Northern Sounds Fall 2020

VOLUME 1

2020/2021 SEASON

Northern Sounds THE MAGAZINE OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA

Photo by Michael Smisek

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DSSO 2020-21 SEASON

TABLE OF CONTENTS 04 10 14 22 30

WELCOME LETTERS 4 Music Director Dirk Meyer 7 Executive Director Brandon VanWaeyenberghe 9 Board of Directors 9 Staff and Administration

MEET THE ORCHESTRA 10-11 Meet the Orchestra

MASTERWORKS 1: STRINGS ATTACHED 15 Erin Aldridge Biography 16-19 Masterworks 1 Program Notes

MASTERWORKS 2: AFTERNOON DANCES 23 Betsy Husby Biography 24-27 Masterworks 2 Program Notes

POPS 2: BENTLEYVILLE HOLIDAY SPECTACULAR 31 Strikepoint Biography

34

WAYS TO SUPPORT THE DSSO 34 How to Donate 36-38 DSSO Contributors 42-43 Q&A with Brandon VanWaeyenberghe

OUR MISSION Our mission is to enhance our community through the performance of symphonic music that engages and inspires.

OUR VISION We envision a stronger community through the power of music and musicans artisty.

DULUTH SUPERIOR SYMPHONY ORCHESTRA 2020-2021

WELCOME LETTER

DIRK MEYER, MUSIC DIRECTOR

Dear Friends, This is certainly a different Welcome Letter than the one I originally planned for our 2020-21 Season. In these unprecedented times, a “welcome” wouldn’t seem complete without first wishing each of you good health as we make our way through this pandemic.

For many of us this fall will include a brand new opportunity: enjoying a “live” orchestra performance from the safety of your own home. So, wherever you are: Welcome to the Symphony, welcome to Symphony Hall, or welcome at home!

Our original vision for the 2020-21 Season was quite different, to say the least. But for the safety and wellbeing of our musicians and valued patrons we had to make some adjustments.

We have been working diligently to ensure high quality orchestral music will continue to thrive in the Twin Ports – even during these difficult times. While orchestras around the country are cancelling their seasons, we have created a format that will allow our musicians to stay employed, our audiences to enjoy great music, and, most importantly, everyone to be safe.

By playing repertoire for smaller orchestra we can ensure social distancing on stage. By limiting audience capacity we can ensure the same is true in the auditorium. And for those who can’t be with us in person, we are offering a live-stream of our performances.

I am thrilled about our plans for this fall. Despite all the challenges, we get to enjoy our beloved Duluth Superior Symphony Orchestra and some of the greatest orchestral music: From Romantic Masters to today’s cutting edge composers, from Stravinsky’s edgy rhythms to Debussy’s soothing harmonies, our Fall Recomposed features simply amazing music! And, as an added bonus, we get to experience some of our incredibly talented musicians as soloists.

Concertmaster Erin Aldridge joins us for her rendition of Astor Piazzolla’s tango-inspired Four Seasons of Buenos Aires and principal cellist Betsy Husby will be our featured soloist in Haydn’s Concerto in C Major.

We will see what the new year holds in store. Maybe we will be able to continue with some of the programs that we had originally planned for. But if there is anything we have learned in these past few months, it is that we always need to adapt and be flexible. So, we will find creative ways to solve the challenges we face and whatever 2021 throws at us, we will be ready and ensure that the music keeps on playing.

Thank you for your continued support during these uncertain times. Enjoy the music, wherever you are, and we look forward to seeing you soon!

Dirk Meyer, Music Director Duluth Superior Symphony Orchestra

4 DULUTH SUPERIOR SYMPHONY ORCHESTRA

MUSIC DIRECTOR BIO As a champion of orchestral music, Meyer creates concert experiences that bring classical music to new audiences. These endeavors range from conversational concerts to multimedia perfromances, and include collaborations of all kinds. One of the most adventurous colloborations he created was Runway Duluth, a fashion and music collaboration that received national recognition and redifned what the concert experience can be.

DIRK MEYER GERMAN CONDUCTOR DIRK MEYER IS MUSIC DIRECTOR OF DULUTH SUPERIOR SYMPHONY ORCHESTRA (DSSO) IN MINNSOTA AND AUGUSTA SYMPHONY IN GEORGIA.

Having received much of his training in European opera houses, Meyer is passionate about opera and also holds the position of Music Director with the Lyric Opera of the North (LOON).

He has guest conducted many orchestras throughout the United States, including the Phoenix Symphony Orchestra, Symphoria in Syracuse, the Orlando Philharmonic, the Springfield Symphony Orchesta in Massachusetts, the Naples Philharmonic, and the Florida Orchestra. Other recent engagements have been with Toronto Symphony Orchestra and the Edmonton Symphony Orchestra in Canada, the New Bedford (MA) and East Texas Symphony Orchestras, as well as the Sarasota Orchestra in Flordia. In 2012, Meyer was named the winner of The American Prize in orchestal conducting.

Over the course of his career Meyer has earned an outstanding repution with musicans, audiences and critics, alike. His performance has been described as “most intimate and emotional” , “mesmerizing” and “out of this world” and his personable and entertaining style has made him an audience favorite.

6 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Most recently Meyer created The Beethoven Project, a collaboration between the DSSO and Minnesota Public Radio. During the five years of this project, the DSSO will perform and record all of Beethoven’s nine symphonies and, at the same time, create concerts and events that shed a light on the master’s works and bring his music to new audiences.

Maestro Meyer is the author of “Chamber Orchestra and Ensemble Repertoire: A Catalog of Modern Music”.

Published by Scarecrow Press with a foreword by David Daniels, this book is a resource for conductors, librarians, and adminstrators, providing them with performance infomation for approximately 4000 compositions.

Meyer’s special interest in contemporary music had led to him featuring world premieres by composers such as Miguel del Aguila and Eve Baglarian, as well as the American or regional premieres of works by Arvo Pärt, Einojuhani Rautavaara, Joby Talbot, Elliot Sharp, Jonathan Leshnoff, and Hugo Alfven.

Outside of North American Meyer has conducted many orchestras in Europe and abroad, including appearances in South Africa, the Czech Republic, and Germany, In the operatic world he has led performamces of Carmen and Don Giovanni with the Plovdiv Opera in Bulgaria and served as Assistant Conductor to the Michigan State University Opera Theatre, which he conducted in Puccini’s La Bohème and Stravinsky’s The Rake’s Progress.

From 2007 to 2011, Meyer served as Music Director to the Sarasota Youth orchestras, giving his Carnegie Hall debut in New York City with the Sarasota Youth Philharmonic in 2008.

Prior to his current appointments, Meyer served as Associate Conductor, and later Principal Guest Conductor of the Sarasota Orchestra in Flordia. Further appointments haved included Assistant positions with the Traverse Symphony (MI) and Missouri Symphony

WELCOME LETTER Dirk Meyer’s Biography, continued

Orchestras, as well as the Music Director positions with the Mason Symphony Orchestra in Michigan.

Meyer has studied with teachers like Neeme Järvi and Jorma Panula and, in addition, he assisted with numerious productions at the Deutsche Oper am Rhein (Germany),as well as at the Vienna State Opera (Austria) and the Teatro Real in Madrid (Spain).

He holds Doctor of Musical Arts and Masters degrees in orchestral conducting from Michigan State University, where he worked with Leon Gregorian and Raphael Jimenez. Here he also worked as Graduate Teaching Assistant. His Bachelor’s Degrees are from the Folkwang Conservatory in Germany (music) as well as University Duisburg-Essen (philosophy).

What a first season! A little over a year ago, I was standing on the Allete stage, introducing myself to Duluth and welcoming everyone to the start of our 2019-20 Season.

And now, I am writing to you as we measure out six feet from every chair on stage and invest in an infrastructure to bring our performances directly into your home. I can certainly say that I have learned a lot in my first year in Duluth – what roads to not travel after a snowstorm, the best patio to enjoy the summer breeze, and the details of the HVAC system at the DECC. Overall, the best thing I have learned is summed up in one word – resilience.

After our season was forced to cancel, we worked with our musicians to continue to bring music to the Northland. Through a loan from the Payroll Protection Plan program, we were able to provide up to 80% of the wages lost to our musicians from the cancelled concerts.

The musicians allowed us to rebroadcast four performances on WDSE, start a new partnership with KUWS and WPR for weekly radio broadcasts of archival recordings and create DSSO at Home, where on-demand performances were available for free. The latter element is the groundwork for our virtual performances, which is how some of you will be enjoying tonight’s concert.

Though at times it was uncertain exactly how, our goal has always been the same – to produce and perform great works of music that inspire you, no matter the program or the venue. We are very happy to be able to launch our fall season and welcome our musicians and our patrons. Your support and enthusiasm have kept us focused during the summer, and we cannot wait for us to be back together in full force for a concert in the future.

Sit back and enjoy our concerts, and thank you for your continuing to invest in the DSSO.

BRANDON VANWAEYENBERGHE EXECUTIVE DIRECTOR WELCOME LETTER

7 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Brandon VanWaeyenberghe, Executive Diretor Duluth Superior Symphony Orchestra

BOARD & STAFF

BOARD OF DIRECTORS 2020-2021:

STAFF AND ADMINISTRATION:

Mark Monson, Board President John Berchild, Past President Robert Bennett, Treasurer Sandra Barkley, Secretary

ADMINISTRATION

BOARD OF DIRECTORS

William Alexander Sandra Barkley Robert T. Bennett John Berchild Ruth Ann Eaton James Farkas Beth Gilbert Christabel Grant Jeremy Hoglund Tina Koecher James McLeod Michael Mollerus Mark Monson William “Buzz” Palmer, Fr. Andrew Ricci, Branden Robinson Kathleen Sanders James Sebastian Nairi Stack Rajiv Vaidyanathan Christopher Virta Roberta Vose HONORARY LIFE DIRECTORS

Elaine Killen Dexter Larsen Elisabeth Mason Nancy Melander James Zastrow

MUSIC DIRECTORS Dirk Meyer (2012 – present) Markand Thakar (2001 – 2012) Yong-yan Hu (1995 – 2000) Taavo Virkhaus (1977-1994) Joseph Hawthorne (1967-1977) Hermann Herz (1950-1967) Joseph Wagner (1947-1950) Tauno Hannikainen (1942 – 1947) Paul Lemay (1932 – 1942)

9 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Brandon VanWaeyenberghe, Executive Director Jessica Leibfried, Development & Donor Relations Melissa Lentz, Marketing & Promotional Manager Jean Larson, Patron Service Manager ARTISTIC STAFF

Dirk Meyer,The Charles A. & Carolyn M. Russell Music Director Ho-Yin Kwok, Assistant Conductor Heidi Lord, Director of Artistic Operations Maureen Breemeersch, Stage Manager Kristin Sande, Music Librarian CHORUS

Richard Robbins, Chorus Master Nikki Norland, Chorus Adminstrator Beth Sobczak, Chorus Pianist YOUTH ORCHESTRAS

Melanie Sever, Administrative Director & Concert Orchestra Conductor Ho-Yin Kwok, Youth Symphony Conductor Erin Aldridge, Sinfonia Coordinator Brett Jones, Percussion Ensemble Director Ronald Kari, Youth Orchestras Coordinator L AYOUT & DESIGN OF NORTHERN SOUNDS

Šek Design Toni Scrignoli PRINTING OF NORTHERN SOUNDS

Arrowhead Printing, Inc NORTHERN SOUNDS PROGRAM NOTES

Vincent Osborn, Program Notes Writer Ronald Kari, Performance Historian now in his 59th Season.

DULUTH SUPERIOR SYMPHONY ORCHESTRA

130 West Superior Street, LL2-120 Duluth, MN 55802 TICKETS

218–623–3776 tickets@dsso.com | www.dsso.com

TO YOU FROM COMING COMING THETO ALLETE TO YOU YOU FROM FROM STAGE THE THE ALLETE ALLETE STAGE STAGE COMING TO YOU FROM THE ALLETE STAGE

ET THE MEET MEET ORCHESTRA THE THE ORCHESTRA ORCHESTRA MEET THE ORCHESTRA

ER, THE CHARLES DIRK DIRK MEYER, MEYER, A. &THE CAROLYN THE CHARLES CHARLES A. M. A. &MUSIC & CAROLYN CAROLYN DIRECTOR M.M. MUSIC MUSIC DIRECTOR DIRECTOR DIRK MEYER, THE CHARLES A. & CAROLYN M. MUSIC DIRECTOR arris & Diane Sponsors: Sponsors: Balko; Harris Elisabeth Harris && Diane Diane C.Balko; Mason; Balko; Elisabeth Elisabeth The Charles C.C. Mason; Mason; A. The The &Charles Carolyn Charles A.A. &M. & Carolyn Carolyn Russell M.M. Russell Foundation Russell Foundation Foundation Sponsors: Harris & Diane Balko; Elisabeth C. Mason; The Charles A. & Carolyn M. Russell Foundation

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FIRST FIRSTVIOLIN: VIOLIN: FIRST VIOLIN:

Kristen Anderson Kristen Kristen Anderson Anderson Kristen Anderson Sponsor: Anonymous Sponsor: Sponsor: Anonymous Friend Anonymous ofFriend the Friend DSSO of of thethe DSSO DSSO Sponsor: Anonymous Friend of the DSSO Karen Durfee Karen Karen Durfee Durfee , Concertmaster Erin Erin Aldridge, Aldridge, Concertmaster Concertmaster Karen Durfee Erin Aldridge, Concertmaster Sponsor: Sponsor: Schoen Kenneth Kenneth Schoen Schoen d & Verna Sandbulte Sponsor: Sponsor: Arend in Arend support && Verna Verna of Sandbulte Sandbulte the in in support support of of thetheSponsor: Kenneth Sponsor: Kenneth Schoen Sponsor: Arend & Verna Sandbulte in support of the Mary NegusMary Mary Negus Negus chair through concertmaster concertmaster the Sandbulte chair chair through Orchestra through thethe Sandbulte Sandbulte Orchestra Orchestra Mary Negus concertmaster chair through the Sandbulte OrchestraSponsor: Anonymous Sponsor: Sponsor: Anonymous Friend Anonymous ofFriend the Friend DSSO of of thethe DSSO DSSO nd Leadership Leadership Fund Fund Sponsor: Anonymous Friend of the DSSO Leadership Fund Stephen Baillie Stephen Stephen Baillie Baillie re, AssociateColin Concertmaster Colin McGuire, McGuire, Associate Associate Concertmaster Concertmaster Stephen Baillie Colin McGuire, Associate Concertmaster Sponsor: Henry Sponsor: Sponsor: & Terry Henry Henry Roberts && Terry Terry Roberts Roberts Northern Mechanical/Plumbing Sponsor: Sponsor: TheThe Northern Northern Mechanical/Plumbing Contractors Mechanical/Plumbing Contractors Contractors Sponsor: Henry & Terry Roberts Sponsor: The Northern Mechanical/Plumbing Contractors Association Association Association VIOLA: VIOLA: VIOLA: nd, Assistant Steve Steve Concertmaster Highland, Highland, Assistant Assistant Concertmaster Concertmaster VIOLA: Steve Highland, Assistant Concertmaster mas & Barbara Sponsor: Sponsor: ElliottThomas Thomas && Barbara Barbara Elliott Elliott Kevin Hoeschen, Kevin Kevin Hoeschen, Principal Hoeschen, Principal Principal Sponsor: Thomas & Barbara Elliott raft Nicole Nicole Craycraft Craycraft Kevin Hoeschen, Principal Sponsor: Ruth Sponsor: Sponsor: R. Johnson Ruth Ruth R.R. in Johnson Johnson memory in in memory memory of Dr.ofTed of Dr.Dr. Ted Johnson Ted Johnson Johnson Nicole Craycraft Holt Sponsor: Sponsor: Glen Glen Holt Holt Sponsor: Ruth R. Johnson in memory of Dr. Ted Johnson Ronald Kari,Ronald Assistant Ronald Kari, Kari, Assistant Principal Assistant Principal Principal Sponsor: Glen Holt ders Kathleen Kathleen Sanders Sanders Ronald Kari, Assistant Principal Sponsor: Stephen Sponsor: Sponsor: & Stephen Lauri Stephen Cushing; && Lauri Lauri Cushing; Cushing; Ruth Ruth Ann Ruth Ann Eaton Ann Eaton Eaton Kathleen Sanders & Vicki Anderson Sponsor: Sponsor: Terry Terry && Vicki Vicki Anderson Anderson Sponsor: Stephen & Lauri Cushing; Ruth Ann Eaton Clare ChoppClare Clare Chopp Chopp Sponsor: Terry & Vicki Anderson Nairi Nairi Stack Stack Clare Chopp Sponsor: Martha Sponsor: Sponsor: Aas Martha Martha Aas Aas Nairi Stack k Brothers Mechanical Sponsor: Sponsor: Stack Stack Contractors; Brothers Brothers Mechanical Mechanical Contractors; Contractors; Sponsor: Martha Aas Jonathan Jonathan Kresha Kresha Sponsor: Stack Brothers Mechanical Contractors; Jonathan Kresha tender Tom Tom && Mimi Mimi Stender Stender Jonathan Kresha Sponsor: Nancy Sponsor: Sponsor: Odden Nancy Nancy & Odden Doug Odden &Britton & Doug Doug Britton Britton Tom & Mimi Stender t Joan Joan Halquist Halquist Sponsor: Nancy Odden & Doug Britton Kevin Peterson Kevin Kevin Peterson Peterson Joan Halquist s & Elizabeth Sponsor: Prest Sponsor: James James && Elizabeth Elizabeth Prest Prest Kevin Peterson Sponsor: Robert Sponsor: Sponsor: T. &Robert Barbara Robert T. T. && Barbara K.Barbara Bennett; K.K. Bennett; Bennett; Linda Linda Linda & Mark && Mark Mark Sponsor: James & Elizabeth Prest a Amanda Amanda Wirta Wirta Sponsor: Robert T. & Barbara K. Bennett; Linda & Mark Boben; RuthBoben; Frederick Boben; Ruth Ruth Frederick Frederick Amanda Wirta s & June Farkas Sponsor: Sponsor: James James && June June Farkas Farkas Boben; Ruth Frederick Kirsti Petraborg Kirsti Kirsti Petraborg Petraborg Sponsor: James & June Farkas ner Lindsey Lindsey Bordner Bordner Kirsti Petraborg Sponsor: Anonymous Sponsor: Sponsor: Anonymous Friend Anonymous ofFriend the Friend DSSO of of thethe DSSO DSSO Lindsey Bordner & Catherine Sponsor: Koemptgen Sponsor: Joel Joel && Catherine Catherine Koemptgen Koemptgen Sponsor: Anonymous Friend of the DSSO Judy MacGibbon Judy Judy MacGibbon MacGibbon Sponsor: Joel & Catherine Koemptgen evich Daniel Daniel Radosevich Radosevich Judy MacGibbon Sponsor: J. Clark Sponsor: Sponsor: & Jean J. J. Clark Clark A.&Laundergan & Jean Jean A.A. Laundergan Laundergan in memory in in memory memory of of of Daniel Radosevich rt & Angelica Sponsor: Sponsor: Fryberger Robert Robert && Angelica Angelica Fryberger Fryberger Sponsor: J. Clark & Jean A. Laundergan in memory of Warren & Viola Warren Warren Askeland & & Viola Viola Askeland Askeland Sponsor: Robert & Angelica Fryberger Warren & Viola Askeland J. David Arnott J. J. David David Arnott Arnott IOLIN: SECOND SECONDVIOLIN: VIOLIN: J. David Arnott SECOND VIOLIN: Sponsor: Sylvia Sponsor: Sponsor: Jamar Sylvia Sylvia Jamar Jamar Sponsor: Sylvia Jamar n, Principal Laurie Laurie Bastian, Bastian, Principal Principal CELLO: CELLO: CELLO: Laurie Bastian, Principal uie & James Sponsor: Sebastian Sponsor: Jacquie Jacquie && James James Sebastian Sebastian CELLO: Sponsor: Jacquie & James Sebastian d, AssistantJean Principal Jean Leibfried, Leibfried, Assistant Assistant Principal Principal Betsy Husby, Betsy Betsy Principal Husby, Husby, Principal Principal Jean Leibfried, Assistant Principal ra Barkley; Marcia Sponsor: Sponsor: & Sandra Sandra GaryBarkley; Doty Barkley; Marcia Marcia && Gary Gary Doty Doty Betsy Husby, Principal Sponsor: Christabel Sponsor: Sponsor: Christabel &Christabel James &Grant & James James Grant Grant Sponsor: Sandra Barkley; Marcia & Gary Doty Amy Amy Eichers Eichers Sponsor: Christabel & James Grant Lucia Magney, Lucia Lucia Assistant Magney, Magney, Assistant Principal Assistant Principal Principal Amy Eichers mas & Alice McCabe Sponsor: Sponsor: Thomas Thomas && Alice Alice McCabe McCabe Lucia Magney, Assistant Principal Sponsor: AnnSponsor: Mars Sponsor: Ann Ann Mars Mars Sponsor: Thomas & Alice McCabe by Michael Michael Husby Husby Sponsor: Ann Mars Julia Morehouse Julia Julia Morehouse Morehouse Michael Husby Schmugge, CPA Sponsor: Sponsor: Brad Brad Schmugge, Schmugge, CPA CPA Julia Morehouse Sponsor: Nancy Sponsor: Sponsor: Melander; Nancy Nancy Melander; Nancy Melander; Nancy &Nancy Mark && Mark Melhus Mark Melhus Melhus Sponsor: Brad Schmugge, CPA shev Olga Olga Chernyshev Chernyshev Sponsor: Nancy Melander; Nancy & Mark Melhus Eric Graf Eric Eric Graf Graf Olga Chernyshev & Walt Gower Sponsor: Sponsor: Kay Kay && Walt Walt Gower Gower Eric Graf Sponsor: Dean Sponsor: Sponsor: Peterson Dean Dean and Peterson Peterson Deband Rausch and Deb Deb Rausch Rausch Sponsor: Kay & Walt Gower on Leave in Yukina 20-21) Yukina Ono Ono (on(on Leave Leave in in 20-21) 20-21) Sponsor: Dean Peterson and Deb Rausch Rebecca M.Rebecca Peterson Rebecca M.M. Peterson Peterson Yukina Ono (on Leave in 20-21) & Lester Drewes Sponsor: Sponsor: Rose Rose && Lester Lester Drewes Drewes Rebecca M. Peterson Sponsor: Robert Sponsor: Sponsor: T. &Robert Barbara Robert T. T. && Barbara K.Barbara Bennett K.K. Bennett Bennett Sponsor: Rose & Lester Drewes ert Michael Michael Zellgert Zellgert Sponsor: Robert T. & Barbara K. Bennett Darin Anderson Darin Darin Anderson Anderson Michael Zellgert & May Nordling Sponsor: Sponsor: Vern Vern && May May Nordling Nordling Darin Anderson Sponsor: Dr.Sponsor: Michael Sponsor: Dr.and Dr. Michael Michael Sharon and and Sharon Mollerus Sharon Mollerus Mollerus Sponsor: Vern & May Nordling r Sarah Sarah Warner Warner Sponsor: Dr. Michael and Sharon Mollerus Jesse Nummelin Jesse Jesse Nummelin Nummelin Sarah Warner y & James Sanders Sponsor: Sponsor: Kathy Kathy && James James Sanders Sanders Jesse Nummelin Sponsor: Anonymous Sponsor: Sponsor: Anonymous Friend Anonymous ofFriend the Friend DSSO of of thethe DSSO DSSO Sponsor: Kathy & James Sanders Sponsor: Anonymous Friend of the DSSO

P E R I O R S Y M1 0 P1H D 0U O DLU N ULTYUHTO H SU RSPC UEP H REIER OSIRO T SR RYA SMYPMHPOHNOYN O Y ROCRHCEHSET SRTAR A 10 DULUTH SUPERIOR SYMPHONY ORCHESTRA

MEET THE ORCHESTRA

Elena Denny Sponsor: Anonymous Friend of the DSSO Scott Lykins Sponsor: Anonymous Friend of the DSSO

SAXOPHONE: Gregory Kehl Moore, Principal Sponsor: Anonymous Friend of the DSSO

DOUBLE BASS:

HORN:

Vincent Osborn, Acting Principal Sponsor: Lane Smith; Andrea Wahman & Lee Zimmerman Anthony Lischalk Sponsor: John Ivey Thomas & Mary Rees Thomas Family Fund*** James McLeod Sponsor: Branden Robinson Irving G. Steinberg Sponsor: Lurene Buhrmann Blake Bonde Sponsor: Carolyn Sundquist

James Pospisil, Principal Sponsor: James & Mary Zastrow Erika Hammerschmidt, Horn 2 Sponsor: Roger and Elaine Engle; Robert & Mary Evans Gwendolyn Hoberg, Horn 4 Sponsor: Susan Meyer

FLUTE: Claudia White, Principal Sponsor: Thomas & Janice Shuey Kathleen Winters, Flute 2 Sponsor: Anonymous Friend of the DSSO Hannah Peterson, Piccolo/Flute 3 Sponsor: Anonymous Friend of the DSSO

OBOE: Michael Dayton, Principal Sponsor: Gary Foley Darci Griffith Gamerl, Oboe 2 Sponsor: Dr. Dennis & Donna Soukup Sarah Carmack, English Horn/Oboe 3 Sponsor: Anonymous Friend of the DSSO

CLARINET: Jennifer Gerth, Principal Sponsor: William & Saundra Palmer Kristine Peterson, Clarinet 2 Sponsor: Kay & William Slack Theodore Schoen, Bass Clarinet/Clarinet 3 Sponsor: Karl Diekman

BASSOON: Michael Roemhildt, Principal Sponsor: Janet Sklaris, in memory of Frank Sklaris Jefferson Campbell, Contrabassoon Sponsor: Timothy Sandor

11 DULUTH SUPERIOR SYMPHONY ORCHESTRA

TRUMPET:

Earl Salemink, Principal Sponsor: Sharon & Robert Wahman Charles Leibfried, Trumpet 2 Sponsor: Jeff & Vickie Cadwell; Marcia & Gary Doty; David and Patricia Mast Thomas Pfotenhauer, Trumpet 3 Sponsor: Mark & Grace Monson

TROMBONE:

Larry Zimmerman, Principal Sponsor: Gale and Jeri Kerns; Roberta Vose James Erickson, Bass Trombone Sponsor: Mark Danielson & Theresa Smith

TUBA:

Steve Grove, Principal (on Leave in 20-21) Sponsor: Helena Jackson & Doug Dunham

TIMPANI:

Fred Morgan, Principal Sponsor: Ellen Marsden

PERCUSSION:

Gene Koshinski, Principal (on Leave in 20-21) Sponsor: Susan J. Relf Henry Eichman, Acting Principal Sponsor: Anonymous Friend of the DSSO

HARP: Janell Kokkonen Lemire, Principal Sponsor: Elaine Killen

KEYBOARD:

Beth Gilbert Sponsor: John & Kathy Berchild

STRINGS ATTACHED SATURDAY OCTOBER 17, 2020 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR ERIN ALDRIDGE, VIOLIN

Montgomery: Strum

7’

Piazzolla: Four Seasons of Buenos Aires Otoño Porteño (Autumn) Invierno Porteño (Winter) Primavera Porteña (Spring) Verano Porteño (Summer)

23’

Barber: Adagio for Strings, Op.11

8’

Tchaikovsky: Serenade for Strings, in C major, Op.48 28’ Pezzo in forma di sonatina: Andante non troppo — Allegro moderato Valse: Moderato — Tempo di valse Élégie: Larghetto elegiaco Finale (Tema russo): Andante — Allegro con spirito

14 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Sponsored by:

MUSICIAN PROFILE

successful in their chosen fields and role models in the community. In 2012 she received the Community Enrichment Award from the Duluth Depot Foundation Annual Artist Awards and was honored by the American Association of University Women as one of four “Created Here” artists in the Duluth-Superior area.

ERIN ALDRIDGE ERIN ALDRIDGE HAS WON NUMEROUS AWARDS AS BOTH SOLOIST AND CHAMBER MUSICIAN AND HAS BEEN FEATURED THROUGHOUT EUROPE, SOUTH AMERICA AND UNITED STATES.

She is a highly sought-after performer and pedagogue, and has been published in Strings Magazine. Dr. Aldridge maintains an active performance schedule as a soloist and chamber musician. She has been a soloist with the Duluth Superior Symphony Orchestra, the Lake Superior Chamber Orchestra, the Long Prairie Chamber Orchestra, the Mesabi Symphony Orchestra, and the Itasca Symphony Orchestra. She has been a guest artist at the Indiana University Summer Music Festival, Arizona State University, DePaul University Contemporary Concert Series, Madeline Island Music Camp, Ashland Chamber Music Series, National String Workshop, “Live at the Chazen” Concert Series, and has been broadcast on National Public Radio, the BBC, Minnesota Public Radio, and Wisconsin Public Radio.

In the Twin Ports area, Dr. Aldridge has received recognition as a prominent artist. In the spring of 2005, she was named concertmaster of the Duluth Superior Symphony Orchestra. She was selected for the “20 under 40” award by the Duluth News Tribune in the fall of 2007, an honor given to 20 professionals who are

15 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Dr. Aldridge attended Indiana University where she received her Bachelor’s degree in Violin Performance.

She received her Master’s degree and Performer’s Certificate in Chamber Music Performance from the University of Wisconsin-Milwaukee and was a member of the Leonard Sorkin Institute of Chamber Music under the direction of the Fine Arts Quartet. She continued her studies at the University of Wisconsin-Madison where she received her Doctor of Musical Arts degree in Violin Performance. Her primary teachers include Mimi Zweig, Josef Gingold, Nellie Shkolnikova, Rostaslav Dubinsky, Efim Boico, and Vartan Manoogian.

Erin Aldridge has several recordings, including her recording of Eugene Ysaÿe’s Six Sonatas for Solo Violin, Op. 27, and composer Justin Rubin’s Constellations for the MSR Classics label. In addition, she has done several recordings with acclaimed singer-songwriter Sara Thomsen as well as the Three Altos.

In 2003, Dr. Aldridge joined the music faculty at the University of Wisconsin-Superior. She serves as Professor of Violin and Director of Orchestras. She is also the Concertmaster of the Duluth Superior Symphony Orchestra and is on the faculty of the Indiana University Summer String Academy.

SPONSORED BY AREND & VERNA SANDBULTE IN SUPPORT OF THE CONCERTMASTER CHAIR THROUGH THE SANDBULTE ORCHESTRA LEADERSHIP FUND

MASTERWORKS 1

STRUM JESSIE MONTGOMERY: Born: 1981, in New York City, New York Work Composed: 2006; Revised in 2012 World Premiere: Hill Auditorium, Ann Arbor, Michigan Performance History: This performance of Strum is the first work by Ms. Montgomery to be played by the Duluth Superior Symphony Orchestra.

Instrumentation: String Orchestra.

Jessie Montgomery was raised in the Lower East Side of Manhattan by musical parents. She began violin studies at the Third Street Music School Settlement and continued on to receive a bachelor’s degree in violin performance from the Juilliard School. In 2012 she completed a master’s degree in Composition for Film and Multimedia at New York University. Montgomery became involved with the Detroit-based Sphinx Organization in 1999. The Sphinx Organization supports young African American and Latinx string players. She received multiple Sphinx awards and grants as a young performer and composer and now serves as composer-in-residence for the Sphinx Virtuosi, the organization’s professional touring ensemble.

Strum was commissioned by Community MusicWorks, an organization in Providence, Rhode Island whose mission is “to create cohesive urban community through music education and performance that transforms the lives of children, families, and musicians.” The revision was commissioned by the Sphinx Organization. The innocent beginning evokes a quasi folk/rock/bluegrass mood that moves into a Bartók-like asymmetrical development.

Montgomery writes of Strum that it “is the culminating result of several versions of a string quartet I wrote in 2006... Originally conceived for the formation of a cello quintet, the voicing is often spread wide over the

TO CREATE COHESIVE URBAN COMMUNITY THROUGH MUSIC EDUCATION AND PERFORMANCE THAT TRANSFORMS THE LIVES OF CHILDREN, FAMILIES, & MUSICIANS

16 DULUTH SUPERIOR SYMPHONY ORCHESTRA

ensemble, giving the music an expansive quality of sound.

Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration.”

JESSIE MONTGOMERY THE FOUR SEASONS OF BUENOS AIRES ASTOR PIAZZOLLA: Born: March 11, 1921 In Mar del Plata, Argentina Died: July 5, 1992 in Buenos Aires Work Composed: 1965-1970; arranged for solo violin with string orchestra by Leonid Desyatnikov, 1999 World Premiere: Complete suite on May 19, 1970, at the Teatro Regina in Buenos Aires, Piazzolla and his quintet

Instrumentation: String Orchestra with solo violin.

When Astor Piazzolla was four years old his family moved to Greenwich Village in New York City, which in those days was inhabited by a volatile mixture of gangsters and hard-working immigrants. Because his parents worked long hours, Piazzolla quickly learned that he had to take care of himself on the streets. He was exposed to jazz and classical music and would listen to his father’s records of tango orchestras. In 1929 his father bought his son a bandoneón from a pawn shop.

After a brief visit to Mar del Plata in 1930, the family returned and moved into Little Italy in lower Manhattan.

He composed his first tango, La Catinga, in 1932 and the

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following year he began music lessons with the Hungarian pianist Bela Wilda, who had been a student of Rachmaninoff. In 1934 he met one of the most important figures in the history of tango, Carlos Gardel. Gardel invited the young Astor to join his orchestra on tour, however his father decided he was not old enough. On that tour in 1935 Gardel and his entire orchestra perished in a plane crash. Years later Piazzolla made light of that fateful event saying that if his father had agreed to him joining the tour, he would be playing the harp instead of the bandoneón.

After years of performing in Buenos Aires, the development of his signature style called nuevo tango (new tango) started with his studies with Nadia Boulanger at the age of 33. She urged him to develop his language as a composer on a foundation of distinctly Argentinian sound. He recalled, “Up to then I had composed symphonies, chamber music, string quartets; but when Nadia Boulanger analysed my music, she said she could find nowhere any Piazzolla.” Hindemith, Ravel, Stravinsky, Bartók, but no Piazzolla. “Nadia made me play a tango to her and then she said, ‘You idiot! That is the real Piazzolla!’ So I threw away all the other music and, in 1954, started working on my New Tango.”

The Four Seasons is among the most advanced examples of Piazzolla’s New Tango style. The nervous, edgy passages at the beginning of Verano Porteño are Bartókian, but there is an abundance of the spacious melodies and harmonizations for which Piazzolla is famous. The original Seasons was written for his quintet of violin, piano, electric guitar, double bass and bandoneón.

Violinist Gidon Kremer commissioned Russian composer Leonid Desyatnikov to create a suite for solo violin and string orchestra in 1999. Desyatnikov expanded on the work to intensify links between Piazzolla’s Seasons and Vivaldi’s Four Seasons, which inevitably resulted in the two works being paired together in performances. It’s

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interesting to note that Desyatnikov, in pairing the two works, reinforces the cross-hemisphere associations: when it is summer in Italy it is winter in Argentina, therefore linking the seasons as they would be occurring simultaneously (for example using quotes from Vivaldi’s Summer in Piazzolla’s Winter).

The four movements of Piazzolla’s Seasons are (in the order of their respective composition dates): Verano Porteño (Buenos Aires Summer); Invierno Porteño (Buenos Aires Winter); Primavera Porteña (Buenos Aires Spring); and OtoñoPorteño (Buenos Aires Autumn). The adjective ‘porteño’ refers to those born in Buenos Aires and therefore Piazzolla gives us his impression of the four seasons in Buenos Aires.

YOU IDIOT! THAT IS THE REAL PIAZZOLLA ! SO I THREW AWAY ALL OTHER MUSIC & IN 1954, STARTING WORKING ON MY NEW TANGO.

ASTOR PIAZZOLLA

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ADAGIO FOR STRINGS SAMUEL BARBER: Born: March 9, 1910 West Chester, Pennsylvannia Died: January 23, 1981 New York City, New York Work Composed: 1936 World Premiere: November 5, 1938, by Arturo Toscanini conducting the NBC Symphony Orchestra in a radio broadcast from NBC Studio 8H (since 1975 the home of Saturday Night Live) in Rockefeller Center, New York City.

Performance History: This work has been played on the Masterworks Series in the 1941, 1950 & 1968.

The Orchestra also performed it as part of a memorial service at the Duluth Armory honoring the fallen in World War II on Sunday, March 18, 1945 (Tauno Hannikainen conducting). The Adagio has also been played on Pops concerts featuring film music (in 1990 & 1997) and on a DSSO Chamber music concert led by Taavo Virkhaus at the University of Minnesota Duluth’s Tweed Gallery in 1987.

Instrumentation: String Orchestra.

as a writer would who, having a clear, short, popular word handy for his purpose, got the dictionary and fished out along one.”

Because of the solemn mood of the Adagio it has been performed on many public occasions, especially during times of mourning: at the announcements of Franklin D. Roosevelt’s and John F. Kennedy’s deaths. It was played at the funerals of Albert Einstein, Princess Grace of Monaco and Mary Travers (of Peter, Paul and Mary). It was played to honor the victims of the September 11 attacks at Last Night at the Proms in 2001 at Royal Albert Hall and most recently on May 1, 2020, at the digital European Concert by the Berlin Philharmonic, conducted by Kirill Petrenko, for Coronavirus victims.

During Barber’s life he commented in an interview, “They always play that piece. I wish they’d play some of my other pieces.” Personally I would comment that, although many of Barber’s other works are indeed brilliant, the Adagio for Strings evokes such profound emotions that one cannot help but be drawn into its meditative state.

Barber’s Adagio for Strings has become a well-known work, heard by millions, many of whom have never heard of Samuel Barber. Yet in 2004 the listeners of BBC’s Today program voted Adagio for Strings as the “saddest classical” work ever, ahead of Gloomy Sunday as sung by Billie Holiday!

Adagio for Strings began life as the second movement of Barber’s String Quartet, Op. 11. Barber composed the quartet in 1936 while spending a summer in Europe with his partner Gian Carlo Menotti. The Adagio, in the quartet, follows a violent first movement and is succeeded by a brief reprise of the first movement that opens the third movement. In January 1938, Barber sent an orchestrated version to conductor Arturo Toscanini, who returned it without comment. Annoyed, Barber later learned from Menotti that Toscanini was planning on performing the work and had returned the score simply because he had already memorized it (Toscanini had eidetic memory). Olin Downes of the The New York Times praised the piece, “It is not pretentious music. Its author does not pose and posture in his score. He writes with a definite purpose, a clear objective and a sense of structure.” He goes on to call it “honest music, by a musician not striving for pretentious effect, not behaving

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SAMUEL BARBER

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SERENADE FOR STRINGS PYOTR ILL’YICH TCHAIKOVSKY: Born: May 7, 1840, Votkinsk, Russia Died: November 6, 1893, St. Petersburg, Russia Work Composed: 1880 World Premiere: October 30, 1881 in Saint Petersburg,

Eduard Nápravník conducting.

Performance History: On the DSSO Masterworks Series, only the Serenade’s second and third movements (Waltz and Elegy) have previously been played on March 26, 1954.

Instrumentation: String orchestra.

We know so much about Tchaikovsky by reading his letters to his patron and friend Nadezhda von Meck. We can be thankful that she must have been a packrat and kept all those letters. Just imagine if they were emails or texts… In a letter from October 1880 Tchaikovsky wrote to von Meck: “You can be assured, dear friend, that my muse has been benevolent lately, when I tell you that I have written two long works very rapidly: a festival overture for the upcoming Exhibition [in honor of the Silver Jubilee of Tsar Alexander II, and the completion of the Cathedral of Christ the Savior that was commissioned in 1812 by Tsar Alexander I to commemorate the Russian victory over Napoleon] and a serenade in four movements for string orchestra. The overture [the 1812 Overture] will be very noisy. I wrote it without much warmth and enthusiasm—therefore it has no great artistic value. The serenade, on the other hand, came from an inward impulse. I felt it, and I venture to hope that this work is not wholly lacking in artistic qualities.

The second movement, Valse, is one of the most beautiful of his many waltzes. Imagine a ballroom filled with the elegantly dressed, uppercrust of Russian society twirling around in huge circles. In some ways it is so understated that we don’t really appreciate its complexity and genius.

Tchaikovsky wrote to his publisher about the Serenade, “I am so violently in love with this work and cannot wait for it to be played.” The audience at the premiere responded likewise in demanding an encore of the second movement.

The Elegia is nothing but sheer beauty. Although the moniker Elegia might connote reflection or lament, it sounds more like a pas de deux in one of Tchaikovsky’s ballets. The final movement, Tema russo, employs a Volga boat-hauling song in the introduction and more folk material is used in the first dance-like theme. Tchaikovsky composed the Serenade and the 1812 Overture almost simultaneously and you may detect a few moments of similarity in this movement. Do you remember the opening chorale? Tchaikovsky uses it again, this time as an introduction to the rip-roaring coda providing an arching sense of unity to tie the entire work together.

Interestingly both pieces are among Tchaikovsky’s most popular and well-known works.

The Serenade for Strings, as it is widely known, opens with an extended fanfare-like chorale that leads into a lively theme. Tchaikovsky describes the first movement, Pezzo in forma di sonatina, as a deliberate imitation of Mozart’s style, although there is really nothing particularly Mozartean about it. Tchaikovsky may have imagined Mozart’s style in the late-19th Century. It is a lively movement that builds in intensity until it concludes with a reflection of the opening chorale.

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PYOTR ILL’YICH TCHAIKOVSKY

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AFTERNOON DANCES SATURDAY NOVEMBER 7, 2020 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR BETSY HUSBY, CELLO

Debussy: Prelude to" the Afternoon of a Faun

11’

Haydn: Cello Concert No. 1 in C Major I. Moderato II. Adagio III. Allegro molto

24’

Pärt: Fratres

12’

Stravinsky: Danses Concertantes I. Marche – Introduction II. Pas d'action – Con Moto III. Thème varié – Lento A. Variation 1: Allegretto B. Variation 2: Scherzando C. Variation 3: Andantino D. Variation 4 (Coda): Tempo giusto IV. Pas de deux – Risoluto – Andante sostenuto V. Marche – Conclusion

19’

22 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Sponsored by:

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DMA concerto competition, a member of the Poulenc Chamber Players on Long Island, and principal cello of the Stony Brook graduate orchestra.

BETSY HUSBY BETSY HUSBY HAS BEEN A MEMBER OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA FOR 45 YEARS.

Dr. Betsy Husby is a native of Duluth, MN, graduating from Central High School. As an accomplished pianist and cellist, she continued her studies at the University of Wisconsin Superior and subsequently earned her B.A., M.M., and DMA in cello performance at the State University of New York at Stony Brook, N.Y., studying Bernard Greenhouse and Timothy Eddy, cellists of the internationally renowned Beaux Arts Trio, and Orion String Quartet.

Highlights of her career have included performing in the 1986 Tchaikovsky Competition in Moscow, a live Minnesota Public Radio Broadcast of the technically demanding Prokofieff Sinfonie Concertante with the Duluth Superior Symphony Orchestra in 1988, and receiving Minnesota State Arts Board grants in 2004-2012 to do concert tours of the United States, Japan, France, and Russia and record a CD with pianist Dr. Alexander Chernyshev called Russian Extravaganza.

Dr. Husby began her solo, chamber music, and orchestral experience in New York where she was winner of the

23 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Husby has been principal cello with the Duluth Superior Symphony Orchestra for 35 years, and is principal cello and founding member of the Lake Superior Chamber Orchestra. She has been featured soloist on Minnesota Public Radio with the DSSO and Highland String Quartet, and has been featured with the Itasca Symphony Orchestra, Petrozavodsk Symphony Orchestra in Russia, Ashland Chequamegon Symphonette and the UWS, UMD and St. Scholastica Orchestras. In 2005, she was a featured artist on the Schubert Club Courtroom Concert Series in St. Paul, and at the Bernard Greenhouse 90th Birthday Celebration in Greensboro, N.C. In December 2020, she will be featured playing the Prokofieff Sinfonie Concertante with the Central Lakes Symphony Orchestra in Alexandria, Minnesota.

In addition to her performing career, Husby has completed the rigorous Bk. 1-10 pedagogical training in the Suzuki Association of the Americas short term teacher training courses, and enjoys teaching cellists of all ages. She has taught on the faculties of the State University of New York at Stony Brook, the University of Wisconsin, the College of St. Scholastica, the College of St. Benedict, and the University of Minnesota Duluth.

SPONSORED BY CHRISTABEL AND JAMES GRANT

MASTERWORKS 2

PRELUDE TO THE AFTERNOON OF A FAUN CLAUDE DEBUSSY: Born: August 22, 1862, Saint-Germain-en-Laye, France Died: March 25, 1918, Paris, France Work Composed: 1894 World Premiere: December 22, 1894, in Paris, Gustave Doret conducting at a concert of the Société National de Musique; Fradiani version: June 19, 2018, in Freiburg, Germany Performance History: Tonight marks the DSSO’s eleventh Masterworks Series performance of this work.

It was also heard in 1936, 1941, 1946, 1953, 1958 1970, 1980, 1988, 1998 and on April 17, 2010.

Instrumentation: Flute, oboe, clarinet, horn, harp (or piano) and strings.

Claude Debussy was one of the most influential composers of the late 19th and early 20th centuries. He developed his own style of harmony and orchestral coloring, leading him to be considered the first Impressionist composer, although he vigorously rejected the term. Impressionist is mostly used to describe the late 19th century French paintings of Monet, Pissarro, Renoir and others. English musicologist Richard Langham Smith describes it as musical compositions that are “concerned with the representation of landscape or natural phenomena, particularly the water and light imagery dear to Impressionists, through subtle textures suffused with instrumental color.” Some of Debussy’s most well-known orchestral works that reflect this style include Nocturnes, Images, La Mer and Prélude à L’après-midi d’un faune.

The Prelude is one of Debussy’s most famous works and is considered a turning point in the history of music. Pierre Boulez considered it the beginning of modern music, saying that “the flute of the faun brought new breath to the art of music.”

PIERRE BOULEZ CONSIDERED IT THE BEGINNING OF MODERN MUSIC, SAYING THAT “THE FLUTE OF THE FAUN BROUGHT NEW BREATH TO THE ART OF MUSIC.”

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CLAUDE DEBUSSY French poet Stéphane Mallarmé’s poem L’après-midi d’un faune provided the inspiration, as Debussy described: The music of this prelude is a very free illustration of Mallarmé's beautiful poem. By no means does it claim to be a synthesis of it. Rather there is a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. Then, tired of pursuing the timorous flight of nymphs and naiads, he succumbs to intoxicating sleep, in which he can finally realize his dreams of possession in universal Nature.

The unsuspecting audience at the premiere had never heard such free and sensuous music before. The improvisational quality would become a Debussy trademark. The premiere’s conductor Gustave Doret recalled that first performance: There was a vast silence in the hall as I ascended the podium with some emotion, but full of confidence. I waited a long moment, after imposing silence on the audience, then our marvellous flutist Barrère unrolled his opening theme. Suddenly I felt behind my back a completely captivated public! The triumph was complete, so much so that I did not hesitate to break the rule forbidding encores. The orchestra was delighted to repeat this work, which it had come to love and which, thanks to them, the audience had now accepted.

Although Mallarmé was not pleased that his poem was being used as a basis for music, he wrote to Debussy after the premiere, “I have just come out of the concert, deeply

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moved. The marvel! Your illustration of The Afternoon of a Faun, which presents no dissonance with my text, but goes much further, really, into nostalgia and into light, with finesse, with sensuality, with richness.”

CELLO CONCERTO IN C MAJOR FRANZ JOSEPH HAYDN: Born: March 31, 1732, Rohrau, Austria Died: May 31, 1809, Vienna, Austria Work Composed: 1783 World Premiere: Between 1761 and 1765, most likely the Esterházy Orchestra, Joseph Franz Weigl, soloist; Modern premiere on May 19, 1962, in Prague, Czech Radio Symphony conducted by Charles Mackerras, Miloš Sádlo, soloist Performance History: The only previous DSSO performance of this Concerto was on February 10, 2001.

Mark Kosower was the soloist and Music Director candidate Andrew Sils conducted.

Instrumentation: Two oboes, two horns, strings and solo cello.

After struggling as a freelancer Haydn found full-time employment with Count Morzin as his Kapellmeister (bandleader) in 1757. Haydn wrote his first symphonies for the count’s small orchestra based at the palace in Dolni Lukavice (near Pilsen, Czech Republic). Count Morzin soon suffered financial difficulties that forced him to dismiss his orchestra and its Kapellmeister around 1760-61. Haydn was quickly offered employment as the assistant Kapellmeister by Prince Paul Anton, head of the immensely wealthy Esterházy family. Haydn was in charge of most of the music, with the exception of the church music that remained under the authority of the old Kapellmeister Gregor Werner. When Werner died in 1766, Haydn was promoted to full Kapellmeister status.

For nearly thirty years Haydn worked at the Esterházy court and produced an enormous amount of music.

The principal cellist of the orchestra was a longtime friend of Haydn, Joseph Franz Weigl (1740-1820). It is generally accepted that this concerto was written for him around 1761 to 1765. Yes, I am being a bit vague here because the work was presumed lost until 1961… you read that right, 200 years! In his old age Haydn prepared a “Draft Catalogue” of his own works with the interesting title “List of all the compositions which I can at present

25 DULUTH SUPERIOR SYMPHONY ORCHESTRA

remember having composed from my eighteenth until my seventy-third year.” Like most composers Haydn also kept catalogues showing the opening measures of his compositions. Czech musicologist Oldřich Pulkert discovered an eighteenth-century manuscript of the missing Concerto in the Prague National Museum in 1961. Because of the previously mentioned catalogues it was easy for him to establish the composer’s identity, but not in determining a composition date. The prevailing opinion of the experts, based on the work’s placement in the “Draft Catalogue” and stylistic criteria, was that it came from the beginning of Haydn’s Esterházy years.

Although Haydn composed the Concerto around 1761-65, it remains vibrantly alive in the Baroque style while breaking through those limits. A Baroque concerto usually has the orchestra state a theme followed by the solo instrument repeating it (sort of like a call and echo) and the accompaniment mostly features responsive interjections instead of the active interplay with the soloist that we hear in the Classical concerto. With this Concerto Haydn is clearly pushing the boundaries with his more lyrical melodies, especially in the second movement, and giving the orchestra a more prominent role as accompanist. Now, less than sixty years after its discovery, Haydn’s Cello Concerto No. 1 has become his most well-known concerto for the cello and has been performed and recorded by nearly every great cellist since.

FRANZ JOSEPH HAYDN

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FRATRES ARVO PÄRT: Born: September 11, 1935, Paide, Estonia Work Composed: 1977 World Premiere: April 29, 1983 Performance History: The only other piece by Pärt previously given by the DSSO was Cantus to the Memory of Benjamin Britten on November 20, 1981.

Instrumentation: String orchestra and percussion (claves, bass drum or tom-tom).

From 2011 to 2018 Arvo Pärt was the most performed living composer in the world. He lost the top spot in 2019 to John Williams. Pärt’s musical education began at the age of seven when he attended music school in the northern Estonian city, Rakvere, where he lived with his mother and step-father. In 1954 he attended the Tallinn Music Middle School, but had to leave it to fulfill his military service requirement, playing oboe and percussion in the army band. After the military he attended Tallinn Conservatory, where he studied composition with Heino Eller. Pärt found some success in his compositions and other musical work, however the controlling influence of the Soviet Union continued to decide what was deemed acceptable. In 1968 he composed his first overtly sacred piece, Credo, which led him to a huge turning point in his career and life. The religious nature of this piece resulted in Pärt being unofficially censored and his music disappeared from the concert halls. He composed very little for the next eight years and focused on the study of medieval and Renaissance music hoping to find a new musical language.

When Pärt re-emerged as a composer in 1976, he introduced a new compositional technique and style which he called tintinnabuli, from the Latin tintinnabulum, a bell. It is characterized by two voices, the first arpeggiates the tonic triad, and the second moves diatonically in a stepwise motion. Usually performed in a slow, meditative tempo, the minimalist approach allows

HERE I AM ALONE WITH SILENCE. I HAVE DISCOVERED THAT IT IS ENOUGH WHEN A SINGLE NOTE IS B E A U T I F U L LY P L AY E D .

26 DULUTH SUPERIOR SYMPHONY ORCHESTRA

ARVO PÄRT for the listener to find their own inner peace. As Pärt explains it: Tintinnabulation is an area I sometimes wander into when I am searching for answers—in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning....

Tintinnabulation is like this.

Here I am alone with silence. I have discovered that it is enough when a single note is beautifully played. This one note, or a silent beat, or a moment of silence, comforts me. I work with very few elements— with one voice, with two voices. I build with the most primitive materials—with the triad, with one specific tonality. The three notes of the triad are like bells. And that is why I called it tintinnabulation.

Fratres has three main voices: one voice provides the low drone in A and E; the middle voice is restricted to the notes of an A minor triad (A, C, E); and the two parts (low and high) of the third voice are each restricted to playing notes from the D harmonic minor scale (D, E, F, G, A, Bb, C#). Chords are created by the movement of the three voices. The low voice starts at C# and the high voice starts at E. Both these voices move up or down the D harmonic minor scale at the same time. The middle voice starts at A and plays a different pattern using only the notes of the A minor triad. All of this happens over the drone and the resulting chords create ambiguity since both C# and C are present, giving it an A major or A minor sonority.

There is no definitive instrumentation for Fratres; rather than concrete sounds, this is music of ideas and its meditative quality allows for inner reflection.

MMAASSTTEERRW WOORRKKSS 22

DANSES CONCERTANTES IGOR STRAVINSKY: Born: June 17, 1882, St. Petersburg, Russia Died: April 6, 1971, New York, NY Work Composed: 1942 World Premiere: February 8, 1942, in Los Angeles, Werner Janssen Orchestra, Stravinsky conducting Performance History: This performance is the DSSO’s first of this work.

Instrumentation: Flute, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani and a string section specified as six violins, four violas, three cellos and two double basses.

By 1941 Stravinsky had married his second wife, Vera de Bosset (his first wife of 33 years, Katya, had succumbed to tuberculosis in March 1939) and the newlyweds settled in Hollywood. Having also been infected with tuberculosis, he hoped that the warm California climate would benefit his health. Danses Concertantes was commissioned by Hans-Werner Janssen for his orchestra. Although the work was intended as a concert piece, Stravinsky set it in the form of an abstract ballet and George Balanchine choreographed it for a 1944 production by the Ballet Russe de Monte-Carlo.

Danses Concertantes has an important historical footnote in Stravinsky’s biography; it was his first orchestral work to have been completely composed in the United States. It is interesting to note the stylistic differences between Danses and Scherzo à la russe, which he composed only a couple of years later. Although the commission for Scherzo came from the jazz band leader, Paul Whiteman, Stravinsky shows how easily he could change his style from the neo-classical Danses to the jazz stylings of 1940s America in Scherzo.

27 DULUTH SUPERIOR SYMPHONY ORCHESTRA

In February 1945 there was an extended series of concerts devoted to Stravinsky’s work in France. Danses premiered at the second of those concerts and was met by vocal protests from a group of students from Olivier Messiaen’s class who found Stravinsky’s neoclassicism to be intolerably old-fashioned. To give it some perspective, Messiaen composed his Quatuor pour la fin du temps (Quartet for the End of Time) as a WWII prisoner in 1940 and in 1943 he wrote Visions de l’Amen (Visions of the Amen) for two pianos. Stravinsky and Messiaen were about as far apart stylistically as Mozart and Black Sabbath.

There are five movements to Danses Concertantes: Marche, Pas d’action, Thème varié, Pas de Deux, and Marche - Conclusion. As the titles suggest, the work is definitely dance-like and little wonder that it was soon choreographed. Since then, numerous other choreographers have set dancers to Stravinsky’s cheerful Danses Concertantes.

IGOR STRAVINSKY

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BENTLEYVILLE HOLIDAY SPECTACULAR SATURDAY DECEMBER 5, 2020 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR STRIKEPOINT HANDBELL ENSEMBLE BILL ALEXANDER, DIRECTOR

Anderson: Sleigh Ride Tchaikovsky: Excerpts from The Nutcracker Suite, Op. 71a Russian Dance (Trepak) Dance of the Sugar Plum Fairy Waltz of the Flowers Leontovych: Carol of the Bells Christmas Medley I Bernard, arr. Custer : Winter Wonderland Stillman & Allen, arr. Hayes: (There’s No Place Like) Home for the Holidays Vaughan Williams: Fantasia on Greensleeves Custer: It’s Christmas Time Holcombe: Festive Sounds of Hanukah Torme & Wells: The Christmas Song Cahn & Styne: Let It Snow, Let It Snow, Let It Snow!

Willson, arr. Hayes: It’s Beginning to Look A Lot Like Christmas Traditinal: Bell Carol/In Dulci Jubilo Gruber: Silent Night Christmas Medley V Silvestri & Ballard: The Polar Express Tiomkin: Suite from “It’s A Wonderful Life” Prologue Theme Christmas Eve Finale All Strikepoint carols arranged by Matthew Naughtin and Greg Kehl Moore.

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DULUTH SUPERIOR SYMPHONY ORCHESTRA

Sponsored by:

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recording, “Reflections,� is simply "music to calm the mind and restore the spirit." It has been used by thousands for meditation, yoga, and music therapy. Other available recordings include "Top Rung," a combination DVD with bonus CD, and four additional titles on CD. Strikepoint recordings have been featured on local, national, and international broadcasts, and their social media posts have a large following.

A Strikepoint concert is guaranteed to provide a fast-paced, high energy, rollicking good time!

STRIKEPOINT

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Strikepoint, from Duluth, Minnesota, is a church-based, community/professional handbell ensemble. Led by artistic director Bill Alexander, this eleven-member group performs in a directorless ensemble setting.

College students and community members have joined with selected ringers from the four bell ensembles at Duluth's First United Methodist Church to provide a consistently high level of musicianship since Strikepoint began in 1984. Strikepointers are often high school students, and sometimes as young as 13.

Annual summer tours have taken the group throughout the continental U.S. as well as to England, Scotland, Wales, Japan, Canada, Hong Kong, Sweden, and Hawaii.

Strikepoint has been the featured performer at numerous Area and National Handbell Festival Conferences, as well as five National Handbell Directors' Seminars.

Strikepoint rings six-plus octaves of bronze Schulmerich handbells, seven octaves of handchimes, two octaves of Silver Melody Bells, and three octaves of Petit and Fritzen handbells, along with a range of other instruments as needed.

Noted for capturing the enthusiasm of audiences with a dynamic style and accessible music, Strikepoint's concert selections can range from Bach to Lady Gaga and include music both familiar and new. Strikepoint's most recent

31 DULUTH SUPERIOR SYMPHONY ORCHESTRA

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HOW TO DONATE

WAYS TO SUPPORT THE DULUTH SUPERIOR SYMPHONY ORCHESRA

Just as it takes an ensemble to perform the great works of Beethoven, so it takes a collection of individuals to support the work of the Duluth Superior Symphony Orchestra. When you give to the DSSO, you are supporting an organization that is a cultural cornerstone of the Twin Ports region, bringing together the best of our local musicians to entertain, educate and enrich the lives of more than 20,000 individuals each year.

Your ticket purchase tonight was important - but it only covers a quarter of our annual operating expenses.

Individual donors play an important part in helping the Symphony bridge that gap. Each season, gifts from individuals provide more than 60% of our contributed income. That means donations of any size make a big difference and support out efforts to share great music with everyone in the community.

MOST COMMON WAYS TO MAKE A GIFT TO DULUTH SUPERIOR SYMPHONY ORCHESTRA In Person - Come say hello to us at the tables in the lobby. We want to hear your stories about concerts you have enjoyed over the years Call the Office - We are happy to process your donation over the phone and love it when people call. (Did you know more than 50% of all single ticket sales are done over the phone!?)

Donate Online - Give securely by visiting www.DSSO.com/give Mail Us a Check - We know it can be old-fashioned, but our office loves getting mail.

3 4 D U L U T H SU P E R I O R SY M P H O N Y OR C H E S T R A

ADDITIONAL OTHER WAYS TO MAKE A GIFT Monthly Giving- Sign up for a monthly donation that can be automatically deducted from your credit card or checking account.

Stock Donations- You can transfer appreciated stock as a gift that is fully tax-deductible IRA Distribution- Make a distribution directly from your IRA to the DSSO.

PERPETUAL SUPPORT VIA THE LEGACY SOCIETY: The Legacy Society recognizes and honors the visionary individuals, couples, and families who have included the DSSO in their estate plans, ensuring that the music you care about continues into the future. To join the Legacy Society, you can make a bequest to the DSSO as part of your Will, name the organization as a beneficiary in a policy or retirement fund or provide a direct cash donation into our endowment.

To begin, contact your attorney and ask for the DSSO to be included in your Will, Trust or policy. Then contact the DSSO office and we can provide you with a membership form so we can begin recognizing your generosity and including your gift in our future planning.

In recognition of their support, Legacy Society members are listed in all concert Program Books and are invited to an exclusive annual benefit event each year.

BUSINESS SUPPORT: The Duluth Superior Symphony Orchestra (DSSO) is proud to be a part of the Twin Ports business community.

The Symphony is an employer, a downtown tenant, a consumer, an advertiser, and a member of the Chamber of Commerce. We understand that each company has different needs and motivations, from marketing and brand identification to client and employee entertainment and recognition, and more. We welcome the opportunity to discuss your corporate objectives and identify customized ways we can work together for mutual benefits.

DSSO CONTRIBUTORS

THANK YOU TO THE FOLLOWINGS CORPORATE AND INDIVIDUAL CONTRIBUTORS WHO HAVE GIVEN IN SUPPORT OF THE DSSO SINCE AUGUST 31, 2020

MAESTRO ($25,000 AND UP) Margaret Dale Ames Lifetime Trust McKnight Foundation Minnesota State Arts Board The Charles and Carolyn Russell Family Foundation US Bank

PRINCIPAL ($10,000 AND $24,999) Essentia Health Helena Jackson & Doug Dunham Elisabeth C. Mason Wildey H. Mitchell Family Foundation Pachel Foundation William & Saundra Palmer Verna & Arend Sandbulte in support of the concertmaster chair through the Sandbulte Orchestra Leadership Fund Janet R. Sklaris St. Luke’s Hospital Muriel Whiteside Charitable Trust Mary & James Zastrow

GUEST ARTIST ($6,000 AND $9,999) Martha Aas Arrowhead Regional Arts Council Duluth News Tribune The Estate of Mr. John Elliott James & Christabel Grant St. Luke’s Hospital Sharon & Michael Mollerus North Shore Bank Henry & Terry Roberts

FULL CHAIR ($4,500 AND $5,999) Allete, Inc.

Dr. Vicki & Terry Anderson Harris & Diane Balko Robert T. & Barbara K. Bennett John & Kathy Berchild Elizabeth & Richard Burns Barbara & Tom Elliott Mark Danielson & Theresa M. Smith Gary Foley Beth Gilbert Happy Sleeper Mattress Elaine Killen Ellen Marsden Nancy Odden & Doug Britton Robert & Sharon Wahman

HALF CHAIR ($2,500 AND $4,499) Stack Brothers Mechanical Contractors Linda & Mark Boben Laura Budd Adelaide M. Cline Northern Mechanical/Plumbing Contractors Association Marcia & Gary Doty Ruth Ann Eaton Mark & Nancy Melhus Mark & Grace Monson James & Kathleen Sanders Brad Schmugge, CPA Jacquie & Jim Sebastian Jane S. Smith Memorial Fund

QUARTER CHAIR ($1,200 AND $2,499) Anonymous Natascha & Ramin Artang Sandra Barkley BNSF Railway Foundation Judge David & Gloria Bouschor Jared & Leslie Broadway Lurene Buhrmann Jeffrey & Vickie Cadwell The Cecilians Society

36 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Alison Clarke Stephen & Lauri Cushing Rose & Lester Drewes Elaine & Roger Engle Rondi Erickson Robert & Mary Evans James & June Farkas Robert & Angelica Fryberger Kay & Walt Gower Jeremy Hoglund and Andréa Mueller Hoglund Glen Holt Sylvia Jamar Jeri & Gale Kerns Joel & Catherine Koemptgen Matthew & Tina Koecher Family Diane M. Kolquist & James Seitz J. Clark & Jean Laundergan in Memory of Warren & Viola Askeland Ann Mars David & Patricia Mast Tom & Alice McCabe Nancy Melander Susan Meyer Nordling Family Fund May & Vern Nordling Dean Peterson & Deborah Rausch Father Andrew Ricci Timothy & Adeline Sandor in Memory of Joseph A. Sandor Kenneth Schoen Thomas & Janice Shuey Lane Fryberger Smith Donna & Dennis Soukup South Pier Inn Tom & Mimi Stender Carolyn Sundquist Richard & Cecile Swenson John Ivey Thomas & Mary Rees Thomas Family Foundation Fund Roberta Vose Andrea Wahman & Lee Zimmerman Gudrun & Geoffrey Witrak

CONTRIBUTORS

ACCELERANDO ($600 TO $1,199) Daniel & Marjorie Bergeland Mary Ann & Dell Bernard Jan Biga Terrence & Kathleen Clark Margaret Foss Harold & Ruth Frederick Jeremy & Carol Fryberger Carlton & Judy Gustafson Joan & Thomas Hedin Pamella Jacobson Taylor Johnson Margaret Joynes Kiwanis Club of Friendly Duluth Robert & Priscilla Knighton Mr. & Mrs. Knuti in Memory of Erik G. Knuti and in Honor of James Erickson Dennis Lamkin Donn Larson Cheryl & Joe Meese William & Irene Moser Heather A. Muster Gerald & Mary Ann Ostroski Susan J. Relf William & Kay Slack Patrick Spott & Kay Biga Valentini’s Vicino Lago

ADADGIO ($200 TO $599) Anonymous Benedictine Sisters of St. Scholastica Monastery Bill Anderson Allen Anway in Memory of Dorothy Anway Leonore Baeumler Jean & Tom Brozic Doug & Karen Buell Jan Carey Mark & Cathy Casper Marian Congdon Kate Dean Dorene Degidio R.Craft & Ellie Dryer

Tom & Joanne Ellison Margaret Fawcett Martha & Conrad Firling John M. Fochs Kayla & Dan Foley Julie A. Ford Claudia French Diane Dinndorf Friebe & Joseph M. Friebe Patricia Gannon John Gibbs Richard & Karen Gran Barbara & William Gravelle Hope Heikkinen Robert & Lois Heller Barbara & Bob Hjort Paul Holm Wayne Holmberg Jane & Jack Jarnis Mr. James Jarocki & Ms. Kristin Blakeslee Dr. David Jennings Dennis Johnson Ruth R. Johnson Barbara Johnson-Kim Ronald Kari in Memory of Bradley Bombardier Milka Kleiner John, Judith & James Lampi Martin Lee, RN, MBA Charlie & Jean Leibfried Paul & Nancy Lokken Dr. John & Mrs. Michelle Magdsick Gary & Darla Meier Betty Melde Dirk & Paula Meyer Norma Miles Pam Moore & Jon Stephenson Dan & Cathy Mundt Judith A. Newman Barbara L. Olson in Honor of Betty A. Melde & in Memory of R. James Melde David J. Ouse Kevin & Rebecca Peterson Branden Robinson Gerald Ruona Dr. John Schrock & Mary Berube

37 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Tobin Sobaski Mark T. Signorelli James & Judith Stewart Thom & Cindy Storm Anita Swanson Thirsty Pagan Brewing Thrivent Financial Sharon L. Torrison in Memory of David Vose & Don Niemi Rajiv Vaidyanathan Mark & Carol Weitz Pat Wellberg Elaine Wickman

TEMPO (UP TO $199) Janet Akervik James J. Amato John & Cathy Ameel Deb Anderson & Ed Herzog Richard & Yvonne Anderson Patricia Anscomb Kathy Antilla Allen Apter Judith & James Bailey Lee Ball Jane & Thomas Barthell Susan Bathory & Donald Lane Barbara Bentz David & Karen Bjorkman Ronald & Terry Blaisdell Joanne M. Blakeslee Charles Block & Kathryn Nettleman Gary Boelhower & Gary Anderson Angie Bomier Shirleyann Brandser Wendy Buczynski Nathan Carlsgaard Peggy Carlson Nancy Carroll David Carter Timothy & Leslie Churchill Dianna Crandall Bill and Kathy Croke Carolyn & Alan Diamond Michael & Carol Donahue Tom & Mary Donahue in Memory of Anne & Daryl Leibfried

CONTRIBUTORS

Jeanne Doty Julie & Phil Eckman Duraine Egan Hendershot Joe Ehlers & Sarah Nelson Jeff Elliott Karen Erickson Marie Fegley Diane Felde-Finke David Flemming Edward Flenz Donald Gaalaas in Honor of the Youth Orchestras Program Robert Goodin Paul Gustad Joanne Hagen Mary K. Hagen Elizabeth Hall Larry & Jean Hammargren Martha Han Rose Heldt David Helf Sandra & Thomas Henning Jim & Shirley Herman Robert & Joyce Hickman Karen Hoeschen Kevin & Carol Hoeschen Patricia Holliday Diane Holliday-Welsh Mary Ann & Oliver Houx Pat Jirsa Donald & Mary John Edna & George Johnson Marlene Johnson Matthew Johnson Carol & Bob Kelley Sharon & Jack Kemp Robert Kidd Patti Kleimola Dorothy Knudsen Katie & Bob Kuettel Damien Kujawa Dr. Jerome Kwako Katie LaBrie Anne Laible Devereaux Lalond Barb Lamaster Paul Lee Jessica Leibfried Melissa Lentz

Ketti Lindberg Patricia Luder Joyce Lund Charlie Lydon Judy MacGibbon Joan Mahle Lisa Mandelin Audrey Markon Sam Marks James Martin Patricia Young Massie Joseph & Jodi Milli William Miner Tom & Julie Morgan Catherine Morin Bruce & Nora Moss Janet & John Murphy Nancy Neilson Susan Nelson Kristina Niere Ryan & Natasha Nordrum in Memory of Dirk Robert Nordrum Marlys Olson Terry Olson Margaret Oman Mary Ostman John Pastor Barb Pearman Judy G. Pearson Ann Pellman Marylou Perham Greg Pesola Barry & Elizabeth Peterson Richard & Linda Peterson Anne Peterson Bauers Mary Kay Plank Antoinette Poupore-Haats James Proudlock Nancy & Roger Ralston Deborah Ralston-Wolfe Suzanne Rauvola Frances L. Reed Jack Renick Paul Rigstad Delores Rogers Steve & Janet Rosen Michael & Betsy Rosenzweig Geraldine Russo

38 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Carol Saranpaa Eileen Schantz-Hansen Carl Schroeder Linda Schwartz Judy Seliga-Punyko Chris Settle Helen Sever Eugene Shull James Slocum Beth Sobczak Barbara Soufflet Lawrence Spears Carol Spencer Nairi Stack Craig & Sandra Sterle Robert & Zabelle Stodola Rebecca Strand Claryce Swensen Barbara Teske Kathleen Thibault Ruth Thorpe in Honor of Vincent Osborn Donna Trostad Nancy Turchi Sharon van Druten Judith Van Dyne Brandon VanWaeyenberghe Therese Vaughn Jennifer Wabrowetz Dana T. Waldbillig Jori & Chuck Walt Sheldon & Susan Watts Elizabeth Weberg Trevor L. White in Memory of Alberte & Trevor White Kirby & Cathy Wood Jay & Helyn Woolf Beva Lee Wunderlich

Proud to Support DSSO Shops

A Place For Fido Duluth Kitchen Co. Fitger’s Brewhouse Beer Store Fitger’s Wine Cellars Gourmet Market Lotus on the Lake The Bookstore at Fitger’s The Snow Goose Trailfitters Whimsy

Restaurants Fitger’s Brewhouse Mexico Lindo The Boat Club

Nightclubs The Barrel Room Rex Bar

Services

Fitger’s Salon & Spa

Duluth’s Historic Fitger’s Inn ~ Proud sponsors of the featured artist! * FREE covered parking with validation!

AN UPDATE FROM THE

EXECUTIVE DIRECTOR

BRANDON VANWAEYENBERGHE

BRANDON WAS INTERVIEWED BY JESSICA LEIBFRIED ON SEPTEMBER 30, 2020,

How long has it been now since you assumed the role of Executive Director for the Duluth Superior Symphony Orchestra (DSSO)?

I started in September of 2019 so it’s been a little over a year.

What do you see as the main responsibility of your work as the leader of this organization?

I oversee all the tasks associated with putting on concerts that are on the administrative side, within support the work that happens on the creative side. My job is to make sure those tasks happen so the creativity can flourish.

Another main responsibility is to look for opportunities to connect with people and serve our community. I view myself as the administrative “change agent.”

What are 3 things you are most proud of accomplishing in year one?

Well, first off, these accomplishments were not mine alone and I could not have done it without the team of people around me here. It’s been an amazing first year.

Things we accomplished as a team: we paid off $200,000 of accumulated deficit (during a pandemic!); secured a new 2-year contract with musicians (during a pandemic!); and launched a digital platform called DSSO at Home to share music with the community from the safety of their homes (during a pandemic!). Our friends at Wisconsin Public Radio also helped bring music from our archives to listeners across the Twin Ports on Thursday evenings and we are so grateful to them for making music accessible while live concerts could not happen. Did I mention that we managed this during a pandemic?!

What are some of the biggest challenges you’ve encountered and what experiences/personal characteristics have aided you in tackling those challenges head on?

I’m no stranger to working through difficult times. My tenure at the Houston Symphony Orchestra was bookended by Hurricane Ike in 2008 and Hurricane Harvey in 2018. I would say that the pandemic has been challenging in a different way, though, because during the hurricane recovery period, we could still put on live

42 DULUTH SUPERIOR SYMPHONY ORCHESTRA

concerts. The lack of being able to gather together has been such a challenge. But there is light at the end of the tunnel. Just like a hurricane, the dark waters recede and the light returns. The light and joy of gathering together to be entertained and inspired by music will return once again.

What is a day in the life like for you?

My day starts at 6am. I do a workout, walk my dog Barley, and head into work by 8am. I take some calls, answer emails, and read about any current events happening in the orchestra industry. By 9am, I’m handling phone calls or answers email from staff, musicians, and community partners for several hours. In the mid-afternoon, I take some quiet time to write—most often for grant applications. I head out at 5pm to get home and walk my dog and then wrap up each evening by sending emails, reviewing the daily sales report, and planning my “to do” list for the next day.

How do you show leadership outside of your job with the symphony? What other activities are you involved in?

I am a member of the membership committee and technology committee at the Kitchi Gammi Club. I’ve been an 11-year volunteer for the Houston Livestock Show and Rodeo and love that they support scholarship and education programs for students in Texas.

BARLEY AND BRANDON

INTERVIEW

collaboration to bring more opportunities for students in the Twin Ports.

How can people contact you if they’d like to meet you?

If you want to share your favorite piece, an idea, or even a standout memory of the DSSO, email me at brandonvw@dsso.com! Also, please don’t hesitate to introduce yourself if you see me out and about!

What is something you love about the Twin Ports?

I love the beauty, the nature. I’ve started doing a lot more hiking since the pandemic began and after living in large cities for the past 15 years, it is so nice to be closer to nature.

BRANDON AT THE RODEO I also volunteer as a student mentor at both my undergrad (University of Evansville) and graduate (University of Cincinnati) institutions.

Why are orchestras important?

They show how people can connect – with themselves, with their communities. You know, orchestra concerts used to be a gathering of people—no auditorium seating—in large rooms with banquet tables. People would eat and then some people would walk up a set of stairs to play some music. The musicians and audience members were one community and events were 3, 4 hours long. That’s what I love about live music. Whether it’s an orchestra concert in symphony hall, or jazz in a coffee shop, I think people just want to have a shared experience that feels bigger than just ourselves.

Can you give an example of a few short and long-term goals you are envisioning for the DSSO and why they are important?

Short-term? Return to live performances and increase investment in the youth orchestra programs. Our youth orchestra has been around for 80 years!

Long-term? I want to see more equitable access to our youth orchestra programs for students who have the passion but lack resources. I want to focus on

43 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Your last biography mentioned that you enjoy running, local breweries (and even brewing your own beer!), and that you have an adorable dog named Barley. What is something we might be surprised to learn about you?

Well, I’m currently bingeing the West Wing and Parks and Rec (love that it is based in Indiana where I grew up). I’ll share a fun story from my time working as a fellow at the Detroit Symphony as well. I was asked to go pick up our guest artist (and violin superstar!) Hilary Hahn. After I picked her up (in my Toyota Camry), she asked that we make a stop at the grocery store. We ended up at the local Kroger (while she toted her violin on her back), selecting green bananas because they were one of her favorite pre-concert foods. Not the strangest thing I’ve seen on a guest artist’s rider but certainly a memorable moment!

TAKE A BOW, SPONSORS

We are pleased to offer a big thank you to our sponsors for the 2020-2012 Season.

Their generous support makes it possible for the DSSO to bring world-class concerts, educational programs, and community outreach to the Northland. BRAVO!

44 DULUTH SUPERIOR SYMPHONY ORCHESTRA

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3 | Duluth Superior Symphony Orchestra Northern Sounds – Volume 1