Past Events

J.S. Bach’s “The Art of Fugue”
In the last decade of his life, Bach undertook the composition of 18 studies based on a single theme, which he collectively titled Die Kunst der Fuge, or The Art of Fugue. Fourteen of these studies are so-called fugues, a compositional form employing imitative entrances of the theme under strict rules. Bach was (and still is) the undisputed master of fugal composition. However, the permutations of this theme that Bach conceived stretched even his mighty powers to the limit. The theme is turned upside down. It is played at the same time as the main theme. It is played with shorter and longer note durations simultaneously, and much more. The final fugue (apparently left unfinished at his death) combines three other themes with the main theme, one of those themes being a spelling of his name. Several composers have humbly attempted completions of this fugue, and La Follia will perform one of the most famous.

“The Full Monteverdi, Part 2”
We end our love song to Italy with music by Monteverdi and by composers who were influenced by him and some who might even have influenced the master a bit!
There are few composers whose careers have spanned two musical eras, and even fewer who have excelled majestically in both eras. More than 50 years separated Claudio Monteverdi’s first book of madrigals (1587) from his final large sacred and secular works in 1642, a time period that witnessed the transition of the musical Renaissance into the Baroque. We take a cue from the comedic movie The Full Monty to “expose” Monteverdi’s artistic brilliance in his second career, that of the Baroque composer.
Singers include Jenifer Thyssen, Gitanjali Mathur, Meredith Ruduski, Cayla Cardiff, Jenny Houghton, Stephanie Prewitt, Jeffrey Jones Ragona, David Lopez, Paul D’Arcy, Brett Barnes, Steve Olivares, Thann Scoggin, and guest mezzo-soprano Erin Calata, from Seattle.
Guest violinists Anna Griffis (Boston) and Boel Gidholm (Rochester) lead our chamber orchestra of cellos (Jane Leggiero & John Walters), theorbo & Baroque guitar (Scott Horton), triple harp (Elaine Barber), and harpsichord (Billy Traylor).

“The Full Monteverdi, Part 2”
We end our love song to Italy with music by Monteverdi and by composers who were influenced by him and some who might even have influenced the master a bit!
There are few composers whose careers have spanned two musical eras, and even fewer who have excelled majestically in both eras. More than 50 years separated Claudio Monteverdi’s first book of madrigals (1587) from his final large sacred and secular works in 1642, a time period that witnessed the transition of the musical Renaissance into the Baroque. We take a cue from the comedic movie The Full Monty to “expose” Monteverdi’s artistic brilliance in his second career, that of the Baroque composer.
Singers include Jenifer Thyssen, Gitanjali Mathur, Meredith Ruduski, Cayla Cardiff, Jenny Houghton, Stephanie Prewitt, Jeffrey Jones Ragona, David Lopez, Paul D’Arcy, Brett Barnes, Steve Olivares, Thann Scoggin, and guest mezzo-soprano Erin Calata, from Seattle.
Guest violinists Anna Griffis (Boston) and Boel Gidholm (Rochester) lead our chamber orchestra of cellos (Jane Leggiero & John Walters), theorbo & Baroque guitar (Scott Horton), triple harp (Elaine Barber), and harpsichord (Billy Traylor).

Fiesta Concert: J. S. Bach ‘Magnificat’ with orchestra. Joseph Causby, conductor

By the eighteenth century, the term cantata generally referred to one or two specific musical genres, but before the word cantata had these distinct meanings, it simply referred to any piece meant to be sung, usually with instrumental accompaniment. In the spirit of that earlier and broader definition that we present a selection of Baroque works for choir and orchestra, including J.S. Bach’s cantata *Jesu, der du meine Seele*, Charpentier’s sumptuous and martial *Te Deum*, Jerúsalem’s ode *Al combate* (receiving its Texas and period-instrument premiere), and *Ad pedes* from Buxtehude’s moving *Membra Jesu nostri*. Though they’re not all cantatas in the strictest sense, we’ll show you that a “cantata” by any other name sounds just as sweet.

By the eighteenth century, the term cantata generally referred to one or two specific musical genres, but before the word cantata had these distinct meanings, it simply referred to any piece meant to be sung, usually with instrumental accompaniment. In the spirit of that earlier and broader definition that we present a selection of Baroque works for choir and orchestra, including J.S. Bach’s cantata *Jesu, der du meine Seele*, Charpentier’s sumptuous and martial *Te Deum*, Jerúsalem’s ode *Al combate* (receiving its Texas and period-instrument premiere), and *Ad pedes* from Buxtehude’s moving *Membra Jesu nostri*. Though they’re not all cantatas in the strictest sense, we’ll show you that a “cantata” by any other name sounds just as sweet.

Renaissance music for the 60th Anniversary of The McNay’s Oppenheimer Collection. Program includes music of Lassus, Byrd, and Palestrina and features selections with historic and thematic ties to various works in the collection.

Copperleaf is a group of five exceptional vocalists that seamlessly blends female and male voices to bring exquisite harmonies and the highest level of musical excellence to each performance. Musical selections for each concert are chosen to complement the architecture and time period of the specific performance setting.

Vivaldi’s Four Seasons- Music and More, with KMFA” La Follia performs KMFA listeners’ greatest Baroque hits, introduced by your favorite KMFA announcers…in person! They will talk about the music, the musicians, the instruments, and reflect on the Seasons themselves through essays and poetry.
Baroque violinists Go Yamamoto, Karen Clarke, Alan Austin, and Stephanie Raby will be soloists in the concerti, backed by the 15-piece La Follia chamber ensemble.
Featured KMFA guests are Jeffrey Blair, Chris Johnson, and Renee Beale, with special cameo by Dianne Donovan.

Fully staged opera presented by Opera Piccola of San Antonio.

Fully staged production presented by Opera Piccola of San Antonio.

Vivaldi’s Four Seasons- Music and More, with KMFA” La Follia performs KMFA listeners’ greatest Baroque hits, introduced by your favorite KMFA announcers…in person! They will talk about the music, the musicians, the instruments, and reflect on the Seasons themselves through essays and poetry.
Baroque violinists Go Yamamoto, Karen Clarke, Alan Austin, and Stephanie Raby will be soloists in the concerti, backed by the 15-piece La Follia chamber ensemble.
Featured KMFA guests are Jeffrey Blair, Chris Johnson, and Renee Beale, with special cameo by John Clare.

That’s Amore: An Early Valentine. TEMP’s opera troupe presents a pastiche of music from Italian operas by Cavalli, Cesti, Handel, and Vivaldi in a rom-com created just for our time. Austin sopranos Meredith Ruduski and Jenifer Thyssen and Peter Walker (bass) and Ryland Angel (countertenor), both of NYC, along with a small period orchestra, conspire to entertain you! The passion! The jealousy! The love! Will there be a happy ending?