NOVEMBER 14 Bach & Sons: Café Photography: Amitava Sarkar

Sarah Mesko mezzo-soprano

Mark Diamond Lauren Snouffer baritone soprano

BACH & SONS: AT THE CAFE FRIDAY, NOVEMBER 14, 2014, 7:30 PM ZILKHA HALL • HOBBY CENTER FOR THE PERFORMING ARTS FROM THE ARTISTIC DIRECTOR

Welcome to Bach & Sons: At the Café, the frst of two programs Ars Lyrica devotes this season to the remarkable legacy of the Bach family. In addition to Sebastian Bach’s miniature comic masterpiece, the beloved “Coffee Cantata,” tonight’s program pays homage to his second son especially, Carl Philipp Emanuel, whose 300th birthday the world observes during 2014. From Emanuel Bach’s prolifc pen we’re delighted to be able to share both a concerto and a seminal texted work, the result of his warm friendship with one of the era’s leading poets. Though the music of Johann Sebastian is better known today, for much of the 18th century Philipp Emanuel was considered the more important fgure. As a leading Hamburg newspaper noted in a 1788 obituary: “His compositions are masterpieces and will endure superbly, when the jumble of modern Klingklang is long since forgotten.” How profoundly this family’s fortunes would change over the years!

Our next Zilkha Hall program takes us south of the border, for ¡Felices Fiestas! on December 31 at the special time of 9 pm. Ars Lyrica’s New Year’s Eve gala expands this year to include both a pre-concert dinner at 8 pm and a champagne and dessert reception following the program, along with our annual silent auction and special gala entertainment. Get your tickets now for this festive event, which is always our most popular program of the year (last year’s program sold out). Three-concert subscriptions are also still available either by phone, online, or at the Hobby Center ticket windows this evening. Full details on the season can be found in our 2014/15 brochures, available at the table in the Zilkha Hall Lobby, or at www.arslyricahouston. org.

Thank you for your continued support and enjoy the program!

Matthew Dirst, Ars Lyrica Artistic Director

2 PROGRAM

Flute Concerto in G Major, Wq 169 Carl Phillip Emanuel Bach (1714-1788) Allegro di molto Largo Presto Colin St Martin, traverso

Die Amerikanerin: ein lyrisches Gemählde Johann Christoph Friedrich Bach (See page 6 for text) (1732-1795) Text: Heinrich Wilhelm von Gerstenberg (1737-1823)

Sarah Mesko, mezzo-soprano

INTERMISSION

Schweigt stille, plaudert nicht, BWV 211 Johann Sebastian Bach (“Coffee Cantata” with English surtitles) (1685-1750) Text: Christian Friedrich Heinrici, a.k.a. “Picander” (1700-1764)

CAST (in order of appearance): Zachary Averyt, tenor Mark Diamond – Schlendrian Lauren Snouffer – Lieschen

Klopstocks Morgengesang am Schöpfungsfeste, Wq 239 C. P. E. Bach (See page 7 for text) Text: Friedrich Gottlieb Klopstock (1724-1803) Lauren Snouffer, soprano Sarah Mesko, mezzo-soprano Zachary Averyt, tenor Mark Diamond, baritone

3 PROGRAM NOTES

C. P. E. Bach’s Concerto in G Major was frst heard on the organ in 1755, at the inaugural of Princess Anna Amalia’s new instrument in the Berlin City Palace. Bach himself later transcribed it for fute, very likely for use at daily concerts at the court of Frederick the Great, whose insatiable appetite for fute music kept Emanuel Bach and his Berlin colleague Johann Joachim Quantz, Frederick’s favorite composer and fute teacher, busy for many years. That this work re- mained a part of Bach’s concert repertoire, even after his move to Hamburg, is suggested by the survival of several later cadenzas by the composer for each of its three movements. It is a substantial piece, with an extended frst movement that contrasts dramatic opening gestures and unison tutti with delicate fligree for the soloist, a wonderfully tragic slow movement, and a light-hearted, even rustic, fnal movement full of brilliance and good humor.

A member of Emanuel Bach’s literary circle, Heinrich Wilhelm von Ger- stenberg, penned the text of Die Amerikanerin, whose musical setting by Philipp Emanuel’s younger brother Johann Christoph Friedrich fed the growing fascination with American culture in the late 18th century. J. C. F. Bach spent nearly ffty years at the at the court of Count Wilhelm of Schaumburg-Lippe at Bückeburg, whose success in the Seven Years’ War brought both prestige and increased cultural activity, at least for a time, to an otherwise provincial court. Solo cantatas set to lyrics by leading poets were de rigueur, and having married a singer who was the daughter of a court colleague, J. C. F. Bach was only too happy to oblige with several “monodramas” that are among his most imaginative creations.

Die Amerikanerin: ein lyrisches Gemählde is, as its subtitle suggests, a lyric depiction of a characteristically 18th-century transformation. Waiting endlessly for his beloved, the poet/singer allows his love for Saide (whose charms are lifted straight out of the Song of Solomon) to become an un- healthy obsession, in which he imagines her imperiled by nature’s darker side: tigers, serpents, and various unnamed monsters. The work’s own transformation—its original 1773 title, Song of a Moor, was switched in 1776 to The American Girl, perhaps in honor of the American Revolution—neat- ly summarizes European fascination with the latest cultural “other”: native Americans. The cantata’s moral, that even the most painful hallucinations are good for the soul, sits somewhere between the sentimental and the operatic.

At least one early source for Sebastian Bach’s “Coffee Cantata” car- ries the subtitle Dramma per Musica, an unlikely designation perhaps for Bach, who never wrote an opera, but one that suggests that this piece was

4 intended to entertain—unlike his church cantatas, which served to instruct and edify the faithful—and perhaps that it was meant to be acted out. Writ- ten for performance by the Leipzig Collegium Musicum (which Bach led) in Zimmerman’s Coffee House, the work dates from the early 1730s, when the coffee craze was at its height. Long satirized as the cause of exot- ic disease, moral ruin, even death, coffee was actually a very popular (if strictly regulated) drink in many cities in the early 18th century: the Leipzig town council began licensing—and taxing—coffee houses in the 1690s.

Picander’s libretto for the work, though full of platitudes (one aria asserts that coffee tastes “sweeter than a thousand kisses, milder than musca- tel wine”), rehearses the timeless story of a grumpy old man (Schlendrian, which in German means a “stick in the mud” kind of guy) whose daughter (Lieschen), having discovered a forbidden pleasure, refuses to give it up until her father threatens to prevent any prospect of marriage. Bach’s music veers from an enraged patter song to ornate, spun-out Baroque trac- ery—ironically, for some over-the-top hyperbole in praise of coffee—and fnally to swinging melodies straight out of comic opera. Tonight’s staging updates the venue a bit, replacing one coffee-obsessed era with another (our own) while attempting to recreate some of the hearty Gemütlichkeit Bach and his friends must have enjoyed at Herr Zimmerman’s establishment.

In 1782 Friedrich Gottlieb Klopstock, a leading poet of the German Enlight- enment, penned an ode entitled Morgengesang am Schöpfungfeste (“Morn- ing Song on the Feast of Creation”) for C. P. E. Bach to set to music. Their fortuitous collaboration did not go unnoticed: a review of its inaugural performance in 1783 noted that the work is “full of sublime simplicity…seldom have poetry and music been more fortunately united.” And indeed, Bach’s music makes the most of Klopstock’s vivid imagery: in the opening mea- sures, for example, where the sun’s absence is keenly depicted with a lowing melodic fgure begun in the bottom register of the accompanying strings. The Sun’s eventual appearance is celebrated not merely for its salubrious effect on the natural world and humankind; an explicitly Christian message is also woven into Klopstock’s ode. Unresolved tension between these two poles— traditional Christian doctrine vs. the Enlightenment—animates the last several sections of this ambitious work scored for four voices, fute, and strings.

5 TEXTS AND TRANSLATIONS

Die Amerikanerin The American Girl

Text: Johann von Gerstenberg Translation: Matthew Dirst

Andante Saide, komm! Mein Wunsch, mein Lied! Saide, come, my desire, my song! Saide, komm! Der Tag entfieht! Saide, come! The day slips away! Wo ist sie? Sie! Mein Wunsch, mein Lied! Where is she, my desire, my song? Wo ist mein Wunsch und Lied? Where is my desire and song? Wie kommts, daß die verzieht? Why has she disappeared?

Andantino grazioso Schön ist mein Mädchen! Fair is my maiden, Schön wie die Traube, fair as a cluster of grapes die durch die Blätter der Laube which, gleaming through the leafy arbor, süßen Mosts beladen gläntz! is laden with sweet juice! Süß ist ihr Mund, wie die Blume, Her mouth is as sweet as the fower die mein Mädchen umkränzt! that crowns her brow!

Saide, komm… Saide, come…

Recitativo: Poco Allegro Du Quell, der sich durch Goldsand O stream, which winds through the golden schlängelt, sand, rausch mirs herüber, wo sie ist! tell me where she is! Du rauschend Laub in Cederwäldern, Rustling foliage in the cedar forests, sag mir es, wo mein Mädchen ist? tell me, where is my maiden? Ich harre, fühlloß, daß der Sand I wait, ignoring the sand die Fersen mir verzehrt that traps my heels, und meine Seufzer wecken die Tiger and my sighs wake this dieses Hains, grove’s tiger, die shon von Durst entbrannt, who already burns with thirst, weh mir, mein Blut von ferne lecken. woe is me, to lap my blood. O Sonne! Wenn auch ihr jetzt Tod O sun! If death now aus Höllen oder Wäldern droht, threatens from cave or forest, eine Schlange sie umficht, if a serpent encircles her, Ungeheuer sie hascht, if a monster seizes her, Scorpion sie sticht -- or a scorpion stings her -- Eh treff ein Donner euch! may thunder strike you! Scheusale, wagt es nicht! Monster, do not dare!

Allegro - Larghetto grazioso Mein Herz feucht ihr entgegen! My heart fies toward her! Ich will an ihre Brust mich legen, I want to rest at her side, das kleinste Athmen spähn, watch for the slightest breath, und horchen, wie sie schlägt, hear how her heart beats, und forschen, wo der Tod sich regt. and discover where death reigns.

Wie Ambraduft will ich dich, Tod, Like the scent of amber, O death, aus ihren Adern trinken, I will imbibe you from her veins, auf ihren Busen sinken sink into her bosom, und mit ihr sterben: süßer Tod! and die with her a sweet death!

6 Klopstocks Morgengesang am Schöpfungsfeste, Wq 239 Klopstock’s Morning Song on the Feast of Creation

Text: Friedrich Gottlieb Klopstock Translation: Ruth B. Libbey

1. Accompagnement 1. Accompanied Recitative Noch kommt sie nicht die Sonne, It still does not appear, the sun, Gottes Gesendete, God’s messenger, noch weilt sie, die Lebensgeberin. it yet delays, the giver of life. Von Dufte schauert es noch ringsumher A shower of perfume still lies auf der wartenden Erde. on the waiting Earth.

2. Arienmäßig 2. Arioso Heiliger, Hocherhabner, Erster, Holy, most exalted, frst one, du hast auch unseren Sirius gemacht! you also made our Sirius! Wie wird er strahlen, wie strahlen How it shall shine forth, how shall shine forth der hellere Sirius der Erde! the brighter Sirius of Earth!

3. Arie 3. Aria Schon wehen und säuseln und kühlen Already the melodious breezes of the early die melodischen Lüfte der Frühe! hours waft and rustle and refresh! Schon wallt sie einher, die Morgenröte, Already it fows in, the blush of verkündiget day, and heralds die Auferstehung der toten Sonne. the resurrection of the dead sun.

4 Duett & Chor 4a. Duet & Chorus Herr, Herr, Gott, barmherzig und gnädig! Lord, Lord, God, gracious and merciful! Wir, deine Kinder, wir mehr als Sonnen We, your children, we more than suns müssen dereinst auch untergehen must one day also set und werden auch aufgehn! and will also rise again!

5. Duett 5. Duet Halleluja! Seht ihr die Strahlende, Hallelujah! Do you see the Göttliche kommen, radiant, divine one arriving, wie sie da an dem Himmel empor steigt, as she ascends there in the sky, Halleluja, wie sie da, auch ein Gotteskind, Hallelujah, as she rises up there, aufersteht? also a child of God?

6. Accompagnement 6. Accompanied Recitative O der Sonne Gottes und solche Sonnen, O of God’s sun and such suns wie diese, die jetzo gegen uns strahlt, as this one, which now shines upon us, hieß er, gleich dem Schaum auf den Wogen, He commanded that there be, like the froth tausend mal tausend upon the waves, a thousand times a thousand werden in der Welten Ozeane! in the oceans of the world! Und du solltest nicht auferwecken, der auf And ought you not rise, dem ganzen Schauplatz der unüberdenkbaren you who on the whole stage of immeasurable creation Schöpfung immer und alles wandelt always and all things transfgure, und herrlicher macht durch die Wandlung? and render more glorious by transfguration?

7. Chor 7. Chorus Halleluja! Seht ihr die Strahlende, Hallelujah! Do you see the Göttliche kommen, radiant, divine one arriving, wie sie da an dem Himmel empor steigt, as she ascends there in the sky, Halleluja, wie sie da, auch ein Gotteskind, Hallelujah, as she rises up there, aufersteht? also a child of God?

7 ARTISTIC PERSONNEL soprano Lauren Snouffer mezzo-soprano Sarah Mesko tenor Zachary Averyt baritone Mark Diamond traverso Colin St Martin violin 1 Sean Wang Hae-a Lee Oleg Sulyga violin 2 Alan Austin Melanie Riordan Alana Youssefan viola Erika Lawson cello Barrett Sills violone Deborah Dunham harpsichord/cond. Matthew Dirst stage director Lynda McKnight

ARS LYRICA STAFF

Artistic Director Matthew Dirst Executive Director Kinga Ferguson Marketing Director Jacqueline Gonzalez Graphic Design Rolf Laub, Laub Graphic Design Surtitles Jenna Wallis

Special thanks to St Philip Presbyterian Church for rehearsal facilities for this program and for use if its Flemish-style harpsichord (John Phillips, Berkeley, 2012).

8 ABOUT ARS LYRICA

Founded in 1998 by harpsichordist and conductor Matthew Dirst, ARS LYRICA HOUSTON presents a diverse array of music from the 17th and 18th centuries on period instruments. The ensemble’s distinctive programming favors little-known Baroque dramatic and chamber works, and its pioneering efforts have begun to attract international attention: the ensemble’s world première recording of Johann Adolf Hasse’s Marc’Antonio e Cleopatra, hailed by Early Music America as “a thrilling performance that glows in its quieter moments and sparkles with vitality,” was nominated for a Grammy Award® for Best Opera 2011. Ars Lyrica’s most recent recording, of Domenico Scarlatti’s comic intermezzo La Dirindina and his chamber cantata Pur nel sonno, features mezzo soprano Jamie Barton (recently crowned Cardiff Singer of the World 2013) and soprano Céline Ricci. Details about forthcoming recordings and upcoming programs can be found at www.arslyricahouston.org.

Photograph: Anthony Rathbun

9 ABOUT THE ARTISTS

A graduate of the Houston Grand Opera Studio, soprano LAUREN SNOUFFER has bowed at the Company as Elvira in L’italiana in Algeri, Ellie in Show Boat in a new production by Francesca Zambello under the baton of Music Director Patrick Summers, Lucia in The Rape of Lucretia, Thibault in a new production of Don Carlos, and as Rosina in student performances of Il barbiere di Siviglia. Her diverse array of roles spans from Phénice and La Gloire in Lully’s Armide and Clorinda in Monteverdi’s Il combattimento di Tancredi e Clorinda to Florestine in Corigliano’s The Ghosts of Versailles, Ruth Baldwin in Musto’s Later the Same Evening, and the Princess in Susa’s Transformations. During the 2013-14 season, Miss Snouffer made debuts with the Lyric Opera of Chicago and New York Philharmonic; she also recorded Hasse’s Solimano with conductor Riccardo Minasi and Il Pomo d’Oro for the Decca label. A graduate of Rice University and the Juilliard School, she has collaborated with Houston’s Mercury Baroque, Juilliard415, and with the AXIOM Ensemble, and was a grand fnalist in the 2012 Metropolitan Opera National Council Auditions.

Praised by The Washington Post for her “consistently beautiful sound,” American mezzo-soprano SARAH MESKO is rapidly gaining attention for her “rich mezzo soprano” voice and musicality. Recently, Ms. Mesko made a striking role debut as Dorabella with Washington National Opera in its 2012 Emerging Artist performances of Così fan tutte and returned to Washington National Opera for another signifcant role debut as Hansel. Ms. Mesko also made recital appearances with the Dolce Suono Ensemble, performing “La fûte enchantée” from Ravel’s Shéhérazade; with Vocal Arts DC, presenting Janácek’s Diary of One Who Disappeared with tenor Toby Spence; and with San Francisco Opera Center’s Schwabacher Debut Recital Series, presenting a joint recital with tenor Theo Lebow and pianist Robert Mollicone. Ms. Mesko returned to Washington, DC for her company debut with Opera Lafayette as Junon and Hyale in Charpentier’s Actéon, and she concluded the 2012-2013 season with the Santa Fe Opera, making her company debut as Amélie in La Grande- Duchesse de Gérolstein and covering Malcom in La donna del lago. A native of Hot Springs, Arkansas, Ms. Mesko holds a master of music degree in vocal performance from Rice University and a bachelor of music degree in vocal and fute performance from the University of Arkansas.

10 Texas-born Tenor ZACHARY AVERYT made his operatic debut in 2001 as Kaspar in Amahl and the Night Visitors, and has since continued to delight audiences. Averyt appears frequently in leading roles with Houston’s Opera in the Heights, where he returns to sing Don Ottavio in Don Giovanni in January of 2014. An avid concert singer, Mr. Averyt has explored a wide range of styles, singing mass settings by Charpentier, Handel, Beethoven, Stravinsky and Robert Ray. He has sung the title roles in Carissimi’s Jephte and Beethoven’s Christ on the Mount of Olives; as well as Uriel in Haydn’s The Creation; and the Tenor soloist in Handel’s Messiah, J.S. Bach’s Magnifcat, Saint-Saëns’ Christmas Oratorio, Mozart’s Requiem, Howard Goodall’s Eternal Light: A Requiem, Rachmaninoff’s Vespers, and Carl Orff’s epic Carmina Burana. Recent concert engagements have included the Brahms Liebeslieder Walzer, chamber performances of Britten’s Abraham and Isaac and the rarely-heard L’enfant prodigue by Claude Debussy. Mr. Averyt holds degrees from both the Shepherd School of Music at Rice University and the Moores School of Music at the University of Houston, and was a 2013 Emerging Artist with Opera New Jersey . He currently lives and teaches privately in Houston and has served on the faculty of the American Festival of the Arts.

Baritone MARK DIAMOND recently fnished his second season as a member of the Houston Grand Opera Studio, where notable performances included Figaro in Il barbiere di Siviglia, Marcello in La bohème and the Marchese d’Obigny in La traviata; he also covered several roles, including Don Giovanni, Taddeo (L’italiana in Algeri), Gaylord Ravenal (Showboat), Tarquinius (The Rape of Lucretia) and Rodrigue (Don Carlos). Recipient of a 2012 Sara Tucker Study Grant from the Richard Tucker Foundation and a 2010 Richard F. Gold Career Grant from the Shoshana Foundation, he debuts soon with French opera theaters of Limoges, Caen, and Reimsas. Mr. Diamond is the 1st Prize Winner of the 2010 Eleanor McCollum Competition at Houston Grand Opera and the 2011 Sun Valley Opera Competition. Mr. Diamond was twice a Regional Finalist in the Metropolitan Opera National Council Auditions and was awarded 2nd Prize in the Charles A. Lynam Competition. A native of Augusta, Georgia, he received a Bachelor of Music in Music Education degree from Georgia Southern University and a master’s degree in vocal performance at the University of Cincinnati College-Conservatory of Music.

11 Artistic Director MATTHEW DIRST is the frst American to win major international prizes in both organ and harpsichord, including the National Guild of Organists Young Artist Competition and the Warsaw International Harpsichord Competition. Widely admired for his stylish playing and conducting, the Dallas Morning News recently praised his “crisp but expressive direction” of the Monteverdi 1610 Vespers while naming this performance “Best Classical Performance of 2010.” Dirst’s recordings of music by Scarlatti and Hasse with Ars Lyrica, have earned a Grammy nomination (for Best Opera 2011) and widespread critical acclaim. His degrees include a PhD in musicology from Stanford University and the prix de virtuosité in both organ and harpsichord from the Conservatoire National de Reuil-Malmaison, France, where he spent two years as a Fulbright scholar. Equally active as a scholar, his book Engaging Bach: The Keyboard Legacy from Marpurg to Mendelssohn was published in 2012 by Cambridge University Press.

LYNDA KEITHER MCKNIGHT, soprano, made her stage debut with the Metropolitan Opera in 1991, and has sung professionally with opera companies and orchestras throughout the US and abroad. In addition to her work on the stage, she is a highly acclaimed stage director and teacher. Ms. McKnight holds both a Master of Music degree and an Artist Diploma from the University of Cincinnati College-Conservatory of Music, a Bachelor of Music degree from Baylor University, and in December 2014 will be awarded the DMA from the University of Houston, where she serves as an Affliate Artist in Voice and Opera.

COLIN ST. MARTIN received his First Prize (bachelor of music) from the Royal Conservatory of Music in Brussels, Belgium, under the tutelage of Barthold Kuijken and continued his studies at the Early Music Institute at Indiana University, where he received a master of music with performer’s certifcate. St. Martin is an active performer, soloist and recording artist with many of the premier early instrument orchestras and chamber ensembles in North America including Ensemble Poplinière, Opera Lafayette, the Washington Bach Consort, Ars Lyrica Houston, Mercury, The Bach Vespers of New York, Four Nations Ensemble, among others. In addition, he is co-director of Arcanum, a period instrument and vocal ensemble that performs regularly in the U.S. as well as in Europe. Beyond his performance and recording activities, St. Martin has taught master classes at many college and university schools of music such as the Eastman School of Music, the University of Alabama, Florida State University, the University of Delaware, University of Miami, Rice University, University of Houston, the University of Southern California, the University of Memphis, to name just a few.

12 ARS LYRICA HOUSTON

BOARD OF DIRECTORS DONORS Birgitt van Wijk, President ARS LYRICA HOUSTON GRATEFULLY ACKNOWLEDGES ITS DONORS FOR THEIR Richard Buffett, Vice-President GENEROUS SUPPORT. Richard Viebig, Treasurer Dorry Shaddock, Secretary * DENOTES MEMBERS OF THE CONTINUO CIRCLE, A THREE-YEAR PLEDGE TOWARDS Eugene McKelvey, Immediate Past President ARS LYRICA’S ARTISTIC PLANNING. Taylor Faulkner Jeanie Flowers ANGEL ($10,000 and above) Joyce Fox Anonymous The Brown Foundation Schubert Huang Robin Angly & Miles Smith* Timothy Jones The Cullen Trust for the Performing Arts John Lemen Jeanie Flowers* Dian Graves Owen Foundation Ed Rinehart The George & Mary Josephine Lijda Vellekoop Hamman Foundation Eleanor Viebig The Albert & Ethel Herzstein Charitable Foundation Houston Arts Alliance and the City of Houston Houston Endowment, Inc. Houston Sängerbund Fund Texas Commission on the Arts Mike & Joan Weltzien Birgitt van Wijk*

BENEFACTOR ($5,000-9,999) Hillcrest Foundation Hilary Smith & Lijda Vellekoop* Rhonda & Donald Sweeney

SPONSOR ($2,500-4,999) Christina Adams Richard Buffett* Chevron ExxonMobil Brendan & Kathryn Godfrey John Lemen* Florence & Eugene McKelvey The Accounting Firm of Viebig, McCommon & Associates, PC Richard & Eleanor Viebig

GUARANTOR ($1,000-2,499) Al & Beth Atkinson Phoebe Barnard Ed & Marie Bosarge Charles & Loretta Dirst Matthew Dirst & Sixto Wagan Robert Durst

13 Taylor & DeLenn Faulkner Robert Wakefeld David & Joyce Fox The Erving & Joyce Wolf Foundation Dr. Robert Furse Mikhail & Elena Geilikman SUPPORTER ($250-499) H. Fort Flowers Foundation, Inc. Anonymous x2 Houston Haymon & Sonja Bruzauskas Helga Aurisch Ed & Janet Hess Trace Bannerman Bridget Jensen — in memory of Daniel Fowers Bill & Ginny Camfeld John & Jano Kelley F. Martin Caylor Margaret Kinalska and Wojciech Burakowski Carter & Barbara Crawford Robert & Glenna Leonard Karen & John Dansby Julie Maclemore* Jeremy & Helen Davis Wil McCorquodale & Mark Hitt Kathleen & Joseph Eichberg John & Ann Mendelsohn Emily Estill William Pannill & Molly Hammond Jose Gonzalez-Jauregui Molly Kelly and Hugh Rice Zahava Haenosh Mr. & Mrs. Ed Rinehart Kelley & Harper Trammell Fund The Sentinel Foundation Josephine Helland* Shell Oil Company Foundation Marcia & Doug Koch StarTex Software, LLC Lee & Jane Larkin The Texan-French Alliance for the Arts Michael Livingston David Ashley White & Alan Austin John & Penny McClintock Charles & Margaret Alkek Williams— Fred Nevill in honor of Robin Angly and Miles Smith Evelyn & Roy Nolen Mary Ruth Williams Robert Richter United Airlines Foundation Kate & Greg Robertson Andrew Schirrmeister PARTNER ($500-999) Bryan Scrivner Shelby Allen Hinda Simon Amegy Bank of Texas Robert & Marianna Simpson American Express Wayne Shandera Donald & Cheryl Joe Barker Fran & Jack Steele Robert Chanon Krystyna & Dr. Marec Bela Steffens Ralph & Susan Cherrillo Emily Leland Todd Paul D. Clote Priscilla Watkins Elizabeth Duerr Rick & Betsy Weber Fort & Beth Flowers Geraldine Gill PATRON ($100-249) Thomas & Paulette Goetz Jane & Paul Bassett William & Maarit Harp Laura Bodenheimer Hobby Family Foundation Lisa A. Brenskelle Polly A. Johnson James Broadhead Timothy Jones Sandra Clark Benigna & Ernst Leiss Dean Dalton and Zsofa Sztranyiczki Helen Mann Jan & Jack Fox Michael W. Meyer & Eleanor Grant Timothy Hester & Jasmine Hatem Gerald & Barbara Moynier Roger Keele Ellen & Chris Patton Frank & Lynda Kelly Emilee Peters Henry Kirby Joyce Randolf * Marilynn & Bob Kline Susan Scarrow Judge & Mrs. Ward Koehler Nan Schissler Rodney & Mary Koenig Shamay Scimeca* Anita Kruse Carroll & Dorry Shaddock Fritz Lanham & Kellye Sanford 14 Edgar & Stephanie Larsen David & Joyce Fox Dr. & Mrs. William B. Lee Pedro Funes Sylvia Levy Kathryn Godfrey Polly Lewis & Michael Pierson* Molly Hammond & William Pannill Edward Lukasek The Hobby Center Milton & Gail McCollough Hope Stone Gary & Crista Miller Houston Ballet Rev. Robert & Kathy Moore Houston Chamber Choir Gloria Nath Houston Grand Opera Catherine O’Harra Houston Funeral Museum Phillips 66 The Houston Museum of Natural Science Judith Pruitt Houston Symphony Kelly Reynolds Joel’s Classical Shop Jack Rooker KUHF Houston Public Radio Susan Schmaeling Laub Graphic Design Jacqueline & Andre Schmeal Nick Lopez John Shaw Matthew Goff Investment Jeffrey Sposato & Peter Cohen Florence & Eugene McKelvey Mark & Pam Taylor Main Street Theater Pieter and Janet Vrancken Allen McReynolds Lois Alba Wachter Mercury Baroque Elizabeth Williams Momentum Porsche Robert Wimpelberg Moores School of Music, UH Vada Woodall Museum of Fine Arts, Houston Louis & Stephen Zamora Musiqa Norris of Houston IN-KIND DONORS Hillary Smith & Lijda Vellekoop Alley Theatre Shade Restaurant American Corporate Transportation Alexander Stadnyk & Roma Ilkiw Robin Angly & Miles Smith Stark Naked Theatre Company The Antiquarium St. Philip Presbyterian Church Josena Arquieta Theatre Under the Stars Artista Restaurant Tony’s Karen Bard of Texas Orthopedic Hospital Kevin Topek Black Lab Theatre Underbelly Restaurant British Isles Uniquely Houston Buchanans Native Plants United Airlines Central Market Urban Retreat Catering to Your Kneads Eleanor & Richard Viebig Penny Cerling Viebig, McCommon & Associates Christ the King Lutheran Church and Water 2 Wine Robert & Kathy Moore Keith Weber Children’s Museum of Houston Mike & Joan Weltzien Christ the King Lutheran Church Whole Foods Collins Creations Birgitt van Wijk The Conservatory Day Spa Paxton Williams Cutloose Salon and Brandon Gresham Vada Woodall Da Camera of Houston Yoga One Studios Matthew Dirst Divino Italian Restaurant DoubleTree by Hilton Houston Downtown Epicure Cafe Nancy & Pete Etheridge Founders Salon 15 SUPPORT AND MAJOR FUNDING PROVIDED BY

The Accounting Firm of Viebig, McCommon & Associates, PC The Brown Foundation The Cullen Trust for the Performing Arts The George & Mary Josephine Hamman Foundation Houston Sängerbund Fund United Airlines is Ars Lyrica’s Official Airline

Ars Lyrica Houston is a participant in the Ars Lyrica Houston is supported in part by Intensive Services Program supported by the a grant from the Texas Commission on City of Houston through Houston Arts Alliance. the Arts.

16 Please return the completed audience survey to an usher or a staff member for a chance to win free tickets to our next concert!

Audience Survey By completing this survey, you will assist Ars Lyrica Houston (ALH) in its reporting and meeting the requirements of its various federal, state and city grants.

Are you a season subscriber? Yes No

Have you attended a prior ALH event? Yes No

Which best describes your age group? Under 18 18-34 35-49 50-65 over 65

Your gender please: Female Male

Your race please: African American Hispanic Caucasian Asian Other

Your ethnicity please. (This is very important in our grant reporting). African-American Asian or Asian-American White/Caucasian Hispanic or Hispanic-American Native American Multicultural or mixed ethnicities

Do you have a legal disability? Yes No

Did you travel more than 50 miles to attend? Yes No Your Zip code please: ______

How did you learn about this concert? Check all that apply.

ALH mailing ____ ALH email ____ Broadcast ____ The MusicCard ____

Newspaper ____ (Which publication?) ______Friend ______

Internet arts calendar ____ Other ______

What do you like best about our season?

What do you NOT like about the season - where could we improve? 17 ROBERT SIMPSON, FOUNDER & ARTISTIC DIRECTOR

Farewell to Arms Saturday, November 8, 2014, 7:30 pm Sunday, November 9, 2014, 7:00 pm Christ Church Cathedral Clear Lake United Methodist Church 1117 Texas Avenue, Houston, TX 77002 16335 El Camino Real, Houston, TX 77062 Marking the 100th anniversary of the outbreak of World War I, The Houston Chamber Choir offers a poignant reflection on war and peace in the years following the War to End All Wars. Featuring music by Ravel, Chatman, Parry, Bennett, Jenkins, Poulenc, and others. Tickets: (713)224-5566 or HoustonChamberChoir.org 18 HOUSTONEARLYMUSIC.ORG HISPANIC HERITAGE SERIES EL MUNDO, Richard Savino, Director Villancicos y Cantadas de Navidad Friday, Dec. 12, 2014 8:00 pm Christ Church Cathedral, 1117 Texas Ave. 77002 Houston audience favorite, El Mundo, returns with a celebration of holiday music from Italy, Spain and her colonies in the New World. Join director Richard Savino (Baroque guitarist/theorboist) and the ensemble in a festive multi-cultural extravaganza that includes newly discovered vocal and instrumental works found in the archives of the Los Angeles Archdiocese. Pre-concert talk by Richard Savino at 7:15 pm.

19 November 16, 2014 | 6:00 pm Chamber Music Barret Sills, violoncello Rick Erickson, harpsichord Sigurd Melvær Øgaard, harpsichord

Events are held at Christ the King Lutheran Church | 2353 Rice Boulevard (at Greenbriar) See full information at www.bachsocietyhouston.org or call 713-400-0514.

Bach Society Houston is funded in part by a grant fom the City of Houston through Houston Arts Alliance.

Single Tickets start at just $18!

Beethoven & Elgar Saturday, November 22, 8 PM Wortham Center Cullen Theater

www.MercuryHouston.org | (713) 533-0080 20 .OVEMBER s3UNDAY PM $UNCAN2ECITAL(ALL 2ICE5NIVERSITY

"EETHOVENS/P4RIO DEDICATEDTOHISPATRON "2)!.#/..%,,9 !24)34)#$)2%#4/2s47%.4)%4(3%!3/. !RCHDUKE2UDOLPH ISCONSIDEREDTHEMASTERS GREATEST4RIO ANDONEOFHISMOSTMOVINGAND POWERFULWORKS0REPAREYOURSELFTOHEARITANEW ON#/.4%84SREVELATORYAUTHENTICINSTRUMENTS 7ITHARARELY HEARDBEAUTY THESYLVANSonata in A DEDICATEDTO4ZAR!LEXANDER)OF2USSIA Ludwig van Beethoven SONATAIN!FOR6IOLIN AND0IANO TRIOIN" mATFOR3TRINGS AND0IANO @!RCHDUKE 3TEPHANIE#HASE VIOLINs.ORMAN&ISCHER CELLOs "RIAN#ONNELLY PIANOsWith period string instruments and 1810 Rosenberger piano Tickets: WWWMUSICINCONTEXTORGs “ Music-making at its most captivating ” 4HE(OUSTON#HRONICLE

new season.

new name. new experience.

2014-2015 Series

Kavafian-Schub-Shifrin Clarinet Trio November 11, 2014 “Dance”: Milhaud, Bartớk, Stravinsky, Bolcom

Jupiter String Quartet with James Dunham December 2, 2014 Schubert, Beethoven, Brahms Subscriptions from $21 per concert. Canadian Brass Tickets from $25. January 20, 2015

Visit chambermusichouston.org or call 713.348.5400

21 Winner, 2013 CMA/ASCAP Adventurous Programming Award

22 3 CONCERT SUBSCRIPTIONS STILL AVAILABLE

23 Ars Lyrica’s next performance: NEW YEAR’S EVE t SPECIAL EVENT

Melissa Givens soprano

Cecilia Duarte mezzo-soprano

Wednesday, December 31: 8 pm Dinner, 9 pm Concert, 10:30 pm Gala On New Year’s Eve, we offer a festive evening of celebration and beautiful music featuring soprano Melissa Givens and mezzo-soprano Cecilia Duarte. Grammy nominee and plucked string expert Richard Savino curates this holiday-inspired program, which includes Spanish and Latin American Baroque classics that are sure to be magniﬁcos. Our annual fundraising gala surrounds the Zilkha Hall program with cocktails and buffet-style dinner of Spanish fare before the concert plus champagne and dessert gala afterward in the Saroﬁm Hall Grand Lobby with calls of “¡Feliz Año Nuevo!” at midnight. Choose one of four Fiesta options: full evening, pre-concert dinner and concert, concert and post-concert champagne gala, or concert only. 24

Exquisitely... colorful. —Houston Chronicle Sarka Amitava Photography: 8 “ ”