Schola Cantorum of Santa Fe, a vocal chamber ensemble devoted to sacred music, rounds out the year with a concert at Loretto Chapel (207 Old Santa Fe Trail) at 6:30 p.m. on Friday, Dec. 28.
This past April, the Santa Fe Pro Musica Orchestra embarked on its survey of Beethoven’s five piano concertos by playing the composer’s Concertos Nos. 2, 3, and 4 with soloist Anne-Marie McDermott. This week, the same musicians complete the cycle by performing the concertos that stand at the fringes, Nos. 1 and 5.
A native of Indonesia, the pianist is a student at the Curtis Institute of Music and a Young Scholar of the Lang Lang International Music Foundation. She will perform Beethoven’s Appassionata Sonata and the Sonata No. 2 of Grazyna Bacewicz, composed in 1953.
She assumed the concertmaster’s seat, which she positioned inward to foster connection with the other players, standing as a soloist only after intermission. Pro Musica’s string section has often turned in impressive performances in the past, but here they leapt to an unaccustomed plateau.
Two notable pianists of the under-forty generation present noontime recitals this week for the Santa Fe Chamber Music Festival. Gerstein will play Brahms’ imposing Piano Sonata No. 2 and the First Book of Debussy’s Preludes. Biss offers three Beethoven sonatas that cover a broad span of the composer’s production.
As in past seasons, there will be an artist-in-residence whose presence is slight. There will be a handful of piano recitals; appearances by established string quartets; new works co-commissioned by the festival; a couple of Baroque programs. And there will be a few big-deal concerts that ought to command special notice.
The Santa Fe Community Orchestra closes its season with a free concert at 2:30 p.m. on Sunday, June 4, at St. Francis Auditorium. Every year this nonprofessional but enthusiastic orchestra holds a competition for new symphonic compositions, and it will premiere the latest winner in this concert: The Ruins of Quivira by Santa Fe pianist-and-composer Charles Blanchard.
For its annual Memorial Day concert in the Cathedral Basilica of St. Francis of Assisi the group has put together a program of what it describes as “uplifting and consoling music.” Chamber ensembles drawn from the orchestra’s membership perform Mozart’s Oboe Quartet and Bach’s Concerto for Two Violins.
Her musical interests range wide — Bach, ragtime, didgeridoo collaborations, you name it — but her international repute involves the music of Charles Ives. Her half-hour recital on Friday, April 28, includes “The Alcotts,” which is the third movement of the Concord Sonata, along with all of Beethoven’s Sonata in A-flat major (Op. 110).
Nathan Ukens has been making a firm impression as the Santa Fe Symphony’s principal hornist since acceding to that position in July 2014. Last Sunday, April 23, he confirmed his merit by appearing as the soloist in Haydn’s Horn Concerto in D major.
Robert Tweten serves as the guest conductor for a concert that will be strictly symphonic, comprising Chabrier’s Suite pastorale, Haydn’s Horn Concerto No. 1, and Schumann’s Symphony No. 2.
Founded in 1990, the vocal ensemble is dedicated to Gregorian chant and polyphonic sacred music. On Friday, April 14, the group presents a Holy Week concert at the Shrine of Our Lady of Guadalupe church.
The Santa Fe Pro Musica Baroque Ensemble, assisted by soprano Kathryn Mueller, continues with the final performances of its annual Baroque Holy Week concerts at the Loretto Chapel. Three leading lights of the late Baroque grace the program this time around.
On the three days leading up to Easter Sunday, Santa Fe Pro Musica presents its annual Baroque Holy Week series in Loretto Chapel, featuring both religious and secular works. The program, which includes six works by three Baroque masters — Johann Sebastian Bach, George Frideric Handel, and Antonio Vivaldi — will be performed by the Santa Fe Pro Musica Baroque Ensemble and soprano Kathryn Mueller.
The New Mexico Bach Society Chorale and Players, conducted by Franz Vote, performs a program devoted entirely to the music of the eponymous composer. We often think of Johann Sebastian Bach as “the Leipzig master,” but attendees will also hear large-scale pieces from the composer’s early years, when he worked in Mühlhausen and Weimar.
Violinists David Felberg and Ruxandra Marquardt, violist Shanti Randall, cellist Dana Winograd, and pianist Yi-heng Yang gather for this weekend’s concert.
The ensemble, consisting of the husband-and-wife duo of baritone Edmund Connolly and pianist Maxine Thévenot, offers a recital that focuses on British repertoire, including two folk-song settings by Britten, four selections from Vaughan Williams’ Songs of Travel, and a handful of songs from Finzi’s Earth and Air and Rain.
Jinjoo Cho, who won the gold medal at the Ninth Quadrennial International Violin Competition of Indianapolis in 2014, appears with the Santa Fe Symphony as the soloist in Glazunov’s Violin Concerto, a late-Romantic work written in 1904, the year before its composer assumed the directorship of the St. Petersburg Conservatory.
Linda Raney conducts the chorus in two French Mass settings that are constructed on themes from plainchant: Fauré’s Messe basse, from 1881, and Duruflé’s Messe Cum jubilo, composed in 1966.
When the quartet took to the stage of St. Francis Auditorium last Sunday, the second violinist announced that there would be a small change to the program, with Beethoven’s F-major Quartet (Op. 135) taking the place of Mozart’s D-minor Quartet. I’m not sure that quite qualifies as a small change, but it is the group’s prerogative even if it would have been more respectful to listeners to fix the program farther in advance.
At around the midpoint of the 15th century, Johannes Gutenberg famously devised the technology for printing multiple copies of books with movable type, and during the final quarter of that century his principles began to be applied to printing music, too. Música Antigua offers vocal and instrumental works from the early years of music printing.
Santa Fe Pro Musica hosts the group for a concert at St. Francis Auditorium of the New Mexico Museum of Art on Sunday, March 5. They perform Mozart’s Quartet in D minor (K.421/417b), Caroline Shaw’s recently composed First Essay: Nimrod, and Dvorák’s Quartet in F major (Op. 96, the American).
On Sunday, March 5, the group joins forces with the SFCO Community Chorus for Mozart’s “Great” Mass in C minor (K.427/417a) and with the combined choirs of Santa Fe High School, St. John’s College, and Santa Fe University of Art and Design for Kodály’s Te Deum.
Severall Friends perform on Friday, Feb. 24, at the historic San Miguel Chapel. The concert builds on Springfels' interest in Shakespearean music by focusing on a particular conundrum: Since music is such an inextricable part of Shakespeare's plays, why did his contemporary composers not leap to create musical settings of his sonnets?
The name NM 430 may sound cryptic, but early-music insiders will know it isn’t some radioactive substance under investigation at Los Alamos. (Is it?) No, it refers to pitch level. The quartet of New Mexico (NM) instrumentalists play on period instruments tuned to A=430 and turn their talents to music of the Classical period.
Even in an age rich in exorbitantly accomplished violinists, Bell stands out as one of the instrument’s supreme practitioners. His Feb. 3 recital exemplified the combination of personal charisma, profound musicality, and unwavering security that have made him such an appealing artist.
On Jan. 28 and Jan. 29, Santa Fe Pro Musica Orchestra plays two of Mozart's compositions: his Violin Concerto No. 3, with soloist Benjamin Beilman, and his Symphony No. 41 in C major, the Jupiter.
Selected last spring as the Symphony’s principal conductor, Figueroa begins his tenure with a program that comprises Sibelius’s Finlandia, Mozart’s Bassoon Concerto (featuring Stefanie Przybylska, the orchestra’s principal bassoonist), and Brahms’ Symphony No. 4.
For his annual visit to the C.B. Fisk tracker-action organ of First Presbyterian Church, Bach figures prominently on the program, which includes that composer’s Fantasia in G major (BWV 571), chorale prelude Allein Gott in der Höh’ sei Ehr’ (BWV 662), and Prelude and Fugue in A minor (BWV 543).
Consider the first movement of Haydn’s Quartet in E-flat major (Op. 20, No. 1). A few seconds in, the cello lets loose an eruption in the form of a rising broken chord, rhythmically different from anything surrounding it.
The new work by the Santa Fe-based composer Ron Strauss will be unveiled in a four-performance run beginning this Thursday, Jan. 19, and the first question one might reasonably ask is what its genre is. His score calls it “a song cycle for the theatre” and his website expands that to “an operatic song cycle for the theatre.”
The annual New Year’s Eve concert is dedicated this year to a single monumental work, Beethoven’s Ninth Symphony. This gigantic piece, which runs about an hour and a quarter, astonished listeners right from its premiere in 1824, and since then it has had both admirers and detractors, though with the former growing far more numerous within a few decades.
For its annual Christmas Eve concert, the Performance Santa Fe Orchestra, conducted by Joseph Illick, offers two big-boned Russian classics: Rimsky-Korsakov’s Scheherazade and Prokofiev’s Piano Concerto No. 2.
A few seats may still be available for the last concerts in the current run of Santa Fe Pro Musica Baroque Ensemble’s annual Christmas-season program at the Loretto Chapel, which this year includes music by Handel, Vivaldi, and Telemann, in addition to carol arrangements in period style.
The men’s a cappella ensemble was founded in 1968 by six high-spirited and musically adventurous colleagues at King’s College, Cambridge. They created a modern equivalent of the Comedian Harmonists, a sensationally popular German sextet of the 1920s and ’30s, and set the stage for the flurry of men’s vocal chamber groups and a cappella ensembles that have emerged in the decades since.
She is one of the most ubiquitous figures on Santa Fe’s music scene. Raney has served as director of the Santa Fe Symphony Chorus since 1996; as music director of the Santa Fe Women’s Ensemble since 1988; and as organist and music director at First Presbyterian Church since 1986. In 2010, her efforts were rewarded with the Mayor’s Recognition Award for Excellence in the Arts.
Local operagoers will recall Kaija Saariaho’s opera L’amour de loin from the summer of 2002, when Santa Fe Opera presented the American premiere of this stately tale of medieval courtly love. This season it premieres at the Metropolitan Opera, only the second opera by a female composer that company has ever presented.
Hough proves that a concert pianist can have a top-flight career without being ostentatious. His character is doubtless inflected by British reserve — he grew up in the region of Liverpool and Manchester — but he projects undeniable charisma from the stage, always seeming to invite the listener to join him as an equal in a voyage of musical discovery.
On a strictly musical level, it was not entirely clear why these three musicians would be destined to perform as a trio, so distinct are their individual styles. The intersection of their considerable talents may have been shown off to best advantage in their opening piece, Haydn’s Trio in E-flat major (Hob. XV/29).
The trio may not sport the most euphonious name in the business, but its 11 syllables represent three up-and-comers who are nicely launched on the playing fields of chamber music.
This week the College Music Society is holding its national conference in Santa Fe, which accounts for all those music professors wandering the streets just now. St. Francis Auditorium at the New Mexico Museum of Art will host dozens of musicians in concerts and lecture-recitals, free and open to the public, during daytime hours on Friday, Oct. 28, and Saturday, Oct. 29.
Kern has shown dogged determination to establish herself as a solo artist. She has not broken through to the international A-list of pianists who regularly appear with the world’s top orchestras, but she makes clear that she is hungry to do so; and until she does, she keeps busy making the rounds of respectable regional orchestras.
Since giving her first concert at the age of seven, pianist Olga Kern has enjoyed decades of critical acclaim for her powerful and passionate performances. During the next two weeks, she brings both of those signature qualities to two programs presented by the Santa Fe Symphony.
The symphony's program this weekend comprises the “Entrance of the Gods into Valhalla” from Wagner’s Das Rheingold, Brahms’ Violin Concerto, and Dvorák’s Symphony From the New World. The guest conductor is Roderick Cox, who has spent the past year and a half as assistant conductor of the Minnesota Orchestra and earlier this month was elevated to become its associate conductor.
Aficionados of the guitar should take fourfold pleasure in this appearance by the quartet, which is made up of John Dearman, Matthew Greif, William Kanengiser, and Scott Tennant. All are noted teachers at colleges and conservatories in Southern California.
Kouzov’s recent engagements have included solo appearances with the Krasnoyarsk and St. Petersburg Symphony Orchestras as well as chamber concerts with violinist Ilya Gringolts, pianist Peter Laul, the Pacifica Quartet, the Jupiter String Quartet, and the Manhattan Piano Trio (of which he was once a member).
Two seasons ago, the group stepped in to fill a gap in our city’s concert life, offering international-level historically informed performances of medieval, Renaissance, and Baroque music. The group’s principal mover-and-shaker is viola da gamba player Mary Springfels, a Cerrillos resident.
Violinist David Felberg, violist Shanti Randall, cellist Sally Guenther, and pianist Yi-heng Yang join in works for piano quartet by Gustav Mahler — a journeyman composition from 1876 or 1877, discovered after his widow’s death in a folder labeled “Youthful Works” — Alfred Schnittke, John Harbison, Pavel Karmanov, and Judith Weir.
This week, the TGIF series of First Presbyterian Church features the church’s C.B. Fisk organ manned by Roderick Demmings Jr., who is completing his studies at the Peabody Institute of The Johns Hopkins University in Baltimore.
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