Music for the Royal Fireworks, December 2014

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Music for the Royal Fireworks
Santa Fe Pro Musica Orchestra
Thomas O’Connor, conductor
Cármelo de los Santos, violin

Sunday, December 28 at 3pm
Monday, December 29 at 6pm

St. Francis Auditorium, New Mexico Museum of Art

Joyful and triumphant!

Santa Fe Pro Musica celebrates the holidays with Music for the Royal Fireworks, featuring the Santa Fe Pro Musica Orchestra (Thomas O’Connor, conductor) and virtuoso Brazilian violinist Cármelo de los Santos performing beloved works of baroque composers on December 28 and 29 in St. Francis Auditorium.

St Francis Orchestra 3

WHAT:
Music for the Royal Fireworks
Santa Fe Pro Musica Orchestra
Thomas O’Connor, conductor
Cármelo de los Santos, violin

WHEN:
Sunday, December 28 at 3pm
Monday, December 29 at 6pm

WHERE:
St. Francis Auditorium, New Mexico Museum of Art, Santa Fe Plaza
107 West Palace Avenue
Santa Fe, NM 87501

TICKETS: $20, $35, $45, $65 at the Santa Fe Pro Musica Box Office (505) 988-4640, Tickets Santa Fe at The Lensic (505) 988-1234, or online at www.santafepromusica.com

Discounts for students, teachers, groups, and families are available exclusively through the Santa Fe Pro Musica Box Office.

Meet the Music: Learn more about the music you love! Thomas O’Connor, Santa Fe Pro Musica Conductor and Music Director, will present a “behind the scenes” discussion of the music one hour prior to each concert at the St. Francis Auditorium – Free to ticket holders.

PD Fireworks

The Program:

Telemann Water Music
Vivaldi “Autumn” from The Four Seasons
Vivaldi “Winter” from The Four Seasons
Handel Music for the Royal Fireworks

Notes by Carol Redman

Georg Philipp Telemann (1681-1767)
Water Music

Scored for 2 flutes (plus piccolo), 2 oboes, bassoon, string orchestra and keyboard

Telemann’s Water Music is an instrumental suite, a form derived from French opera and ballet at the court of Louis XIV (1638-1715). These extravagant musical productions begin with an overture announcing the arrival of the King. The overture is followed by dances, interludes, and character-pieces. As this form gained popularity, composers created original and independent suites with no connection to opera or ballet.

Telemann composed his Water Music in 1723 for the centennial celebration of the College of the Admiralty in Hamburg, Germany. For the festivities Telemann wrote a suite with representations of the River Elbe and the gods and nymphs of the sea. Nereus, the Old Man of the Sea, is a trusting and gentle god who, with his wife Doris, had fifty lovely daughters, the nymphs of the sea (Nereids). After the overture, the first two dances illustrate their favorite daughter, Thetis, sleeping (Sarabande, a slow, sensual dance) and awakening (Bourrée, a fast dance). These are followed by a dance traditionally played on bagpipes (Loure), depicting the amorous Neptune, Lord and Ruler of the Sea. Then we hear the Nereids at play (Gavotte). Triton, the son of Neptune, appears with his trumpet shell in a comic character-piece (Harlequinade). The stormy Aeolus, god of the winds, blusters through a movement Vivaldi would be proud to call his own. Then follows the calm after the storm in a cool menuet. A gentle Gigue bobs with the ebb and flow of the River Elbe. Telemann concludes Water Music with rollicking mariners on shore leave in an exotic dance from the Canary Islands (Canarie).

Antonio Vivaldi (1687-1741)
Autumn and Winter from The Four Seasons

Scored for solo violin, string orchestra and keyboard

Vivaldi was a virtuoso violinist from Venice, the composer of hundreds of spirited and inventive instrumental works, and is recognized as the master of the Baroque concerto. Vivaldi’s kinetic rhythms, fluid melodies and brilliant instrumental effects make his music some of the most popular from the Baroque era. He established the standard three-movement concerto form in which a slow movement appears between two fast outer movements. He is also credited with inventing the ritornello form that became standard for the fast movements of concertos. The ritornello is a musical theme played by the full orchestra that returns throughout the movement, alternating with passages dominated by the soloist who introduces new and often virtuosic music.

Vivaldi’s violin concertos The Four Seasons constitute one of the most famous and beloved collections of string music. Each concerto is prefaced by a poem that describes its contents, and their programmatic nature brings seasonal sights and sounds to the ear.

Autumn

  1. The peasants celebrate the good harvest with singing, dancing, and drinking wine (Vivaldi notated some of the solo violin passages with the description “the drunkard”).
  2. When the singing and dancing stops, everyone falls asleep.
  3.  The hunters set out with horns, guns, and dogs. The wild beasts flee, but become tired and are caught.

Winter

  1. Shivering in the cold and in the icy wind, and with chattering teeth, he stamps his feet to keep warm.
  2. He contentedly sits by the fire while the rain beats down.
  3. Walking on the ice, first carefully, then boldly, he slips and falls. The winds fight each other, but winter still brings pleasure.

George Frideric Handel (1685-1759)
Music for the Royal Fireworks

Scored for 3 oboes, 2 bassoons, 3 horns, 3 trumpets, timpani, string orchestra and keyboard

To celebrate the end of the War of Austrian Succession (1748), King George II hired Chevalier Servandoni to design a fireworks display. Servandoni was a famous stage designer for the Paris Opera and well known for his spectacular stage machinery. For this commission, he designed a fireworks machine 114 feet high and 410 feet long, containing more than 10,000 rockets, and brought in a team of Italian pyro-technicians to operate the huge contraption. At the King’s request, Handel wrote music for a large ensemble of “war-like instruments” to accompany the fireworks display. On April 21, 1749 there was a rehearsal held in Vauxhall Gardens, and according to varying descriptions, between 50 and 100 wind and percussion instruments participated. Public interest was keen; the rehearsal drew an audience of 12,000 and created a traffic jam that tied up London Bridge for hours. The actual performance took place on the evening of April 27, 1749 and it did not go well. English and Italian technicians argued about the operation and safety of the machine. There was an explosion, and a pavilion caught fire. The frustrated Chevalier Servandoni drew his sword and had to be disarmed and arrested.

One month later Handel performed his Fireworks Music for the Foundling Hospital, though with fewer winds and percussion, in a gentler configuration that included a string orchestra. Music for the Royal Fireworks was Handel’s last orchestral composition.

Photo by Leko Machado

Photo by Leko Machado

About Cármelo de los Santos

Brazilian-born violinist Cármelo de los Santos enjoys an exciting career as a soloist, chamber musician, and pedagogue. From his extensive concerto appearances to his recent performances of the 24 Caprices by Paganini, his virtuosity and musical commitment captivate audiences worldwide.

At the age of sixteen Cármelo gained celebrity status in Brazil by winning its most prestigious music competition, the Eldorado Prize, in São Paulo. Since then he has been a guest soloist with more than 40 orchestras, including the New World Symphony, Santa Fe Pro-Musica, the Santa Fe, and New Mexico Symphonies, the Montevideo Philarmonic, Orchestra Musica d’Oltreoceano (Rome), and the major orchestras in Brazil. Cármelo has collaborated with renowned conductors Michael Tilson Thomas, Alejandro Posada, Jean-Jaques Werner, Guillermo Figueroa, Eric Shumsky, Rodolfo Saglimbeni, Yeruham Scharovsky, Jorge Pérez-Gómez, Roberto Tibiriçá, and Jean Reis, among others.

In 2002 Cármelo made his New York debut as soloist and conductor in the Weill Recital Hall at Carnegie Hall with the ARCO Chamber Orchestra.

Cármelo has won prizes in several international competitions, including the first prize at the 4th Júlio Cardona International String Competition (Portugal), first prize at the Music Teachers National Association (MTNA) Collegiate Artist Competition (USA), and second prize in the Young Artist International Competition (Argentina).

With pianist Carla McElhaney and cellist Joel Becktell, Cármelo has formed the group REVEL, a “classical band” based in Austin. The group believes that music is a transformative tool best shared in informal, intimate settings. They present events that they refer to as “revels,” in which audience members enjoy the music on a “first-name” basis. The group performs masterworks for duos and piano trio, and also arranges modern and popular works in a signature style that has become a mainstay of their repertoire.

Cármelo’s commitment to young musicians brings him to music festivals and master classes throughout the world. In his native Brazil, he enjoys working with at-risk students from social programs similar to Venezuela’s famous El Sistema.

Cármelo holds a Bachelor’s degree from Rio Grande do Sul Federal University, Brazil, a Master’s degree from the Manhattan School of Music, and a Doctoral degree from the University of Georgia. His teachers were Fredi Gerling, Marcello Guerchfeld, Sylvia Rosenberg, and Levon Ambartsumian. As a student, he performed in master classes and had consultations with Isaac Stern, Boris Belkin, Eugene Fodor, and Shlomo Mintz, and numerous others.

Cármelo’s 2009 CD release, Sonatas Brasileiras, presents sonatas by Villa-Lobos, Guarnieri, and Santoro (UFRGS Label) and received that year’s Açorianos Prize (Brazil) for best Classical CD, along with the year’s Best Classical Performer prize. The CD “Magic Hour” with REVEL – works for piano trio by Beethoven, Piazzolla, and Kenji Bunch, plus original arrangements by the group – was released in 2012 and can be purchased at http://www.revelmusic.org.

Two CDs are scheduled for release in 2013: “Brazilian Violin Showpieces” – short pieces for violin and piano by Brazilian composers, with pianist Ney Fialkow; and “French Composers,” with the Sonata for Violin and Piano by Debussy, and Ernest Chausson’s Concerto for Violin, Piano, and String Quartet, recorded live at the 2012 Bonneville Chamber Music Festival.

Highlights of Cármelo’s 2013 calendar are the DVD recording of the 24 Caprices by Paganini, and an invitation to judge the 1st Art Center Tokyo International Violin Competition in Kobe, Japan.

Cármelo is an Associate Professor of Violin at the University of New Mexico, Albuquerque, where he lives with his wife Eugenia and son Arthur. He plays on a Carl Becker violin, 1929.

Read more at http://carmelodelossantos.com/

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About Santa Fe Pro Musica

Santa Fe Pro Musica, founded in 1980, is a non-profit performing arts organization dedicated to inspiring and educating audiences of all ages through the performance of great music. Pro Musica performs a varied repertoire, covering four centuries of music on modern and baroque instruments, including works for chamber orchestra, small ensemble and large-scale works for orchestra and chorus. In 2008, Pro Musica’s recording of Gustav Mahler’s Das Lied von der Erde (chamber arrangement by Schoenberg) was nominated for a GRAMMY® award in the classical category of Best Classical Album/Small Ensemble. In August of 2012, Santa Fe Pro Musica Recordings produced a CD of Conrad Tao, pianist, performing Mozart Piano Concertos No. 17 and No. 25 and in 2013 produced a CD of music by Britten and Vaughan Williams. In addition to gaining national recognition over its 32 years for its artistry in performance, Santa Fe Pro Musica offers some of the most distinguished educational opportunities in northern New Mexico, reaching thousands of students every year with a Youth Concert series, a team-building, ensemble-training program, and a master class series for New Mexico School for the Arts students, area students, and UNM ensembles.

The 2014-2015 Season is partially funded by the City of Santa Fe Arts Commission, the 1% Lodgers Tax, and New Mexico Arts (a Division of the Department of Cultural Affairs). For more information, please visit our website: www.santafepromusica.com

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Holiday Gift Guide 2014

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A Baroque Christmas 2014

A Baroque Christmas
December 2014

Celebrate with us! Santa Fe Pro Musica is pleased to present its beloved holiday tradition A Baroque Christmas, featuring the Santa Fe Pro Musica Baroque Ensemble with mezzo-sopranos Deborah Domanski and Drea Pressley (alternating performances – please see our website for complete soprano schedule www.santafepromusica.com/Season.html) in the festively decorated historic Loretto Chapel on Friday, December 19 through Wednesday, December 24.

SF Pro Musica Loretto 104

A Baroque Christmas

Friday, December 19, 2014 at 6pm and 8pm
Saturday, December 20, 2014 at 6pm and 8pm
Sunday, December 21, 2014 at 6pm and 8pm
Monday, December 22, 2014 at 6pm and 8pm
Tuesday, December 23, 2014 at 6pm and 8pm
Wednesday, December 24, 2014 at 6pm and 8pm

Loretto Chapel
207 Old Santa Fe Trail
Santa Fe, NM 87501

Deborah Domanski, mezzo-soprano; Drea Pressley, mezzo-soprano
The Santa Fe Pro Musica Baroque Ensemble
Stephen Redfield and Karen Clarke, violin; Gail Robertson, viola; Carol Redman, flute MaryAnn Shore, oboe and recorder; Sally Guenther, cello; Danny Bond, bassoon
Susan Patrick, organ

TICKETS: $20, $35, $45, $65 (add $5 per ticket for Christmas Eve)
Santa Fe Pro Musica Box Office (505) 988-4640, (800) 960-6680
Tickets Santa Fe at The Lensic (505) 988-1234
www.santafepromusica.com

Holiday Subscription
Attend both holiday concerts (A Baroque Christmas and Music for the Royal Fireworks) and save 10% with a Holiday Subscription, available exclusively through the Santa Fe Pro Musica Box Office: (505) 988-4640, (800) 960-6680.
These will go quickly, so call today!

Concert Sponsor: Thornburg Investment Management
Lodging Partner: Inn and Spa at Loretto

The 2014-2015 Season is partially funded by the City of Santa Fe Arts Commission, the 1% Lodgers Tax, and New Mexico Arts (a Division of the Department of Cultural Affairs).

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George Frideric Handel
Concerto Grosso in G Major (selections from Opus 6)

Antonio Vivaldi
Laudate pueri Dominum, RV 600 (selections)

Georg Philipp Telemann
Quartet in G Major

Traditional Carols
Sussex Carol
Coventry Carol
Wexford Carol
Gaudete, Christus est natus
Ut collocet eum cum principibus

George Frideric Handel (1685-1759)
Concerto Grosso in G Major, Opus 6 (selections)
Scored for flute, oboe, bassoon, strings and keyboard (17 minutes)

Handel was born in Halle, Germany and trained in the German music tradition. In 1707 he moved to Italy where he learned the Italian art of vocal music and opera. Three years later, Handel became Music Director at the Electoral Court of Hanover and returned to Germany. In 1714 Handel’s employer, the Elector of Hanover, was proclaimed King George I of England, and Handel followed him to England. Handel became an English citizen and settled down to a long and prosperous career in London, enjoying the patronage of the royal family and the adulation of the English people.

The concerto grosso was one of the most popular instrumental forms during the Baroque period. It features contrasting textures between a small group of soloists and a larger group of instrumentalists. Handel composed his twelve Concerti Grossi, Opus 6 within a single month in 1739. Donald Burrows (Handel, 1994) proclaimed this set as “one of the marvels of eighteenth-century instrumental music… each concerto can be regarded as an individual masterpiece.”

Antonio Vivaldi (1678-1741)
Laudate pueri Dominum, RV 600 (selections)
Scored for mezzo-soprano, strings, and keyboard (17 minutes)

Vivaldi composed hundreds of spirited and inventive instrumental works. His kinetic rhythms, fluid melodies, and brilliant musical effects make him one of the most popular composers from the Baroque era. Vivaldi’s production of sacred vocal music, though not as substantial as his instrumental works, includes over fifty works.

The Laudate pueri Dominum is one of three settings of Psalm 112 that Vivaldi composed. Each movement musically explores the words and phrases allotted to it, with dramatic operatic writing and colorful textural imagery. The first movement treats all the instruments and the voice equally, reflecting the text that we are all equal in the sight of God (“… and even servants can enter the kingdom of heaven”). In the second movement, Vivaldi borrows from his own Winter Concerto from The Four Seasons and creates a hushed, awe-inspiring landscape invoking eternity (“… from this time forth forevermore”). In the third movement, listen for the rising vocal line illustrating the rising sun, and the long florid lines on the word laudate (“praise”). The angular lines of No. 4 reflect the admonition that we should ever remain humble, as our Lord God who dwells most high. The centerpiece is No. 5 (the doxology “Glory be to the Father”) and is a tender conversation between solo violin and voice. No. 6 is happy and spirited (“… as it was in the beginning is now and ever shall be”). The piece concludes with a glorious Amen.

Georg Philipp Telemann (1681-1767)
Quartet in G Major
Scored for flute, oboe, violin, bassoon, and keyboard (13 minutes)

Telemann, the son of a clergyman, was a self-taught musician. It was expected that he would follow his father’s path, and much was done to dissuade the boy from his fascination with music. Looking back on his struggles, Telemann wrote in 1718: “My fire burned far too brightly, and lighted my way into the path of innocent disobedience, so that I spent many a night with pen in hand because I was forbidden it by day, and passed many an hour in lonely places with borrowed instruments.” His talents were discovered and his reputation became so highly regarded that he was at the top of the list for the most prestigious music positions, whereas another musician, J. S. Bach, ranked second or third.

The Quartet in G Major is part of a set of works called Tafelmusik (table-music). This was a term used since the 16th century for music played at feasts and banquets. In 1733, Telemann published an elaborate collection of pieces that he called Tafelmusik. This collection contains three monumental “Productions,” each one consisting of an overture, quartet, concerto, trio, solo, and a finale. The Quartet in G Major is part of the First Production.

Mistletoe

Traditional Carols

This set of Christmas carols is uniquely arranged by the Santa Fe Pro Musica Baroque Ensemble for voice, flute, recorder, oboe, bassoon, strings and keyboard. (15 minutes)

The Sussex Carol was originally found in The Small Garland of Pious and Godly Songs (1684) by Luke Wadding, an Irish Franciscan bishop. The carol relates how Christians rejoice at the coming of their Redeemer.

The Coventry Carol first appeared in 1534 in a nativity play about the story of King Herod. Upon hearing of the birth of Jesus (rumored to be the new “King of the Jews”), King Herod ordered all baby boys to be killed. As the troops followed the king’s orders, mothers hid with their children and quieted them by singing the lullaby now known as the Coventry Carol.

The Wexford Carol first appears in County Wexford, Ireland and dates to the 12th century. It is a simple and happy retelling of the nativity story.

Gaudete, Christus est natus (Rejoice, Christ is born) is a song of praise. It first appeared in a songbook (1420) found in the village of Jistebnice, now in the Czech Republic.

Ut collocet eum cum principibus (He sits them with princes) is a musical setting of Psalm 112 by Antonio Vivaldi. The text praises the compassion of Christ who seats the poor alongside princes and makes barren women joyful with children.

About Deborah Domanski

Domanski 10 HIGHRESOLUTION

“Magnificent!” That’s the word former General Director Richard Gaddes used to describe Deborah Domanski’s performance in the role of Zenobia in the Santa Fe Opera’s 2008 Season production of Radamisto.

Ms. Domanski’s solo concert engagements include Los Angeles Philharmonic debut under Maestro Esa-Pekka Salonen as the Alto Soloist in Mozart’s Requiem, The Laredo Symphony as alto soloist in Beethoven’s 9th, the Greenwich Choral Society’s performance of Rossini’s Petit Messe Solenelle, and with The Juilliard Choral Union in Vivaldi’s Gloria in Alice Tully Hall. As a Young Artist in the Juilliard Opera Center she was a participant in the prestigious 2002 Juilliard Vocal Arts Honors Recital in Alice Tully Hall. As the 2002 competition winner at the Music Academy of the West, Miss Domanski became the Marilyn Horne Foundation Awardee and was presented in recital, and on national radio and in World Wide Web broadcast in October 2002. January 2005, Deborah made her Weill Concert Hall debut as part of the Horne Foundation’s The Song Continues… recital series at Carnegie Hall.

Please read Ms. Domanski’s complete biography on her website: http://deborahdomanski.com/biography/

About Drea Pressley

DreaP_4669

Drea Pressley, mezzo soprano, performs with the Los Angeles Master Chorale, Los Angeles Philharmonic, and has performed with New Orleans Opera Association, and Operafestival di Roma. As a member of Los Angeles Master Chorale, Ms. Pressley toured Europe with the Los Angeles Philharmonic, premiering John Adam’s new work, The Gospel According to the Other Mary.

Drea enjoys performing with several of New Mexico’s premiere arts organizations, including the Santa Fe Desert Chorale, and has performed with Santa Fe Opera, Santa Fe New Music, the New Mexico Symphony Orchestra, Canticum Novum, and Sangre de Cristo Chorale.

Please read more on Ms. Pressley’s website: www.dreapressley.com

About Santa Fe Pro Musica

Santa Fe Pro Musica, founded in 1980, is a non-profit performing arts organization dedicated to inspiring and educating audiences of all ages through the performance of great music. Pro Musica performs a varied repertoire, covering four centuries of music on modern and baroque instruments, including works for chamber orchestra, small ensemble and large-scale works for orchestra and chorus. In 2008, Pro Musica’s recording of Gustav Mahler’s Das Lied von der Erde (chamber arrangement by Schoenberg) was nominated for a GRAMMY® award in the classical category of Best Classical Album/Small Ensemble. In August of 2012, Santa Fe Pro Musica Recordings produced a CD of Conrad Tao, pianist, performing Mozart Piano Concertos No. 17 and No. 25 and in 2013 produced a CD of music by Britten and Vaughan Williams. In addition to gaining national recognition over its 32 years for its artistry in performance, Santa Fe Pro Musica offers some of the most distinguished educational opportunities in northern New Mexico, reaching thousands of students every year with a Youth Concert series, a team-building, ensemble-training program, and a master class series for New Mexico School for the Arts students, area students, and UNM ensembles.

The 2014-2015 Season is partially funded by the City of Santa Fe Arts Commission, the 1% Lodgers Tax, and New Mexico Arts (a Division of the Department of Cultural Affairs).

For more information, please visit our website: www.santafepromusica.com

© Santa Fe Pro Musica

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The Heavenly Life

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Autumn Notes

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Transfigured Night, November 2014

Santa Fe Pro Musica
Transfigured Night
Santa Fe Pro Musica Orchestra
Thomas O’Connor, conductor
Deborah Domanski, mezzo-soprano

Saturday, November 8 at 4pm
Sunday, November 9 at 3pm

St. Francis Auditorium, New Mexico Museum of Art

St Francis Orchestra 3

Santa Fe, NM — Santa Fe Pro Musica is delighted to welcome back mezzo-soprano Deborah Domanski, joining the Santa Fe Pro Musica Orchestra (Thomas O’Connor, conductor) in a feast of Fin-de-siècle Viennese music.

The Scoop: Santa Fe Pro Musica’s Transfigured Night features Arnold Schoenberg’s transcendent Verklärte Nacht (Transfigured Night), Op. 4. If dodecaphony makes you nervous, never fear! This early work of Schoenberg, composed in 1899, followed the romantic traditions of Brahms and Wagner, and eventually set the musical style that was to be embraced by the movie industry during the 1930s when Los Angeles became the home of many émigrés escaping war-torn Europe, including Schoenberg himself.

Rounding out this concert is a chamber arrangement of Gustav Mahler’s Symphony No. 4 in G Major, a glowing and sunny symphony that explores the road from experience to innocence, from complexity to simplicity, and from earthly life to heaven (Phillip Huscher, Chicago Symphony Orchestra).

The Program:

Arnold Schoenberg Transfigured Night (Verklärte Nacht), Op. 4
Gustav Mahler (arr. Klaus Simon, 2007) Symphony No. 4 in G Major

Program notes by Carol Redman

Schoenberg and Mahler

Program music, symphonic poems and tone poems are all terms defining an instrumental form of music that is inspired by or renders an extra-musical narrative, including depictions of nonmusical incidents, ideas, or images, such as those drawn from literature (Tchaikovsky’s Romeo and Juliet), works of art (Mussorgsky’s Pictures at an Exhibition), or from nature (Holst’s The Planets). This concept was most fashionable during the Romantic period, but less so during the Classical period when music was expected to generate drama from its own internal resources (“abstract” music). Both pieces on today’s program can be called “program music,” as each was inspired by poetry. In Schoenberg’s Transfigured Night, he faithfully follows a poem’s narrative. With Mahler’s Symphony No. 4, a poem initiates the creative process and becomes the source through which Mahler composes a large-scale symphony.

Arnold Schoenberg (1874-1951)
Transfigured Night (Verklärte Nacht)

Originally scored for two violins, two violas and two cellos; arranged by Schoenberg, in 1917 for string orchestra

This early work, composed in 1899, followed the romantic traditions of Brahms and Wagner, and eventually set the musical style that was to be embraced by the movie industry during the 1930s when Los Angeles became the home of many émigrés escaping war-torn Europe, including Arnold Schoenberg and Erich Wolfgang Korngold. “Scoring film soundtracks became an art thanks to a small group of foreign-born, classically trained composers” (Piero Scaruffi, A History of Popular Music: Film Music, 2003).

Schoenberg found inspiration for his music from the 1896 poetry collection Weib und Welt (Woman and World) by Richard Dehmel (1863-1920). Schoenberg wrote to Dehmel, “Your poems have had a decisive influence on my development as a composer. They were what first made me try to find a new lyrical tone. Or rather, I found it even without looking, simply by reflecting in music what your poems stirred up in me.”

Dehmel’s poem chronicles a poignant conversation between a man and a woman as they walk through the moonlit woods on a cold winter night. Tormented by guilt, the woman confesses that she had become pregnant by another man before meeting and falling in love with her companion. As the woman falls into tears, the man considers the situation. He then assures her that because their love is so strong, the unborn child will become his. They embrace, “their breaths joined in the air as they kiss.” They continue their walk, but their lives have been transformed.

The music mirrors the five sections of the poem: an introduction, which sets the scene in the shadowy forest; the woman’s anguished confession; the man’s comforting forgiveness; the enraptured love duet; and the ethereal apotheosis, representing the “transfigured night” itself.

Gustav Mahler (1860-1911)
Symphony No. 4 in G Major

Originally written for 25 wind and percussion instruments, strings, harp and voice, we are performing the chamber version, arranged in 2007 for voice, seven winds and percussion, strings, piano, harmonium, and voice by Klaus Simon.

Gustav Mahler found the materials and inspiration for many of his songs, and the texts for three of his symphonies, including Symphony No. 4, from Des Knaben Wunderhorn (The youth’s magic horn), the 19th century anthology of German folk poetry. In 1892 Mahler began work on a song, Das Himmlische Leber (The Heavenly Life), which would eventually become the last movement of his Symphony No. 4. Mahler then worked backwards, ensuring that this song would appear as the logical destination of the three preceding movements. “He conceived a symphony that would explore the road from experience to innocence, from complexity to simplicity, and from earthly life to heaven” (Phillip Huscher, Chicago Symphony Orchestra).

Mahler believed that with the transparent style of this symphony (“incredible light and air”) he had captured the simple faith and joy of children, “only a child can understand and explain it, and a child does explain it in the end.”

I. Bedächtig. Nicht eilen (Deliberately. Not rushed). One of the shortest of Mahler’s first movements, this is also one of the most complex. Schoenberg student and collaborator Erwin Stein commented that “sometimes he shuffles the motifs like a pack of cards and makes them yield new melodies.

II. In gemächlicher Bewegung. Ohne Hast (Leisurely moving. Without haste) is a dance movement with a German folkdance (ländler) character. To suggest the rustic sound of a country fiddle, Mahler requires a violin soloist to play certain passages on a violin that is tuned a whole tone higher than usual, creating a tighter, more strident quality. He described this movement as “mysterious, intricate and sinister, this Scherzo will make your hair stand on end.”

III. Ruhevoll (Calmly). In this slow movement, Mahler felt he had achieved “the most complex mixtures of colors ever produced. The thousand little pieces of mosaic that make up the picture are shaken up; and it becomes unrecognizable, as in a kaleidoscope, as though a rainbow suddenly disintegrated into millions of dancing drops so that the whole edifice seems to vacillate and dissolve.

IV. Sehr behaglich (Very comfortably). Mahler called the finale the “tapering spire of the edifice.” It was a novel idea to end the symphony with a simple song, yet it was the seed from which the entire Fourth Symphony grew. Mahler expressed delight at the “roguishness and deep mysticism” of the poem, a folksong well known throughout Bavaria and Bohemia, and explicitly requests the vocal soloist to “assume joyous and childish tones, completely devoid of parody.”

 
Transfigured Night
Santa Fe Pro Musica Orchestra
Thomas O’Connor, conductor
Deborah Domanski, mezzo-soprano

Saturday, November 8 at 4pm
Sunday, November 9 at 3pm

St. Francis Auditorium (New Mexico Museum of Art)
107 W Palace Ave
Santa Fe, NM 87501

TICKETS: $20, $35, $45, $65 at the Santa Fe Pro Musica Box Office (505) 988-4640, Tickets Santa Fe at The Lensic (505) 988-1234, or online at www.santafepromusica.com

Discounts for students, teachers, groups, and families are available exclusively through the Santa Fe Pro Musica Box Office.

Meet the Music: Learn more about the music you love!

Thomas O’Connor, Santa Fe Pro Musica Conductor and Music Director, and special guest John Clubbe will present a “behind the scenes” discussion of the music one hour prior to each concert at the St. Francis Auditorium – Free to ticket holders.

About Deborah Domanski

Domanski 10 HIGHRESOLUTION

“Magnificent!” That’s the word former General Director Richard Gaddes used to describe Deborah Domanski’s performance in the role of Zenobia in the Santa Fe Opera’s 2008 Season production of Radamisto.

D.S. Crafts, reviewer for The Albuquerque Journal wrote, “Deborah Domanski as Radamisto’s wife Zenobia exudes sensuality both in voice and stage presence. Her clear, focused and radiant mezzo-soprano illuminates both her enthusiastic acceptance of death “Son contenta di morire” and her tender plea “Quando mai” (When cruel destiny). She and David Daniels are later reunited in a sparkling duet.”

Ms. Domanski’s solo concert engagements include Los Angeles Philharmonic debut under Maestro Esa-Pekka Salonen as the Alto Soloist in Mozart’s Requiem, The Laredo Symphony as alto soloist in Beethoven’s 9th, the Greenwich Choral Society’s performance of Rossini’s Petit Messe Solenelle, and with The Juilliard Choral Union in Vivaldi’s Gloria in Alice Tully Hall. As a Young Artist in the Juilliard Opera Center she was a participant in the prestigious 2002 Juilliard Vocal Arts Honors Recital in Alice Tully Hall. As the 2002 competition winner at the Music Academy of the West, Miss Domanski became the Marilyn Horne Foundation Awardee and was presented in recital, and on national radio and in World Wide Web broadcast in October 2002. January 2005, Deborah made her Weill Concert Hall debut as part of the Horne Foundation’s The Song Continues… recital series at Carnegie Hall.

Please read Deborah’s complete biography on her website: http://deborahdomanski.com/biography/

About Santa Fe Pro Musica

Santa Fe Pro Musica, founded in 1980, is a non-profit performing arts organization dedicated to inspiring and educating audiences of all ages through the performance of great music. Pro Musica performs a varied repertoire, covering four centuries of music on modern and baroque instruments, including works for chamber orchestra, small ensemble and large-scale works for orchestra and chorus. In 2008, Pro Musica’s recording of Gustav Mahler’s Das Lied von der Erde (chamber arrangement by Schoenberg) was nominated for a GRAMMY® award in the classical category of Best Small Ensemble Performance. In August of 2012, Santa Fe Pro Musica Recordings produced a CD of Conrad Tao, pianist, performing Mozart Piano Concertos No. 17 and No. 25. In addition to gaining national recognition over its 32 years for its artistry in performance, Santa Fe Pro Musica offers some of the most distinguished educational opportunities in northern New Mexico, reaching thousands of students every year with a Youth Concert series, a team-building, ensemble-training program, and a master class series for New Mexico School for the Arts students.

The 2014-2015 Season is partially funded by the City of Santa Fe Arts Commission, the 1% Lodgers Tax, and New Mexico Arts (a Division of the Department of Cultural Affairs).

For more information, please visit our website: www.santafepromusica.com

© Santa Fe Pro Musica 2014

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A Day with the St. Lawrence String Quartet (Master Class, Concert, and Artist Dinner) – October 5, 2014

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© Santa Fe Pro Musica 2014

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