTONIA BEMBO Al Re: Chiaro esempio de gloria JULIE PINEL Songs Rossignols vous chantez (Printemps) Ruisseaux, suspendez votre cours Douce innocence Chantez, dansez jeunes bergères

ELISABETH JACQUET DE LA GUERRE Violin Sonata No. 1 in D Minor Adagio—Presto—Presto. Adagio—Presto—Aria—Presto

Intermission MADEMOISELLE DUVAL Suite from Les Genies ELISABETH JACQUET DE LA GUERRE Cantate—Judith

Baroque Series 40

Thank you to First Presbyterian Church for their support of Pro Musica’s Baroque Holy Week Concerts.

FRENCH BAROQUE WOMEN COMPOSERS This concert was programmed by soprano Clara Rottsolk and Pro Musica concertmaster Stephen Redfield, and highlights the voices of women musicians from the French court of Louis XIV (1638–1715). The Sun King employed the very best French writers, artists, craftsmen, and musicians. At his royal residence, the Palace of Versailles, French music was played during the king’s daily routines, in addition to more formal events like hunts and games, balls and banquets, concerts and ballets. This court employed more than 200 musicians and made France the musical, if not the cultural, arbiter of Europe.

Elisabeth Jacquet de la Guerre (1665–1729)

Born into a family of acclaimed harpsichord builders and court musicians, Elisabeth Jacquet’s musical talents were nurtured from a young age. When she was a teenager she became a resident musician at the court of Louis XIV. Upon her marriage (1684), she left the court and lived in Paris, where she became well-known as a composer, harpsichord performer, and music teacher. She was the first French woman to compose an opera—Céphale et Procris in 1694. Most of de la Guerre’s works are for solo harpsichord or chamber ensembles, including the Trio Sonata No. 1 in G Minor (9 minutes) for two violins, viola da gamba, and harpsichord (1695), and the Sonata No. 1 in D Minor (15 minutes) for violin, viola da gamba, and harpsichord (1707). Her music is full of expressive harmonies, beautiful melodies, invigorating rhythms, and is well crafted using balanced forms. De la Guerre wrote 15 cantatas—vocal narratives with a sequence of arias and recitatives taken from biblical or mythological texts, but without staging or costumes. Her cantata Judith (20 minutes) was written in 1708 and is scored for soprano, treble instruments (violin, flute), viola da gamba, and harpsichord. Based on the life of the Old Testament heroine, this cantata is a vibrant rumination on righteous fury and faith. The story—the Assyrian general Holofernes marshaled his troops and terrorized the Jews wherever he found them. When he encountered Judith, she was able to enter his tent, seduce him, and cut off his head. She triumphantly returned to her people and inspired them to rise up against their oppressors. Clara Rottsolk writes that “de la Guerre’s character development juxtaposes the base and usurious tendencies of the powerful warrior with the integrity and strength of the oppressed and victimized woman. Part of the beauty of the music and the libretto here is that it highlights Judith’s

conflict—that she knows the murder is righteous and also that she is uniquely able to commit it, but nonetheless that it is a difficult negotiation with her moral compass and her fear to finally perform the grave and violent act.”

Antonia Bembo (1640–1720)

Al Re: Chiaro esempio de gloria (To the King: a clear example of glory, 1701) is scored for soprano, two violins, viola da gamba, and harpsichord (5 minutes). Antonia Bembo, a native of Venice, fled an abusive marriage and moved to Paris where she blossomed as a singer-songwriter. She wrote songs for herself accompanied by harpsichord with other instruments that added color. With her songs, she exemplified the perspectives of women, giving them a voice when they could not do so themselves. She dedicated much of her music to King Louis XIV who in return provided her with a pension.

Julie Pinel (c. 1710–1737)

Pinel’s songs are scored for soprano, flute, viola da gamba, and harpsichord (13 minutes). Though the historical record is scant, it is assumed that Julie Pinel was part of the famous Pinel family of lutenists who were associated with the noble House of Soubise and the court of Louis XIV. She secured a prestigious eight-year printing privilege from the king and published two collections (1737) of her music for voice and various accompanying instruments. Her songs are a heady mix of pastoral beauty, delicate passagework, and moments of unabashed passion.

Mademoiselle Duval (1718–c. 1775)

Suite from Les Genies (1736) is arranged for violin, flute, viola da gamba, and harpsichord (8 minutes). Little is known about Mademoiselle Duval—we don’t even know her first name. We do know that in 1736, at the age of 18, she produced her bestknown work, the opera-ballet Les Génies, ou Les Caractères de l’Amour (Geniuses or the Characters of Love). Her career appeared to revolve around the opera house where she composed music, played the harpsichord, and was a singer and a dancer. Les Génies is a typical 18th century operaballet, with themes corresponding to that of the Elements: water (flowing music portraying mermen), earth (heavy dances depicting trolls), fire (rapid notes for scurrying salamanders) and air (light music for sylphs). 41

QUATUOR ÉBÈNE— Northern Lights ST. FRANCIS AUDITORIUM NEW MEXICO MUSEUM OF ART SUNDAY, APRIL 14 | 3 pm Pierre Colombet, violin Gabriel Le Magadure, violin Marie Chilemme, viola Raphaël Merlin, cello WOLFGANG AMADEUS MOZART Quartet in D Major, K. 575 Allegretto Andante Menuetto and Trio Allegretto

ALFRED SCHNITTKE Quartet No. 3

Andante—Agitato—Pesante

(played without pause)

Intermission EDVARD GRIEG Quartet in G Minor, Op. 27 Un poco Andante. Presto Romanze Intermezzo Finale

String Quartet Series

Thank you to the New Mexico Museum of Art for their support of Pro Musica’s String Quartet Series.

MOZART, SCHNITTKE & GRIEG Northern Lights—This concert is inspired by

the richness of music emanating from some of the most northern areas of Europe, including old Flanders (Belgium), Berlin, Norway, and Russia.

Wolfgang Amadeus Mozart (1756–1791) Quartet in D Major, K. 575 (25 minutes)

By the late 1780s Mozart was no longer Europe’s “wunderkind.” His concerts and cash were drying up, forcing him to borrow money from friends. In 1789, to help remedy his predicament, Mozart embarked on a concert tour to the great cities Prague, Leipzig, Dresden, and Berlin. One key stop was at the Berlin court of the Prussian King Friedrich Wilhelm II (1744–1797), an accomplished cellist and a generous patron of music. Mozart performed for the King and received in return some cash and a commission for six string quartets. Back home in Vienna, Mozart quickly finished three quartets but was unable to complete the set. Ill and depressed, he sold the three quartets to a publisher—”I have now been forced to give away my quartets for a mere song, simply in order to have cash to meet my present difficulties.” These three string quartets are Mozart’s last (out of a total of 23) and are known as the “Prussian Quartets.” Setting his depression aside (or escaping from it), he produced some of his happiest music in these works. The first movement, Allegretto (a little fast) is ever graceful with an aura of polite parlor games. Mozart throws in some mischief and some discord, but never too much! The second movement, Andante (flowing), continues with proper upper class manners, but is more introspective as if in a private conversation. The action becomes more playful and teasing in the Menuetto and Trio. Some upsetting disturbances briefly interrupt, but are quickly brushed off as mere inconveniences. The concluding Allegretto presents an astonishing variety of textures. Though the graceful melody is always present, Mozart’s accompaniments provide a fascinating look behind the scenes. Listen for proper and improper comments, teasing, and private asides, though all perfectly decorous!

Alfred Schnittke (1934–1998) Quartet No. 3 (20 minutes)

Alfred Schnittke was a 20th century Russian composer of Jewish-German parentage. Though unknown outside the Soviet Bloc until the mid-1980s, he ultimately found world-wide acclaim through the efforts of several prominent Russian musicians, including violinist Gidon Kremer and cellist Mstislav Rostropovich. Schnittke created a concept, now called polystylism, wherein he combined music of various styles and historical periods, and explored their intrinsic natures. Quartet No. 3 (1983) begins with three quotations, clearly labeled in the score—a quiet statement from the Stabat Mater by Orlandus Lassus (16th century

Flanders), the principal theme from Beethoven’s Grosse Fuge, Op. 133 (1826), and Shostakovich’s (1906–1975) famous tonal abbreviation of his name (DSCH or D-Eb-C-B). This is no mere pastiche, but rather a true exploration of possibilities. In the first movement, Andante (flowing), these fragments morph into a folk music-like section, followed by an eerie, buzzing section that grows intensely dramatic, and concludes ethereally as if all the energy has been spent. The second movement, Agitato (agitated), transforms the three themes multiple ways—into rhythmic passages reminiscent of Beethoven’s scherzos, into hymnlike passages rifting on Renaissance church music, and once again, those eerie buzzing passages that manifest themselves with a manic humor as if written by Shostakovich himself. The last movement, Pesante (heavy), pounds forth with relentless chords before devolving into cryptic, fragmentary, and quiet references to the three themes.

Edvard Grieg (1843–1907)

Quartet in G Minor, Op. 27 (30 minutes) The Norwegian composer Edvard Grieg produced only one string quartet, the Quartet in G Minor, Op. 27, dating from 1878, and described as “a work of great originality, historical significance, and ravishing musical delight” (Kai Christiansen, Earsense). Grieg’s writing opened up new soundscapes for string instruments, including distinctive unisons, unique textures, skillful counterpoint, fluid conversations between all four instruments, borrowed sounds from Norwegian folk music, and the exploration of modal and pentatonic scales that lend an especially exotic flavor. The main theme for this quartet, which permeates all four movements, is a song Grieg wrote in 1876 based on the poem Spillamæd by Henrik Ibsen (1828–1906). The somber poem (1851) is inspired by a Norwegian folktale about a wandering musician who is enticed by a waterspirit to become a virtuoso violinist but who will lose his beloved in the process. The stormy first movement, Un poco Andante. Presto (a little slow, and then very fast), emphatically announces the distraught theme from Spillamæd but quickly dissolves into a frenetic, folk-like dance. This almost schizophrenic contrast of ideas permeates the movement. The second movement Romanze begins with a gently swaying, charming waltz that accelerates into an “intoxicating whirl around the dance floor with the intensity of a manic dervish” (Kai Christiansen, Earsense). The third movement Intermezzo (“in the middle”) is a relentlessly frenzied dance, temporarily relieved in the middle section with a folk dance of a simple, carefree nature. The frenzied dance returns, but the movement ends surprisingly happily. The Finale throws together all the themes and moods of the previous movements into a jumble of overtly and implied Nordic folk dances, the lyrical juxtaposed with the frenetic, like a folk band run amuck, but with the distressed sound posts of the Spillamæd never far away.

THE MOZART REQUIEM LENSIC PERFORMING ARTS CENTER SATURDAY, APRIL 27 | 7:30 pm SUNDAY, APRIL 28 | 3 pm Underwritten by the Thaw Charitable Trust Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor laureate Polyphony: Voices of New Mexico Maxine Thévenot, artistic director Sherezade Panthaki, soprano Meg Bragle, alto Thomas Cooley, tenor Douglas Williams, bass ANNA CLYNE Within Her Arms WOLFGANG AMADEUS MOZART (completed and edited by Robert D. Levin) Requiem, K. 626 INTROITUS

1. Requiem aeternam 2. Kyrie

SEQUENZ

3. Dies irae 4. Tuba mirum 5. Rex tremendae 6. Recordare 7. Confutatis 8. Lacrimosa—Amen

OFFERTORIUM 9. Domine Jesu 10. Hostias

SANCTUS

11. Sanctus 12. Benedictus

AGNUS DEI 13. Agnus Dei

COMMUNIO

14. Lux aeterna

75-minute concert performed without intermission

Concert Sponsors | Catherine & Darryl Lindberg, Thom Maciula & C. Fish Greenfield Artist Sponsor of Thomas O’Connor Eddie M. Lesok & Craig Cunningham

Orchestra Series 44

Basset horns generously provided by the University of New Mexico Bands in honor of Dr. Jeffrey Brooks, Assistant Professor of Clarinet, UNM, and Sam McClung, MM in Clarinet Performance, UNM. Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s Orchestra Series and Youth Concert Series.

CLYNE & MOZART Anna Clyne (b. 1980)

Within Her Arms is written for string orchestra (15 minutes). Anna Clyne wrote Within Her Arms (2008) upon the death of her mother, with inspiration from the poem by the Buddhist monk Thich Nhat Hanh (1926–2022). This music is an achingly beautiful elegy—a meditation on loss, love, and life. Earth will keep you tight within her arms dear one— So that tomorrow you will be transformed into flowers— This flower smiling quietly in this morning field— This morning you will weep no more dear one— For we have gone through too deep a night. This morning, yes, this morning, I kneel down on the green grass— And I notice your presence. Flowers that speak to me in silence. The message of love and understanding has indeed come.

Wolfgang Amadeus Mozart (1756–1791)

Mozart’s Requiem, K. 626 (50 minutes) is written for a darkly scored orchestra with 2 basset horns (lower pitched clarinets), 2 bassoons, 2 trumpets, 3 trombones, timpani, organ, strings, and includes 4 vocal soloists (soprano, alto, tenor, bass), and a 4-part choir. Mozart excludes the brightly colored flutes and oboes, and even the noble horns are left out. Mozart’s Requiem is one of the greatest monuments in the classical music canon and is the last work by one of our greatest composers. The Requiem illuminates our shared voyage of life with its final destination—death. It combines the intensely personal with the universal, the depths with the heavens, and reconciles them into a place of shared understanding. A requiem is a Roman Catholic mass for the dead, and as a Catholic, Mozart probably would have attended many requiems. This Christian funeral rite asks an all-powerful God to accept a human soul into heaven. Mozart’s Requiem has the drama and humanity of his operas that wrestle with the complexity of being alive in the same way his Requiem grapples with the mystery of death. In 1791 the 35-year-old Mozart was in a difficult place. He was short on cash and he was so ill that he feared death was near. In early July, as one story goes, “an unknown, gray stranger” approached Mozart with a commission to write a requiem. At that time, Mozart was at work on his last opera The Magic Flute, and after its September premiere, he threw himself into writing a requiem. However, on December 5th he died without having finished the work. In order to collect the commissioner’s fee, Mozart’s widow, Constanze, arranged for the Requiem to be completed by his student and devoted assistant Franz Xaver Süssmayr (1766–1803).

After this completion, the music publisher Breitkopf & Härtel then contacted Constanze Mozart about printing the Requiem. Süssmayr did not press for his name to be mentioned, so the company published the work as an “original” Mozart and advertised it in various newspapers. The Austrian Count Franz von Walsegg (1763–1827) then came forward and revealed himself as the commissioner for the work, intended to commemorate the one year anniversary of the count’s deceased wife. Selections from the Requiem were first performed in a memorial service in Vienna on December 10, 1791, five days after Mozart’s death. The full Requiem in Süssmayr’s completion was first heard in a benefit concert for Mozart’s widow on January 2, 1793. In addition to the Süssmayr version, there have been many other completions from the 19th and 20th centuries by various composers and musicologists. The latest version, a commission for the 1991 Mozart Bicentennial and the one Santa Fe Pro Musica is performing, is from the pen of Robert D. Levin (b. 1947), a scholar-performer (keyboard), professor emeritus at Harvard, and a leading Mozart authority who has focused on completing the composer’s many unfinished works. Levin’s version was premiered in August 1991 and has been recorded numerous times. John Crossett (2002, Dorian Recordings) remarked that Levin got Mozart’s style just right—“allowing the music to flow, uninterrupted, as if it were all from Mozart’s own pen.” Mozart’s music generally incorporated the Classical Period’s preference for homophony, a style based upon a melody with various shades of accompaniment. In the early 1780s Mozart had discovered the music of Bach and Handel, and his compositions began to elicit more of the baroquestyle polyphonic writing (several interwoven melodic lines sounding simultaneously). Then, in 1789, Mozart was commissioned to revise Handel’s oratorio Messiah (1741) and cloth this famous baroque work in classical garb. By 1791 Mozart had fully assimilated polyphonic writing into his compositional palette, and incorporated this style into his Requiem, along with many quotes from Handel. As a liturgical work the Requiem’s dramatic and expressive range takes it beyond the scope of ritual function and into the world of opera. With astonishing musical imagery we are flung from despair to fury, from anguished pleading to terrifying declamation, and from nervous trepidation to sublime salvation. “If Mozart had written nothing else but his string quartets and his Requiem, this alone would have made him immortal”—Joseph Haydn (1732–1809). 45

SANTA FE PRO MUSICA ORCHESTRA Colin Jacobsen, artistic director, violin & leader

Violin

Stephen Redfield, concertmaster

Megan Holland, principal second violin

Elizabeth Baker Christine Chen David Felberg Natalie Frantz Lisa Grodin Gabriel Ingliss+ Robyn Julyan Carla Kountoupes Ana Maria Quintero Muñoz Addie Oracion+ Julie Parcells Margo Schwartz Yuko Shimokawa Jeffrey Smith Jessica Smucker Elizabeth Young

Viola

Kim Fredenburgh, principal Laura Chang Grant Hanner Allie Norris Jeffrey Smith Laura Steiner Yuko Shimokawa

Cello

James Holland, principal Felix Fan Amy Huzjak Melinda Mack Dana Winograd

Double Bass

Robert Barney* Deborah Dunham* Mark Tatum* Sam Brown

Flute

Jesse Tatum, principal

Oboe

Kevin Vigneau, principal Robert Ingliss

Clarinet

Jeffrey Brooks* Alicia Lee* Sam McClung

Bassoon

Samantha Brenner, principal Leslie Shultis

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. Concertmaster Chair—Stephen Redfield JEAN & EUGENE STARK Principal Flute Chair—Jesse Tatum CAROL REDMAN & THOMAS O’CONNOR Principal Horn Chair—Jeffrey Rogers JUDITH ROWAN & RICHARD SCHACHT Timpani Chair—Douglas Cardwell MARY RANKOVICH & DENNIS KANKA 46

Horn

Jeffrey Rogers, principal Peter Erb

Trumpet

Jennifer Brynn Marchiando* Brian Shaw* Mary Reid

Trombone

Aaron Zalkind, principal Christopher Buckholz Gerry Pagano

Timpani

Douglas Cardwell, principal

Percussion

Gregg Koyle, principal

Harpsichord & Organ David Solem, principal

Orchestra Manager Gregg Koyle

Orchestra Librarian Sam McClung

* co-principal + apprentice artist Section players in alphabetical order

ARTIST BIOGRAPHIES

Meg Bragle

MEZZO-SOPRANO is Artist-inResidence at the University of Pennsylvania and directs the Collegium Musicum, Opera and Musical Theater workshops. A leading interpreter of baroque and classical repertoire, Ms. Bragle has appeared with many symphony orchestras across North America, including the Philadelphia, Houston, Seattle, Toronto, Atlanta, National, Detroit, Cincinnati, and Colorado symphonies, the National Arts Center Orchestra, Victoria Symphony, and Calgary Philharmonic, among others. She is also an accomplished recording artist with over a dozen recordings to her credit. “Bragle sang beautifully—she has a supple, expressive voice and an exceptionally intelligent musicality” (Theaterscene.net).

Thomas Cooley

TENOR is praised by The New York Times as a “sweet, penetrating lyric tenor with aching sensitivity” and by the San Francisco Classical Voice as “an indomitable musical force.” Especially acclaimed for his agility and skill in baroque music, he is in demand as an interpreter of the works of Bach and Handel. He has sung internationally in recitals, opera, and with orchestras including the symphonies of Atlanta, St. Louis, National, Minnesota, the chamber orchestras of St. Paul and Los Angeles, and with ensembles from Quebec to Copenhagen, Bavaria, Leipzig, and Osaka.

Marcello Cormio

CONDUCTOR is also an opera coach, pianist, and educator, both in Europe and in the U.S. He holds graduate degrees in piano, composition, conducting, and musicology from Italian conservatories, as well as a Master of Music from Indiana University, and a Doctor of Musical Arts from the University of Kentucky. He has conducted the Sarasota Opera, Pittsburgh Symphony Orchestra, Opéra National de Lorraine (France), Lexington Ballet (Kentucky), at the Manhattan and Indiana University schools of music, and others, and has been described as “an assured hand in the [orchestra] pit, conducting the score with vitality” (South Florida Classical).

Colin Jacobsen

VIOLIN & LEADER is “one of the most interesting figures on the classical music scene” (The 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 selected from among the nation’s top visual, performing, media, and literary artists to receive a 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).

Thomas O’Connor

CONDUCTOR LAUREATE is Co-Founder, Interim Executive Director, and former principal oboist of Santa Fe Pro Musica. Originally from Los Alamos, he studied at the University of New Mexico and the Kansas City Conservatory of Music before moving to Santa Fe to play for 15 summers with the opera orchestra. He has also performed with American Bach Soloists and Philharmonia Baroque (San Francisco), Boston Baroque, Handel & Haydn Society, Oregon Bach Festival, Oregon Festival of American Music, San Luis Obispo Mozart Festival, Santa Fe Chamber Music Festival, the Smithsonian Chamber Players (sharing with them a GRAMMY nomination), and many others.

Sherezade Panthaki

Clara Rottsolk

SOPRANO is acclaimed for her “pure and shining” voice (Cleveland Plain Dealer), and 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. Originally from Seattle, Rottsolk graduated from Rice University and Westminster Choir College. She is currently based in Philadelphia where she teaches at Swarthmore, Haverford, and Bryn Mawr colleges.

Tanya Tomkins

SOPRANO was born and raised in India. She formerly taught at the Yale School of Music, and is currently head of the vocal program at Mount Holyoke College. She has an international career with a specialty in early music and oratorio performances, and has performed with the philharmonics of New York and Los Angeles, Philharmonia Baroque Orchestra (San Francisco), Bach Collegium Japan, Wiener Akademie (Austria), Hannover Radiophilharmonie (Germany), Boston Early Music Festival, Tafelmusik (Canada), and others. “Soprano Panthaki had breathtaking technique in her melismatic sections and her voice soared in its upper range (Toronto Concert Reviews).

CELLO is renowned for her interpretation of the monumental Bach Cello Suites. She is principal cellist and a regular soloist with Voices of Music, Philharmonia Baroque, and Portland Baroque, and Artistic Director and Co-Founder of the Valley of the Moon Music Festival (Sonoma, CA). She spent 14 years in the Netherlands, performing throughout Europe and the U.S., including at The Frick Collection (New York), Great Performances at Lincoln Center, 92nd Street Y, San Francisco Performances, Concertgebouw Kleine Zaal, and others. As an educator, she has taught classes at Yale, Juilliard, and the San Francisco Conservatory of Music.

Polyphony: Voices of New Mexico

Anthony Trionfo

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 Latinx 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. 48

FLUTE won first prize at the 2016 Young Concert Artists International Auditions and was praised as “a musician of prodigious talent and scintillating personality” at his debut concerts at Merkin Concert Hall (New York) and the Kennedy Center (Washington, D.C.). As a teenager he performed with the “President’s Own” Marine Band and appeared on NPR’s “From the Top.” In addition to performing with orchestras and concert series across the country, he has earned advanced degrees from the Colburn School of Music (Los Angeles), and has become an activist addressing the Black experience within the classical music world.

2023–24 APPRENTICE ARTISTS Anne Sofie von Otter

MEZZOSOPRANO is one of the finest singers of her generation. “Stylistically fluid, she can modulate her singing for clarity and consonance, Romantic-era extravagance, or writhing experimentalism” (The New Yorker). She has made over 100 recordings (exclusive Deutsche Grammophon artist), and has received many awards including Recording Artist of the Year, International Record Critics Association, two Grammy Awards for Best Classical Solo Vocal Album, and a Diapason d’Or. She is unique in her wide-ranging collaborations with pop legends Elvis Costello and Rufus Wainwright, jazz pianist Brad Mehldau, and classical music’s greatest conductors, orchestras, ensembles, and opera companies.

Douglas Williams

BASSBARITONE has developed a strong presence in Europe, including performances with the Berlin and Munich philharmonics, L’Orchestre Philharmonique de Radio France, Chamber Orchestra of Europe, Dutch National Opera, Salzburg Mozarteum, and recordings with Deutsche Grammophon. In the U.S. he has performed with the Mark Morris Dance Group at Lincoln Center, with the symphonies and orchestras of the National, Nashville, Philadelphia, St. Louis, Detroit, and Houston, at the Grant Park and Tanglewood music festivals, and at the Guggenheim Museum, among others. Originally from Connecticut, Williams trained at the New England Conservatory and the Yale School of Music.

This prestigious, invitation-only program was established 18 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. GABRIEL INGLISS, violin, is currently homeschooled and taking college credit courses at UNM. He is the first musician to win the Music Guild of New Mexico’s Jackie McGehee Young Artist Competition on both piano and violin. He has performed twice with ChatterAbq, and often performs with his father, Robert Ingliss, principal oboist of the Santa Fe Opera, and his mother Yuko Shimokawa, one of Pro Musica’s core violin-viola players. Gabe, age 15, started playing the violin at age 4 and piano at age 5, with his mother as his teacher. Currently he studies with violist Toby Appel and piano with UNM’s Falko Steinbach. ADDIE ORACION, violin, is a senior at the New Mexico School for the Arts and has been a member of both the Santa Fe and Albuquerque youth symphony programs. She studies with Ruxandra Marquardt (Albuquerque) and Carla Kountoupes (Santa Fe), and has furthered her studies at many prestigious summer music festivals and workshops. Since the 9th grade, Addie has been selected for the New Mexico All-State orchestra programs, earning the concertmaster positions for both the concert and symphony orchestras. She is also interested in conducting, composing, jazz and Latin music, and plans to major in music at the conservatory level.

STRING QUARTETS The Brentano Quartet, since its inception in 1992, have garnered acclaim (“Passionate, uninhibited and spellbinding” raved the London Independent) and awards (Cleveland Quartet Award, Naumburg Chamber Music Award, Royal Philharmonic Award). They have performed worldwide from Carnegie Hall (New York), the Library of Congress (Washington, D.C.), the Concertgebouw (Amsterdam), the Konzerthaus (Vienna), Suntory Hall (Tokyo), the Sydney Opera House, and places in between. Since 2014 they have been Artists-inResidence at the Yale School of Music, formerly the Ensemble-in-Residence at Princeton University, and twice the collaborative ensemble for the Van Cliburn International Piano Competition.

Brooklyn Rider was formed in 2005 and “is

recreating the 300-year-old form of string quartet as a vital and creative 21st-century ensemble” (NPR). Renowned for their gripping performances and unquenchable appetite for musical adventure, they find inspiration in musical languages ranging from Beethoven to Persian classical music to American roots music to the endlessly varied voices of living composers. They seek to illuminate works of the past with fresh insights derived from a wide range of musical traditions. To date they have recorded 19 albums and fulfilled dozens of projects, collaborations, and commissions that literally span the globe.

Diderot Quartet, named after the French

philosopher Denis Diderot (1713–1784), brings a fresh approach to works of the 18th and 19th centuries. They formed in 2012, through their connections at the Oberlin Conservatory and The Juilliard School, where they shared a unique background in historical instruments, historical performance practices, and the string quartet repertoire. Described as “emotional, riveting and ultimately cathartic” (The Wall Street Journal), they served as Quartet-in-Residence at the Washington National Cathedral, have been featured at the Metropolitan Museum of Art and the Morgan Library in New York, in addition to concerts across the U.S.

Elias Quartet was formed in 1998 at the

Royal Northern College of Music (Manchester, England) where they are currently the Ensemblein-Residence. They took their name from Mendelssohn’s oratorio Elijah, based on the Biblical story illustrating the journey through darkness toward enlightenment. In 2009 the quartet was selected as a BBC Radio 3’s New Generation Artist, and also received the prestigious Borletti-Buitoni Trust Award. With the support of the Trust, the Elias Quartet mounted “The Beethoven Project,” performing, recording, and documenting all sixteen of Beethoven’s string quartets. Their performances are described as “imaginative, full-blooded and impeccable … ” (Classic FM Magazine).

Quatuor Ébène is named after the wood

“ebony,” a component of string instruments that “resists time and is a symbol of exotic cultures” (cellist Raphael Merlin). The quartet also has unusual experiences that influence their classical music making—all members have led double lives as jazz, folk, and rock musicians. What began in 1999 as a distraction in the music school’s practice rooms—improvising on jazz standards and pop songs—has become their trademark — “a string quartet that can easily morph into a jazz band” (New York Times). They went on to win international competitions and awards in 2004, 2005, 2007, and 2019. (100)

MEET THE MUSIC Brent Stevens, HOST, is the Program Director of 95.5 KHFM,

New Mexico’s listener-supported classical music station, and has been an on air host since 2004 (Saturdays 7–11 AM, Sundays 1–7 PM). As a sound designer and recording engineer/ producer, Stevens produces annual broadcasts of the Santa Fe Opera on KHFM (Mondays in August) and broadcasts of the Opera Southwest, heard locally and nationwide in WFMT’s American Opera Radio Series from May through December. Brent was born and raised in New Mexico. He is proud and grateful for the opportunity to promote New Mexico’s culture to audiences throughout the state, around the country, and around the world.

Stephen Redfield

BAROQUE ENSEMBLE

The Santa Fe Pro Musica Baroque Ensemble performs on historical instruments at the March 23 & 24 Baroque Holy Week concerts.

David Felberg

VIOLIN performs as a soloist, in recitals, chamber music, and orchestra concerts, and equally at home in modern and baroque styles. He is the Artistic Director, Co-Founder, violinist, violist, and conductor of Chatter (Albuquerque, Santa Fe), concertmaster of the Santa Fe Symphony, and a member of the Pro Musica Orchestra, Bach and Baroque ensembles. Felberg is an Albuquerque native, received a Bachelor of Arts History from the University of Arizona, and a Master of Music in Conducting from the University of New Mexico. He plays a Vuillaume violin made in 1829.

Kim Pineda

FLUTE & RECORDER has performed on historical flutes 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 also performed with leading early music ensembles in the U.S. and has recorded on the Focus, Centaur, and Origin Classical labels. Pineda received his Ph.D 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.

VIOLIN & LEADER with the Pro Musica Baroque and Bach ensembles, is also concertmaster of the Pro Musica Orchestra, positions he also holds with GRAMMY-winning Conspirare (Texas), the Arizona and Victoria (Texas) Bach festivals, and La Follia Austin Baroque. 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 GRAMMYawarded CD. He recently retired as violin professor at the University of Southern Mississippi.

David Solem

HARPSICHORD & ORGAN has bachelor’s and master’s degrees in music from Baltimore’s Peabody Conservatory where he studied organ, harpsichord, piano, and flute. He has over 30 years of experience in liturgical music and has taught applied music and choral arts at Loyola University in Chicago. Solem is the assistant organist at the First Presbyterian Church and plays keyboards of all kinds, including baroque chest organ, double-manual French harpsichord, single-manual Flemish harpsichord, harmonium, the Reuters organ in St. Francis Auditorium, and the Hamburg Steinway in the Lensic. He is also a Jungian psychoanalyst in private practice in Santa Fe.

Mary Springfels

VIOLA DA GAMBA specializes in medieval, renaissance and baroque music. She was Musicianin-Residence at Chicago’s Newberry Library, Founder and Director of the Newberry Consort, and performs locally with Severall Friends (concerts at Santa Fe’s San Miguel Chapel) and MarketMusic (concerts at the Santa Fe Farmers Market on select Saturdays). She appears regularly with the Texas Early Music Project (Austin), Sonoma Bach, Ars Lyrica of Houston, Parthenia (New York), Folger Consort (Washington, D.C.), Berkeley Early Music Festival, and Corona del Mar and Amherst Early Music festivals. She has taught at the University of Chicago and Northwestern University.

WOMEN OF DISTINCTION INITIATIVE After decades of concert programming that included music by women composers, Santa Fe Pro Musica initiated its “Women Composers Project” in 2013, formalizing its efforts to bring women into mainstream classical music programming. In 2018, Pro Musica extended this program, renamed the “Women of Distinction Initiative,” to include women conductors and leaders. To date Pro Musica has presented over 45 women composers, conductors, and leaders in over 100 performances. For the 2023–24 Season, Pro Musica proudly brings a new roster of women artists to the stage. ANNA CLYNE, composer | On April 27 & 28, as a poignant companion piece to Mozart’s Requiem, the Santa Fe Pro Musica Orchestra will perform Anna Clyne’s Within Her Arms, a tribute to her late mother. This GRAMMY-nominated composer was recently featured on The New York Times program “5 Minutes That Will Make You Love Classical Music.” JESSIE MONTGOMERY, composer | One of Santa Fe Pro Musica’s favorite contemporary composers, we present Mongomery’s music on our November 5 and January 28 orchestra programs. Fanfare magazine noted that her music combines “17th century English consort music, samba, mbira, Zimbabwean dance, swing, techno … and occasionally veers towards a modern jazz jam session.” SACHI OBA, artist | Sachi Oba’s work “Made of Stars” (2021, acrylic on canvas) graces the covers of Pro Musica’s 2023–24 program book and brochure. Born in southern France and daughter of renowned stone sculptor Toru Oba, she is known for her abstract paintings made from bright contrasting colors with flowing drips and melting techniques. CLARA ROTTSOLK, soprano | One of Santa Fe Pro Musica’s favorite singers, with her “clear, appealing voice and expressive conviction” (New York Times), Rottsolk has performed in many of our Baroque Christmas, Holy Week, and Bach Festival concerts. This season she performs with us on December 22 & 23, and is featured on March 23 & 24. CAROLINE SHAW, composer | Shaw is one of the most awarded composers of her generation, and has received two GRAMMY awards (2019, 2022) and a Pulitzer Prize (2013). In addition to classical music, she writes for film, pop, and TV. Santa Fe Pro Musica presents the Diderot String Quartet performing her music on January 14. TANYA TOMKINS, cello | Equally at home on baroque and modern cello, Tanya is renowned for her unique interpretations of the Bach Cello Suites. She has recorded this monumental set, performed them world-wide, and will present them in Santa Fe on December 20 & 21 as part of our Holiday Bach Festival in St. Francis Auditorium. ANNE SOFIE VON OTTER, mezzo-soprano | One of the finest and most recorded singers of her generation, with two GRAMMY Awards for Best Classical Vocal Performance, her versatility and international acclaim are unrivaled. We welcome von Otter with Brooklyn Rider for Songs of Love and Death on November 19, opening our String Quartet Series. 53

YOUTH AND EDUCATION From its initial season over 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 Concert Series Every year, the Santa Fe Pro Musica Orchestra presents a Youth Concert Series at the Lensic, reaching thousands of local students and introducing them to the power of live classical music. These events are free to public, private, and homeschooled students. Registration required. Contact Kristine at banh@sfpromusica.org FRIDAY, NOVEMBER 3 AT 10 AM—Source Code Exploration of folk and pop in classical music FRIDAY, APRIL 26 AT 10 AM—The Mozart Requiem A look into Mozart’s final masterpiece YOUTH CONCERT LIBRARY Experience previous youth concerts with visits to our Youth Concert Library. Visit our website at sfpromusica.org for more information.

Explorations BACH AND BEYOND FOR FAMILIES | WEDNESDAY, DECEMBER 27 AT 10 AM ST. FRANCIS AUDITORIUM | NM MUSEUM OF ART We welcome you and your family for a fun and festive one-hour concert exploring Bach and his influence on generations of composers, with Colin Jacobsen and the Pro Musica Bach Ensemble. | FREE THE MECHANISMS OF MUSIC-MAKING | SUNDAY, FEBRUARY 25 AT 10 AM ST. FRANCIS AUDITORIUM | NM MUSEUM OF ART In this casual but lively event, watch members of the Elias Quartet and select student ensembles dig into the details of making music. | FREE

ALL-ACCESS ART AND CULTURE

1 Membership, $100

4 Museums in Santa Fe 27 in New Mexico 1,000 in North America Membership includes: • Free admission to the Museum of Indian Arts and Culture, Museum of International Folk Art, New Mexico Museum of Art, Vladem Contemporary, New Mexico History Museum and seven Historic Sites • 10% discount at five shops, two cafes • El Palacio magazine and member publications • Members-only events and more!

Join Today!

• museumfoundation.org/member100 • 505.982.6366 ext. 100

Introducing the Discovery Series Meet our artists, participate in lifelong learning, deepen your connections to music, and expand your classical music experiences through conversations and special events. Venues and prices vary. Some events are free.

TRACING THE ROOTS— Conversation and Performance WEDNESDAY, NOVEMBER 1 AT 5:30 PM HERVÉ WINE BAR | Hear our Artistic Director Colin Jacobsen (and violinist, composer, and arranger!) in a conversation and performance exploring the pop, jazz, and folk music influences on classical music. Wine and appetizers are included. Reservations required | $75 ICONIC THEMES— Post-Concert Dinner SUNDAY, NOVEMBER 19 AT 5:30 PM SANTACAFÉ | Enjoy a three-course dinner and wine with the members of Brooklyn Rider—violinists Colin Jacobsen and Johnny Gandelsman, violist Nicholas Cords, and cellist Michael Nicolas. Reservations required | $150 BACH & BEYOND FOR FAMILIES— Family Concert WEDNESDAY, DECEMBER 27 AT 10 AM ST. FRANCIS AUDITORIUM | NM MUSEUM OF ART We welcome you and your family for a fun and festive one-hour concert exploring Bach and his influence on generations of composers, with Colin Jacobsen and the Pro Musica Bach Ensemble. | FREE WHY HISTORICAL INSTRUMENTS?— Conversation and Demonstration SUNDAY, JANUARY 14 AT 10 AM ST. FRANCIS AUDITORIUM | NM MUSEUM OF ART Join the Diderot Quartet in a show-and-tell of historical string instruments. Learn what differentiates these from modern instruments and how that influences the music. | FREE MOZART’S BIRTHDAY PARTY— Conversation and Demonstration THURSDAY, JANUARY 25 AT 6 PM GOVERNOR’S MANSION | Join conductor Marcello Cormio and flutist Anthony Trionfo at the New Mexico Governor’s Mansion in a celebration of Mozart’s language and legacy on his 268th birthday. Wine and appetizers included. Reservations required | $100 56

LIGHT AND SHADOW— Conversation and Demonstration SUNDAY, FEBRUARY 11 AT 10 AM ST. FRANCIS AUDITORIUM | NM MUSEUM OF ART Members of the Brentano String Quartet illustrate the wide range of human experience and emotion contained in the music of Mendelssohn, Mozart, and Shostakovich. | FREE

THE MECHANISMS OF MUSIC-MAKING— Masterclass SUNDAY, FEBRUARY 25 AT 10 AM ST. FRANCIS AUDITORIUM | NM MUSEUM OF ART In this casual but lively event, watch members of the Elias Quartet andselect student ensembles dig into the details of making music. | FREE

THE EXOTIC LIVES OF FRENCH BAROQUE WOMEN COMPOSERS— Conversation And Demonstration SUNDAY, MARCH 24 AT 10 AM NÜART GALLERY | Soprano Clara Rottsolk and harpsichordist David Solem explore the rarified music of women composers and performers from the 17 th century French court of Louis XIV. Coffee and pastries included. FREE | Reservations required MOZART’S REQUIEM WITH THOMAS O’CONNOR—Lecture THURSDAY, APRIL 18 AT 10 AM ST. JOHN’S UNITED METHODIST CHURCH Renesan Institute for Lifelong Learning hosts Pro Musica Conductor Laureate Thomas O’Connor in a conversation about Mozart’s Requiem, a masterpiece shrouded in mystery. Registration and fee required through RENESAN Institute for Lifelong Learning. renesan.org | 505.982.9274

Discovery Series Tickets

Reservations are required for select events. Please call the Pro Musica Box Office at 505.988.4640 or visit our website at sfpromusica.org.

Supporters Our heartfelt gratitude to all donors and devoted Santa Fe Pro Musica patrons for your generous contributions this recent fiscal year. Our donation list represents cumulative giving made between August 1, 2022 through July 31, 2023. We apologize for any omissions or misspellings, and will gladly correct errors upon notification, (505) 988-4640.

Impresario ($50,000+) Scott R. Baker and Perry C. Andrews III

Virtuoso ($40,000+)

Jean and Eugene Stark

Conductor ($20,000+)

M. Carlota Baca, PhD Mary and David Cost Frank Farrow and Edward Jiran C. Fish Greenfield and Thomas Maciula

Director ($15,000+)

Sheri and Alexander Purdue Katherine A. Reed Winky and Bernie van der Hoeven

Concertmaster ($10,000+) Johanna Cinader Eddie M. Lesok and Craig Cunningham Catherine Oppenheimer Beth and Joel Scott Jessica and Philip Smucker Tim Terell

Composer ($5,000+)

Vicki Ahl and Byron Kohr Ann Caldwell David Goodrich and Brian Clarke Mary Rankovich and Dennis Kanka Carol Redman and Thomas O’Connor Martha Ritchie Judith Rowan and Richard Schacht Louise Singleton Kay Swindell

Leader ($2,500+)

Joanne and Richard Akeroyd Crawford Best Ruth Burstrom and Niels Chapman J. Revell Carr George de Garmo 58

Robert González and Stephen Redfield Lisa Grodin and Adam Cohen Carolyn Lamb and Stephen Reed Catherine and Darryl Lindberg Marilyn Macbeth and Forrest Carlton Jean McIntosh Sara Montgomery and Dylan O’Reilly Joanne and James Peppiatt-Combes Matilda Perkins MD and Michael Freeburger Cynthia Ross and Martin Hauer-Jensen Peter Schanck Kristine and John Stichman

Sustainer ($1,000+)

Bonnie Binkert and Michael Melody Jan and Richard Bowers Honey and Peter Chapin Donald Close Jimmy DeMay on behalf of the Vaterstetten Foundation Linda Elliott Marian and Robert Haight Katherine and Edward Kvet Peter LaDelfe Barbara Lenssen and Keith Anderson Thomas McCaffrey David Muck and Cole Martelli Judy Naumburg and Stuart Bluestone Cindi and Jerald Parker Helen and William Rogers Jenna and Wilson Scanlan Susan and John Shaffer Hella and George Vroom Kristin and Mac Watson Linda and Gregg Wickstra Barbara and Mel Yost

Patron ($500+)

Anonymous Brent B. Ault Elizabeth Baker and Toby Pugh Helen and James E. Becker Joan Heiges Blythe Adelaide Collins and Dennis Cooper

Malini P. Dominey Yolanda and Abram Eisenstein David Frank and Kazukuni Sugiyama Stephanie M. Green and Alex Hobson Joyce Idema Felix Jakob Gregg Koyle Jean and Donald Lamm Berit Leonard and William Swift Josephine Levy and Robert Crawford Juliet Mattila and Robin Magowan Evelyn McClure Esther and Ralph Milnes Ann Mumford Claudia Baxter Nelson Jan and Jim Patterson Judith and Arthur Reeder Anders Richter Nancy Rowland Hilary and Reed Schaper Joyce and Steve Stivers Claire Swindell and Shawn Ferron Joan Vernick Nancy Meem Wirth

Supporter ($250+)

Nancy and Harro Ackermann John R. Adams Anonymous Mikaela Barnes Janine Bradford and Greg Casey Terry Brownell Carol Burns and James Hammerberg Janet Clow and David Cunningham Laurence A. Colton and John T. McCoy Roberta Colton Denny Creighton Pamela Culwell and Charles Case Anne Hays Egan Terry and John FitzPatrick Harlan Flint Charles Freuden Richard Greenberg Dona B. and Roger Hamilton

Pamela and Richard Hanlon Elizabeth Harcombe and Michael Carter Ed Heighway Bernhard Holzapfel Betsy and Thomas Jones Nancy Katz and Margo Dichtelmiller Laura Kiser Kimberly Kmentt Carol Ann Koz and Stuart Kirk Elaine F. Kramer Corinne Kratz Charles J. Lohrmann Bertil Lundqvist Susan K. McClung Jay W. Oppenheimer and Todd King Ethel and Tony Paap Adair Waldenberg and Jon Peck Jerry Richardson Daniel Rusthoi Margot D. Schwartz Barbara and Glen Smerage

Donor ($100+)

Ann Alexander Damaris Ames and Peter Lloyd Gretchen Anderson and John Lyles Barbara Beames and Michael Liebman Paul Blaney Lisa and Steven Botos John P. Bowman Isabel and Jeremiah Brackbill James Bradbury Marcia Butler Barbara Chamberlin Karen Christiansen Ronnie and Joseph Cohen Judy Crocker Julia and Jude Damasco Judi Dickerson and Neil Gader Bonnie Ellinger and Paul Golding Eva Eves and Jeffrey Schamis Patricia Feather Natalie Fitz-Gerald Adriana and Michael Foris William Gates Michael Gendel Sheila Gershen Shelly and Herman Haase Barbara Hadley and John Burke Stephanie and Stuart Hamilton Harriett Harris Wendy and Sam Hitt

In-Kind Gifts

Douglas Cardwell J. Revell Carr Michael Carter Michelle Tsosie Cisneros

Michael Hix Paula Hutchison William Jacquot Sara and Chris Julsrud Marianne Kah Ted Karpf Margaret Keller Linda Kenney Diana and Neil King Elisabeth and Alan Lerner Martha Liebman Toni Lipton and Scott Temple Joan Lombardi and Lee Nash Paula Lozar Sherry Malone Gail Mattson James McGrath Laura McWilliams Deborah and Matthew Mitchell Suzanne and Richard Molnar Teresa Moore Thomas Murtha Katie and David Olivant Nancy Ondov Melinne Owen and Paul Giguere Pam Parfitt and Brian Morgan Steven Parmer Jane Phillips-Conroy and Glenn Conroy Crennan Ray Jo Redmon Roberta and William Richards Robert Russell Barbara and Gene Sanger Harry H. Schneider, Jr. Marvin Schneider Linda Schoen Giddings and Daryl Giddings Rebecca and Thomas H. Shankland Danute Debney Shaw Judy and Robert Sherman Patricia and George Simon Leslie Smith and James Selby Robin Smith Deborah and Howard Spiegelman Cindi and John Stetson Trudy Swint and Cindy Knox John C. Terell Laura Tryboski Lisa and Harvey Van Sickle Linda S. Vorhies Norman Vuylsteke Jane Wetzel Kimberly Wiley and James Ransom Norman Williams Dan Winske Nancy and George Yankura

Friend (under $100)

C. Fish Greenfield Stephanie and Stuart Hamilton Colin Jacobsen Eddie M. Lesok and Craig Cunningham

Jean McIntosh Carol Redman and Thomas O’Connor Katherine A. Reed Kay Swindell

Peggy Abbott Chris Andersen and Eric A. Butler Steven D. Berkshire Greg Byrnes Barbara Chatterjee Rebecca Dempsey Jan Denton and John Andrews Melissa Eason Robert M. Evans Julie and Thomas Faber Suzanne Forker Mary Louise Frampton Justin Garcia Julie Geng Katherine Goulandris and George Nave Thomas Gray Paula Greer Rod Guinn Joshua M. Hamrick Marie F. Harper Brenda and Michael Jerome Tim Johnson Lyn Kendrick Bo Keppel Shirley Knarr Raul Leon Julia Leonard Jerry Leslie Karen J. Linder Mimi Mager Linda L. Mann Sterling Miller Jan L. Moberg Thomas J. Moore Sana Morrow Sergio Moyano Margo Murray and John D. McClure Michael Nowak Charles W. Pratt Michaele Pride Susan Rosenbaum and Eric Schoen Nancy Sherwood Yuko Shimokawa and Robert Ingliss Liza Solomon and Tara O’Toole Kelly and Richard Swindell Enid and Roy Tidwell Alice Tinkle Deborah and Hubert van Hecke Maureen E. VanWalleghan Donise Wright

Corporate Support

Amazon Smiles Artful Tea Artichokes & Pomegranates AspenBeach Consulting Center for Contemporary Arts Chocolate Maven Concept Hotels ConocoPhillips Drury Plaza Hotel Dryland Wilds First Presbyterian Church of Santa Fe Gruet Winery Santa Fe Heritage Hotels & Resorts, Inc. Heriz Rugs, Art & Interior Design Hervé Wine Bar Hotel Santa Fe Hutton Broadcasting Image Ratio Inn of the Turquoise Bear Inn on the Alameda iWave Kakawa Chocolate House KHFM KSFR KUNM La Fonda on the Plaza Lensic Performing Arts Center Los Alamos Daily Post Microsoft Museum of New Mexico Foundation New Mexico Museum of Art Nüart Gallery Open Kitchen Paper Tiger Performance Santa Fe Red Zia Digital Rio Grande Sun Salud Catering Santa Fe Santa Fe Chamber Music Festival Santa Fe Desert Chorale Santa Fe Magazine Santa Fe New Mexican Santa Fe Reporter Santa Fe School of Cooking Santa Fe Selection Santa Fe Symphony Santa Fe Youth Symphony Santacafé Southwest Contemporary The Sage Hotel Uncommon Arrangement University of New Mexico Bands Video Magic Walter Burke Catering

Government Support

National Endowment for the Arts New Mexico Arts New Mexico Finance Authority Santa Fe Arts & Culture Dept.

Corporate Matching Gifts Levi Strauss & Co. Miller Stratvert, P.A.

Foundation and Fund Support

Chapin Family Fund The Charles Piper Cost Foundation, on behalf of David and Mary Cost Sr. The Claudia B. Nelson Charitable Fund Edith M. Timken Family Foundation Fund E. Nakamichi Foundation Evelyn L Petshek Arts Fund, Santa Fe Community Foundation Celia Lipton Farris & Victor W Farris Foundation Fund, Santa Fe Community Foundation The Fasken Foundation The Little Charitable Fund, Tulsa Community Foundation Melody-Binkert Family Fund Mickey Inbody Charitable Foundation Inc., in support of education Mumford Family Foundation Oppenheimer Charitable Fund Santa Fe Pro Musica Fund, Santa Fe Community Foundation Susan and John Shaffer Giving Fund Phil and Jessica Smucker Gift Fund The Eugene V. and Clare E. Thaw Charitable Trust The Turnip Top Foundation Vaterstetten Foundation for the SFPM Endowment Foundation Alan and Kristin Watson Charitable Fund WESTAF

In Memory Of

Kathryn Gendel Michael Gendel Mickey Inbody Mickey Inbody Charitable Foundation, Inc. Rosemary O’Connor, Ted O’Connor Terry and John Fitzpatrick John T. Swindell Kelly and Richard Swindell

In Honor Of

John Clubbe Joan Heiges Blythe Thom Maciula and C. Fish Greenfield’s birthdays Ann Caldwell Jessica Smucker Jenna and Wilson Scanlan Kay Swindell Kelly and Richard Swindell Tim Terell Jenna and Wilson Scanlan Mariam and Robert Vaughn Laura McWilliams Nancy and George Yankura Leslie Smith and James Selby

In Honor of Colin Jacobsen Vicki Ahl and Byron Kohr M. Carlota Baca, PhD Scott R. Baker and Perry C. Andrews III Ruth Burstrom and Niels Chapman J. Revell Carr Donald Close Mary and David Cost Frank Farrow and Edward Jiran Richard Greenberg Eddie M. Lesok and Craig Cunningham Catherine and Darryl Lindberg Thom Maciula and C. Fish Greenfield Sara Montgomery and Dylan O’Reilly Carol Redman and Thomas O’Connor Katherine A. Reed Martha Ritchie Cynthia Ross and Martin Hauer-Jensen Jessica and Philip Smucker Kay Swindell Tim Terell Winky and Bernie van der Hoeven Kristin and Mac Watson Barbara and Mel Yost

Women of Distinction Donors ConocoPhillips Sheila Gershen Louise Singleton Tim Terell

Volunteers

Pro Musica is grateful to our family of volunteers who help sustain music and education programs in Santa Fe. Your efforts make a profound impact and heighten the cultural vitality of our community. Elizabeth Buddington Mary and Brian Cassidy Mary Ray Cate Luke Cate Barbara Chatterjee Ken Collins Martha Cook Rebecca Dempsey Donna Eagles Mark Fabio Elisabeth Farley Richard Feldman Gabrielle Gerholt Pamela Geyer Linda Schoen Giddings and Daryl Giddings

Special Funds

Linda Goodman Ruth Johnson Lisa Kantor Annette Kelley Bo Keppel Jan Kerr Barbara Kuzminska Barbara Luboff Marilyn and Jim Mallinson Sharon McCawley Estelle Miller Linda Miller Marsha Montgomery Linda Moore Richard Moore Allie Norris

Janet Peacock Jon Peck Jo Redmon Leslie Reynolds David Rogers Janice Simmons Martha and Ken Simonsen Cyd Strickland David Taylor Erin Taylor Alice Tinkle Jolanta and Walter Tuzel Linda Wieseman Bill Wilhelm Jane Yuster

Youth and Education Donors

Redman & O’Connor New Works Fund

Anonymous Mickey Inbody Charitable Foundation, Inc. Sana Morrow Winky and Bernie van der Hoeven

J. Revell Carr Nancy Harvey Gregg Koyle Louise Singleton

rint+ + design pprint design Santa Fe Pro Musica dedicates the 2023–24 Season in honor of David W. Cost, Emeritus Board Member and true friend. “In 2003 I was introduced to David Cost who had recently been coming to Pro Musica concerts. By the 2004–05 Season, he joined the Board, then served as President, and has since become a dedicated Emeritus Board Member. With his deep curiosity, artistic sensibility (he is a poet and print maker), kind persistence and loyalty, he has contributed immeasurably to the success of Pro Musica.”

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& design

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—Thomas O’Connor, Conductor Laureate and Co-Founder 61

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

Sica

toRiuM SeuM oF aRt)

oR, ReLand ntaFe.coM e tRuSt John ElwEs, tEnor ChristophEr smith, horn

ved. Manufactured in the uSa.

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

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

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

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

Recordings

Mahler

Symphony No. 4

Mozart

Piano Concertos

Mozart & Haydn Festival

Artistic Director Colin Jacobsen on CD Available for purchase at Santa Fe Pro Musica events and through the Pro Musica office.

The Wanderer Brooklyn Rider

Starlighter

Kinan Azmeh & Brooklyn Rider with Mathias Kunzli

Dreamers

Magos Herrera & Brooklyn Rider

LUDWIG VAN BEETHOVEN

Triple ConCerTo • Symphony no. 5 COLIN JACOBSEN • JAN VOGLER • ANTTI SIIRALA THE KNIGHTS • ERIC JACOBSEN

So Many Things

Anne Sofie von Otter & Brooklyn Rider

Ludwig Van Beethoven

Triple Concerto | Symphony No. 5 The Knights

Rustic-Sleek Decor Tr a n q u i l a n d I n v i t i n g Inventive Menu

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THE SANTA FE

SYMPHONY THE LENSIC Sep 10, 2023—4:00 pm Anne-Marie McDermott, Piano

Oct 15, 2023—4:00 pm Ida Kavafian, Violin HIMARI, Violin The Symphony Chorus Ensemble Cris Moore, Narrator—SFI Professor

Nov 18, 2023—7:00 pm Nov 19, 2023—4:00 pm The Symphony Chorus Caitlin Gotimer, Soprano Kathleen Felty, Mezzo-Soprano Philippe L’Esperance, Tenor Cory McGee, Bass-Baritone

Dec 10, 2023—4:00 pm Santa Fe Youth Symphony Association

Dec 24, 2023—4:00 pm Jason Vieaux, Guitar

January 14, 2024—4:00 pm Feb 18, 2024—4:00 pm

Alexi Kenney, Violin The Symphony Chorus

March 17, 2024—4:00 pm Kimberly Fredenburgh, Viola

April 21, 2024—4:00 pm Gabriel Martins, Cello

May 19, 2024—4:00 pm

Box Office: 505.983.1414

The Symphony Chorus Teresa Perrotta, Soprano Katherine DeYoung, Mezzo-Soprano Anthony Leon, Tenor Griffen Hogan Tracy, Bass

Photo Credit: Patrick Cooley

TOBY PUGH ARCHITECTS, LLC Ranchos de Taos, NM 87557 TPugh@PughArch.com Fellow, American Institute of Architects Walt Disney Imagineer for 21 years New Mexico Licensed Architect Since 1982

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At Concept Hotels, our hospitality know-how is anchored in the Xperience, that “je ne sais quoi” that turns first-time guests into treasured friends. Here, it’s about creating experiences through fresh, fun and functional design, throwing in a generous dose of fun and layering it with unbeatable value and personal service delivered with a smile. Whether the vibe is a fresh take on New Mexican, traditional New Mexican, or an artful, magical mix that defies labeling, Concept Hotels are united in delivering an Xperience. And a distinctly great one at that. 68

EXPERIENCE THE EXTRAORDINARY Welcome to our 2023–2024 Season Join us for performances of the world’s best music, dance, and theater at venues across Santa Fe.

season highlights

PerformanceSantaFe.org | 505 984 8759

Camilla Tilling + Emanuel Ax I Classical Secret Byrd I Classical/Immersive/Early Jessica Vosk I Musical Theater/Pop The Aunties: Women of the White Shell Water Place I Storytelling Benjamin Grosvenor I Classical Kronos Quartet I Classical/Contemporary Jordi Savall + Hespèrion XII I Early Music Takács Quartet + Julien Labro I Classical Isidore Quartet I Classical

SEASON 69

Chamber Music Albuquerque 2023-2024 Season

****** October 8, 2023 The Calder Quartet with pianist/composer Timo Andres “performances of subtlety and insight” (San Francisco Chronicle) December 10, 2023 The Dover Quartet Grammy nominated ensemble from the Curtis Institute “Successor to the Guarneri Quartet” (Chicago Tribune)

We are a proud sponsor of Santa Fe Pro Musica.

March 3. 2024 Quartetto di Cremona Italy’s leading string quartet “A rare blend of breadth of sound and capriciousness” (Gramophone) April 14, 2024 The Junction Trio Stefan Jackiw (violin), Conrad Tao (piano), Jay Campbell (cello) “Game changing musicians in One Sensational Group” (Celebrity Series of Boston) June 2, 2024 Ying String Quartet Music of astonishing, refreshing exaltation and exhilaration June 16, 2024 Trio Valtorna Ida Kavafian (violin), David Jolley (horn) Gilles Vonsattel (piano)

ChamberMusicABQ.com Season tickets go on sale July first 505-886-1251, ext.2

The Santa Fe Reporter is the city’s source for award-winning alternative news and culture since 1974.

sfreporter.com

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. For information about Legacy Gifts, please contact Interim Executive Director Thomas O’Connor at 505.988.4640.

Cover Art Sachi Oba, artist Made of Stars, 2021 Acrylic on gallery-stretched canvas 40 x 40 x 1.75 inches Sachiobaart.com

“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

M. Carlota Baca, PhD Norma and Dr. Harold Brown Marcie and Clifford Burton Marilyn Macbeth and Forrest Carlton Mary and David Cost Dawn and Peter Glankoff William Kilgarlin Sheri and Al Purdue Andrew Nowak Carol Redman and Thomas O’Connor Lorraine Schechter Kay Swindell

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Photography | Acis Productions (Rottsolk), Narai Armour (Oracion), Jiyang Chen (Montgomery), Jason Collins (Polyphony: Voices of

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