Baroque Holy Week Concerts Inspire


Santa Fe Pro Musica’s beloved Baroque Holy Week concerts return to the Loretto Chapel this March, featuring the Santa Fe Pro Musica Baroque Ensemble performing works inspired by the secular and the divine. Vocalists Kathryn Mueller and Deborah Domanski will join the Ensemble in music by the great baroque composers Bach and Handel. Join us for this inspiring program.


Loretto Chapel (Photo by Alaina Diehl)

WHAT | Santa Fe Pro Musica Baroque Ensemble with guest soloists Kathryn Mueller
and Deborah Domanski
WHEN | Thursday, March 24 at 7:30pm, Friday, March 25 at 7:30pm and Saturday, March 26 at 6pm
WHERE | Loretto Chapel, 207 Old Santa Fe Trail, Santa Fe, NM
TICKETS |     $20, $35, $48, $69 at the Santa Fe Pro Musica Box Office (505) 988-4640, ext. 1000, Tickets Santa Fe at The Lensic (505) 988-1234, or online at Discounts for students, teachers, groups, and families are available exclusively through the Santa Fe Pro Musica Box Office.

About the Program

Bach | Suite in B Minor, BWV 1067
Albinoni | Sonata in B Minor, Op. 1, No.8
Bach | Jesu soll mein erstes Wort from Cantata 171
Handel | To be performed as a set
Instrumental introduction: Chaconne from Il Pastor Fido
Aria: The terror of the first sin from Cantata HWV 233
Aria: My soul hears from Nine German Arias
Instrumental Interlude: Pastoral Symphony from Messiah
Duet: I was born to weep from Guilio Cesare
Duet: The Lord is my strength from Israel in Egypt
Duet: Come, ever-smiling liberty from Judas Maccabaeus

About the Composers | Bach, Albinoni and Handel

Johann Sebastian Bach (1685-1750)
Suite in B Minor, BWV 1067

Bach by Elias Gottlob Haussmann

Portrait of Bach by Elias Gottlob Haussman

The suite (from the French, “continuation or sequel”) is an instrumental form derived from French Baroque opera and ballet at the court of Louis XIV (1638-1715). A three-part overture forms the first half of the suite. The first part is a dignified introduction worthy of the entrance of the king, followed by a fast section of musical lines that move independently from each other but are melodic and rhythmically imitative. The overture concludes with stately material similar to the opening. The second half of the suite consists of a series of contrasting dances and character-pieces.

Bach’s Suite in B Minor (c. 1730) projects a quiet persona, suiting the tender qualities of the solo flute and strings. It begins with a typical three-part French Overture that is followed by six dances: the Rondeau consists of a recurring melody alternating with new episodes; the Sarabande is a stately and noble dance that Bach spins into a canon between flute and cello; Bourree I with its variant Bourree II are the liveliest of the 17th century French country dances, with a vigorously rhythmic character; the Polonaise is a Polish dance with a dignified character; the Menuet (Latin, minutus: small) has a graceful and formal character, marked by small steps and movements that give the dance its name; and the Badinerie (French, badinage: jest, joke or tease) is Bach’s only known use of this quirky and rhythmically intricate character piece.

Tomaso Albinoni (1671-1751)
Sonata in B Minor, Op. 1, No. 8

Tomaso Albinoni was an Italian singer, violinist and composer equally of vocal music and instrumental music. Much of his music was lost during World War II with the bombing of the Dresden State Library where his manuscripts resided. However, nine collections of instrumental music were published during his lifetime with subsequent reprints, resulting in the existence of these collections today. The opus 1 sonatas, a set of 12, were published in 1694 and were written for 2 violins and basso continuo (cello and organ or harpsichord). These are in the style of the sonata da chiesa (church sonata), a four-movement form of a more serious character, as opposed to the sonata da camera (chamber sonata), a secular form, which often included dances.

Johann Sebastian Bach (1685-1750)
Jesu soll mein erstes Wort (from Cantata 171)

Bach spent much of his career in service to the Lutheran church. The typical worship service included an hour-long sermon that would be preceded by a cantata (a multiple movement work for voice and instruments) based on the liturgy for the day.  Over his lifetime, he wrote several hundred sacred cantatas based on Biblical texts, contemporary poetry and favorite chorales. The aria Jesu soll mein erstes Wort , for soprano, solo violin and continuo, is from Cantata 171 and was written for New Year’s Day 1729. It is exuberantly hopeful and eagerly embraces whatever the future might bring.

George Frideric Handel (1685 – 1759)

HandelHandel was born in Germany, musically trained in the music capitals of Italy, and spent most of his brilliant career in London. Initially he brought Italian opera to enthusiastic audiences in London. However, Italian opera was declining in England for a variety of reasons, including the “rising English annoyance with a form of entertainment in an unintelligible language sung by artists of whose morals they disapproved” (Britannica). As a consequence, Handel turned to creating oratorios, large-scale musical forms for solo voices, chorus, and orchestra, in the English language, without acting or scenery, and usually dramatizing a story from the Bible.  Although based on sacred scripture, Handel’s oratorios were not church music for liturgical use, but “pious concerts” for public performance, meant to be at the same time edifying and entertaining.

“Above all, Handel’s music is eminently vocal. His writing for the solo voice is outstanding in its suitability for the medium and its unerring melodic line. He had a striking ability to depict human character musically in a single scene or aria, a gift used with great dramatic power in his operas and oratorios” (Britannica).

Selected arias and instrumental music (To be performed as a set):

Instrumental Introduction: Chaconne | The chaconne is a set of variations upon a repeating harmonic pattern. This particular Chaconne is from Handel’s opera Il Pastor Fido (The Faithful Shepherd) where the action takes place in the idyllic paradise of Arcadia.

Aria (mezzo-soprano) | The terror of the first sin (Vacillo, per terro del primo errore) is from a sacred cantata written while Handel was in Italy. It was first performed in 1708 and commemorates the deliverance of Rome from an earthquake.

Aria (soprano) | My soul hears (Meine Seele hört) is from Handel’s collection Nine German Arias (1725), set to poems by Barthold Heinrich Brockes called Earthly Pleasure in God. It is a cheerful affirmation of God (“all rejoices, all laughter”).

Instrumental Interlude | The Pastoral Symphony from Messiah depicts happy country bagpipers descending from the mountains to play music in the village streets.

Duet | I was born to weep (Son nata a lagrimar) is from Handel’s opera Guilio Cesare (1724), and is a heart-rending duet about a mother and the loss of her son.

Duet | The Lord is my strength is from Handel’s oratorio Israel in Egypt (1739) and renders the gentle and prayerful feelings among the women during the tumultuous Exodus.

Duet | Come, ever-smiling liberty is from the Handel’s oratorio Judas Maccabaeus (1747) and rejoices in the promise of peace and freedom.

About Kathryn Mueller


Kathryn Mueller, soprano (Photo by Nick Amonson)

Described as a singer “who thoroughly captures the imagination” by the Albuquerque Journal, soprano Kathryn Mueller has also been praised by San Francisco Classical Voice for her “lovely tone and easy agility.” Her frequent solo concert engagements across the United States include appearances with American Bach Soloists, Portland Baroque Orchestra, the Washington Bach Consort, Santa Fe Pro Musica, Phoenix Symphony, New Mexico Symphony Orchestra, Winston-Salem Symphony, Tucson Symphony Orchestra, Miami’s Firebird Orchestra, Atlanta’s New Trinity Baroque, and Chicago’s Ars Antigua. She has also sung operatic roles with companies including Arizona Opera and Bach Collegium San Diego.

Kathryn recorded two GRAMMY-nominated albums with Seraphic Fire, and is featured as a soloist on recordings by New Trinity Baroque, the Santa Fe Desert Chorale, Tucson Chamber Artists, and Seraphic Fire, including Seraphic Fire’s best-selling Monteverdi Vespers of 1610, which reached the top of the iTunes classical chart.

Please read Kathryn’s complete biography on her website:

About Deborah Domanski

Deborah-Domanski-2Known for her scintillating musicality and impeccable professionalism, Deborah’s career highlights thus far include leading roles with The Santa Fe Opera, Austin Lyric Opera, Michigan Opera Theater, New Orleans Opera, Opera Naples, Tulsa Opera, and St Petersburg Opera. Ms. Domanski’s solo concert performance engagements include The American Symphony Orchestra, Los Angeles Philharmonic, The Hong Kong Philharmonic, Utah Symphony, The Santa Fe Pro Musica Contemporary & Baroque Ensembles, The Asheville Symphony, and The Grand Rapids Bach Festival and her Weill Concert Hall debut as part of the Horne Foundation’s The Song Continues recital series at Carnegie Hall.

Please read more on Ms. Domanski’s website:

About the Santa Fe Pro Musica Baroque Ensemble
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 33 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 featuring student ensembles working with world-class musicians.

For more information, please visit our website:


The 2015-2016 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).

Santa Fe Pro Musica sincerely thanks their sponsors and partners for their support:

inn and spa

Lodging Partner

ksfr logo

Media Partner




This entry was posted in Uncategorized. Bookmark the permalink.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s