2024–2025 SEASON
A Southwestern Retreat
Find your refuge in the Southwest at our tranquil boutique hotel surrounded by the region’s rich history and world-famous cuisine. Relax in the fireplace lounge, soothe tired muscles in the sauna or take a dip in the pool. Easy interstate and freeway access. Only 15 minutes to Museum Hill and The Plaza.
505.474.9500
8376 CERRILLOS RD. SANTA FE, NM 87507
The Sage connects you to the Santa Fe Plaza and bustling Railyard Park with stylish rooms at affordable rates. A dreamy bohemian hotel steps from Santa Fe’s top art galleries, eateries, and local boutiques. Our pet-friendly hotel makes sure no one is left out of your inspiring New Mexico adventures!
GUADALUPE INN
If These Walls Could Talk...
Guadalupe Inn is not just a place to stay; it’s a living testament to the enduring legacy of the Quintana family and the vibrant history of Santa Fe. Nestled in the heart of the city, its walls resonate with centuries of stories, welcoming guests to become part of a cherished narrative that celebrates love, laughter, and the spirit of community.
Whether it’s a stop on your cross-country adventure or a weekend staycation in your own backyard, we are ready to welcome you. With a warm and friendly atmosphere, you’ll feel right at home.
2024–2025 SCHEDULE OF EVENTS BY DATE
SEP 27 | Youth Concert
SEP 29 | Orchestra—I Hear America Singing
OCT 13 | Catalyst Quartet Lecture-Demo
OCT 13 | Catalyst Quartet Concert
OCT 13 | Artist Dinner with Catalyst Quartet
NOV 8 | Youth Concert
NOV 9 & 10 | Orchestra—Art of Concerto Grosso
Nov 10 | Artist Dinner with Colin Jacobsen and Kinan Azmeh
DEC 19–23 | Holiday Bach Festival
DEC 27 | Family Concert—Bach Exploration
DEC 28–29 | Holiday Bach Festival
JAN 19 | Brooklyn Rider Lecture-Demo
JAN 19 | Brooklyn Rider Concert
JAN 22 | Concert & Conversation
JAN 24 | Youth Concert
JAN 25 & 26 | Orchestra Mozart’s Birthday & Chinese New Year
FEB 16 | Brentano Quartet Masterclass
FEB 16 | Brentano Quartet Concert
FEB 16 | Artist Dinner with Brentano Quartet
FEB 19 | Organ Recital I
MAR 2 | Isidore Quartet Masterclass
MAR 2 | Isidore Quartet Concert
MAR 2 | Artist Dinner with Isidore Quartet
MAR 12 | Concert & Conversation
MAR 14 | Youth Concert
MAR 15 & 16 | Orchestra—The Lark Ascending
MAR 19 | Organ Recital II
APR 12 & 13 | Baroque Holy Week Concerts
APR 13 | Concert & Conversation
APR 16 | Organ Recital III
APR 27 | Brooklyn Rider with soprano Ariadne Greif
APR 27 | Artist Dinner with Brooklyn Rider
MAY 4 | Orchestra—Appalachian Spring
MAY 4 | Season Finale Reception
MAY 21 | Organ Recital IV
SANTA FE PRO MUSICA’S 43 RD SEASON!
“Tradition isn’t the worship of ashes, but the preservation of fire. ”—Gustav Mahler
We’re thrilled to present Santa Fe Pro Musica’s 43 rd season, which is illuminated by the creativity of musical torchbearers—artists from a wide cultural perspective who are both deeply engaged with tradition while pushing the musical artform forward. Each of our five orchestral programs features special guest soloists who have a composing or improvisation practice as well as being virtuosic performers themselves.
We open the season with the richly hued voice of the Mexicanborn songstress Magos Herrera in a concert exploring music of the Americas old and new, from the Latin American songbook as well as jazz and classical sources. Clarinetist Kinan Azmeh , originally from Syria, joins us for a program with roots in the Italian Baroque alongside hypnotic Middle Eastern modes and rhythms. First lady of the pipa (Chinese lute), Wu Man helps us celebrate both Chinese New Year and Mozart’s birthday. And we bring Diné composer Raven Chacon’s Pulitzer Prize–winning Voiceless Mass to St. Francis Auditorium for its Santa Fe premiere alongside shakuhachi (Japanese bamboo flute) master Kojiro Umezaki’s blending of Japanese tradition and modern technology.
As always, our String Quartet Series features several of the world’s most dynamic string quartets in thoughtfully curated programs including the Brentano , Catalyst , Isidore quartets and Brooklyn Rider . Our Bach Festival continues a beloved holiday tradition with violinist Johnny Gandelsman’s critically acclaimed fresh interpretation of the complete cello suites on violin, A Baroque Christmas , and the complete Brandenburg Concertos. For our annual Baroque Holy Week Concerts , violinist Stephen Redfield and vocalists Clara Rottsolk and Meg Bragle once again anchor a program of deep expressive beauty, centered on Pergolesi’s exquisite Stabat Mater
We invite you to join us in keeping the flame burning brightly for great, live orchestral and chamber music in Santa Fe!
COLIN JACOBSEN | ARTISTIC DIRECTOR
COVER ART | Artwork by David Cost, untitled (2007) 12x12” monoprint on Arches 88 paper
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 keep Pro Musica humming. Together we can make great music. Thank you for your generous support!
Sincerely,
THOMAS O’CONNOR | INTERIM EXECUTIVE DIRECTOR & CONDUCTOR LAUREATE
On behalf of the Board of Trustees, I’m excited to welcome you to Santa Fe Pro Musica’s 2024–2025 season.
This season, the first fully programmed by our Artistic Director Colin Jacobsen, promises to be one of the most exciting, inventive, and diverse to date.
The music presented will include influences from Latin America, the Middle East, China, and Japan. Also, we are thrilled and honored to present Diné composer Raven Chacon’s Voiceless Mass
Our season includes five orchestra programs, a Bach Festival during the December holidays, Baroque Holy Week Concerts, and our String Quartet Series.
In addition to our concert series, we offer special events including Artist Dinners, Concerts & Conversations, and a Season Finale Reception which provide a chance to meet the artists in more intimate settings with food and beverage. We welcome your attendance and participation in any or all of these events.
Thank you for your continued support as we embark on this incredible 43 rd season of celebrating magical and transformative classical music.
C. FISH GREENFIELD | PRESIDENT, BOARD OF TRUSTEES
CAROLS & 2024 LULLABIES
A ROSE IN WINTER
December 13 - 22
Celebrate the Hope and Magic of the Holiday Season
TICKETS ON SALE NOW
(505) 988-2282
desertchorale.org
COMING SUMMER 2025
July 13 - August 1
Tickets on sale
December 2024
Explore themes of home, refuge, and harmony with today’s choral music from New Mexico and Latin America, profound pieces for voices and instruments, and two major new commissions written especially for your Santa Fe Desert Chorale.
ABOUT US
Mission
Santa Fe Pro Musica brings 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 with its companion Youth Concert Series, a String Quartet Series featuring world-renowned quartets, the annual Holiday Bach Festival, and Baroque Holy Week Concerts.
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 education program that encourages people of all ages to develop a life-long relationship with the power of classical music.
Board of Trustees
C. Fish Greenfield | President
Jean McIntosh | Vice President
Eddie Lesok | Treasurer
Ann Caldwell | Secretary
Scott Baker
Joanne Boulton
Adam Cohen
Robert M. Curtis
Sheryl DeGenring
Frank Farrow
Martin Hauer-Jensen
David Holloway
Marilyn Macbeth
Mary Meredith-Kirchner
Thomas O’Connor
Francine Sommer
Margot Schwartz
Kay Swindell
Ellen Yarrell
Emeritus
M. Carlota Baca
J. Revell Carr
C. Byron Kohr
Darryl Lindberg
Katherine A. Reed
Bernard van der Hoeven
Santa Fe Pro Musica Endowment Foundation
Alexander W. Purdue | President
Bernard van der Hoeven | Treasurer
M. Carlota Baca | Secretary
J. Revell Carr | Board Member
Darryl Lindberg | Board Member
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
info@sfpromusica.org
Website sfpromusica.org
Artistic & Administrative Staff
Colin Jacobsen | Artistic Director
Thomas O’Connor | Interim Executive Director
Conductor Laureate & Co-Founder
Sam McClung | General Manager
Nick Barral | Box Office & Marketing Manager
Gregg Koyle | Orchestra Manager
Nancy Ondov | Business Manager
Carol Redman | Senior Advisor & Co-Founder
Axel Retif | Development & Music Library Assistant
Sarah Schwenke | Development Manager
Lisa Van Sickle | Artistic Operations Manager
Production & Services
Audio Technician | Kabby Sound Studios
House Manager | Ann Moon
Keyboard Technicians
John Grunow Pipe Organs
Santa Fe Piano Services (Robby Rothschild)
Printing
Graphic Sky Printing
Image Ratio
Publication Printers
Sandia Paper Company
Program Notes | Carol Redman
Stage Manager | Curtis Mark
Video Editing | Angulo Marketing & Design
Videographer | Video Magic (Jonathan Lowe)
Website & Graphic Design | Think All Day (Kristin Carlson and Susan Harkey)
SPECIAL EVENTS
Meet our artists, participate in lifelong learning, deepen your connections to music, and expand your classical music experiences through private concerts, conversations, and artist dinners. Venues and prices vary. Some events are free.
OCT 13 at 10 AM | FREE
Lecture-Demo with the Catalyst Quartet
St. Francis Auditorium | NM Museum of Art
OCT 13 at 5 PM | $175 per person
Artist Dinner at 315 Restaurant and Wine Bar
Post-concert, three-course dinner with members of the Catalyst Quartet.
Seating limited, reservations required
NOV 10 at 5 PM | $175 per person
Artist Dinner at Santacafé
Post-concert, three-course dinner with Artistic Director Colin Jacobsen and guest artist Kinan Azmeh.
Seating limited, reservations required
DEC 27 at 10 AM | FREE
Family Concert | Bach Exploration
St. Francis Auditorium | NM Museum of Art
Featuring the Pro Musica Bach Ensemble and Colin Jacobsen, violin and leader
JAN 19 at 10 AM | FREE
Lecture-Demo with Brooklyn Rider
St. Francis Auditorium | NM Museum of Art
JAN 22 at 6 PM | $100 per person
Evening with Arnold Steinhardt & Colin Jacobsen
Governor’s Mansion
Wine and hors d’oeuvres
Seating limited, reservations required
FEB 16 at 10 AM | FREE
Masterclass with the Brentano Quartet
St. Francis Auditorium | NM Museum of Art
FEB 16 at 5 PM | $200 per person
Artist Dinner at Restaurant Martín
Post-concert, three-course dinner with members of the Brentano Quartet.
Seating limited, reservations required
Artist Dinner at Santa Fe School of Cooking
Masterclass with UNM’s graduate string quartet
MAR 2 at 10 AM | FREE
Masterclass with the Isidore Quartet
St. Francis Auditorium | NM Museum of Art
MAR 2 at 5 PM | $175 per person
Artist Dinner at Andiamo! Santa Fe
Post-concert, three-course dinner with members of the Isidore Quartet.
Seating limited, reservations required
MAR 12 at 6 PM | $100 per person
Concert & Conversation
Governor’s Mansion
Featuring violinist Colin Jacobsen and shakuhachi player Kojiro Umezaki.
Wine and hors d’oeuvres
Seating limited, reservations required
APR 13 at 10 AM | $25 per person
Concert & Conversation
Nüart Gallery
Featuring violinist Stephen Redfield and harpsichordist David Solem.
Coffee and pastries
Seating limited, reservations required
APR 27 at 5 PM | $175 per person
Artist Dinner at Santa Fe School of Cooking
Post-concert, three-course dinner with members of Brooklyn Rider.
Seating limited, reservations required
MAY 4 at 5:30 PM | $50 per person
Season Finale Reception in the Grand Ballroom
Scottish Rite Temple
Post-concert reception with refreshments
Seating limited, reservations required
Concert & Conversation at Nüart Gallery and the Governor’s Mansion
All programs, artists, and venues are subject to change.
YOUTH CONCERT SERIES
BRINGING CLASSICAL MUSIC CONCERT EXPERIENCES TO NEW MEXICO’S YOUTH FOR OVER 30 YEARS!
Every year, the Santa Fe Pro Musica Orchestra presents a Youth Concert Series that reaches thousands of local students, introducing them to the power of live classical music.
SEP 27 I I HEAR AMERICA SINGING
Lensic Performing Arts Center
NOV 8 | ART OF CONCERTO GROSSO
Lensic Performing Arts Center
DEC 27 | FAMILY CONCERT | BACH EXPLORATION
St. Francis Auditorium | NM Museum of Art
JAN 24 | MOZART’S BIRTHDAY & CHINESE NEW YEAR
St. Francis Auditorium | NM Museum of Art
MAR 14 | THE LARK ASCENDING
St. Francis Auditorium | NM Museum of Art
Since 1994, Santa Fe Pro Musica has presented an annual series of orchestral concerts for students throughout the Northern New Mexico region. Each year we perform for thousands of students, and since its inception, we have reached an estimated 90,000 students! These concerts are FREE to all public, private, alternative, and homeschooled students, grades K-12, and introduces the students to the living tradition of classical music—an art form that encompasses centuries of human endeavor and expression.
The Youth Concerts are presented as “guided listening” programs, and in addition to performances of the classical masterworks, includes history, biography, musical forms (overture, concerto, symphony), and the building blocks of music (imitation, repetition, melody, accompaniment). These programs assist the teachers and students in meeting the benchmarks and standards for the New Mexico Department of Education Arts Requirements. In addition to these live presentations, each concert is video-recorded and freely available as a resource that teachers, students, and families can use throughout the year.
YOUTH CONCERT LIBRARY
YOUTH CONCERT SIGN-UP
TESTIMONIALS
“Dear, promusica thank you so much for the music, I am going to start playing bass in May, and hearing your concerts helped me. Thank you!”—student
“Thank you for all the materials you supply. It is a great preview to a great concert. Also, thank you for a wonderful experience most students don’t get to have.”—teacher
“Thank you for letting us come to the concert. I liked how the music made sense.”—student
Thank you to:
The Fasken Foundation Inn of the Governors Lensic Performing Arts Center and the New Mexico Museum of Art for their support of Pro Musica’s Youth Concert Series
Youth Concert Series Underwriter | M. Carlota Baca Youth Concert Sponsors | Catherine Oppenheimer, Carol Prins and John Hart
Thank you letter from student
ORCHESTRA | BAROQUE ENSEMBLE | STRING QUARTETS
2024–2025 SEASON
Concert Programs & Notes
I HEAR AMERICA SINGING
SEASON OPENING ORCHESTRA
LENSIC PERFORMING ARTS CENTER
SUNDAY, SEPTEMBER 29 | 3 pm
Santa Fe Pro Musica Orchestra
Colin Jacobsen, leader and violin
Magos Herrera, singer and songwriter
David Felberg, conductor
Magos Herrera Trio
Vinícius Gomes, guitar
Matt Penman, bass
Alex Kautz, drums
ANTONIO VIVALDI
La Folia—Variations for String Orchestra (arr. Jeannette Sorrell)
MAGOS HERRERA
Aire (arr. Gonzalo Grau)
COLIN JACOBSEN
A child said, What is the grass? (from Walt Whitman, Song of Myself)
MAGOS HERRERA
Choro de Lua (for Elena) (arr. Diego Schissi)
MAGOS HERRERA
Papalote (for Tomás) (arr. Schissi)
ERIC JACOBSEN
Letters from God (arr. Colin Jacobsen) (from Walt Whitman, Song of Myself)
DANILO MORAES & PAULO CESAR DE CARVALHO
Obra Filha (arr. Schissi)
Intermission
GABRIELA LENA FRANK
Coqueteos from Leyendas: An Andean Walkabout
COLIN JACOBSEN
Ye, Priests (from Walt Whitman, Song of Myself)
MAGOS HERRERA
Remanso (arr. Schissi)
MAGOS HERRERA
The Calling (arr. Grau)
VIOLETA PARRA
Gracias a la Vida (arr. Schissi)
KYLE SANNA
Immense have been the preparations (arr. Colin Jacobsen, from Walt Whitman, Song of Myself)
MAGOS HERRERA & VINÍCIUS GOMES
The Healer (arr. Grau)
ORCHESTRA SERIES
VIVALDI, HERRERA, WHITMAN, FRANK
The dazzling Mexican-born singer and songwriter Magos Herrera launches Santa Fe Pro Musica’s 2024–2025 season with original songs and classics from the Latin American songbook. This concert takes us on a journey through the Americas starting with Vivaldi’s version of La Folia—a dance form referenced in the 15th century in Central America. Throughout this program we hear poetry celebrating democracy by America’s bard Walt Whitman and set to music by our artistic director Colin Jacobsen. Whitman’s words reach out to us from a fragile moment in America’s democracy— the Civil War—and call us to attention in our own times.
ANTONIO VIVALDI (1678–1741)
La Folia—Variations for String Orchestra (8 minutes)
The term folia is derived from the Latin root for “fool” and refers to a wild 15th-century dance most clearly traceable to the Iberian peninsula. Research has also indicated that this dance has roots in West Africa and was brought to Portugal with the slave trade. And finally, there is evidence that the 15th-century Spanish and Portuguese explorations of Central America discovered Indigenous music and dances similar to La Folia—a mysterious mingling of cultures.
La Folia is based on a repeating chord sequence or bass line upon which variations are performed. From noisy dances on the streets and plazas to elegant renditions in lavish courts, this simple form has been adapted across centuries and continents. Over the course of five centuries several hundred composers have incorporated La Folia into their works, including Vivaldi, Bach, Liszt, and Beethoven.
MAGOS HERRERA (b. 1970)
Herrera was born in Mexico City and is currently based in New York City. She has served as a spokesperson for UN Women and is a powerful voice for gender equality. She is best known for her eloquent vocal improvisations, singing in Spanish, English, and Portuguese, and her bold style that combines elements of contemporary jazz with Latin American melodies and rhythms. NPR called her style “bold, thrilling, and effortlessly global.”
Most of the songs on this concert are from her latest album Aire (2023), where she transforms the grief, fears, and loneliness of the recent pandemic into a luminous collection of songs that celebrates our shared humanity and affirms the healing power of music. The album features twelve songs that she sings over a musical canvas provided by her jazz trio augmented by Colin Jacobsen’s celebrated New York orchestra The Knights.
WALT WHITMAN (1819–1892)
For this program, Colin Jacobsen, his brother Eric Jacobsen (conductor, cellist) and Kyle Sanna (GRAMMY-winning guitarist) each contribute musical settings of verses by the great American poet Walt Whitman. With his deep passion for American democracy, Whitman speaks of Everyman and the Self as both individual and universal—“for every atom belonging to me as good belongs to you.”
Whitman’s monumental collection of poems, Leaves of Grass, was first published in 1855 (pre-Civil War) and continually revised until its last edition in 1889 (postCivil War). The first poem, titled “Song of Myself,” is written in Whitman’s characteristic free verse form, and separated into 52 sections or vignettes composed of small, precise scenes. “Song of Myself” has been acclaimed as an American epic and “the greatest American poem ever written” (Jay Pirini, 2011).
A child said, What is the grass? (from Section 6) —“It is the handkerchief [presence] of God” and, describing the cyclical nature of life and death, “the beautiful uncut hair of graves.”
Letters from God dropt in the streets (from Section 48)—Everyone has equal access to God. He is everywhere, and it is for us to find Him.
Ye Priests (from Section 43)—No matter how religious or irreligious, we all know “torment, doubt, despair and unbelief.”
Immense have been the preparations (from Section 44)—Each of us is the result of all those who have come before us, and every atom belonging to us will be incorporated into those who come after us.
GABRIELA LENA FRANK (b. 1972)
Coqueteos is scored for string orchestra (4 minutes).
Gabriela Lena Frank was born in Berkeley, California to a mother of Peruvian-Chinese ancestry and a father of Lithuanian-Jewish descent. Lena Frank’s music celebrates mixed cultures, and incorporates folk music into a Western classical framework.
She drew inspiration for her six-movement work Leyendas (Legends) from “the idea of mestizaje where cultures can coexist without the subjugation of one by the other. As such, this piece mixes elements from the Western classical and Andean folk music traditions.” Coqueteos is the last movement of the set and is a flirtatious love song sung by gallant men (romanceros) against a backdrop of vendaval de guitarras (“storm of guitars”), creating a bold and festive effect.
JOSHUA REDMAN WITH GABRIELLE CAVASSA • RANKY TANKY WITH MS. LISA FISCHER • DAVE HOLLAND NEW QUARTET • MESHELL NDEGEOCELLO • SFJAZZ COLLECTIVE • JAZZMEIA HORN • RUSSELL MALONE • JOSE JAMES • KEYON HARROLD • JOHN SANTOS • AMINA FIGAROVA • CARMEN BRADFORD • SUE FOLEY WITH THE TEXAS HORNS • AARON DIEHL & WARREN WOLF • MARC RIBOT TRIO WITH MARY HALVORSON • TARBABY • HARRIETT TUBMAN BAND • MICHAEL ANTHONY-PAUL GONZALES QUINTET • & MORE!
CATALYST QUARTET
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SUNDAY, OCTOBER 13 | 3 pm
Joel Link, violin (from Dover Quartet, substituting for Karla Donehew Perez)
Abi Fayette, violin
Paul Laraia, viola
Karlos Rodriguez, cello
PAQUITO D’RIVERA
Three Pieces
But, Just a Minute?! A Farewell Mambo Wapango
ASTOR PIAZZOLLA
Suite del Ángel
La Introducción del Ángel La Milonga del Ángel La Muerte del Ángel
La Resurrección del Ángel
Intermission
GEORGE GERSHWIN Lullaby
MAURICE RAVEL
String Quartet in F Major
Allegro moderato—Très doux Assez vif, très rythmé Très lent Vif et agité
STRING QUARTET SERIES
The Catalyst Quartet is represented by the Arts Management Group (AMG)
you to the New Mexico Museum of Art for their support of Pro Musica’s String Quartet Series
D’RIVERA, PIAZZOLLA, GERSHWIN, RAVEL
PAQUITO D’RIVERA (b. 1948)
Three Pieces (15 minutes)
Paquito D’Rivera is a living legend of contemporary music with 30 albums, 16 GRAMMY Awards and is renowned for his collaborations with everyone from Dizzy Gillispie to Yo-Yo Ma. A clarinetist and saxophone player, his music is celebrated for its clever mix of jazz, rock, classical, and traditional Cuban music.
The Catalyst Quartet commissioned But, Just a Minute?! in 2022 to celebrate their 10th anniversary. The title references a string quartet joke that these ensembles barely last but just a minute. The second piece, A Farewell Mambo (2013), was written to commemorate D’Rivera’s dear friend and fellow exile, the Cuban comedian Guillermo Álvarez Guedes (d. 2013). The comedian always walked on stage to a signature mambo tune, which serves as the starting point for this piece—a reflective, but fittingly humorous, musical farewell. Three Pieces concludes with Wapango (1970). Inspired by a Mexican folk dance, the huapango (original spelling) has become one of D’Rivera’s best known compositions. It explores an Afro-Mexican rhythm from the Caribbean state of Yucatán.
ASTOR PIAZZOLLA
(1921–1992)
Suite del Ángel (16 minutes)
Astor Piazzolla had Argentinian-Italian lineages and an American childhood (New York City). When he was 16, he moved back to Argentina and established himself as a bandoneón player with many local bands, and started his own tango orchestra.
Tango was born and bred in the slums of urban Argentina and Uruguay. Piazzolla’s novel compositional approach combined elements of tango, jazz, and classical music. In addition, he remarked that his formula for tango was “tragedy + comedy + whorehouse.” The violinist Gidon Kremer said, “Piazzolla can say as much with one tango as Chopin could with a waltz or a nocturne.”
Suite del Ángel was originally written for piano to accompany a stage play, El tango del Ángel, by the Argentinean playwright Alberto Rodríguez Muñoz. The play’s protagonist is an angel that heals the spirits of impoverished residents in a barrio of Buenos Aires. This work has subsequently been arranged for a variety of ensembles, including this arrangement by the Catalyst Quartet. Their violist Paul Laraia remarked that “We were inspired by the meat and the Malbec” —two of Argentina’s notable products along with the tango.
La Introducción del Ángel is slow and sultry, with a middle section that briefly explodes into a red hot tango, only to subside back into a sultry heat.
The second movement, La Milonga del Ángel, is tender and sentimental, using an earlier, gentler form of the tango (milonga). Rage and rhythmic violence return in La Muerte del Ángel (Death of the Angel). The final movement, La Resurrección del Ángel, cools the temperature, offering a calm, solemn conclusion and a hymn-like final cadence.
GEORGE GERSHWIN (1898–1937)
Lullaby (16 minutes)
Gershwin wrote this lullaby in 1919 (age 21), originally for piano, with a later arrangement for string quartet. It became a favorite at the private in-home musicales held by Gershwin’s friends. Then it lay dormant for years, until 1963 when George’s brother Ira showed the manuscript to the harmonica virtuoso Larry Adler. Adler arranged it for harmonica and string quartet and premiered it at the Edinburgh Festival that same year. The string quartet’s public premiere followed shortly after, with a performance given at the Library of Congress in 1967 by the Juilliard String Quartet. It was published in 1968. True to its name, it is softly hypnotic, with gentle repetitions, delicate harmonies, and softly syncopated rhythms.
MAURICE RAVEL
(1875–1937)
Quartet in F Major (30 minutes)
Ravel acknowledged numerous musical inspirations including his admiration for Mozart, his proclivity for classical structures, his interest in the exotic music of the Far East, his own Basque heritage from the borderlands of Spain and France, and his admiration for Claude Debussy (1862–1918), especially his string quartet (1893). Like Debussy, Ravel wrote only one string quartet.
Ravel’s Quartet in F Major (1903) was written when he was 28, though still a student at the Paris Conservatoire. He was an exacting worker, a consummate craftsman, and is noted for his brilliant juxtaposition of formality and sensuality, restraint and boldness. Ravel’s string quartet remains one of the most widely performed chamber music works in the classical canon.
The first movement, Allegro moderato—Très doux (moderately fast—very sweet), features a rich, warm, lyrically soaring melody passed around between all the instruments, with a variety of accompaniments, from chorale-like to dancing pizzicati to tremulous figures. The second movement, Assez vif, très rythmé (rather lively, very rhythmic), is reminiscent of Iberian folk music and Ravel’s Basque heritage. It shifts back and forth between rhythmic pizzicati and more lyrical bowed sections. The third movement, Très lent (very slow), is mostly dreamy with mercurial shifts in character, some of them fleetingly nightmarish. The exciting finale, Vif et agité (lively and agitated), recollects themes from all the other movements. It is boldly energetic, in an awkward five-beat meter, and borders on the demonic.
ART OF CONCERTO GROSSO FALL ORCHESTRA
FIRST PRESBYTERIAN CHURCH
SATURDAY, NOVEMBER 9 | 4 pm
SUNDAY, NOVEMBER 10 | 3 pm
Santa Fe Pro Musica Orchestra
Colin Jacobsen, leader and violin
Kinan Azmeh, clarinet and composer
Kyle Sanna, guitar
ANTONIO VIVALDI
Concerto in B Minor, RV 580
Allegro—Largo—Allegro
KINAN AZMEH
Concertino Grosso
Intermission
ALESSANDRO SCARLATTI
Concerto Grosso No. 1 in F Minor
Grave—Allegro—Largo—Allemande
ERNEST BLOCH
Concerto Grosso No. 1
Prelude—Dirge—Pastorale and Rustic Dances—Fugue
KINAN AZMEH
Wedding from Suite for Improvisor and Orchestra
VIVALDI, AZMEH, SCARLATTI, BLOCH
“This concert titled Art of Concerto Grosso celebrates the conversational virtuosity of multiple soloists in dialogue with each other and the larger ensemble. Our guest composer-performer, the Syrian-born clarinetist Kinan Azmeh, brings the 18th-century Baroque form into the 21st century with his soulful Concertino Grosso, weaving together multiple threads from his Middle Eastern, jazz, and classical backgrounds. A highlight is Ernest Bloch’s 20th-century masterpiece for strings and piano, written in 1925 ‘in this heavenly place called Santa Fe.’ The program is filled out with the Italian masters Vivaldi and Scarlatti.” —Colin Jacobsen
ANTONIO VIVALDI (1687–1741)
Concerto in B Minor, RV 580 is written for four solo violins with an accompanying string ensemble (11 minutes).
Vivaldi composed hundreds of spirited and inventive instrumental works. His kinetic rhythms, fluid melodies, and brilliant instrumental effects have secured his place as one of the most popular composers from the Baroque period.
The opening Allegro (fast) of Vivaldi’s Concerto Grosso in B Minor presents a distinctive repeated note ritornello (material that “returns”) alternating with more virtuosic episodes that are passed around among the four violin soloists. The middle movement, Largo (broadly), is harmonically rich and rhythmically static, and is laced with improvisatory-sounding solo episodes. The concluding Allegro presents a balance between repeated notes and virtuosic passages.
KINAN AZMEH (b.
1976)
Originally from Damascus, Syria, and currently living in New York City, Azmeh bridges East and West, composer and performer, and written and improvised music. He is a graduate of Damascus University (Electrical Engineering), the Damascus Institute of Music, the Juilliard School, and the City University of New York. He performs worldwide and is a member of the GRAMMY-winning Silkroad Ensemble.
Concertino Grosso (15 minutes) is scored for a solo group that includes clarinet, violin, guitar, and percussion, with an accompanying string ensemble. It was co-commissioned in 2017 by Carnegie Hall for their 125th anniversary, and Colin Jacobsen’s New York–based chamber orchestra, The Knights.
The title Concertino Grosso literally means “a big little concerto.” The word grosso means big and refers here to a group of soloists. The word concertino means a small concerto and usually refers to a concerto-like work that comprises only a single movement. This work offers a kaleidoscope of contrasts including instrumental variety—wind, bowed string, plucked string, and percussion (instruments that are struck)—and musical material, including slow and softly veiled sections, improvised episodes, and wild dances.
Wedding (5 minutes) is scored for clarinet and orchestra. It is excerpted from Azmeh’s threemovement Suite for Improvisor and Orchestra (2007) and appears on the GRAMMY-winning Silkroad Ensemble album Sing Me Home. This celebratory music captures the spirit of a traditional Syrian wedding, including apprehension, happiness, and maybe even some inebriation.
ALESSANDRO SCARLATTI (1660–1725)
Originally from Sicily, Scarlatti ricocheted between patrons and positions in Naples and Rome. Most of his music is vocally oriented and includes hundreds of operas and other voice-dependent works. He wrote only a small amount of instrumental music, most for unknown benefactors or purposes.
The Concerto Grosso No. 1 in F Minor (8 minutes), written for string ensemble with some solo roles for violin, viola, and cello, was published posthumously in 1740. It opens with a stately, richly harmonic Grave (solemn), followed by a rhythmically propulsive, imitatively-charged Allegro (fast). The middle movement, Largo (broadly), is sorrowfully introspective. Scarlatti formally concludes the concerto with an Allemande, a 17th-century French court dance based upon a German country dance. Overall, the concerto is of a serious nature, in accordance with the key of F minor, a mood tinged with “melancholy and at times rising into passion” (Ernest Pauer, 1876).
ERNEST BLOCH (1880–1959)
Concerto Grosso No. 1 is scored for string orchestra and piano (23 minutes).
Ernest Bloch was originally from Switzerland and ultimately settled in the United States. During a visit to Santa Fe in 1924, Bloch completed his Concerto Grosso No. 1, and remarked that “Santa Fe has won my heart. The climate here is wonderful, it is stimulating, it makes the brain tingle, the heart beats faster, the hand grip warmer. The sunshine is life. I was at work on a composition [Concerto Grosso No. 1]—I feared it would take months to complete it— and here I have finished it in three days, thanks to this heavenly place called Santa Fe!” (Santa Fe New Mexican, November 15, 1924)
This work combines structural elements of the Baroque period (1600–1750) with the melodic sensibility of the Romantic period (19th century), and colors it with 20th-century harmonies. It begins with a Prelude of grand, dramatic statements, followed by a Dirge suffused with ethereal textures. The third movement, Pastorale and Rustic Dances, evokes Swiss folk music and reflects the Baroque period’s fondness for dance music. And what would be a Baroque piece without a fugue? The final movement is a fugue updated for 20th-century ears. Here Bloch creates three instrumental groups and juggles musical material between them—solo strings, section strings, and piano (an updated Baroque harpsichord). Toward the end, the opening theme from the Prelude returns, bringing the piece to a joyous and triumphant conclusion.
HOLIDAY BACH FESTIVAL
BACH’S SOLO CELLO SUITES ON VIOLIN
ST. FRANCIS AUDITORIUM | NEW MEXICO MUSEUM OF ART
Johnny Gandelsman, violin
PART I
THURSDAY, DECEMBER 19 | 7:30 pm
GONZALO GRAU
Flamenco Suite—I. Soleá
Suite No. 1 in G Major, BWV 1007
Prélude Allemande
Courante
Sarabande
Menuetto I and II Gigue
Suite No. 2 in D Minor, BWV 1008
Prélude
Flamenco Suite—II. Tangos
Allemande
Courante
Sarabande
Menuetto I and II Gigue
Suite No. 3 in C Major, BWV 1009
Prélude Allemande
Flamenco Suite—III. Fandango
Courante
Sarabande
Bourrée I and II Gigue
PART II
FRIDAY, DECEMBER 20 | 7:30 pm
Suite No. 4 in E-Flat Major, BWV 1010
Prélude Allemande
Courante
IV. Martinete—Flamenco Suite
Sarabande
Bourrée I and II Gigue
Suite No. 5 in C Minor, BWV 1011
Prélude
Allemande
Courante
Sarabande
V. Sevillanas—Flamenco Suite Gavotte I and II Gigue
Suite No. 6 in D Major, BWV 1012
Prélude Allemande
Courante
Sarabande
Bourrée I and II
VI. Bulerias—Flamenco Suite Gigue
Each concert is 75 minutes performed without intermission
Artist Sponsor of Johnny Gandelsman | Frank Farrow and Edward Jiran
Media Partner | Santa Fe New Mexican
Lodging Partner | Hotel Santa Fe
Thank you to the New Mexico Museum of Art for their support of Pro Musica’s Bach Festival
JOHANN SEBASTIAN BACH (1685–1750)
“With an ear for dance and a new five-string violin, Johnny Gandelsman set out to transform a towering classic … At times the performance had the improvisatory feel of folk music, but it was in fact a survey of Bach’s towering six cello suites … His approach is singular: feather-light and rooted in dance and folk music” —The New York Times, Joshua Baron, June 1, 2021.
Johnny Gandelsman’s project of recreating Bach’s cello suites for violin followed his monumental recording (2018) of Bach’s Sonatas and Partitas for Solo Violin, an album that reached No. 1 on the Billboard Classical Chart, and made it onto both New York Magazine’s and The New York Times’ best-ofthe-year lists. While Bach’s solo violin works explore the Italian sonata and partita forms with the inclusion of masterful German fugues, the cello suites primarily traverse the French baroque dance forms. As was common in folk music, Bach utilized an alternative tuning of the strings (scordatura) in the Fifth Suite and the use of five strings instead of the usual four in the Sixth Suite. That is what Gandelsman worked toward in his interpretation—a folk flavor, an exploration of the music’s dance roots, and folk music’s tradition of improvisation, all within Bach’s meticulous framework. With this in mind, Gandelsman takes it one step further and for these performances will include a few extra folk dances.
Throughout the set of six suites, Gandelsman has distributed movements from Gonzalo Grau’s (b. 1972) new work Flamenco Suite. Grau is a composer, arranger, producer, recording artist (with over 80 productions), and performer (cello, viola da gamba, piano, cajón). He is originally from Venezuela, and currently teaches at the Longy School of Music at Bard College. He works with many of today’s leading artists including Magos Herrera, Yo-Yo Ma, Brooklyn Rider, The Knights, Colin Jacobsen, Osvaldo Golijov, and commissions from the Chicago and Atlanta symphonies, Boston Pops, and the Los Angeles Philharmonic.
THE HISTORY
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.
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.
VIOLINIST JOHNNY GANDELSMAN ON CD
Available for purchase after the Bach’s Cello Suites on Violin concerts.
HOLIDAY BACH FESTIVAL
A BAROQUE CHRISTMAS
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SATURDAY, DECEMBER 21 | 7:30 pm
SUNDAY, DECEMBER 22 | 3 pm
MONDAY, DECEMBER 23 | 7:30 pm
Stephen Redfield, violin and leader
Clara Rottsolk, soprano
Brian Shaw, trumpet
Santa Fe Pro Musica Bach Ensemble
Violin—David Felberg, Elizabeth Baker, Megan Holland, Carla Kountoupes, Jeffrey Smith
Viola—Laura Chang, Yuko Shimokawa
Cello—James Holland
Double Bass—Deborah Dunham
Keyboards—David Solem
GEORG PHILIPP TELEMANN
Trumpet Sonata in D Major, TWV 44.1
Sinfonia. Spiritoso—Largo—Vivace
JOHANN SEBASTIAN BACH
Concerto in D Minor for Two Violins, BWV 1043
Vivace—Largo ma non tanto—Allegro
JOHANN SEBASTIAN BACH
Cantata No. 51
Aria—Exult in God in every land
Recitative—We pray at your temple
Aria—Lord highest, renew your goodness
Chorale—Alleluia: Glory and praise with honor
GEORGE FRIDERIC HANDEL
Adagio—Siciliana
Eternal Source of Light Divine
Let the Bright Seraphim
Each concert is 75 minutes performed without intermission
Media Partner | Santa Fe New Mexican Lodging Partner | La Fonda on the Plaza
Musica’s Bach Festival
TELEMANN, BACH, HANDEL
GEORG PHILIPP TELEMANN
(1681–1767)
The Trumpet Sonata in D Major, TWV 44.1 is scored for trumpet and string ensemble (10 minutes).
Admired by his colleagues and amateurs alike, Telemann was the most famous composer of his day, with an estimated 3,000 works. His compositions incorporated any style that suited his fancy or his audience, and included French, Italian, German, and Polish elements.
Telemann’s Trumpet Sonata in D Major was probably written around 1721 for public concerts that he regularly produced, either in Eisenach or Frankfurt, with his Collegium Musicum, a consortium of musicians that included university professors and students, community amateurs, and visiting soloists. The work opens with a noble trumpet fanfare (Adagio, “at ease”) followed by a heartwarming Spiritoso. The second movement, Largo (broadly), silences the trumpet and features a somber, intimate conversation between the violins. All introspection is swept away with the celebratory closing movement, Vivace (lively), that sparkles with sunshine and rollicking happiness.
JOHANN SEBASTIAN BACH
(1685–1750)
The Concerto in D Minor for Two Violins, BWV 1043 is scored for two solo violins with string ensemble (17 minutes).
Though Bach traveled little and never left Germany, he was acquainted with the new Italian-style concerto and studied the works of Italian masters, especially those of Vivaldi. Bach’s Concerto for Two Violins incorporates several Italian concerto characteristics, including the three-movement model consisting of a slow movement between two fast movements, and the use of sequence and contrast between the full ensemble and the solo group. In general, Bach’s violin concertos are not virtuoso showpieces as Vivaldi’s tend to be, but are a masterful blend of Italian structural elements with German contrapuntal writing.
Bach’s Concerto for Two Violins dates from the 1730s and was probably presented on one of his Collegium Musicum performances in Leipzig, an ensemble similar to Telemann’s, that included community professionals, students and amateurs, plus visiting soloists. The first movement, Vivace (lively), is in the Italian ritornello form—the main theme recurs throughout, though often incomplete and used as a mere signpost for the solo violins as they go exploring. The second movement, Largo ma non tanto (slowly, but not too much), has been described as a “soaring love duet” (Chris Vaneman, Spartanburg Philharmonic). The concerto concludes with an exuberant Allegro (fast) with the violin soloists like dance partners closely following each other’s steps.
Bach’s Cantata 51 is scored for solo soprano and solo trumpet, with string ensemble (18 minutes). The text is by an unknown poet who took inspiration from the Bible. It is the only church cantata by Bach for solo
soprano and trumpet, and it “overflows with jubilation and radiant beauty.” (Julian Hans Mincham, 2010)
Aria—Exult in God in every land (Jauchzet Gott in allen Landen) capitalizes on the trumpet’s brilliant fanfare qualities and is a virtuoso da capo aria for the soprano with extended coloraturas on the word “exult.”
Recitative—We pray at your temple (Wir beten zu dem Tempel an) is introspective and pleading, followed by its companion Aria Almighty, renew your goodness (Höchster, mache deine Güte)—an introspective and profound expression of commitment to God.
Chorale—Glory, and praise with honor (Sei Lob und Preis mit Ehren) presents the soprano singing the unadorned chorale melody juxtaposed against contrapuntal, high energy writing for the strings. The Chorale leads immediately to the concluding fugal
Alleluja, bringing back the brilliance of the trumpet, and a festive conclusion, leaving “one literally breathless with the sheer pleasure and energy generated through the relationship with God.” (Mincham)
GEORGE FRIDERIC HANDEL (1685–1759)
Selections for soprano, trumpet, and strings (15 minutes).
The German-born and Italian-trained English composer Handel was a master of dramatic expression and melody. Haydn exclaimed that “he is the master of us all.” The 18th-century British composer William Boyce remarked that Handel “takes other men’s pebbles and polishes them into diamonds.” And Bach announced that “Handel is the only person I would wish to be, were I not Bach.”
Adagio–Siciliana for strings is excerpted from Handel’s Concerto Grosso in C Minor, Op. 6, No. 8 (5 minutes), from a set of twelve concerti grossi compiled in 1740. The Adagio (“at ease”) is calm, somber, and harmonically rich. It segues into a gentle, lilting Siciliana. Originally a Sicilian shepherd song or dance, it evokes a pastoral mood with a melancholy cast.
Eternal Source of Light Divine is for soprano, trumpet, and strings (5 minutes) and is the ceremonial opening movement to Handel’s secular cantata Ode for the Birthday of Queen Anne (February 6, 1713). This “ravishing music of melting beauty” (Robert King, 1989) was performed at the wedding of Prince Harry and Meghan Markle (2018).
Let the Bright Seraphim is an aria from Handel’s oratorio Samson (1743) and is scored for soprano, trumpet, and strings (5 minutes). It is based on John Milton’s poetry with the music brilliantly supporting the text—heavenly angels with their uplifted trumpets declaring their burning love for God.
HOLIDAY BACH FESTIVAL
BACH AND BEYOND
PART I
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SATURDAY, DECEMBER 28 | 7:30 pm
JOHANN SEBASTIAN BACH
Brandenburg Concerto No. 1 in F major, BWV 1046
Allegro—Adagio—Allegro—Minuetto
GYÖRGY KURTÁG
Selections from Games, Signs and Messages
Im Volkston Hommage à Bach The Carenza Jig
JOHANN SEBASTIAN BACH
Brandenburg Concerto No. 6 in B-flat Major, BWV 1051
Allegro—Adagio ma non tanto—Allegro
ALFRED SCHNITTKE
Prelude in Memoriam Dmitri Shostakovich
JOHANN SEBASTIAN BACH
Brandenburg No. 4 in D Major, BWV 1049
Allegro—Andante—Presto
PART II
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SUNDAY, DECEMBER 29 | 3 pm
JOHANN SEBASTIAN BACH
Brandenburg Concerto No. 5 in D Major, BWV 1050
Allegro—Affettuoso —Allegro
JOHANN SEBASTIAN BACH
Brandenburg Concerto No. 2 in F Major, BWV 1047
Allegro—Andante—Allegro assai
GABRIELLA SMITH
Brandenburg Interstices
JOHANN SEBASTIAN BACH
Brandenburg Concerto No. 3 in G Major, BWV 1048
[Allegro]—Adagio—Allegro
Each concert is 75 minutes performed without intermission
SANTA FE PRO MUSICA BACH ENSEMBLE
Violin—Colin Jacobsen, Stephen Redfield, Christina Courtin, Megan Holland, Lisa Grodin, Robyn Julyan
Viola—Laura Chang, Yuko Shimokawa, Laura Steiner
Cello—James Holland, Melinda Mack, Felix Fan
Double Bass—Deborah Dunham
Harpsichord—David Solem
Flute—Jesse Tatum, Jennifer Lau
Oboe—Robert Ingliss, Kevin Vigneau, Lucian Avalon
Bassoon—Samantha Brenner
Horn—Peter Erb, Julia Erdmann Hyams
Trumpet—Brian Shaw
Sponsor of Artistic Director Colin Jacobsen | The Swindell Family Concert Sponsors | Carol Redman and Thomas O’Connor, Ellen Yarrell
Family Concert Underwriter | M. Carlota Baca
Family Concert Sponsor | The Fasken Foundation, Catherine Oppenheimer
Media Partner | Santa Fe New Mexican Lodging Partners | Concept Hotels, Inn of the Governors
Lodging Sponsors for Colin Jacobsen | Carol Redman and Thomas O’Connor
Thank you to the New Mexico Museum of Art for their support of Pro Musica’s Bach Festival
BACH AND BEYOND
“To close out the year, Santa Fe Pro Musica traverses the complete Brandenburg Concertos. Beloved for their sense of joy, intricate counterpoint, and individual and collective virtuosity, they are programmed in relief with 20th-century masters György Kurtág and Alfred Schnittke, as well as a recent work by the 21st-century American composer Gabriella Smith that puts Bach’s 5th Brandenburg Concerto through a fantastical looking-glass.”
—Colin Jacobsen
JOHANN SEBASTIAN BACH Brandenburg Concertos
From 1717–1723, J.S. Bach worked for Prince Leopold of Anhalt-Cöthen where he wrote some of his most magnificent instrumental music, including the six unaccompanied violin partitas and sonatas, the six unaccompanied cello suites, the four orchestral suites, and the six Brandenburg Concertos. These concertos are in the style of the concerto grosso, one of the most popular instrumental forms of the Baroque Period, and each concerto features a different group of solo instruments (concertino) accompanied by a larger ensemble (ripieno).
Bach included all the orchestral instrument families in these concertos—brass (trumpet and French horn), woodwinds (flute, oboe, bassoon), strings (violin, viola, cello), and harpsichord. The only instrument lacking a solo role is the double bass. Bach’s modest title—Concertos with several instruments (originally in French, Concerts avec plusieurs instruments)—does not even begin to suggest the degree of innovation exhibited. Every one of the six concertos has set a precedent in its imaginative scoring, meticulous craftsmanship, and dazzling invention, and continues to delight audiences since their publication almost 300 years ago.
Part I
Brandenburg Concerto No. 1 (20 minutes) features a rich array of solo instruments (concertino), including two French horns, three oboes, one bassoon, solo violin, and with accompanying string ensemble (ripieno). Both Allegro (fast) movements feature vigorous interplay among the solo instruments and the orchestra. The solo violin and oboe lead in the Adagio movement (slow, “at ease”). In the closing dances, four repetitions of the Menuetto surround a trio for woodwinds, a Polish dance for strings, and another trio for horns and oboes.
GYÖRGY KURTÁG
(b. 1926)
György Kurtág is a Hungarian composer known for creating musical miniatures of exquisite detail. His work Games, Signs and Messages is a growing set of miniatures for a variety of instruments. Music writer Alex Ross (The New Yorker) describes them as “compressed but not dense, lyrical but not sweet, dark but not dismal, quiet but not calm.”
Im Volkston (Folk Tune) is a somber folk song-like lament (45 seconds).
Hommage à Bach is an ethereal, fresh reflection of Bach’s violin writing (1 minute).
The Carenza Jig was written for an 8-year-old girl (Carenza) who was learning to play the violin (48 seconds).
Brandenburg Concerto No. 6 (16 minutes) is scored for two violas and cello in solo roles, with contrasting and supporting material in the two other cellos (originally violas da gamba), double bass, and harpsichord. The unusual sonority created by the exclusive use of middle and low register strings is dark and mellifluous.
ALFRED
SCHNITTKE (1934–1998)
was a German-Jewish-Russian composer intrigued with memory and memorials. The slow and dirge-like Prelude in Memoriam Dmitri Shostakovich is a rich and complicated musical statement, intensified by its mere 4 minutes in duration. It was written in 1975 for two violins, one visible (onstage) and the other invisible (offstage). In this piece, Schnittke synthesizes the musical signatures of the Russian composer Shostakovich (D–E-flat–C–H) and the German composer Bach (B-flat–A–C–H). In German, the letter H represents the note B, whereas B represents the note B-flat. Notice the overlap in the signatures, both sharing the last two notes.
Brandenburg Concerto No. 4 (15 minutes) is scored for a concertino of solo violin and two flutes, accompanied by the standard ripieno (string ensemble). Within the solo group, the violin is the most virtuosic participant, investing the music with the texture of a solo concerto. The flutes most often work in tandem, and can be considered a unit rather than separate soloists.
Part II
Brandenburg Concerto No. 5 (18 minutes) consists of a concertino of violin, flute, and harpsichord. The first movement features the ripieno in splendid Vivaldi-like passagework. The harpsichord provides obbligato, and the solo violin and flute contrast with lyrical passages. As the movement proceeds, the harpsichord becomes increasingly dominant and finally bursts into an astonishing solo cadenza, fully constructed by Bach, in a showcase clearly written for himself. In the second movement, only the soloists play, with the violin and flute paired in contrast to the harpsichord. The third movement concludes with an energetic and contrapuntal jig.
Brandenburg Concerto No. 2 (12 minutes) is scored for a concertino of high-voiced instruments—trumpet, flute, oboe, and violin. In the outer movements, all four soloists share the same material with no idiosyncratic differentiation between instruments. The middle movement Andante (flowing) is written for the concertino without trumpet.
GABRIELLA SMITH (b. 1991) is originally from the San Francisco Bay Area, and is currently a doctoral candidate at Princeton University. Her music is described as “high-voltage and wildly imaginative” (Philadelphia Inquirer). Brandenburg Interstices was written in 2012 and is scored for flute, 2 violins, viola, cello, double bass, and harpsichord (14 minutes). This work is a companion to and a reimagining of Bach’s Brandenburg Concerto No. 5, using direct quotation, imitation, and mixed with historical and contemporary references.
Brandenburg Concerto No. 3 (12 minutes) is scored for three violins, three violas, three cellos, plus double bass and harpsichord but without ripieno. Throughout the two fast movements (Allegro), Bach combines and recombines the three trios of instruments, having them echo and contrast with each other. The Adagio (slow, “at ease”) is a single measure connecting the two fast movements. It is conjectured that Bach’s intention was not the insertion of an additional contrasting movement, but an opportunity for one of the other players, typically the solo violinist or harpsichord player, to provide a brief improvisation. And for this, we have a surprise for you!
Together, our joint organization is poised to elevate music and create an enduring legacy for generations to come. Our expanded community programs and youth initiatives aim to make music more accessible to all, fostering a love for music across generations. From educational performances to youth music classes, we are committed to nurturing talent and building connections in our community. Join us for a season full of beautiful melodies and inspiring moments. Register your children for classes today!
BROOKLYN RIDER
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SUNDAY, JANUARY 19 | 3 pm
Johnny Gandelsman, violin
Colin Jacobsen, violin
Nicholas Cords, viola
Michael Nicolas, cello
HENRY PURCELL
Fantasia Upon One Note
BETSY JOLAS
Quartet No. 3 (9 Études)
Bowing—Vibrato—Aleatory Structures— Trills and Bowed Tremolo— Harmonics— Multiple Stops—Aleatory Structures Around a Held C—Pizzicati—Summing Up
PHILIP GLASS
Quartet No. 4, “Buczak” I. II. III.
Intermission
ARVO PÄRT
Solfeggio
JOHANNES BRAHMS
Quartet No. 1 in C Minor, Op. 51, No. 1
Allegro
Romanza
Allegretto molto moderato e comodo
Allegro
STRING QUARTET SERIES
Brooklyn Rider is represented by David Lieberman Artists’ Representatives
Thank you to the new Mexico Museum of Art for their support of Pro Musica’s String Quartet Series
Concert Sponsors | M. Carlota Baca, Ann Caldwell, Sheri and Al Purdue Media Partner | KHFM Lodging Partner | Hotel Santa Fe Lodging Sponsors for Colin Jacobsen | Carol Redman and Thomas O’Connor
PURCELL, JOLAS, GLASS, PÄRT, BRAHMS
UPON ONE NOTE
“The foundational sound frequency of the string quartet is the note C—the enveloping lowest open strings of the viola and cello. This concert titled “Upon One Note” explores a group of ingenious works revolving around the note C—from Betsy Jolas’ musings on the building blocks of the string quartet, to the otherworldly soundscapes of Arvo Pärt, and to Brahms’ swirling masterpiece Opus 51, No. 1 in C Minor. Not to be left out, the audience will collectively embody the note C, joining Brooklyn Rider in Purcell’s magical Fantasia Upon One Note.”—Nicholas Cords, Brooklyn Rider
HENRY PURCELL (1659–1695)
Fantasia Upon One Note (3 minutes)
Henry Purcell wrote secular music for the English courts, was the organist and composed sacred music for Westminster Cathedral, and created colorful theater music for the public. He is considered one of England’s most important composers, in a league with the Baroque composer George Frideric Handel and the 20th-century composer Benjamin Britten.
The fantasia (fancy, fantasy, fantasie) is a freely constructed instrumental composition. In the 1670s, Purcell composed a set of 15 fantasies for four–or five–part viol consorts (now often played by string quartets). These works are multi-sectional, with contrasting episodes of rigorous counterpoint balanced by other sections that are dance-like, chorale-like, or meditative. In the Fantasia Upon One Note, the tenor line sustains one note—C—for the duration of the piece. With this single tone becoming the center, the other voices float and weave around it as if in its orbit.
BETSY JOLAS (b. 1926)
Quartet No. 3, “9 Études” (18 minutes)
Betsy Jolas is a Franco-American composer. She was born in Paris and grew up in a household full of artistic and literary activity. She has taught composition at Yale, Harvard, Mills College, Tanglewood, and in the University of California system. Like Arvo Pärt, she is particularly interested in and influenced by Medieval and Renaissance music.
Jolas describes her Quartet No. 3—“I have attempted in this work to present a contemporary view of some characteristic elements of string technique in the form of nine etudes, each of which deals with one particular aspect of this technique: pizzicato, harmonics, aleatory (meaning ‘random’—No. 7 is in memory of Purcell’s Fantasia Upon One Note), vibrato, etc. Several of the movements are played without pause.” It was completed in 1973 and dedicated to the Concord Quartet, who performed the premiere.
PHILIP GLASS (b. 1937)
Quartet No. 4, “Buczak” (23 minutes)
Philip Glass is one of the most important and influential composers of the late 20th century. His music defines minimalism, with its emphasis on slowly shifting rhythmic and melodic patterns, like a slowly turning kaleidoscope. His Quartet No. 4 was commissioned by Geoffrey Hendricks in remembrance of the artist Brian Buczak, who died in 1987 at age 33 of AIDS-related complications. The quartet is somber and hypnotically beautiful. The first movement is pensive and moderately moving, featuring arpeggiated chord sequences. The second movement is slow and haunting, an exquisitely scored melody that features a soaring high voice underpinned with octaves and undulations. The third movement, with its ascending scale passages, invokes renewed vitality and hope.
ARVO PÄRT (b. 1935)
Solfeggio (5 minutes)
The Estonian composer Arvo Pärt has been described as an “East European holy minimalist” (Norman Lebrecht, 2007). Inspired by Medieval and Renaissance music, and through the spirit and method of the ancient masters, Pärt creates a pristine and otherworldly style. Solfeggio was written in 1963, originally for four-part choir, and is based on a simple C major scale. He later arranged it for string quartet (2008).
JOHANNES
BRAHMS (1833-1897)
Quartet in C Minor, Op. 51, No. 1 (30 minutes)
As the musical heir of Beethoven, Brahms did not take his role lightly and felt great pressure to measure up to his model. He remarked, “You do not know what it is like hearing his [Beethoven’s] footsteps constantly behind me.” Consequently, he wrote and destroyed some twenty string quartets before he allowed two of them to be published.
Brahms began work on his String Quartet No. 1 in C Minor in the early 1850s. He reworked it over the next 20 years before submitting it for publication in 1873. This quartet is darkly passionate, as befits the key of C minor. The first movement, Allegro (fast), is turbulent and passionate—more about unrequited love than love. The second movement, Romanza, is a song of great beauty with qualities of calmness and acceptance, especially as contrasted with the turbulence of the first movement. The third movement, Allegretto molto moderato e comodo, (a little fast, very moderate, at a comfortable tempo) brings hints of darkness, a sense of sadness, and something disturbing. There is a brief respite in the childlike middle section. The quartet concludes with an Allegro (fast) that has the intensity of the first movement, though even more distressed, frantic, and full of rage. Some calmness slips in but just as quickly slips away.
MOZART’S BIRTHDAY & CHINESE NEW YEAR
WINTER ORCHESTRA
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SATURDAY, JANUARY 25 | 4 pm
SUNDAY, JANUARY 26 | 3 pm
Santa Fe Pro Musica Orchestra
Colin Jacobsen, violin and leader Wu Man, pipa
WOLFGANG AMADEUS MOZART
Divertimento in F Major, K. 138
Allegro—Andante—Presto
LOU HARRISON
Concerto for Pipa and String Orchestra
Allegro Bits & Pieces
Threnody for Richard Locke Estampie
Intermission
WOLFGANG AMADEUS MOZART
Symphony No. 29 in A Major, K. 201
Allegro moderato—Andante— Menuetto—Allegro con spirito
WU MAN
Blue and Green (arr. Colin Jacobsen)
ORCHESTRA SERIES
MOZART, HARRISON, WU MAN
WOLFGANG AMADEUS MOZART (1756–1791)
Divertimento in F Major, K. 138 is scored for strings (12 minutes).
A divertimento is music of a light, entertaining character, and often intended for outdoor performance. Mozart wrote about four dozen pieces that fall into this category, from single movement marches to the famous Eine Kleine Nachtmusik. However, Neal Zaslaw in The Compleat Mozart (1990) cautions that “so much of Mozart’s serious music is diverting and entertaining, and so many of his divertimenti contain serious artistic content that this distinction is unreliable.”
In 1772, when Mozart was still a teenager, he wrote three divertimenti for string instruments, K. 136, 137, and 138, possibly in preparation for his upcoming European tour. The Divertimento K. 138 opens with a cheerful, bustling Allegro (fast). In the middle movement, Andante (flowing), the first violin carries the melodic interest, with the other instruments exploiting their role as accompanists by creating a web of rhythmic and harmonic activity. The final Presto (as fast as possible) is a jolly rondo with a main tune that alternates with episodes of diverting moods and character.
Mozart’s Symphony No. 29 in A Major, K. 201 is scored for 2 oboes, 2 horns, and strings (25 minutes).
In Salzburg in the early 1770s Mozart composed 30 symphonies within five years. He was not yet 20 and was eager to show his genius with an outpouring of symphonies. Then in 1774 (age 18), Mozart wrote his Symphony No. 29 in A Major, K. 201. A new spirit shows itself here. The musicologist Alfred Einstein (1880–1952) notes that with this symphony Mozart stepped beyond the merely decorative nature of his earlier symphonies and into the subtleties and depths of great music.
The first movement, Allegro moderato (moderately fast), is based on a catchy tune colored with an undercurrent of nervous tension. The following Andante (flowing) is a serenade for muted violins supported by a warmly beating pulse. The dance movement Menuetto is full of contrasts and is slightly more aggressive than polite convention would expect. The symphony concludes with an Allegro con spirito (fast with spirit) that is dashing, harmonically rich, and fun-loving.
LOU HARRISON (1917–2003)
Concerto for Pipa and String Orchestra (26 minutes)
Musicologist James M. Keller describes Lou Harrison as “an American original, at once eclectic and unique. He was a quintessential creative Californian, absorbing the multicultural influences so prevalent on the West Coast and channeling them in highly original ways.”
Lou Harrison wrote his Pipa Concerto in 1997 for Wu Man, with the intent to crossover, contrast, and synthesize western and eastern musical traditions. The result is a concerto that is one of the “great unclassifiable hybrids” (James M. Keller). The pipa is a four-string instrument played similarly to a guitar. Its body is large and pearshaped, more like a lute, with a varying number of frets
(from 12 to 31). Of Asian origin, the pipa was known in China by the 2nd-century CE, though the term referenced many types of plucked string instruments as far back as the Qin Dynasty (221–207 BCE).
The opening movement, Allegro (fast), is in a typical classical concerto form. It is conversational with contrasting forces (solo pipa and orchestra) and contrasting themes (driving repeated notes, and a lyrical folk song).
The second movement, Bits & Pieces, comprises four distinct sets.
Troika—the number three in Russian, here presenting three contrasting elements: sturdy peasant beats, a melodic folk song, and rhythmic dancing notes.
Three Sharing features only pipa, cello, and double bass with rhythms tapped out the instruments’ wood bodies—an effect similar to Japanese taiko drummers.
Wind and Plum—a Chinese metaphor associating fading beauty like plum blossoms swept away by the wind.
Neapolitan—a very brief, lighthearted “ciao!” with the pipa mimicking a Neapolitan-style mandolin.
The third movement, Threnody for Richard Locke (social activist who died from AIDS in 1996), is an outpouring of grief for the loss of a friend.
The finale is an estampie (derived from “to stamp”), a dancelike form from 14th-century Europe. It is full of irregular phrase lengths and displaced beats that would make dancing difficult. Johannes de Grocheio (early 14th century) remarked that the estampie was deliberately complicated and required concentration to “distract young people from wicked thoughts.”
WU MAN (b. 1963)
Blue and Green has had several iterations and arrangements, including this one scored by Colin Jacobsen for strings, various winds, and percussion (9 minutes).
Wu Man was born in Hangzhou, China. She has lived in the U.S. since 1990, and became a naturalized citizen in 2000. She is a founding member of Yo-Yo Ma’s Silkroad Ensemble, has recorded 40 albums, received a GRAMMY award and five GRAMMY nominations. She remarks that, “Music belongs to everyone. If you look at the history, there’s nothing that’s 100 percent from one place. Like the pipa came from central Asia, from Persia, not situated in China for 2,000 years.”
Blue Is a meditative tune based on a Chinese folk song. Green (also known as “Vincent’s Tune”) is Wu Man’s riff on a tune created by her son when he was four years old. She remarked that green is her favorite color as it represents spring when everything grows and has new energy and enthusiasm—much like a four-year-old child.
BRENTANO QUARTET
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SUNDAY, FEBRUARY 16 | 3 pm
Mark Steinberg, violin
Serena Canin, violin
Misha Amory, viola
Nina Lee, cello
JOSEPH HAYDN
Quartet in G Major, Op. 33, No. 5
Vivace assai
Largo e cantabile Scherzo. Allegro Finale. Allegretto
BENJAMIN BRITTEN
Quartet No. 2 in C Major, Op. 36
Allegro calmo, senza rigore
Vivace Chacony
Intermission
JOHANNES BRAHMS
Quartet No. 3 in B-Flat Major, Op. 67
Vivace Andante Agitato Poco allegretto con variazioni
Concert Sponsors | Winky and Bernie van der Hoeven
Media Partner | Hutton Broadcasting
Lodging Partner | Hotel Santa Fe
Artist Dinner | Restaurant Martín
Brentano Quartet is represented by David Rowe Artists
Thank you to the New Mexico Museum of Art for their support of Pro Musica’s String Quartet Series
STRING QUARTET SERIES
HAYDN, BRITTEN, BRAHMS
JOSEPH HAYDN (1732–1809)
Quartet in G Major, Op. 33, No. 5 (20 minutes)
Haydn’s “68 string quartets are unfailingly unique, concise, graceful, complex, and inventive. It is precisely this tidy façade of classicism that sets their subversive elements in relief, for Haydn was skilled at simultaneously celebrating and undermining traditional forms” (Zoe Kemmerling, Apple Hill Center for Chamber Music). Haydn was famous for his sense of humor and his love for pranks, not only in his real life, but in his music. Some of his wit might be obscure to us, removed as we are from the 1700s, but that doesn’t mean it’s not there. Perhaps the first step is knowing not to take Haydn too seriously!
Haydn’s Opus 33 set of six quartets were written in 1781 and dedicated to the Grand Duke Paul of Russia. The first movement of No. 5, Vivace assai (very lively), opens and closes with a simple fournote figure that ascends softly, as if making a slight welcoming bow. The whole movement is built upon permutations of this gesture, but the original gesture appears only at the beginning and the end. The second movement, Largo e cantabile (broad and singing), is a delicate and spacious aria for the first violin with subdued accompaniment by the three other players. The third movement, Scherzo. Allegro (capricious, fast), is caught between the classically restrained minuet and the rhythmic muscularity of the scherzos that we will hear later from Beethoven. The Finale. Allegretto (a little fast) finishes the quartet with a prancing theme and a set of variations. The last variation changes from allegretto to presto (as fast as possible) for a slingshot of energy to take us home.
BENJAMIN BRITTEN (1913–1976)
Quartet No. 2 in C Major, Op. 36 (30 minutes)
Celebrated for his vocal music, including 16 operas and his monumental War Requiem, Britten was an equally brilliant instrumental composer. He joins Henry Purcell and George Frideric Handel (who spent 40 years in London) in the English, if not the European pantheon of great composers.
At the end of World War II, Britten dusted off his piano skills and accompanied the violinist Yehudi Menuhin (1916–1999) for a concert tour in July 1945 for the survivors of the recently liberated German concentration camps. What Britten saw there so shocked him that he refused to talk about it. Towards the end of his life he finally remarked that
the experience had colored everything he had written since. The second string quartet was completed in October, 1945, just three months after his life-changing experiences in the camps.
The first movement, Allegro calmo, senza rigore (calmly fast, without rigor), opens with spaciousness and fluid rhythms, but falls into a pointed, tightly rhythmic, and energetically driven passage. The movement proceeds with an exploration of these two subjects—one floating and one driven. By the end we think Britten favors one over the other, but he surprises us. The second movement, Vivace (lively), creates a charged, unsettling atmosphere. It is full of flying sprites and dark things, suggesting a convergence of Mendelssohn and Shostakovich.
And now we come to the monumental finale. From its simple name Chacony, the old English word for the courtly French chaconne popular during the Baroque period (1600–1750), we are expecting an elegant set of variations on a repeating bass line (Pachelbel’s Canon fits this description). Britten has other ideas. The initial theme riffs on the French Baroque overture, originally a pompous announcement of the arrival of the king. Here it is a threatening declaration. Britten proceeds with 21 variations suggesting many emotional states, though mostly shades of sorrow and anguish, anger and outrage.
JOHANNES BRAHMS (1833-1897)
Quartet No. 3 in B-Flat Major, Op. 67 (30 minutes)
Brahms began writing string quartets when he was a teenager, and created 20 exploratory works, but rejected all but three of them. He reported to a friend “it is not hard to compose, but it is fabulously hard to leave the superfluous notes under the table.” In 1873, Brahms finally completed two string quartets (Op. 51) and submitted them for publication. Then in 1875, he wrote his third and last string quartet, Op. 67.
The opening Vivace (lively) is marked by a bucolic hunting horn theme and polka-like snippets. It is fast paced, merry, and dance-like. The lyrical second movement, Andante (flowing), is one of Brahms’ most beautiful instrumental songs, a calm melody only occasionally interrupted by angry outbursts. The following Agitato is a darkly driven waltz, with the viola prominently displayed against its muted companions, producing a haunting sonority. The last movement, Poco Allegretto (a little fast), presents a simple folksong melody, which is followed by seven variations of increasing complexity. Finally, a hunting horn calls the players together and the quartet ends joyously.
ISIDORE QUARTET
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SUNDAY, MARCH 2 | 3 pm
Adrian Steele, violin
Phoenix Avalon, violin
Devin Moore, viola Joshua McClendon, cello
WOLFGANG AMADEUS MOZART
Quartet in C Major, K. 465, “Dissonance”
Adagio–Allegro Andante cantabile Menuetto Molto allegro
GABRIELLA SMITH
Carrot Revolution
Intermission
FELIX MENDELSSOHN
Quartet in E-Flat Major, Op. 44, No. 3
Allegro vivace Scherzo
Adagio non troppo Molto allegro con fuoco
STRING QUARTET SERIES
MOZART, SMITH, MENDELSSOHN
WOLFGANG AMADEUS MOZART (1756–1791)
Quartet in C Major, K. 465, “Dissonance” (30 minutes)
Mozart’s Quartet in C Major, K. 465, number 19 of 23 string quartets he wrote, was completed on January 14, 1785, and quickly gained the sobriquet “Dissonance” for the daring harmonies in the slow introduction. Some 18th-century music dealers returned the score to the publisher because they thought it contained wrong notes. Some publishers, without permission, corrected the “wrong notes.” And even Haydn expressed some shock, but defended the bold introductory chords— “Well, if Mozart wrote it, he must have meant it.”
Beyond the disturbing introduction (Adagio, at ease), the music of the first movement (Allegro, fast) is filled with tenderness and sunshine, and with a playful, youthful vigor. Mozart brings in some dark clouds and troubling tension, but we are just passing through a rough patch before the sun comes out and the games begin again. The second movement, Andante cantabile (flowing, singing), begins hymn-like followed by tender musical conversations, with occasional drifts into yearning passion, even anguish. Mozart also brings in a pulsing undercurrent that can be a reassuring heartbeat or an ominous pounding. The third movement Menuetto is not a refined and elegant courtly dance but a dramatic conversation with jarring interruptions and irregular phrases. And the final movement, Allegro molto (very fast), is a combination of a rondo theme acting as reassuring guideposts amid a virtuosic set of variations. It is by turns jolly and silly, mischievous and melodramatic, scolding and laughing.
GABRIELLA SMITH (b. 1991)
Carrot Revolution (11 minutes)
Gabriella Smith grew up in the San Francisco Bay Area, playing violin and writing music, hiking and backpacking. She attended the Curtis Institute of Music and Princeton University and has since been living the itinerant’s life in France, Norway, and Washington state. Described as an “outright sensation” (Los Angeles Times), her music “exudes inventiveness with a welcoming personality, rousing energy, and torrents of joy” (The New York Times).
Gabriella Smith remarked that, “I wrote Carrot Revolution in 2015 for my friends the Aizuri Quartet. It was commissioned by the Barnes Foundation in Philadelphia for their exhibition The Order of Things, in which they commissioned three visual artists and myself to respond to the unique ways in which Barnes arranged his acquired paintings along with metal objects, furniture, and pottery, juxtaposing them in
ways that bring out their similarities and differences. While walking around the Barnes, I remembered a Cézanne quote I’d heard years ago (though which I later learned was misattributed to him): “The day will come when a single, freshly observed carrot will start a revolution.” And I knew immediately that my piece would be called Carrot Revolution. I envisioned the piece as a celebration of that spirit of fresh observation and of new ways of looking at old things, such as the string quartet—a 250-year-old genre—as well as some of my even older musical influences (Bach, Pérotin, Gregorian chant, Georgian folk songs, and Celtic fiddle tunes). This piece is a patchwork of wildly contrasting influences and full of weird, unexpected juxtapositions, inspired by the way Barnes shows old works in new contexts and draws connections between things we don’t think of as being related.”
FELIX MENDELSSOHN (1809–1847)
Quartet in E-Flat Major, Op. 44, No. 3 (30 minutes)
The late 1830s were a successful and happy time for Mendelssohn. He had just been appointed conductor of the Leipzig Gewandhaus Orchestra (1835), 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 this period, Mendelssohn wrote three string quartets (1837–38) dedicated to Crown Prince Oscar of Sweden, and titled Trois Grands Quatuors (Opus 44). He wrote them for the string quartet founded by Ferdinand David, concertmaster of the Leipizig Gewandhaus Orchestra and the violinist for whom Mendelssohn would later compose his great E Minor Violin Concerto (1844). Ultimately, Mendelssohn wrote six complete string quartets.
The first movement, Allegro vivace (fast and lively), of the Op. 44, No. 3 quartet is built upon a whirling fivenote figure that is balanced with a more sedate lyrical figure. The material is given expression among all four instruments, with the occasional flight of fancy from the first violin. Overall it is energetic, even triumphant. The Scherzo (joke) is Mendelssohn’s magical trademark featuring sprites that relentlessly fly through the night. It is impossible to swat them away, so one can only flee. The third movement, Adagio non troppo (at ease, but not too much), is warm and heartfelt, by turns tender and mournful. The rhapsodic main theme goes through extensions and explorations supported by a sturdy repeated note figure. The finale, Molto allegro con fuoco (very fast, with fire) is intensely joyful, with constant motion, a bright counterpart to the dark energy of the Scherzo.
THE LARK ASCENDING SPRING ORCHESTRA
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
SATURDAY, MARCH 15 | 4 pm
SUNDAY, MARCH 16 | 3 pm
Santa Fe Pro Musica Orchestra
Colin Jacobsen, leader and violin
Kojiro Umezaki, shakuhachi and composer David Felberg, conductor
FELIX MENDELSSOHN
Songs Without Words (arr. Friedrich Hermann)
Op. 19, No.1—Andante con moto
Op. 19, No. 6—Andante sostenuto
Op. 62, No. 1—Andante espressivo
KOJIRO UMEZAKI Cycles (America)
COLIN JACOBSEN Golestan from Mirror for a Prince
ANTONÍN DVOŘÁK
Songs my mother taught me (arr. Colin Jacobsen)
RAVEN CHACON Voiceless Mass
Intermission
KOJIRO UMEZAKI Cycles (What Falls Must Rise)
RALPH VAUGHAN WILLIAMS The Lark Ascending (arr. Martin Gerigk)
KOJIRO UMEZAKI If you shall return
COLIN JACOBSEN Ascending Bird
ORCHESTRA SERIES
MENDELSSOHN, JACOBSEN, UMEZAKI, DVOŘÁK, VAUGHAN WILLIAMS
This concert is a collage of cultures and traditions— European, Asian, American, Indigenous; traditional, popular, and classical music.
FELIX MENDELSSOHN (1809–1847)
These three selections from Songs Without Words (6 minutes) are arranged for violin and organ by Friedrich Hermann (1828–1907). Between 1829 and 1845 Mendelssohn wrote 48 short piano pieces that he titled Songs Without Words (Lieder ohne Worte). Most of these pieces are within the grasp of pianists of various abilities and this has contributed to their popularity, not only as piano pieces but as transcriptions for many different instruments and ensembles.
KOJIRO UMEZAKI (b. 1986)
The shakuhachi player (Japanese bamboo flute) and composer Kojiro Umezaki has been a 20-year member of Yo-Yo Ma’s Silkroad Ensemble, and appears on their GRAMMY Award–winning album Sing Me Home. He is also featured in the GRAMMY-nominated documentary film The Music of Strangers and is currently Professor and Associate Chair of the School of the Arts at the University of California, Irvine.
For this concert, Umezaki is performing three of his works—musical explorations that integrate classical composition, Japanese musical traditions, acoustic instruments, and recorded sounds. We are presenting two of his pieces from Cycles (2014), a work that includes six settings described as collages of cultures and traditions. One of the selections, Cycles (America) (5 minutes), is scored for percussion and recordings of ocean waves, the voice of Walt Whitman, and quotations from Dvořák’s New World Symphony, and creates a subtle sense of Americana. The second selection, Cycles (What Falls Must Rise) (13 minutes) involves the unification of disparate sounds—strings and wind, acoustic and electronic. The final selection, If you shall return (6 minutes), is scored for shakuhachi, strings, and percussion, and is from the Silkroad Ensemble’s GRAMMY-winning album Sing Me Home.
COLIN JACOBSEN
(b. 1978)
Golestan is scored for string quartet and double bass (5 minutes). Colin Jacobsen writes that “Golestan (Land of Flowers, also a province in Iran) is a movement from a suite of pieces that I wrote based on melodies from the 16th- and 17th-century Ottoman Empire. The title for the suite, A Mirror for a Prince, refers to instruction guides (self-help books) especially popular during the Medieval and Renaissance periods, concerning governance and behavior for young princes. Machiavelli (1469–1527) wrote perhaps the most famous version—Il Principe (The Prince).”
Ascending Bird (2007) is scored for strings, winds, and percussion (7 minutes) and is based on a traditional Persian melody. Inspired by mythology, Ascending Bird depicts the legend of a bird attempting to fly to the sun. After two failed attempts, the bird finally makes contact with the sun (“receives the radiant embrace”). Once its physical body is consumed by fire, it achieves spiritual
transcendence. Colin Jacobsen collaborated with Iran’s Siamak Aghaei to set this Persian folk song into a Western framework.
ANTONÍN
DVOŘÁK (1841–1904)
Songs my mother taught me (4 minutes) is originally for voice and piano and is from a set of seven songs titled Gypsy Songs (1880). It is one of the great melodies and there have been many arrangements for a variety of instruments and ensembles, including Colin Jacobsen’s version for string quartet with double bass.
RAVEN CHACON (b. 1977)
Voiceless Mass is scored for flute, clarinet, bass clarinet, two percussionists, pipe organ, and strings (18 minutes). Ravon Chacon is Diné (Navajo), and graduated from the University of New Mexico and the California School for the Arts. In 2022, he won the Pulitzer Prize for Music for his Voiceless Mass, and recently received a prestigious MacArthur Fellowship (2023).
Chacon reflects on the relationship between religion and Indigenous populations and how it influenced Voiceless Mass—“This work gives musical form to the church’s history of silencing Indigenous expression and languages … and considers the spaces in which we gather, the history of access to these spaces, and the land upon which these buildings sit.”
St. Francis Auditorium plays an important role in this performance and is an apt representation of the confluence of disparate cultures. It was built in 1917 in the Pueblo Revival Style, a synthesis of Spanish Colonial, Catholic Mission, and Pueblo architectural forms. The auditorium is inspired by the old mission churches, though it is not consecrated. It is graced with murals of St. Francis of Assisi, the patron saint of Santa Fe and of brotherly love. “The venerated auditorium’s remarkable history is palpable and visible.” (Lynn Cline, El Palacio Magazine, 2017)
RALPH
VAUGHAN WILLIAMS (1872–1958)
The Lark Ascending is scored for solo violin, string quartet, and double bass (16 minutes).
British composer Vaughan Williams’ most popular work is the breathtaking The Lark Ascending (1914). Originally for violin and piano, he orchestrated it in 1921 for orchestra with violin solo. There is also a version for violin and organ, a version for violin and choir, and a new version (2018, arr. Martin Gerigk) for violin solo with string quartet and double bass—truly a testament to the work’s popularity.
Juxtaposed against the horrors of World War I (1914–1918), The Lark Ascending evokes a nostalgia for a simpler time and a world that no longer exists. The lark, suggested by the flourishes of the solo violin, flies upwards and appears smaller and smaller in the sky until it disappears.
BAROQUE HOLY WEEK CONCERT
FIRST PRESBYTERIAN CHURCH
SATURDAY, APRIL 12 | 4 pm
SUNDAY, APRIL 13 | 3 pm
Stephen Redfield, violin and leader
Clara Rottsolk, soprano
Meg Bragle, alto
Kim Pineda, flute
Santa Fe Pro Musica Baroque Ensemble
Cristina Prats-Costa, violin
Jeffrey Smith, viola
James Holland, cello
Deborah Dunham, bass
David Solem, keyboards
GEORG PHILIPP TELEMANN
Sonata in D Major, Op. 2, No. 3
Dolce—Allegro—Largo—Vivace
ANTONIO VIVALDI
Flute Concerto, Op. 10, No. 2, “La Notte”
Largo—Fantasmi—Largo—Presto—Il Sonno—Allegro
HEINRICH IGNAZ FRANZ BIBER
Rosary Sonata XV “The Coronation of the Blessed Virgin Mary”
Sonata—Aria—Canzona—Sarabanda
Intermission
GIOVANNI BATTISTA PERGOLESI
Stabat Mater
1. Duet— The sorrowful mother stands
2. Soprano— Her grieving heart
3. Duet— Oh, how sad and afflicted
4. Alto— Who mourned and grieved
5. Duet— Who is he
6. Soprano— She saw her son
7. Alto— Mother, fountain of love
8. Duet— Grant my heart
9. Duet— Holy mother
10. Alto— That I may bear the death
11. Duet— Inflame me
12. Duet— When my body dies—Amen
TELEMANN, VIVALDI, BIBER, PERGOLESI
GEORG PHILIPP TELEMANN (1681–1767)
Sonata in D Major, Op. 2, No. 3 is from a set of six sonatas written in the 1727, and scored for two violins or two flutes (10 minutes).
Telemann was a legendary figure during his time, with a prolific output of over 3,000 works. He lived a long life (86 years, compared to Bach’s 65). Telemann was born four years before Bach and died when Mozart was 10. Telemann was self-taught (or so he said), and played many instruments, including strings, winds and keyboards. Much of Telemann’s music is accessible and has entertaining and emotional qualities rather than intellectual depth, though with a treasure chest of 3,000 pieces one might find those works that plumb great depths alongside those that shimmer superficially.
The first movement, Dolce (sweet) of the Sonata in D Major, Op. 2, No. 3, opens with a rising figure of gentle confidence, and overflows with kindness and generosity. The second movement, Allegro (fast), is a happy fugue, a breathless game of chase. The slow middle movement (Largo, broad) creates a somber mood in the contrasting minor key. It is simple, imitative, and features a “walking bass line” that evokes a pilgrimage. The concluding Vivace (lively) is playfully imitative, featuring a juxtaposition of twirling and clock-like figures.
ANTONIO VIVALDI (1678–1741)
Flute Concerto, Op. 10, No. 2, “La Notte” (The Night) is scored for solo flute with string ensemble (10 minutes) and is from a set of six concertos for flute published in 1728.
The flute concerto La Notte vividly describes an 18thcentury Venetian night. In six short movements of highly contrasting character, this unique concerto depicts different nocturnal tableaus. The opening Largo (broad) opens in a heart-pounding manner and then subsides gradually, like someone drifting off to sleep—only to be suddenly awakened by nightmares in the second movement, titled Fantasmi. The listener is again lulled into blissful dreams (Largo) only to be disturbed once more (Presto, as fast as possible). Il Sonno (Sleep) finally brings rest through ephemeral, slow-moving harmonies. The final Allegro (fast) brings back the nightly ghosts in a frenzy of relentless energy.
HEINRICH IGNAZ FRANZ VON BIBER
(1644–1704)
Rosary Sonata XV, “The Coronation of the Blessed Virgin Mary” is scored for solo violin with cello and keyboard (11 minutes).
Biber was a violinist and composer at the court of the Archbishop of Salzburg (who later employed Mozart). In 1674, Biber composed a set of 15 Rosary Sonatas for violin with accompaniment, as a tribute to the life of the Virgin Mary. The catechism of the Catholic Church states that “from the most ancient times, the Blessed Virgin
has been honored with the title of Mother of God to whose protection the faithful entrust their dangers and needs.”
Biber’s Rosary Sonata XV is titled “The Coronation of the Blessed Virgin Mary” and is sublimely confident, even buoyant. The opening Sonata movement is gently optimistic. The following Aria is a theme and variations, full of hopeful yearning, with an almost breathless quality as the variations become more and more ornate. The Canzona is flowing with large arching intervals. The Rosary Sonata XV concludes with a dancelike Sarabande, imbued with a lighthearted, almost playful quality.
GIOVANNI BATTISTA PERGOLESI (1710–1736)
Stabat Mater is scored for two solo voices (soprano, alto) and string ensemble (40 minutes).
Pergolesi’s Stabat Mater is considered one of the most famous compositions written in praise of the Virgin Mary, and was even associated with a story that the Virgin herself had dictated the music to Pergolesi as he lay on his deathbed.
Pergolesi’s Stabat Mater (Stabat Mater dolorosa the sorrowful mother stands) was commissioned by a group of noblemen in Naples (Cavalieri della Virgine dei’ Dolori), not for public church services but for their private, annual Good Friday meditations in honor of the Virgin Mary. In 1736 Pergolesi, in ill health, withdrew to a Franciscan monastery near Naples where he composed the Stabat Mater. He died shortly after its completion. Pergolesi was 26.
The Stabat Mater is a sequence of Latin verses originally written by Jacobus de Benedictus (1230–1306), meditating on the sorrows of Mary, the mother of Jesus. More than 200 composers have subsequently used this text, including J.S. Bach, Vivaldi, Haydn, Mozart, Schubert, Rossini, Liszt, Dvořák, and the 20th-century composers Poulenc and Arvo Pärt. This Latin poem is still used in Catholic services today.
Working not within the longstanding Roman Catholic tradition of choral music but instead in a newer operatic style, Pergolesi wrote his Stabat Mater for just two soloists (soprano and alto) and strings. The work flows easily—none of the 12 sections are longer than five minutes, and some are only one to two minutes in duration.
The text describes Mary, the sorrowful mother, at the foot of the cross, witnessing the suffering of her Son. The significance of Pergolesi’s Stabat Mater, however, extends beyond the ecclesiastical tradition for which it was originally intended. Here is a moving, profoundly human picture of a grieving mother.
BROOKLYN RIDER WITH SOPRANO ARIADNE GREIF
LENSIC PERFORMING ARTS CENTER
SUNDAY, APRIL 27 | 3 pm
Johnny Gandelsman, violin
Colin Jacobsen, violin
Nicholas Cords, viola
Michael Nicolas, cello
Ariadne Greif, soprano
FROM THE BROOKLYN RIDER ALMANAC, BOOK II
CLARICE ASSAD Cinematheque
TYSHAWN SOREY (untitled)
GIOVANNI SOLLIMA Four Quartets Burnt Norton—East Coker— The Dry Salvages—Little Gidding
ARNOLD SCHOENBERG
Quartet No. 2 in F-Sharp Minor, Op. 10
Mäßig Sehr rasch Litanei Entrückung
Intermission
COLIN JACOBSEN Suite from Chalk and Soot Look Still? Sounds Song Curtain Exit Seeing Table
STRING QUARTET SERIES
Concert Sponsors | C. Fish Greenfield and Thom Maciula, Judy Naumburg and Stuart Bluestone Media Partner | Rio Grande Sun Lodging Partner | Hotel Santa Fe
Lodging Sponsors for Colin Jacobsen | Carol Redman and Thomas O’Connor Artist Dinner | Santa Fe School of Cooking
Brooklyn Rider is represented by David Liebermann Artists’ Representatives
Thank you to the Lensic Performing Arts Center for their support of Pro Musica’s String Quartet Series
CHALK AND SOOT
This program is a celebration of Brooklyn Rider’s two decades together and pays tribute to their namesake, Der Blaue Reiter (The Blue Rider), a pre–World War I artistic collective based in Germany that included the composer Arnold Schoenberg and the artist Wassily Kandinsky. In 1912, this group published Der Blaue Reiter Almanach (The Blue Rider Almanac), an eclectic collection of artwork, essays, and music that served as their artistic testament, and an embrace of different artistic traditions, mediums, and aesthetics. This drive for artistic exploration has inspired Brooklyn Rider’s own artistic mission, exemplified by the release of their album (2014) The Brooklyn Rider Almanac on their 10th anniversary, and their newest program created for their 20th anniversary, The Brooklyn Rider Almanac, Book II
Brooklyn Rider’s violist Nicholas Cords describes their Almanac projects—“Using new commissions as our project’s touchstone, we asked a select group of musical creators to imagine short works for Brooklyn Rider. By design, this project offers new perspectives on string quartet writing, with the composers also operating comfortably in other musical languages outside of classical music.”
FROM THE BROOKLYN RIDER ALMANAC, BOOK II
CLARICE ASSAD (b. 1978)—Cinematheque Brazilian-American singer, pianist, and composer describes her work Cinematheque— “In my music, I often construct visual elements or storylines, and I plant a seed in the minds of those who listen to it … Let the music spark visuals, characters, and storylines to inspire your own cinematic title!”
TYSHAWN SOREY (b. 1980)—(untitled)
Sorey is an American composer, multi-instrumentalist, MacArthur Fellow (2017), and recent Pulitzer Prize winner (2024). His new work will be introduced from the stage.
GIOVANNI SOLLIMA (b. 1962)—Four Quartets
Sollima is an Italian cellist and composer who combines classical, minimalist, jazz, rock, and ethnic influences in his music. He writes, “Since I was a teenager, I’ve been thinking about T.S. Eliot’s Four Quartets … I don’t follow the narrative structure, it’s more of an emotional approach in a four-movement, miniature form.” The British poet T.S. Eliot (1888–1965) wrote the poems Four Quartets just before and during World War II. They comprise interlinked meditations on man’s relationship with time, the universe, and the divine.
ARNOLD SCHOENBERG
(1874–1951)
Quartet No. 2 in F-Sharp Minor, Op. 10 is scored for soprano and string quartet (30 minutes).
Nicholas Cords remarks that “The German premiere [of Schoenberg’s Quartet No. 2] occurred in Munich in 1911, and in the audience was the Russian-born expressionist Wassily Kandinsky. Transformed by the experience, Kandinsky’s art took a new direction towards abstraction, seemingly emboldened by Schoenberg’s journey into atonality. Kandinsky’s landmark painting Impression III: Concert (painted directly after the concert) is a visual synthesis of that concert experience.”
Schoenberg’s quartet is colored with the extended tonal palette of the late Romantic period with suggestions of the revolutionary twelve-tone system for which he later became defined. The first movement, Mäßig (Moderate), is emotionally complex. Based upon a sighing figure, it ranges from yearning to anguish to outrage. The second movement, Sehr rasch (Very brisk), is skittishly playful, verging on the macabre, with veiled references to the Viennese street-song, “Ach du lieber Augustin.” For the last two movements, Schoenberg includes the soprano reciting poems by Stefan George (1868–1933). From the third movement, Litanei Langsam (Litany. Slow), we hear despair—“Long was the journey, my limbs are weary / The shrines are empty, only anguish is full.” And from the fourth movement, Entrückung Sehr langsam (Rapture. Very slowly), we hear resignation—“I am only a spark of the holy fire / I am only a whisper of the holy voice.”
COLIN JACOBSEN (b. 1978)
Suite from Chalk and Soot (2012–2013) is scored for string quartet and soprano (34 minutes). It is an extended song cycle that uses text from Kandinsky’s book of prose poetry and woodcut illustrations titled Klänge (“Sounds,” 1912). The artist Kandinsky likened painting to composing music—“Color is the keyboard, the eyes are the harmony, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, causing vibrations in the soul.” He further reasoned that music was important to the birth of abstract art. Since music is abstract by nature, it does not have to rely on recreations of the physical or exterior world, but instead has a direct pathway to the rich inner world of human emotions.
Colin Jacobsen sets the absurdist, colorful, figurative, and pastoral scenes of Kandinsky’s proto-Dadaist poetry in an eclectic manner, mirroring the diverse inspirations of Kandinsky and his circle of artists, including the composer Arnold Schoenberg. The title “Chalk and Soot” refers to one of Kandinsky’s poems and can be loosely interpreted as “White and Black” but also embodies a sense of opposites like slow-fast and here-there (or more specifically, “here—not here”).
APPALACHIAN SPRING SEASON FINALE ORCHESTRA
LENSIC PERFORMING ARTS CENTER
SUNDAY, MAY 4 | 3 pm
Santa Fe Pro Musica Orchestra
Colin Jacobsen, leader and violin
Thomas O’Connor, conductor laureate
COLIN JACOBSEN
Bethesda Bliss
GABRIELA ORTIZ
La Calaca
COLIN JACOBSEN
New Work for Violin and Orchestra
Intermission
AARON COPLAND
Appalachian Spring
ORCHESTRA SERIES
Sponsor of Artistic Director Colin Jacobsen | The Swindell Family Artist Sponsor of Thomas O’Connor | Katherine A. Reed Media Partner | KHFM Lodging Partner | Concept Hotels Lodging Sponsors for Colin Jacobsen | Carol Redman and Thomas O’Connor
JACOBSEN, ORTIZ, COPLAND
COLIN JACOBSEN (b. 1978)
Bethesda Bliss is scored for flute, clarinet, bass clarinet, bassoon, piano, percussion, and strings (5 minutes). It was commissioned by Naumburg Orchestral Concerts for the centenary of the Naumburg Bandshell in New York City’s Central Park and premiered in 2023 by Colin Jacobsen’s chamber orchestra The Knights.
The name refers to the Bethesda Fountain, with its majestic Angels of the Water statue, located in the heart of Central Park. Colin continues, “I was trying to capture some of the bliss I’ve experienced performing in the middle of Central Park for 15 years now at the Naumburg Orchestral Concerts. This bliss happens in spite of (or perhaps because of) the amazing intersection of nature and urban life—with birds singing, sirens blaring, helicopters hovering overhead, street musicians playing their own Charles Ives–like layered counterpoint in the distance, and the mix of people who are there for a classical concert experience and those who stumble by and get drawn in by the music … This piece has an introductory fanfare that settles into a burbling texture (evoking the fountain?) that rises and falls twice. On the third time it reaches a higher plateau that brings back the fanfare material, albeit in a more gentle, settled manner.”
Colin’s New Work for Violin and Orchestra will be an extension of the same work he’s writing for violin and piano. Remarks will be delivered from the stage. This is all we know at this time. Colin does say that this performance “will be the world premiere!”
GABRIELA ORTIZ (b. 1964)
La Calaca is scored for string orchestra (10 minutes).
Born in Mexico City to parents who were folk musicians, Ortiz studied at L’École Normale de Musique (Paris), Guildhall School of Music and Drama (London), the University of London, and Mexico City’s Conservatorio Nacional de Música, where she is currently on the faculty.
Her music has been nominated for a Latin GRAMMY and incorporates elements from Afro-Cuban, folk, jazz, rock, and classical music. She has received commissions from the philharmonics of Los Angeles, New York, and Royal Liverpool, and the orchestras of Cincinnati, Royal Scottish National, and the BBC Scottish.
La Calaca is the fourth part of Ortiz’s Altar de Muertos (Altar of the Dead) written in 1997 for the Kronos Quartet and arranged by the composer for string orchestra. Ortiz remarks that “The tradition of the Day of the Dead festivities in Mexico is the source of inspiration for this piece, with musical ideas reflecting
the internal search between the real and the magic, a duality always present in Mexican culture—sacred and profane, good and evil, night and day, joy and sorrow.”
“La Calaca” is the colloquial Mexican name for skeleton, and calaca-themed artwork and figurines are ubiquitous here in New Mexico. In most depictions, the calacas are wearing flamboyant clothing, often decorated with marigold flowers, and are usually dancing and playing musical instruments to celebrate a joyous afterlife. Ortiz’s piece is full of exuberant, driving, and rhythmic vitality interspersed with haunting folk-based melodies.
AARON COPLAND (1900–1990)
Appalachian Spring (Pulitzer Prize, 1945) is scored for flute, clarinet, bassoon, piano, and strings (33 minutes).
Copland’s name has become synonymous with 20thcentury American music. His most popular music encompasses the Depression years and World War II, and feeling compelled to reach out to the average citizen in those troubled times, Copland wanted to “say it in the simplest possible terms.” In 1943, the Elizabeth Sprague Coolidge Foundation commissioned him to write a ballet for Martha Graham and her dance company. The ballet tells the story of early 19th-century Americans in Pennsylvania who come together to build a farmhouse, celebrate a wedding, and welcome the arrival of spring. Among the central characters are a newlywed couple, a neighbor, and a revivalist preacher and his followers. At their newly built farmhouse, the young bride and groom experience the ageless emotions of joy and apprehension at their future life together.
The orchestral suite is divided into eight sections:
1. Very slowly—Introduction of the characters, one by one, in a suffused light.
2. Fast—Sentiments both elated and religious.
3. Moderate—Duo for newlyweds, tender and passionate.
4. Quite fast—The Revivalist and his flock. Folksy feeling with square dancing and country fiddling.
5. Still faster—Solo dance of the Bride, feelings of apprehension and ambiguity.
6. Very slowly (as at first)—Music reminiscent of the introduction.
7. Calm and flowing—Scenes of daily life for the Bride and her Farmer Husband, represented by the five variations on the Shaker theme “Simple Gifts.”
8. Moderate—The couple are left “quiet and strong in their new house.”
SANTA FE PRO MUSICA ORCHESTRA
Colin Jacobsen, artistic director, violin & leader
VIOLIN
Stephen Redfield
concertmaster
Megan Holland principal second violin
Elizabeth Baker
Christina Courtin
David Felberg
Natalie Frantz
Lisa Grodin
Gabriel Ingliss+
Robyn Julyan
Carla Kountoupes
Ana Maria Quintero Muñoz
Julie Parcells
Margot Schwartz
Jeffrey Smith
Elizabeth Young
VIOLA
Laura Chang*
Kim Fredenburgh*
Margaret Dyer Harris*
Allie Norris
Jeffrey Smith
Laura Steiner
Yuko Shimokawa*
CELLO
James Holland*
Felix Fan*
Melinda Mack
Dana Winograd
PRINCIPAL PATRONS
DOUBLE BASS
Robert Barney*
Deborah Dunham*
Albert Laszlo*
Mark Tatum*
FLUTE
Jesse Tatum principal
Jennifer Lau
OBOE
Robert Ingliss*
Kevin Vigneau*
Lucian Avalon
CLARINET
Stephen Ahearn*
Jeffrey Brooks*
James Shields*
BASS CLARINET
Sam McClung
BASSOON
Samantha Brenner principal
HORN
Peter Erb*
Julia Erdmann Hyams*
Sarah Schwenke
Our sincere thanks to the generous donors of the Principal Patron Program who make a three year commitment to the Pro Musica Orchestra.
Principal Flute Chair ANN CALDWELL
Principal Oboe Chair
SHERYL AND MICHAEL DeGENRING
Principal Horn Chair
J. REVELL CARR
Principal Keyboard Chair
MARILYN MACBETH AND FORREST CARLTON
Principal Viola Chair
JAMES AND HELEN BECKER
Principal Cello Chair ANONYMOUS
TRUMPET
Jennifer Brynn Marchiando*
Brian Shaw*
TROMBONE
Christopher Buckholz principal
PERCUSSION
Gregg Koyle principal
Alexis Corbin
KEYBOARDS
David Solem principal
ORCHESTRA MANAGER
Gregg Koyle
ORCHESTRA LIBRARIAN
Sam McClung
* principal for one or more concerts + apprentice artist
ORGAN RECITAL SERIES
ST. FRANCIS AUDITORIUM
NEW MEXICO MUSEUM OF ART
FREE | PROGRAMS AND ARTISTS TBD
Join us for four free organ recitals featuring local musicians and the recently renovated Reuter pipe organ in St. Francis Auditorium.
Recital I | Wednesday, February 19 at Noon
Recital II | Wednesday, March 19 at Noon
Recital III | Wednesday, April 16 at Noon
Recital IV | Wednesday, May 21 at Noon
Each recital is 50 minutes performed without intermission
This recital series is a collaboration with the New Mexico Museum of Art.
ARTIST BIOGRAPHIES
KINAN AZMEH
CLARINET AND COMPOSER is originally from Damascus, Syria, and is a graduate of Damascus High Institute of Music, Damascus University’s School of Electrical Engineering, New York’s Juilliard School, and the City University of New York (DMA, 2013). Azmeh has received commissions from the New York Philharmonic, Seattle Symphony, The Knights, Saint Paul Chamber Orchestra, Brooklyn Rider, and others, and also writes for film. He was recently appointed to the National Council for the Arts on a nomination by President Joseph Biden. Azmeh’s performances have been described as “spellbinding” (The New Yorker) and “intensely soulful” (The New York Times).
MEG BRAGLE
MEZZO-SOPRANO is Artist-in-Residence at the University of Pennsylvania and directs the Collegium Musicum, Opera and Music Theater workshops. A leading interpreter of Baroque and Classical repertoire, she has appeared with many orchestras across the U.S. and Canada, including Atlanta, Cincinnati, Colorado, Detroit, Houston, National, Philadelphia, Seattle, Toronto, and Victoria symphonies, the National Arts Center Orchestra, 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)
CHRISTINA COURTIN VOCALIST
AND VIOLINIST graduated from The Juilliard School, performs regularly with the New York City–based orchestra The Knights, and has performed with Yo-Yo Ma, Dawn Upshaw, Mark O’Connor, Brooklyn Rider, on NPR’s World Cafe, and others. She has created and produced two albums, performed on 12 other albums (The Knights, Gabriel Kahane, Joshua Redman, Brooklyn Rider, Lee Ann Womack, Nico Muhly, others), three movies, and six TV shows.
RAVEN CHACON
COMPOSER AND SOUNDSCAPE ARTIST is from Fort Defiance, Arizona within the Navajo Nation, and is the first Native American to win a Pulitzer Prize for Music (Voiceless Mass, 2022). He earned a bachelor’s degree in fine arts from the University of New Mexico, and a master of fine arts from the California Institute of the Arts. His awards and honors include a MacArthur Fellowship (2023), Berlin Prize (American Academy in Berlin, 2018), Creative Capital Visual Arts grant (2012), and fellowships and residencies with the Native American Composers Apprenticeship Project, Native Arts and Cultures Foundation (2014), and the Mellon Foundation Artist-in-Residence at Colorado College.
2024–2025 APPRENTICE ARTIST
This prestigious, invitation-only program was established 19 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 continuing as Pro Musica’s Apprentice Artist for the 2024–25 season after serving as an apprentice for the 2023–24 season. He has studied at the Meadowmount School of Music, Lamont School of Music, University of New Mexico, La Mariposa Montessori School, and is currently a junior at Santa Fe Prep. He is the first musician to win the Music Guild of New Mexico’s Jackie McGehee Young Artist Competition on both piano and violin, and is also the first prize winner of the 2024 Santa Fe Symphony Concerto Competition. He has appeared with Chatter, and often performs with his father Robert Ingliss and his mother Yuko Shimokawa. Gabe, age 16, started lessons on the violin at age four and piano at age five with his mother. Currently he studies with violist Toby Appel and piano with UNM’s Falko Steinbach.
DAVID FELBERG
VIOLIN AND CONDUCTOR performs as a soloist, in recitals, chamber music, and orchestral concerts. He is the artistic director, co-founder, violinist, violist, and conductor of Chatter (Albuquerque and Santa Fe), concertmaster of the Santa Fe Symphony, and a member of the Pro Musica Orchestra and Bach Ensemble. Felberg is an Albuquerque native, earned a bachelor of arts in history (University of Arizona) and a master of music in conducting (University of New Mexico), and plays a 1829 Vuillaume violin.
JOHNNY GANDELSMAN
“A violinist who can do anything” (The Philadelphia Inquirer) integrates a wide range of creative sensibilities into a style unique among today’s violinists. He is a founding member of Brooklyn Rider and a former member of the Silkroad Ensemble. His recording of the complete Bach Sonatas and Partitas for Solo Violin reached No. 1 on the Billboard Classical Chart, and made it onto both New York Magazine’s and New York Times’ best-ofthe-year lists. He produced and recorded Ken Burns’ documentaries The Vietnam War and The U.S. and the Holocaust, and Silkroad Ensemble’s GRAMMY-winning Sing Me Home
MAGOS HERRERA
SINGER-SONGWRITER was born in Mexico City and is currently based in New York City. The Latin Jazz Network remarked that she is “one of the greatest contemporary interpreters of song” with a distinct style built upon jazz and the Latin American songbook. She has produced 12 albums, collaborated on 11 more, and was honored with a 2020 Chamber Music America New Jazz Works Award. Magos is on the faculty of Mannes School of Music and The New School in New York, and is a spokesperson for UN Women, the United Nations entity dedicated to the empowerment of women.
COLIN JACOBSEN
VIOLIN AND LEADER is “one of the most interesting figures on the classical music scene” (Washington Post). He has performed, composed, and arranged music for over 30 albums, won a GRAMMY award and has received four GRAMMY nominations. He is a co-founder of the string quartet Brooklyn Rider, the chamber orchestra The Knights, and an original member of Yo-Yo Ma’s Silkroad Ensemble. 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 is co-founder, music director emeritus, 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 in the opera orchestra. He has also performed with American Bach Soloists (San Francisco), Boston Baroque, Handel and Haydn Society (Boston), Oregon Bach Festival, Oregon Festival of American Music, Philharmonia Baroque (San Francisco), San Luis Obispo Mozart Festival, the Santa Fe Chamber Music Festival, the Smithsonian Chamber Players (sharing with them a GRAMMY nomination), and others.
CLARA ROTTSOLK SOPRANO
is acclaimed for her “sophisticated mastery of the nuances, with perfect diction and expressive delivery” (Cleveland Classical) 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, and at many early music festivals including Berkeley, Boston, Carmel Bach, Indianapolis, and Philadelphia Bach. A native of Seattle, Clara graduated from Rice University and Westminster Choir College. She is based in Philadelphia where she teaches voice at Swarthmore, Haverford, and Bryn Mawr colleges.
KYLE SANNA GUITAR
as a composer and arranger his music has appeared on the 2022 PBS–Ken Burns’ documentary The U.S. and the Holocaust, The Colbert Report, NPR’s Performance Today, for Béla Fleck, Anne-Sofie von Otter, Yo-Yo-Ma and the Silkroad Ensemble, including the GRAMMY-winning albums Songs of Joy and Peace (2010) and Sing Me Home (2016). He performs and composes for Kinan Azmeh, the Seamus Egan Project (Irish traditional), Brooklyn Rider, The Knights, Oregon Bach Festival, and others. He is equally at home in the recording studio and on the stage, and has produced nine albums.
BRIAN SHAW
TRUMPET
worked for 15 years as Professor of Trumpet and Jazz Studies at Louisiana State University, and now devotes his time to an international career as a modern and historical trumpet artist. He is co-principal trumpet of the Dallas Winds, principal trumpet of Santa Fe Pro Musica, the Baton Rouge Symphony, Spire Baroque Orchestra, and a regular guest instructor of Baroque trumpet at the Eastman School of Music. Early Music America remarked that “Shaw’s tone is beautiful, and his playing unfailingly musical … His is a voice that will make a major mark on Baroque trumpet playing.”
KOJIRO UMEZAKI
SHAKUHACHI is a member of the Silkroad Ensemble and appears on their GRAMMYwinning album Sing Me Home, the GRAMMY-nominated documentary The Music of Strangers, and has collaborated with Brooklyn Rider and Smithsonian Folkways. His compositions explore the synthesis of global musical traditions and modern technology with a particular focus on intercultural music practices. Of Japanese and Danish parentage, Kojiro grew up in Tokyo and graduated from Dartmouth College with a degree in Electro-Acoustic Music. He is currently Professor of Music Composition and Associate Chair of the University of California (Irvine) School of the Arts.
WU MAN PIPA
is a founding musician of Yo-Yo Ma’s Silkroad Ensemble. She is featured in the 2015 Emmy Award-winning documentary The Music of Strangers, and on the film’s 2017 GRAMMY-winning companion recording, Sing Me Home (Best World Music Album). She has recorded 40 albums, including six with the Silkroad Ensemble, the GRAMMYnominated Lou Harrison’s Pipa Concerto (Chicago Symphony), and GRAMMY-nominated Tan Dun’s Pipa Concerto (Moscow Soloists). Born in China, she moved to the U.S. in 1990, became an American citizen, and currently resides in California.
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.
STRING QUARTETS
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 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 music 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.
ISIDORE QUARTET is the newest and youngest prize-winning quartet on the classical music scene today—the members are currently between the ages of 23 and 25. They formed in 2019 while students at the Juilliard School of Music. In 2022 they won the prestigious Banff International String Quartet Competition, followed by an Avery Fisher Career Grant (2023). Their Banff triumph brought North American and European tours and a recording project. The name Isidore honors the legendary violinist Isidore Cohen. Additionally, it acknowledges a shared affection for a certain libation—legend has it a 15th-century Russian Orthodox monk named Isidore concocted the first vodka recipe.
BRENTANO QUARTET was formed in 1992 and have garnered acclaim (“Passionate, uninhibited and spellbinding”—London Independent) and awards (Cleveland Quartet Award, Naumburg Chamber Music Award, Royal Philharmonic Award). They have performed world-wide 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-in-Residence at the Yale School of Music, formerly at Princeton University, and have twice been the collaborative ensemble for the Van Cliburn International Piano Competition.
CATALYST QUARTET was founded in 2010 by the Sphinx Organization (“dedicated to transforming lives through the power of diversity in the arts”), and have been featured with the Sphinx Virtuosi on six national tours. They have taught at the Sphinx Performance Academy, the Curtis Institute of Music, and residencies throughout the U.S., England, South Africa, Colombia, and Cuba. They have produced four albums, including a two-CD GRAMMY-winning album with vocalist Cecile McLorin Salvant (2017). True to the definition of “catalyst”—an agent that provokes or precipitates significant change—the Catalyst Quartet “redefines and reimagines the classical music experience.”
BAROQUE ENSEMBLE
The Santa Fe Pro Musica Baroque Ensemble performs on historical instruments at the Baroque Holy Week Concerts.
DEBORAH DUNHAM
DOUBLE BASS
is a member of the Pro Musica Bach and Baroque Ensembles. She also plays principal bass with Boston Baroque, Ars Lyrica Houston, Mercury Houston, performs regularly with Houston Grand Opera and Houston Ballet orchestras, and is on the faculty of Sam Houston State University. Previously she was a member of the Rochester Philharmonic and worked regularly with the Boston Symphony. Dunham performed on the GRAMMY-nominated recordings with Ars Lyrica, Boston Baroque, and Eastman Chamber Players.
JAMES HOLLAND
is principal CELLIST with the Santa Fe Pro Musica Orchestra and Baroque Ensemble, positions he formerly held with the Breckenridge Music Festival and the Charleston Symphony. He performs chamber music throughout New Mexico, is a prominent member of Chatter (Albuquerque and Santa Fe), and is artistic director of Albuquerque Chamber Soloists. He received music performance degrees from the University of Alabama and the Eastman School of Music. He can be heard on jazz legends Eddie Daniels’ and Roger Kellaway’s awardwinning recording Duke at the Roadhouse.
KIM PINEDA
BAROQUE FLUTE has performed on historical flutes and as a conductor throughout the U.S., Canada, Israel, and on NPR. Founder and music director of 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. Kim 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. Kim is currently a social studies teacher in Northern New Mexico.
CRISTINA PRATSCOSTA
VIOLIN studied at the Conservatorio Superior de Musica (Barcelona), Guildhall School of Music and Royal Academy of Music (London), Hochschule für Musik, (Hannover), Royal Conservatory The Hague, and the Historically Informed Performance program at The Juilliard School, graduating with honors in 2024. She has performed and recorded with Arcangelo Ensemble and The English Concert (UK), L’Harmonie des Saisons (Montreal), Tafelmusik Baroque Orchestra and Toronto Bach Festival (Toronto), Brecon Baroque (UK), Il Pomo D’Oro (Italy), Mercury Baroque (Houston), Orchestra of the Eighteenth Century and Holland Baroque (Netherlands), Finnish Baroque Orchestra, and Concerto Napoletano (New York), among others.
STEPHEN REDFIELD
VIOLIN
AND LEADER is concertmaster of the Santa Fe Pro Musica Orchestra and leader of the Baroque Ensemble, positions he also holds with Conspirare (Texas), the Arizona and Victoria (Texas) Bach festivals, and La Follia Austin Baroque. He has performed as a soloist and chamber musician throughout the U.S. and is a prizewinner in the Coleman and Monterey Chamber Music competitions. Stephen is a longtime member of the Oregon Bach Festival where he contributed to numerous recordings, including their GRAMMY-awarded CD. He recently retired as professor of violin at the University of Southern Mississippi.
JEFFREY SMITH
VIOLA
is a member of Pro Musica’s Orchestra, Bach, and Baroque Ensembles, and has performed with many other Baroque groups including the Orchestra of New Spain, Austin Baroque Orchestra, Jeune Orchestre de l’Abbaye, Bloomington Bach Cantata Project, and others. In 2016 he was viola soloist in Mozart’s Sinfonia Concertante at La Petite Bande Summer Academy (Italy). Jeffrey also plays modern violin with area groups including the San Juan Symphony, and Opera Southwest. He studied at Indiana University, New York University, and Brigham Young University.
DAVID SOLEM KEYBOARDS
has bachelor’s and master’s degrees in music from the Peabody Conservatory (Baltimore) where he studied organ, harpsichord, piano, and flute. He has 30 years of experience in liturgical music and has taught music at Loyola University in Chicago. David is the assistant organist for Santa Fe’s First Presbyterian Church and plays keyboards of all kinds for Pro Musica, 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.
Nightly 4:30 - 9:00 PM
9:15 PM
OUR SUPPORTERS
Our heartfelt gratitude to all Santa Fe Pro Musica donors and devoted patrons for your generous contributions this recent fiscal year. Our donation list represents cumulative giving made between August 1, 2023 through July 31, 2024.
Conductor ($20,000+)
M. Carlota Baca, PhD
Scott R. Baker and Perry C. Andrews III
Mary and David Cost
Frank Farrow and Edward Jiran
C. Fish Greenfield and Thomas Maciula
Kay Swindell
Director ($15,000+)
Ann Caldwell
Johanna Cinader
David Goodrich and Brian Clarke
Eddie M. Lesok and Craig Cunningham
Concertmaster ($10,000+)
Anonymous
Patricia and Robert Curtis
Jean and Eugene Stark
Winky and Bernie van der Hoeven
Composer ($5,000+)
Vicki Ahl and Byron Kohr
Jill Cooper Udall and Tom Udall
Sheryl and Michael DeGenring
Malini P. Dominey
Catherine and Darryl Lindberg
Marilyn Macbeth and Forrest Carlton
Sheri and Alexander Purdue
Carol Redman and Thomas O’Connor
Katherine A. Reed
Beth and Joel Scott
Jean and Eugene Stark
Ellen Yarrell
Leader ($2,500+)
Joanne and Richard Akeroyd
Helen and James E. Becker
Joanne and Scot Boulton
Ruth Burstrom and Niels Chapman
J. Revell Carr
Lisa Grodin and Adam Cohen
Susan K. and Dennis McClung
Jean McIntosh
Mary Meredith-Kirchner and Walter Kirchner
David Muck and Cole Martelli
Joanne and James Peppiatt-Combes
Mary E. Rankovich and Dennis Kanka
Peter Schanck
Katherine Stechschulte and David Cost Jr.
Linda and Gregg Wickstra
Nancy Zeckendorf
Sustainer ($1,000+)
Wende and Brent Abrahm
Catherine and John Alsip
Damaris Ames and Peter Lloyd
Bonnie Binkert and Michael Melody
Jan and Richard Bowers
Philip Cook
Liz Crews
Linda Elliott
Dona and Roger Hamilton
Nancy Harvey
Katherine and Edward Kvet
Jean and Donald Lamm
Phyllis Lehmberg
Evelyn McClure
Cindi and Jerald Parker
Matilda Perkins, MD
John Piccolini
Carol Prins and John Hart
Felicia Rutledge
Hilary and Reed Schaper
Kristine and John Stichman
Joyce and Steve Stivers
Caroline S. Swinson
Andrea Tuch
Christopher Watson
Barbara and Mel Yost
Patron ($500+)
Anonymous
Brent B. Ault
Elizabeth Baker and Toby Pugh
Kate Blackwell and Felix Jakob
Carol Burns and James Hammerberg
Donald Close
Janet Clow and David Cunningham
Pamela Culwell and Charles G. Case II
George de Garmo
David Frank and Kazukuni Sugiyama
Richard Grimes
Harriett Harris
Eugenie and Lael Johnson
Gregg Koyle
Barbara Lenssen and Keith Anderson
Berit Leonard and William Swift
Jean Little
Brent McGee and Steven Oakey
Claudia Baxter Nelson
Nancy Newton and Dave Grusin
Maile Okamura and Colin Jacobsen
Jan and Jim Patterson
Judith and Arthur Reeder
Martha Ritchie
Roberta Robinson
Linda Schoen Giddings and Daryl Giddings
Barbara Servis
Susan and John Shaffer
Maureen and Robert Shearer
Judy and Bob Sherman
L. G. Truesdell
Kristin and Mac Watson
Nancy and George Yankura
Supporter ($250+)
Nancy and Harro Ackermann
Terry Brownell
Honey and Peter Chapin
Adelaide Collins and Dennis Cooper
Judith Crocker
Frances Diemoz and Alan Webber
Anne Hays Egan
Mary K. Eliot and Bruce Bender
Eva Eves and Jeffrey Schamis
Terry and John FitzPatrick
Charles Freuden
Janice Friends
Chris Hill
Yvonne and Kenneth Kallen
Yongtae Kim-Henry and Duane Henry
Kimberly Kmentt
Carol Ann Koz and Stuart Kirk
Corinne Kratz
Bertil Lundqvist
David M. Miller
Sara Montgomery and Dylan O’Reilly
Ethel and Tony Paap
Jane Phillips-Conroy and Glenn Conroy
Clare and Jack Ratliff
Jerry Richardson
Lisa Roberts
Barbara and Glen Smerage
Claire Swindell and Shawn Ferron
Maxine Thévenot and Edmund Connolly
Margit Umezaki
Jolante W. van Wijk
Joan Vernick
Adair Waldenberg and Jon Peck
Eleanor and Frederick Winston
Donor ($100+)
Ann Alexander
Anonymous
Karen Beall
Carol and Thomas Beech
Raphiel Benjamin
Joan Heiges Blythe
Julianne Bodnar
Lisa and Stephen Botos
John P. Bowman
William M. Bracken
Stephanie Byrnes
Bruce M. Carlson
Karen Christiansen
Maryanne and John Cornell
Carol and Michael E. Cushmore
Rebecca Dempsey
Judith Diamond and Charles Angevine
Charly Drobeck and Samuel Berne
Bonnie Ellinger and Paul Golding
Harlan Flint
Linda Forman and William Green
Michael Gendel
Sheila Gershen
Julanna Gilbert and Robert Coombe
Birgitte Ginge
Linda Goodman
Stephanie Greene
Richard Haddaway
Marian and Robert Haight
Bradford Hanson
Blanche Harrison
Roxanne Howe-Murphy and James Murphy
Paula Hutchison and Peter Gonzales
William Jacquot
Betsy and Thomas Jones
Deborah Jones
Sara and Chris Julsrud
Maria and Jeff V. Kabakoff
Marianne Kah
Margaret Keller
Diana King
Mary A. Laraia and Andrew Mooney
Stefanie Ann Lenway and Tom Murtha
Elisabeth and Alan Lerner
Martha Liebman
Timothy Lowery
John T. M. Lyles
Patrick McCarthy
Sam McClung
James McGrath
Dorothy McMath
Mathew Mitchell
Jan L. Moberg
Suzanne and Richard Molnar
Susan More
Sana Morrow
Steven Parmer
Hanako and Robert Pitera
Jo Redmon
Roberta and William Richards
Daniel Rusthoi
Pamela and Mike Ryan
Sally P. and Robert Sands
Michael Scheurer
Patricia and George Simon
Martha and Ken Simonsen
Leslie Smith and James Selby
Robin Smith
Deborah and Howard Spiegelman
Elissa Spiller
Ann Steadman
Hannah and David Sterling
Cindi and John R. Stetson
Cynthia Stuart
Kelly and Richard Swindell
Jesse Tatum
John Thompson
Abby and Mark Tiarks
Edith Timken and Tony Wilkins
Diane Webster-Thomas
Kimberly Wiley and James Ransom
Eric Wiswell
Nina Zingale and Jerry Meyer
Friend (under $100)
Peggy Abbott
Anonymous
Josephine and James Ball
Nick Barral
Kimberly and Brad Berge
Leslie Bowen and Dennis Bley
Judy and Bill Brown
Barbara Chatterjee
Susan M. Cox
Lydia Rachael Kaiholena Davis
James DeMase
Sharon and Peter W. Dorfman
Kay Dunkley
Dona Durham
Melissa Eason
Ariane Eberhardt and Brian Crone
James Faris
Whitney Fiore
In-Kind Gifts
Joanne and Scot Boulton
Janine Bradford
Ann Caldwell
Michael Carter
Patricia and Robert Curtis
C. Fish Greenfield and Thom Maciula
Colin Jacobsen
Gregg Koyle
Eddie M. Lesok and Craig Cunningham
Ted Forbes
Adriana and Michael Foris
Bettie and David Foster
Julie Geng
Katherine and Basil Goulandris
Kathy Greer
Rod Guinn
Barbara Haffner
Marie F. Harper
Julie Harrington
Karl G. Hellman
Wendy and Sam Hitt
Pamela Hyde
Russell Jarek
Brenda and Michael Jerome
Linda Kenney
Bo Keppel
Nicholas E. Korn
Jerry Leslie
Maurine E. Linder
Joan Lombardi and Lee Nash
Paula Lozar
Summer and Gregg Manoff
Ann Mauzy
Beverly A. McLean
Robin Merlo
Paula and Christian Miller
Ann B. Millican
Bob Mizerak
Cristopher Moore
Roberta Moore and Nancy Marquis
Thomas Morales
Mark Oracion
Catherine Pope
Tahlia Rainbolt and Richard Atkinson
Heather Ronconi
Charlotte A. Rowe
Nancy Rowland
Martin Rutte
Pamela and Richard Salmon
Jeannette Scott
Nancy Sherwood
Yuko Shimokawa and Robert Ingliss
Brent Stevens
Mary Irene Stevens
Mary H. Thomas
Mary and Peter Thomas
Vladimir Tsukanov
Sheila Vaughn
Jodi L. Vevoda and William G. Prull
Paul G. Vogel
Patricia Wallace and Daniel Peck
Donise Wright
Stephen Redfield
Carol Redman and Thomas O’Connor
Katherine A. Reed
Rebecca Shaw
Kristin and Mac Watson
Corporate Support
Alkemē at Open Kitchen
Andiamo! Santa Fe
Artful Tea
Artichokes & Pomegranates
Chamber Music Albuquerque
Chatter
Chocolate Maven
Concept Hotels
ConocoPhillips
Dryland Wilds
First Presbyterian Church of Santa Fe
Heritage Hotels & Resorts, Inc.
Hervé Wine Bar
Hotel Santa Fe
Hutton Broadcasting
Image Ratio
Inn of the Governors
Kakawa Chocolate House
KHFM
KSFR
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
Opera West!
Outpost!
Paper Tiger
Performance Santa Fe
Rio Grande Sun
Santa Fe Chamber Music Festival
Santa Fe Chef, Inc.
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 Valet
Santa Fe Youth Symphony
Santacafé
Susan’s Fine Wine
315 Restaurant and Wine Bar
Toyota of Santa Fe
Video Magic
Walter Burke Catering
Foundation and Fund Support
Baker Pugh Giving Fund
Bolding Hamilton Charitable Fund
Lisa and Steve Botos Donor Fund
David and Mary Cost through
The Charles Piper Cost Foundation
E. Nakamichi Foundation
The Fasken Foundation
Felcenera Charitable Fund
Green Forman Charitable Fund
Dr. and Mrs. Cameron Haight Fund, Santa Fe Community Foundation
Edward and Katherine Kvet
Charitable Trust
Lannan Foundation
The Little Charitable Fund, Tulsa Community Foundation
Brent D. McGee and Steven J.
Oakey Giving Fund
Melody-Binkert Family Fund
Judith Naumburg Charitable Gift Account
Claudia B. Nelson Charitable Fund
Evelyn L. Petshek Arts Fund, Santa Fe Community Foundation
Santa Fe Pro Musica Endowment Foundation
Susan and John Shaffer Giving Fund
Swindell Charitable Gift Fund
The Eugene V. and Clare E. Thaw Charitable Trust
Edith M. Timken Family Foundation Fund
Alan and Kristin Watson Charitable Fund
Christopher K. Watson Charitable Gift Fund
Western States Arts Federation (WESTAF)
Government Support
National Endowment for the Arts
New Mexico Arts
Santa Fe Arts & Culture Dept.
Corporate Matching Gifts
Levi Strauss & Co.
Miller Stratvert, P.A.
Women of Distinction Donor ConocoPhillips
In
Honor Of
M. Carlota Baca
David Miller
Winky and Bernie van der Hoeven
Patricia and Robert Curtis
Carol Prins and John Hart
Eddie Lesok
Maureen and Robert Shearer
Sam McClung
Lydia Rachael Kaiholena Davis
Jean McIntosh
Harriett Harris
Kay Swindell
Ann Caldwell
Kelly and Richard Swindell
Nancy and George Yankura
Leslie Smith and James Selby
In
Memory Of
John Clubbe
Joan Heiges Blythe
David W. Cost
Damaris Ames and Peter Lloyd
Carol and Tom Beech
Raphiel Benjamin
William Bracken
Bruce M. Carlson
Carol and Michael Cushmore
Ted Forbes
Jean and Donald Lamm
Sally and Robert Sands
The Thursday Men’s Renewal Group
L.G. Truesdell
Winky and Bernie
van der Hoeven
Eleanor and Frederick Winston
Kathryn Gendel
Michael Gendel
John Greenspan
Julianne Bodnar
Dale K. Haworth
Karen Beall
John Swindell
Kelly and Richard Swindell
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
Linda Goodman
Redman & O’Connor New Works Fund
J. Revell Carr
Nancy Harvey
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
Youth and Education Donors
Anonymous
Our Volunteers
Carol Redman
Jo Redmon
Stephen Redfield
Axel Retif
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
BRITTEN
Mahler Das Lied von der Erde 2008 Grammy Nomination for Best Classical Album Small Ensemble
At CHRISTUS St. Vincent, we believe every patient deserves the best care possible. That’s why we’re proud to be celebrating five years as a member of the Mayo Clinic Care Network. It’s a collaboration that allows us to amplify our own expertise with the knowledge, experience and resources of Mayo Clinic. Which means you get exceptional care, close to home. And we think giving our patients that peace of mind is definitely worth celebrating.
Santa Fe Pro Musica Orchestra Thomas O’Connor, conductor Conrad Tao, piano
Cover Art
David Cost, untitled (2007) 12x12” monoprint on Arches 88 paper
Advertiser Index
Alkemē at Open Kitchen | 77
Andiamo! Santa Fe | 73
Artichokes & Pomegranates | 54
Bell Tower Real Estate | 54
Casa Nova | 78
Century Bank | 48
Chamber Music Albuquerque | 78
Chocolate Maven Bakery & Unit B | 12
Christus St. Vincent | 79
Concept Hotels | Inside Front Cover
El Castillo & La Secoya | 41
Garcia Auto Group | Outside Back Cover
Gutierrez Wealth Advisory | 2
Hotel Santa Fe | Inside Back Cover
Hutton Broadcasting | 49
Image Ratio | 78
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.
“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. We’ve arranged a gift through our estate plan to ensure that future generations have the same wonderful listening opportunities.”
—Marilyn Macbeth and Forrest Carlton
M. Carlota Baca
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
Inn of the Governors | 12
KHFM | 42
KSFR | 60
La Fonda on the Plaza | 13, 36
Lensic Performing Arts Center | 43
Los Alamos Concert Association | 55
Los Alamos Daily Post | 48
Nüart Gallery | 40
The Outpost! | 19
Performance Santa Fe | 61
Polyphony: Voices of New Mexico | 40
Positive Energy Solar | 41
Rio Grande Sun | 60
Robertsons & Sons Violin Shop, Inc. | 41
Santacafé | 39
Santa Fe Chamber Music Festival | 1
Santa Fe Chef Inc. | 43
Santa Fe Desert Chorale | 6
Santa Fe New Mexican | 24
Santa Fe Reporter | 19
Santa Fe School of Cooking | 39
Santa Fe Selection | 38
Santa Fe Symphony and Chorus | 37, 38
Sweetwater Harvest Kitchen | 13
315 Restaurant and Wine Bar | 2
Tierra Concepts | 25
Toby Pugh Architects, LLC | 38
Toyota of Santa Fe | 18
Walter Burke Catering | 36
Photography | Aleksandar Antonijevic (Cristina Prats-Costa; 72), Kristine Bahn (Governor’s Mansion; 9, Nüart Gallery; 9), Nick Barral (Greenfield; 5, various; 10, 14, 15, 16, 33), Alex Chaloff (Umezaki; 56, 70), Jiyang Chen (Isidore; 52, 71), Tatiana Daubeck (Bragle; 58, 68), Marco Giannavola (Brooklyn Rider; 44, 62, 71, Gandelsman; 27, 69, Grief; 62, Jacobsen; 22, 46, 56, 64, 69), Frank Jurgen (Brentano; 50, 71), Liudmila Jeremies (Azmeh; 22), Stephen Kahn (Wu Man; 70), Kuandi Studio (Wu Man; 46), Shelby Lewis (Shaw; 30, 70), Shervin Llainez (Herrera; 16), K. Mari Photography (Felberg; 69), Peter Norby (Holland; 72, O’Connor; 64, various; 11), Christy Parent (Jacobsen; 4, Solem: 73, various; 8, 66, 67), Ricardo Quiñones (Catalyst; 20, 71), Timothy Redfield (Stephen Redfield; 30, 58, 73), Yuko Shimokawa (Ingliss; 69), Anne Staveley (O’Connor; 5, 69), Jennifer Taylor Photography (Rottsolk; 30, 58, 69), Adrien Tillman (Herrera; 69)
