Jacques Ogg 2018-2019 Season Artistic Director - The - Lyra Baroque Orchestra
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The
baro que o rchestr a
Jacques Ogg
Arti s tic Director
2018–2019 Season
C O N C E R T
PROGRAMS
THE LYRA BAROQUE ORCHESTRA
brings a rare freshness, color, and dimension to the glorious music
of the seventeenth and eighteenth centuries through its p erformances
on period instruments. The region’s only baroque orchestra, Lyra
combines the talents of renowned local early music specialists and
international guest artists, under the inspiring artistic leadership of
Jacques Ogg.
Lyra’s mission is to inspire and enrich the community through
exceptional performances of baroque music on historic i nstruments.
More information about Lyra’s music, history, and people at lyrabaroque.org
CONCERT I SUNGYUN CHO began her musical stud-
ies in Seoul, South Korea, at the Seoul
A Sumptuous Keyboard Feast Arts High School and at the Yonsei
University with Professor Kwak Tong-
with Sungyun Cho, Donald Livingston,
soon. From there she went to the Royal
and Jacques Ogg | keyboards Conservatory of The Hague where she
studied harpsichord performance and
Friday, August 10, 2018, 7:30 PM chamber music with such internation-
Mount Olive Lutheran Church, Rochester, Minnesota ally renowned pedagogues as Jacques
Pre-concert talk begins at 7:00 pm Ogg, Patrick Ayrton, and Ryo Terakado. Cho is a sought-after performer who has
given recitals in the Netherlands, Belgium, Spain, Italy, France, Germany, Poland,
Saturday, August 11, 2018, 3:00 PM
Korea, Japan, Bolivia, Peru, Columbia and Chile. As an ensemble player, Cho is
Sundin Hall, Hamline University, St. Paul, Minnesota
a member of Tokyo Baroque and Animaccordi, directed by Ryo Terakado, and
Pre-concert talk begins at 2:30 pm
she regularly plays with the Belgian ensemble Il Gardellino. As a teacher, she
has been an assistant for the harpsichord studio at the Royal Conservatory of
Carl Philipp Emanuel Bach 1714–1788
The Hague, and has been invited to present guest lectures and master classes in
Concerto for Two Harpsichords in F Major, Wq. 46
many music festivals. She is music director of the DaeJeon Early Music Festival
Allegro spirtuoso • Largo • Allegro assai
and teaches at YONSEI University in Seoul. Her recordings include Bach’s Gold-
berg Variations on the Belgian label Passacaille, as well as Scarlatti Sonatas and
Concerto for Harpsichord and Fortepiano in E-flat Major, Wq. 47
the Telemann Paris Quartets.
Allegro di molto • Larghetto • Presto
Keyboardist DONALD LIVINGSTON collaborates with musicians from across
INTERMISSION
the musical spectrum. He has performed with such ensembles as Bach Sinfonia
(Washington DC), Musica Antigua (Panama City), La Donna Musicale (Boston),
Wolfgang Amadeus Mozart 1756–1791
the Lyra Baroque Orchestra, Glorious Revolution Baroque, Minnesota Orchestra,
Concerto for Three Keyboards in F Major, KV. 242
and the St. Paul Chamber Orchestra, as well as with soloists and collaborators
Allegro • Adagio • Rondeau: Tempo di minuetto
Cléa Galhano, Immanuel Davis, Jacques Ogg, Elisabeth Wright, Joel Frederiksen,
Jed Wentz, Barthold Kuijken, and Dame Emma Kirkby. He has sung as a member
of the Rose Ensemble, as well as with the Pro Arte Singers under the direction of
Thomas Binkley and Paul Hillier at the Historical Perfor-
mance Institute of the renowned Jacobs School of Music
at Indiana University where he studied organ and histor-
ical keyboard performance. He is currently organist at St.
Martin’s Evangelical Lutheran Church in Austin, where he
is Lecturer of Organ and Harpsichord at the University of
Texas Butler School of Music and continuo harpsichordist
with the Austin Baroque Orchestra.
One of the most prominent and influential modern masters
of harpsichord and fortepiano, JACQUES OGG performs
worldwide as a soloist and continuo player. He was a mem-
ber of one of the world’s leading period-instrument ensem-
bles, the Orchestra of the 18th Century, directed by the late
Frans Brüggen. He works regularly with baroque orchestras
around the world, most recently in Brazil, South Korea,
and Spain, and also performs regularly as part of the Dutch
Masters Trio with flautist Wilbert Hazelzet and cellist Jaap
ter Linden.
Highly sought after as a pedagogue, Mr. Ogg is a harpsichord professor at the
Royal Conservatory of The Hague, one of the world’s foremost institutes for ear-
ly music. He co-directs the Baroque Instrumental Program—an intensive sum-
mer music course in the Twin Cities—and has been the artistic director of the
Lyra Baroque Orchestra since 2000. His discography includes more than sixty re-
cordings with labels such as Philips, Sony, EMI, Deutsche Harmonia Mundi, and
Glossa. Fono Forum, Germany’s largest music magazine, named Mr. Ogg’s CD of
Bach’s Goldberg Variations the finest recording of this work presently available.
Rustic and Refined
with Zelenka, Biber and Bach's
Brandenburg No.2
Saturday, October 20 w 3pm
Sunday, October 21 w 3pm
Brilliant Vivaldi and Bach
with star mezzo-soprano,
Meg Bragle
Saturday, April 6 w 3pm
Monday, April 8 w 7pm
Bach's Italian Inspiration
Cantatas and Concertos by Marcello,
Vivaldi, Geminiani, and Bach
Monday, May 13 w 7pm
Andrew Altenbach, Artistic Director
Antonello Hall at MacPhail Center for Music w $30 Adults, $10 Students
Tickets and Information: www.mnbach.org
CONCERT II
Vivaldi’s Seven Seasons
with Luís Otávio Santos | baroque violin
and Cléa Galhano | recorder
Friday, October 12, 2018, 7:30 PM
Mount Olive Lutheran Church, Rochester, Minnesota
Saturday, October 13, 2018, 7:30 PM
Lutheran Church of the Redeemer, St. Paul, Minnesota
Born in Brazil, LUÍS OTÁVIO SANTOS comes from a family of musicians and
Sunday, October 14, 2018, 3:00 PM began his studies at an early age—first on the piano, and then on the v iolin. His
St. Edward’s Episcopal Church, Wayzata, Minnesota
interest in baroque music took him to the Netherlands in 1990 to study baroque
Pre-concert talk begins 30 minutes before each performance. violin at the Royal Conservatory of The Hague with Sigiswald Kuijken, and harpsi-
chord with Jacques Ogg. At eighteen, he was among the main members and solo-
Antonio Vivaldi 1678–1741 ists of La Petite Bande, a Belgian baroque orchestra that still has a leading role in
the early music movement. With this group, he toured extensively in Europe, Asia,
La Primavera (Spring) in E Major, RV. 269 and South America, and also made more than seventy CDs and television record-
Allegro • Largo • Allegro Pastorale ings. His reputation as a baroque violin virtuoso earned him leading positions
in other important European ensembles, such as Le Concert Français, Ricercar
Il Gardellino (The Goldfinch), RV. 428 Consort, Nederlandse Bachverening, Il Fondamento, and Complesso Barocco.
Allegro • Cantabile • Allegro Santos has made several acclaimed solo recordings, including one of the
Bach sonatas for violin and harpsichord with Pieter-Jan Belder for the Dutch
L’Estate (Summer) in G Minor, RV. 315 CD label Brilliant. In 2005 he received the Diapason d’Or for his recording
Allegro non molto • Adagio e piano—Presto e forte • Presto of Jean-Marie Leclair sonatas for the label Ramée. From 1997 to 2001, he was
professor of baroque violin at the Scuola di Musica di Fiesole, Italy. He was also
La Tempesta di mare, RV. 433 a guest teacher at the Royal Conservatory of Brussels, as assistant to Sigiswald
Allegro • Largo • Presto Kuijken, from 1998 to 2005.
In his home country of Brazil, Santos is the Artistic Director of the Festival
INTERMISSION Internacional de Musica Colonial Brasileira e Musica Antiga de Juiz de Fora,
which he founded in 1990. During its twenty-five years, the Festival has garnered
L’Autunno (Autumn) in F Major, RV. 293 several national awards. Its recordings of Brazilian Colonial Music were a warded
Allegro • Adagio molto • Allegro the Brazilian Ministry of Culture’s IPHAN prize for the preservation of Brazil’s
heritage and cultural past, and several scholarly publications and previously un-
La Notte, RV. 439 published works have also been performed during the event. Santos is currently
Largo • Allegro • Largo • Allegro • Largo • Allegro the director of the early music department of the School of Music of São Paulo
(EMESP), where he also teaches baroque violin. He received a doctorate in music
L’Inverno (Winter) in F Minor, RV. 297 from UNICAMP (University of Campinas), and he is increasingly invited to con-
Allegro non molto • Largo • Allegro duct modern orchestras in Brazil, in repertoire ranging from opera to symphonic.
Brazilian recorder player CLÉA GALHANO is an
internationally renowned performer of early,
contemporary, and Brazilian music. She has per-
formed in the United States, Canada, South Amer-
ica, and Europe as a chamber musician, collabo-
rating with recorder player Marion Verbruggen,
Jacques Ogg, Belladonna, Lanzelotte/Galhano Duo,
and Kingsbery Ensemble. As a featured soloist,
Galhano has worked with the Saint Paul Chamber
Orchestra, New World Symphony, Musical Offer-
ing and the Lyra Baroque Orchestra.
Among key music festivals, Galhano has
performed at the Boston Early Music Festival, the Tage A lter Music Festival in Ger-
many, and at Wigmore Hall in London, Weill Hall at Carnegie Hall, Merkin Hall in
New York, and Palazzo Santa Croce in Rome. She was featured in the 2006 Second
International Recorder Congress in The Netherlands, in 2007 and 2013 at the In-
ternational Recorder Conference in Montréal, and in 2012 at the ARS International
Conference in Portland, Oregon. She gave her Weill Hall debut in 2010 and her sec-
ond Weill Hall recital in 2013 with the renowned Cuban guitarist Rene Izquierdo.
Galhano studied in Brazil at Faculdade Santa Marcelina, at the Royal Conser-
vatory of The Hague, and the New England Conservatory of Music in Boston,
earning a LASPAU, Fulbright Scholarship, and support from the Dutch govern-
ment. As an advocate of recorder music and educational initiatives, she served
for six years on the national board of the American Recorder Society, and she is
the Music Director of the Recorder Orchestra of the Midwest. She has received
the prestigious McKnight Fellowship Award, as well as the Minnesota State Arts
Board Cultural Collaborative and Arts Initiative.
Currently, Galhano is the Executive Artistic Director of the St. Paul Conser-
vatory of Music, a faculty member at Macalester College, and Music Director of
the Recorder Orchestra of the Midwest. She was also recently appointed Adjunct
Lecturer in Recorder at the Historical Performance Institute at the Jacobs School
of Music at Indiana University in Bloomington.
CONCERT III MATA Festival; Costanza in Haydn’s L’isola disabitata with the American Classi-
cal Orchestra; Schoenberg’s Das Buch der Hängenden Gärten with the Brooklyn
Bach’s Christmas Oratorio Art Song Society; Queen of Sheba in Handel’s Solomon with the Trinity Baroque
Orchestra; and Britten’s Les Illuminations with NOVUS NY.
with the Bach Society of Minnesota,
Among Sarah’s recording collaborators are tUne-yArDs, John Zorn, the Choir
Matthias Maute, Artistic Director of Trinity Wall Street, Paola Prestini, and Bang on a Can All-Stars Stars (Julia
Sarah Brailey | soprano Wolfe’s 2015 Pulitzer Prize-winning work Anthracite Fields). Sarah is a featured
soloist on numerous GRAMMY®-nominated albums including New York Polyph-
Clara Osowski | mezzo-soprano
ony’s Sing Thee Nowell and The Clarion Choir’s recording of Maximilian Stein-
Nicholas Chalmers | tenor berg’s Passion Week. She also appears as a soloist on the premiere recording of
Jonathan Ten Brink | baritone Du Yun’s Angel’s Bone, winner of the 2017 Pulitzer Prize in Music.
More at www.sarahbrailey.com.
Friday, December 7, 2018, 7:30 PM
Mount Olive Lutheran Church, Rochester, Minnesota
Mezzo-soprano CLARA OSOWSKI, who sings “from in-
Saturday, December 8, 2018, 7:30 PM side the music with unaffected purity and sincerity” (UK
St. Mary’s Chapel, University of St. Thomas, St. Paul, Minnesota Telegraph), is an active soloist and chamber musician
Sunday, December 9, 2018, 3:00 PM throughout the United States and Europe. Recognized
St. John’s Lutheran Church, Corcoran, Minnesota for her excellence in Minnesota, Clara was a recipient of
Pre-concert talk begins 30 minutes before each performance. the prestigious 2018-2019 McKnight Artist Fellowships for
Musicians administered by MacPhail Center for Music.
In international competition with pianist Tyler Wottrich,
Johann Sebastian Bach 1685–1750
in March of 2017, Clara became the first ever American
Weihnachts-Oratorium (Christmas Oratorio), BWV 248
prize winner when she placed second at Thomas Quast-
Parts I, II, IV, and VI
hoff’s International Das Lied Competition in Heidelberg, Germany. In Septem-
ber, the duo was also one of four to reach the finals in the prestigious Wigmore
Hall/Kohn Foundation Song Competition in London, and Clara was awarded the
Hailed by The New York Times for her “radiant, liquid
Richard Tauber Prize for the best interpretation of Schubert Lieder. She recently
tone,” “exquisitely phrased,” and “sweetly dazzling”
won the Radio-Canada People’s Choice Award and third place in the song divi-
singing, soprano SARAH BRAILEY is in growing demand
sion at the 2018 Concours Musical International de Montréal.
across all genres of classical music. She has performed
2018-2019 season highlights include debuts with the Aspen Festival Chamber
Steve Reich at Carnegie Hall, Handel’s Messiah with the
Orchestra, Mid-Columbia Symphony, Tulsa Signature Symphony, and the Mobile
Saint Paul Chamber Orchestra, and with Kanye West and
Symphony Orchestra.
Roomful of Teeth at the Hollywood Bowl.
Active also as an educator, Clara has enjoyed giving masterclasses and con-
Highlights of Sarah’s current and recent seasons
vocations at several universities, including Syracuse University, Muhlenberg
include Bach’s St. John Passion with St. Thomas Fifth Ave-
College, Concordia College (Moorhead), and North Dakota State University. She
nue; Barber’s Knoxville: Summer of 1915 with the Colorado
was also the guest artist in residence at Indiana State University’s 50th Contem-
Symphony; George Benjamin’s Dream of the Song with
porary Music Festival celebrating the music of Libby Larsen and served on facul-
the Lorelei Ensemble and Boston Symphony; Bach’s B Minor Mass and Purcell’s
ty at Aspen Music Festival’s Professional Choral Institute in collaboration with
Fairy Queen with the Handel and Haydn Society; Webern’s Op. 13, 14, and 25 with
Seraphic Fire. Clara currently studies voice with Emma Small of Minneapolis.
Trinity Wall Street; Zweite Dame in Mozart’s Die Zauberflöte with the Clarion
In addition to performing, Clara serves as the Associate Artistic Director
Music Society; Ligeti’s Clocks and Clouds at the Tanglewood Festival of Con-
of Source Song Festival, a week-long art song festival in Minneapolis, Minneso-
temporary Music; Bach’s Magnificat with Musica Angelica; various John Zorn
ta. This festival strives to create and perform new art song, and cultivate an edu-
works at venues worldwide including the Louvre Museum, Sarajevo Jazz Fest,
cational environment for students of song, including composers, vocalists, and
and November Music in s-Hertogenbosch; a Nico Muhly world premiere for the
collaborative pianists. Please see www.claraosowski.com for more information.
Bach, Baroque & Beyond
NICHOLAS CHALMERS, tenor, is thrilled to once again
sing with the Bach Society of Minnesota and the Lyra
Baroque Orchestra. He has sung with The Rose Ensem-
ble, the Minnesota Bach Ensemble, Glorious Revolution Season III with Matthias Maute
Baroque, The Singers-Minnesota Choral Artists, and the
Minnesota Chorale. Recent solo engagements include the
Oratorio Society, the Schubert Club, the Church Music
Association of America, the St. Mark’s Cathedral Concert
Series, Minnesota Center Chorale, and Border CrosSing.
Nicholas received a B.M. in music from St. Olaf Col- Bach and the Forbidden City
lege, where he was section leader of the Saint Olaf Choir under the direction of with Gao Hong, Chinese Pipa Master
Anton Armstrong, as well as an M.M. in Choral Conducting at the University of Friday, October 5, 2018 | 7:30pm
Minnesota, where he conducted several campus ensembles and held a Teacher’s Sundin Music Hall, St. Paul, MN
Assistant position in the music theory department. Nicholas is the Director of Saturday, October 6, 2018 | 7:00pm
Choirs at Chesterton Academy in Edina and is Director of Music at Annuncia- Willmar High School, Willmar, MN
tion Church in South Minneapolis. He is also Artistic Director of the Mirandola Sunday, October 7, 2018 | 3:00pm
Ensemble, which presents programs of rarely performed early music from the Calvin Presbyterian Church, Long Lake, MN
Medieval and Renaissance eras strategically juxtaposed with the compositions
of 20th and 21st century composers. Sought after as an educator and clinician, Bach’s Christmas Oratorio
during the 2018-2019 academic year Nicholas is piloting a high-school choral collaboration with Lyra Baroque Orchestra
residency program in collaboration with Minnesota Public Radio’s Class Notes Friday, December 7, 2018 | 7:30pm
Artists program. Mount Olive Lutheran Church, Rochester, MN
Saturday, December 8, 2018 | 7:30pm
JONATHAN TEN BRINK is an exciting Baritone active in St. Mary’s Chapel, University of St. Thomas, St. Paul, MN
opera, concert, and chamber music. His “big voice” that Sunday, December 9, 2018 | 3:00pm
“rumbles like foghorns” (Pioneer Press) is regarded as St. John’s Evangelical Lutheran, Corcoran, MN
“rich” (Madison Magazine), “heartwarming” (Examiner),
Bach’s Passion
and “possessing considerable agility” (Grand Rapids Press).
collaboration with Choral Arts Ensemble
He has performed more than 25 opera roles and given
hundreds of performances in the concert setting across Friday, March 15, 2019 | 7:30pm
Sundin Music Hall, St. Paul, MN
30 states. A frequenter of the chamber music scene, Ten
Brink enjoys the collaborative process of creating a mean- Saturday, March 16, 2019 | 7:30pm
Lourdes Chapel At Assisi Heights, Rochester, MN
ingful experience for performer and listener alike.
An adept and creative teacher, Ten Brink brings out the best in his students. Sunday, March 17, 2019 | 3:00pm
He takes a personal interest and tailors his pedagogical approach based on the Central Lutheran Church, Winona, MN
specific needs and goals of the individual. His students have been accepted into
graduate studies in voice, hold teaching positions, and had successful careers in
Classical vocal performance, in Musical Theater, and as recording artists.
Ten Brink holds degrees from Calvin College (BA), Bowling Green State Universi-
ty (MM), and the University of Minnesota (DMA). He has taught voice at Shorter
University, Crown College, North Central University, and Concordia College.
bachsocietymn.org
CONCERT IV Since 1970 WILBERT HAZELZET has been dedicated ex-
clusively to the baroque transverse flute. He specializes in
Music for Baroque Spas ancient instrumental techniques and the performance of
music from the eighteenth century according to contempo-
Wilbert Hazelzet | baroque flute
rary treatises about flute playing and singing.
Considered by many as the world’s leading baroque
Friday, February 1, 2019, 7:30 PM flute player, Hazelzet has been a member of Musica Anti-
Mount Olive Lutheran Church, Rochester, Minnesota qua Köln. With this world-famous ensemble he appeared
Saturday, February 2, 2019, 7:30 PM in Japan, India, China, the US, Canada, and across Europe,
Lutheran Church of the Redeemer, St. Paul, Minnesota from Finland to Portugal and from Ireland to Russia. He
Pre-concert talk both nights begins at 7:00 pm now forms permanent duos with Jacques Ogg, harpsichord,
and with Joachim Held, lute, and is a frequent guest with ensembles throughout
George Frideric Handel 1685–1759 Europe and North America. He is first flautist of Ton Koopman’s Amsterdam Ba-
Concerto Grosso Op. 6, No. 8 in C Minor roque Orchestra and on the faculty of the Berwick Academy of the Oregon Bach
Allemande • Grave • Andante—Allegro • Adagio • Siciliana • Allegro Festival and the Baroque Instrumental Program in the Twin Cities.
Hazelzet has made recordings for numerous radio and TV stations all over
Johann Joachim Quantz 1697–1773 the world and for several recording companies such as DGG, Erato, Harmonia
Flute Concerto in G Major Mundi, and Glossa. He is a Professor at the Royal Conservatory in The Hague,
Allegro • Arioso • Allegro vivace (Presto) Tilburg, and Utrecht.
INTERMISSION
Georg Philipp Telemann 1681–1767
Sabbato (Saturday) from the “Pyrmonter Korwoche”
Vivace • Presto • Dolce • Allegro • Vivace • Allegro • Vivace
Johann Sebastian Bach 1685–1750
Brandenburg Concerto No. 5 in D Major, BWV 1050
Allegro • Affettuoso • Allegro
ROCHESTER MUSIC GUILD
Dedicated to Music Appreciation, Education, and Performance
– Today and Tomorrow
* Sponsors a Scholarship Competition for Young Musicians
- our exciting annual tradition for over 50 years!
* Supports the Rochester Symphony and Chorale and
other nonprofit music groups in the community.
* Provides free educational events throughout the year.
* Proudly endorses Lyra Baroque and our longtime partnership.
All made possible by the generous donations of our members.
Visit our website at: rochestermusicguild.orgEarly Music Day
Saturday
FEBRUARY 23, 2019
Present Your
Own Concert
Rent The Baroque Room
The La Pellegrina Project Great for Concerts, Studio Recitals,
Special Projects, and More!
Join us in creating (and learning about) PUBLIC EVENTS announced to the world ($325) ■ PRIVATE EVENTS only for your
invited guests ($160) ■ REHEARSAL, PRACTICE, and TEACHING SPACE ($15/hour)
Here’s what you get when you rent THE BAROQUE ROOM
a fully staged, semi-reconstruction of the
Intermedio of 1589, one of the first THE SPACE OTHER BENEFITS
● Intimate performance space ● Volunteer opportunities available
masterworks of the Baroque ● Mason & Hamlin Model A grand to decrease rental costs
piano ● Long-term rental discounts
age in music theater. ● Dowd double manual French available
Music will be sent out two harpsichord
● Klinkhamer single manual Iberian
● Recording equipment for your
concert or audition
months in advance. After a harpsichord ● Located in Lowertown in down-
● Flentrop chamber organ town Saint Paul near a huge array
day of rehearsal we will ● Professional musician chairs and of restaurants, public transit, and
perform the work, fully staged music stands parking options
● Adjustable audience seating
(including Baroque dance) in the ● Rehearsals included the week before
new performance space at your concert TO BOOK A CONCERT contact
Tami Morse or fill out the CONTACT
The Summit Center for Arts and CONCERT PROMOTION FORM at our website:
● Press release to major Twin Cities
www.thebaroqueroom.com.
Innovation. publications Email: info@thebaroqueroom.com.
● Listing in our annual brochure
651-705-6772
FACULTY: Register online at (if booked by deadline)
● Email blast to a list of over 900
PHILLIP RUKAVINA www.thespcm.org people
Music Director ● Facebook post to page with over
SCHEDULE: 2,000 likes
JULIE ELHARD ● Website listing on
Coordinator and string coach 10am–5pm: Workshop & rehearsal www.thebaroqueroom.com
● Online ticket sales on
KATHY LEE, vocal coach 7pm Opera performance: www.eventbrite.com
JANE PECK, lead dancer free and open to the public CONCERT PRODUCTION
● Box office
● Stage management
● Program design and printing the baroque room
1524 Summit Ave. 651-224-2205 ● Reception
275 East 4th St.
Suite 280
St. Paul, Minnesota 55105 www.thespcm.org Saint Paul, MN 55101CONCERT V
Divine Bach & Handel
John Rommereim | director
Maria Jette | soprano
Angela Young Smucker | mezzo-soprano
Roy Heilman | tenor The GRINNELL SINGERS, under the direction of JOHN ROMMEREIM, are a
group of people who are diverse in terms of their backgrounds, interests, and
Thomas Meglioranza | baritone talents, but who are united in their love of singing and their dedication to the
and the Grinnell Singers choral art. They perform music from a variety of traditions and locales—from
Brahms to Bluegrass, and from Renaissance England to twenty-first century New
Sunday, March 10, 2019, 2:00 PM York. They work hard to craft the very best musical performances, and as they
Bucksbaum Center for the Arts, Grinnell, Iowa pursue these high ideals, they are committed to fostering an environment that
is welcoming and supportive for each and every member. The ensemble regular-
Saturday, March 16, 2019, 7:30 PM ly contributes to the community in the form of volunteer projects.
St. Paul Conservatory of Music Concert Hall, St. Paul, Minnesota
Each year, the Grinnell Singers complete a concert tour during the first week
Sunday, March 17, 2019, 3:00 PM of spring recess. In past years, they have completed tours to Finland, Estonia,
Christ United Methodist Church, Rochester, Minnesota Russia, the Czech Republic, Romania, Bulgaria, and Turkey. Last year’s tour took
Pre-concert talk in Rochester and St. Paul begins 30 minutes before the performance. them to New Orleans, with concerts along the way in Des Moines, Lawrence,
Kansas City, Tulsa, Dallas, and New Orleans. Their last project with Lyra was Carl
Johann Sebastian Bach 1685–1750 Heinrich Graun’s Der Tod Jesu in 2017.
“Lutheran” Mass in A Major, BWV 234
Kyrie eleison • Gloria in excelsis • Domine Deus • Qui tollis • Quoniam • Soprano MARIA JETTE’s wide-ranging career has encom-
Cum sancto spiritu passed everything from early Baroque opera to world
premieres, in the United States and abroad. Her orchestral
INTERMISSION resumé includes The Saint Paul Chamber Orchestra, Los
Angeles Chamber Orchestra, Minnesota Orchestra, Hous-
George Frideric Handel 1685–1759 ton, Kansas City, San Luis Obispo, Santa Rosa, Charlotte,
Dixit Dominus, HWV 232 Buffalo, Grand Rapids, Austin, Marin and San Antonio Sym-
Chorus—Dixit Dominus Domino meo phonies, New York Chamber Symphony, Portland Baroque
Aria (alto)—Virgam virtutis tuae emittet Dominus ex Sion Orchestra and Musica Angelica; plus Berkshires Opera,
Aria (soprano)—Tecum principium in die virtutis tuae splendoribus sanctorum Roanoke Opera, Sacramento Opera, and the sadly defunct
Chorus—Juravit Dominus Ex Machina Antique Music Theatre in her home base of
Chorus—Tu es sacerdos in aeternum Minneapolis-St. Paul. There, she’s often heard with VocalEssence (led by conduc-
Soloists and chorus—Dominus a dextris tuis tor Philip Brunelle), Chamber Music Society of Minnesota, Minnesota Sinfonia,
Chorus—Judicabit in nationibus The Schubert Club, and the Lyra Baroque Orchestra.
Duet (sopranos) and Chorus—De torrente in via bibet A regular guest over many seasons at the San Luis Obispo Mozart and Oregon
Chorus—Gloria Patri, et Filio, et Spiritui Sancto Bach Festivals, the Maverick Chamber Series and the Oregon Festival of Amer-
ican Music, she’s often heard nationally on Garrison Keillor’s A Prairie Home
Companion.
Maria is an ecumenical recitalist: her programs range from songs of Grieg
or Fauré through Edwardian parlor music and Latin American chamber music,
liberally interspersed with Tin Pan Alley and the Great American Songbook.
She’s performed her own productions of Seuss/Kapilow’s Green Eggs & Ham andGertrude McFuzz for over fifty thousand kids throughout the country, with pit the Twin Cities’ Consortium Carissimi, he recorded three albums of pieces by
bands, symphony orchestras, and even just piano and train whistle! Italian Baroque composers Carissimi and Graziani, which were released on the
For more information– including her two recordings with pianist Dan Naxos label in 2016. Also in 2016 with Consortium Carissimi, he performed the
Chouinard–In Our Little Paradise: Lyrics of PG Wodehouse and The Siren’s Song: title role in Bernardo Pasquini’s opera Il Tirinto, which had lain dormant since
Wodehouse and Kern on Broadway—please visit www.mariajette.com. the seventeenth century.
Heilman last appeared with Lyra in 2017, as tenor soloist in a rare perfor-
ANGELA YOUNG SMUCKER has earned praise for her mance of Carl Heinrich Graun’s Der Tod Jesu, with guest conductor Simon
“rich, secure mezzo-soprano” (Chicago Tribune). Her Carrington. Other recent performances include Monteverdi’s Vespers of 1610,
performances in concert, stage, and chamber works have Britten’s St. Nicolas, Mendelssohn’s Elijah, and J.S. Bach’s Easter Oratorio, St. John
made her a highly versatile and sought-after artist. She Passion, and Mass in B Minor.
has been recognized for her fine artistry in the repertoire Heilman received his musical training from Gustavus Adolphus College,
of J.S. Bach and has performed all of his major works, as earning a Bachelor of Arts in Music with Honors in Performance, and from The
well as numerous cantatas. New England Conservatory of Music, with a Master of Music degree in Vocal
Ms. Smucker is a regular soloist with the Bach Col- Performance. He lives in Minnesota with his wife and two children, where he
legium San Diego and the long-standing Bach Cantata is usually caught up in musical or outdoor pursuits. He can always be found at
series at Grace Lutheran Church in Chicago. She has RoyHeilman.com.
been a featured soloist under the direction of Bach
scholars Helmuth Rilling and Hermann Max, and has performed at Leipzig’s THOMAS MEGLIORANZA is an award-winning bari-
St. Thomaskirche with the Leipzig Baroque Orchestra. She was also a Virginia tone, with the Walter W. Naumburg and Concert Artists
Best Adams Master Class Fellow (Carmel Bach Festival) and has been a featured Guild competitions among his accolades. Highlights
soloist for the Oregon Bach Festival Discovery Series, as well as Master Class in from recent seasons include an all-Hugo Wolf recital at
Conducting. Lincoln Center’s Mostly Mozart Festival, performances of
Concert work from past seasons includes Mozart’s Coronation Mass (Music of Schubert’s Die schöne Müllerin with pianist Reiko Uchida,
the Baroque), Mendelssohn’s Elijah (Chicago Symphony Orchestra, Oregon Bach Winterreise with fortepianist David Breitman, the role of
Festival), Haydn’s Creation (Oregon Bach Festival), Bolcom’s Songs of Innocence Lord Henry in Lowell Liebermann’s The Picture of Dorian
and of Experience under the baton of Philip Brunelle, Mozart’s Requiem, Vivaldi’s Gray with Odyssey Opera, the role of Wreck in Bernstein’s
Gloria, Handel’s Israel in Egypt, and Duruflé’s Requiem. She has also appeared on Wonderful Town with the Seattle Symphony, and Bach’s
Garrison Keillor’s A Prairie Home Companion, WFMT’s Impromptu, and WTTW’s solo bass cantatas with the Lyra Baroque Orchestra.
Chicago Tonight. Ms. Smucker is a founding member of the Haymarket Opera In addition to Messiahs, Carmina Buranas, and Bach passions with many
Company, Chicago’s 17th and 18th century opera troupe, and has worked exten- orchestras in the United States, Meglioranza has sung Copland’s Old American
sively as a chamber artist. She holds degrees from Valparaiso University and the Songs with the National Symphony, Eight Songs for a Mad King with the LA
University of Minnesota. Philharmonic, Bach cantatas with Les Violons du Roy, and John Harbison’s Fifth
Symphony with the Boston Symphony. His operatic roles include Pierrot in
Tenor ROY HEILMAN frequently sings in a broad spectrum of styles from the Die tote Stadt, Chou En-Lai in Nixon in China, and Prior Walter in Peter Eötvös’
Renaissance to the present but has primarily made a name for himself as tenor Angels in America. With pianist Reiko Uchida, he has given recitals around the
soloist in the music of the Baroque and Classical eras. world and recorded albums of Schubert lieder, Winterreise, and Fauré’s La bonne
Having been taught to be a versatile musician, he has also chanson. His discography also includes orchestral songs of Virgil Thomson with
premiered many new works. the Boston Modern Orchestra Project, songs of Louis Karchin with the Orchestra
Heilman has been associated with many excellent en- of the League of Composers, and Bach cantatas with the Taverner Consort.
sembles, including the Rose Ensemble, the Lyra Baroque Meglioranza was born in Manhattan, grew up in northern New Jersey, and
Orchestra, the Oregon Bach Festival Berwick Chorus, Vox graduated from Grinnell College and the Eastman School of Music.
Humana, Glorious Revolution Baroque, and the recently
Grammy-nominated South Dakota Chorale. As a singer
of Baroque music, he spends much of his time singing in
small ensemble settings with period instruments. WithCONCERT VI Canadian violinist MARC DESTRUBÉ is equally at
home as a soloist, chamber musician, concertmaster,
German Giants and director/conductor of orchestras and divides his
time between performances of the standard repertoire
Marc Destrubé | baroque violin
on modern instruments, and performing baroque and
classical music on period instruments. His teachers in-
Friday, April 26, 2019, 7:30 PM cluded Harry Cawood, David Zafer, Steven Staryk, the
Mount Olive Lutheran Church, Rochester, Minnesota great Hungarian pedagogue and quartet leader Sandor
Saturday, April 27, 2019, 7:30 PM Végh, and Norbert Brainin of the Amadeus Quartet.
Sundin Hall, Hamline University, St. Paul, Minnesota Destrubé is first violinist with the Axelrod String
Quartet, quartet-in-residence at the Smithsonian Insti-
Sunday, April 28, 2019, 3:00 PM
tution in Washington D.C., playing on the museum’s
St. Edward’s Episcopal Church, Wayzata, Minnesota
exceptional collection of Stradivari and Amati instru-
Pre-concert talk begins 30 minutes before each performance.
ments. As a concertmaster he has played under Sir Simon Rattle, Kent Nagano,
Helmuth Rilling, Christopher Hogwood, Philippe Herreweghe, Gustav Leonhardt
Christoph Graupner 1683–1760 and Frans Brüggen. He is co-concertmaster of the Orchestra of the 18th Century,
Ouverture in A Major, GWV 474
with whom he has toured the major concert halls and festivals of Europe, North
Ouverture • Air • Menuet • Air en Bourée • La Calma • Air • Air en Polonese •
America, Asia and Australia, including directing the orchestra in performances
La Timidità • Gigue
at Beijing’s National Centre for the Performing Arts and appearing as soloist
in Haydn’s Sinfonia Concertante in concerts in The Netherlands, Austria, and
Carl Heinrich Graun 1704–1759 Belgium for the Haydn year. He was concertmaster of the CBC Radio Orchestra
Harpsichord Concerto in C Minor, GraunWV Bv:XIII:50
from 1996 to 2002, and is concertmaster of the Oregon Bach Festival Orchestra.
Allegro • Larghetto • Allegro
A highly respected teacher, Destrubé has been a visiting artist/faculty at
the Paris, Moscow and Utrecht Conservatoires, Indiana University, Case West-
INTERMISSION
ern University, Australian National University, Sydney Conservatorium, the
MacPhail School, the Banff Centre, and the University of Victoria. He is artistic
Johann Gottlieb Graun 1703–1771 director of the Pacific Baroque Festival (Victoria, Canada), and Artistic Advisor to
Violin Concerto in D Minor, GraunWV:XIII:75
the New York City ensemble Dorian Baroque.
Allegro • Adagio • Allegro assai
Georg Philipp Telemann 1681–1767
Ouverture in B-flat Major “Les Nations,” TWV 55:B5
Ouverture • Menuets I & II • Les Turcs • Les Suisses • Les Moscovites •
Les Portugais • Les Boîteux & Les Coureurs2018–2019 Musicians BASSOON Lyra is grateful for the
Joseph Jones f ollowing volunteers, hosts,
VIOLIN and in-kind donors, without
Lucinda Marvin, recorder whom these performances
Concertmaster Cléa Galhano would not be possible.
Lindsey Bordner
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Tom & Susan Lemke
Lee & Joe MogenRochester Chamber Music Society
2018-2019 Season
Sep 15: Pianist Reed Tetzloff
Oct 20: October Recollections: In Memory Of…
Dec 1: RCMS String Orchestra
Jan 19: Kassler’s Quartet
Feb 23: RCMS Chamber Jazz Consortium
Apr 6: Fanfare and Fireworks!
www.rochesterchambermusic.org
Twin Cities
Early Music
Festival
SUMMER
2019
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