Baroque Holy Week
Santa Fe Pro Musica Baroque Ensemble
Kathryn Mueller, soprano

Thursday, April 17 at 7:30pm
Friday, April 18 at 7:30pm
Saturday, April 19 at 6pm
Loretto Chapel

Loretto Chapel (Photo by Alaina Diehl)

Loretto Chapel (Photo by Alaina Diehl)

The Program:

Henry Purcell Sonata No. 9 in F Major, “Golden Sonata”
Giovanni Battista Pergolesi Salve Regina in C Minor
Arcangelo Corelli Sonata da Chiesa in F Major, Op. 1, No. 1
Johann Sebastian Bach Partita in A Minor for Flauto Traverso
George Frideric Handel Gloria in excelsis Deo

Program notes by Carol Redman

Henry Purcell (1659-1695)
Sonata No. 9 in F Major, “Golden Sonata”
Scored for 2 violins, cello and keyboard (7 minutes)

Purcell was court composer to the English kings Charles II, James II and William III, and as director of His Majesty’s Violins, he was required to write music for stringed instruments, including music for the church, chamber and theater. In 1683 Purcell composed a set of 10 string sonatas, and in the preface he articulated to the reader that he has “faithfully endeavored a just imitation of the most famous Italian Masters.” These sonatas were enthusiastically received, and several of them acquired nicknames as well as lasting popularity including the Sonata in F Major, called, for its excellence, the “Golden Sonata.” English biographer Roger North (1653-1734) maintained that Purcell “in his sonatas hath, for musical art, out done even the Italians.”

Giovanni Battista Pergolesi (1710-1736)
Salve Regina in C Minor
Scored for soprano, 2 violins, viola, cello and keyboard (15 minutes)

An Italian composer and violinist based in Naples, Pergolesi was recognized as a prodigy and phenomenon during his lifetime. Publishers rushed to convert his fame to profit, circumventing the inconvenient fact that there was relatively little music by him, therefore taking other composers’ music and attaching Pergolesi’s name to them.

In 1734 Pergolesi was appointed deputy music director for the city of Naples. He left this position in 1736 and retreated to a Franciscan monastery where he quickly succumbed to tuberculosis. Pergolesi composed a setting of Salve Regina for soprano and strings during his final weeks at the monastery. The text, one of four 11th-century hymns of praise and supplication to the Virgin Mary, is a sinner’s plea to the Virgin, begging for merciful intercession and yearning for the comforting presence of Jesus.

Arcangelo Corelli  (1653-1713)
Sonata da Chiesa in F Major, Op. 1, No. 1
Scored for 2 violins, cello and keyboard (7 minutes)

From 1680 to 1730 Rome experienced one of the most splendid periods in its musical history. The city hosted generous patrons, prestigious cultural institutions, and many ambassadors to the Holy See, all vying to create the next festive musical event. Arcangelo Corelli established himself in Rome and served the most glamorous patron of the time, the exiled Queen Christina of Sweden. Corelli, considered the founder of modern violin technique, is arguably the world’s first violin virtuoso. He was also lauded for his compositions and esteemed as a teacher (Antonio Vivaldi was one of his students). Many of his compositions have remained in print since they were first published (almost 300 years), a testament to their craftsmanship and engaging musical ideas.

In 1681 Corelli published his first book of sonatas, the Sonate da Chiesa, Op.1, a set of 12 sonatas dedicated to Queen Christina. Corelli, who was one of the first to exploit the resources of the violin, led the way for Purcell, Bach, and Handel, all who wrote Italian style violin sonatas. Corelli’s Op. 1 sonatas are written in the style of the sonata da chiesa (church sonata), four-movement works in the typical slow-fast-slow-fast format.

Johann Sebastian Bach (1685-1750)
Solo pour la flûte traversière
(14 minutes)

The Solo pour la flûte traversière (“Solo for side-blown flute,” as opposed to recorder) was written around 1718 for Pierre-Gabriel Buffardin (1690-1768), the French flûtiste extraordinaire who was employed at the royal court in Dresden.  This piece is similar in form to Bach’s solo cello suites with all the movements modeled after popular Baroque dances.

The first movement “Allemande is 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 and walk it – not sing it” (Anner Bylsma, The Fencing Master, 1998). The second movement Corrente is originally from Italy and appeared in France in 1533 with the arrival of Catherine de’ Medici, queen consort to King Henry II. The corrente employs a fast triple meter filled with running notes. 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. The last movement Bourrée is the liveliest of the 17th century French dances. It is a vigorous dance in duple time that was popular with the peasants who danced it in their wooden shoes or while crushing grapes with their bare feet.

George Frideric Handel (1685-1759)
Gloria in excelsis Deo
Scored for soprano, 2 violins, cello and keyboard (15 minutes)

Handel’s splendid solo cantata, Gloria in excelsis Deo, was discovered in 2001 in the library archives of London’s Royal Academy of Music.  German musicologist Hans Joachim Marx was examining a folio of handwritten Handel arias from the 1730s when he discovered this previously unknown work.  Scholars believe the work comes from the years Handel spent in Rome in the early 18th century when he was commissioned by numerous Roman Catholic cardinals to write sacred vocal music. That Handel, as a German Lutheran, found himself writing Catholic music underscores the growing internationalism of the time and Handel’s own artistic flexibility.  In 1712 Handel moved to London and we know this folio entered the library of his friend, the English singer William Savage.  Savage passed the folio to his son, Reverend George Savage, who then left it to a pupil, Richard John Samuel Stevens.  Stevens then bequeathed it to the Royal Academy of Music where it remained closeted away until its discovery.

Baroque Holy Week
Santa Fe Pro Musica Baroque Ensemble
Kathryn Mueller, soprano

Thursday, April 17 at 7:30pm
Friday, April 18 at 7:30pm
Saturday, April 19 at 6pm

Loretto Chapel
207 Old Santa Fe Trail
Santa Fe, New Mexico 87501

$20, $35, $45, $65
Santa Fe Pro Musica Box Office (505) 988-4640
Tickets Santa Fe at The Lensic (505) 988-1234

About Kathryn Mueller

Kathryn Mueller, soprano (Photo by Nick Amonson)

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.

In 2011 Kathryn was one of four fellows in the prestigious Adams Vocal Master Class at the Carmel Bach Festival. She was a finalist in the 2012 and 2013 Oratorio Society of New York’s Solo Competition, winning the Frances MacEachron Award in 2013. Kathryn’s soprano duo Les Sirènes was one of 6 finalist groups in Early Music America’s 2012 Baroque Performance Competition.

Kathryn gave the world premiere of Ananda Sukarlan’s song cycle Love and Variations, commissioned for her vocal-piano ensemble, the Swara Sonora Trio. She made her international debut in 2009 on an Indonesian concert tour with the Swara Sonora Trio, closely followed by concerts in Central Mexico with the baroque ensemble Capella Guanajuatensis.

This season’s performances include Kathryn’s debut with the award-winning chamber group Wayward Sisters, and repeat engagements with American Bach Soloists, Santa Fe Pro Musica, Seraphic Fire, the Winston-Salem Symphony, and Tucson Chamber Artists.

Kathryn holds undergraduate and master’s degrees in music from Brown University and The University of Arizona, respectively. She spent a summer in Salzburg, Austria, where she studied Lieder at the Mozarteum. She is on the voice faculty at East Carolina University and happily lives in Raleigh, NC.

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 2013-2014 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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