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2026-2027 SEASON VOLUME 1

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TABLE OF CONTENTS

06 10 14 18 30 40 50 54 58

WELCOME LETTER

6 Music Director Dirk Meyer 7 Executive Director J. David Arnott 8 Board of Directors 8 Meet Maestro Dirk Meyer 9 Staff and Administration 12 Land Acknowledgment

MEET THE ORCHESTRA 10–11 Orchestra Personnel

DULUTH SUPERIOR SYMPHONY YOUTH ORCHESTRAS MASTERWORKS 1: America in Motion 18–26 Program Notes

MASTERWORKS 2: Close to Home 30–37 Program Notes

MASTERWORKS 3: Under Open Skies 40–48 Program Notes

DSSO CHORUS

50–51 Duluth Superior Symphony Orchestra Chorus

POPS 1: Heart of the Holidays 54–55 Program Notes

SUPPORTING THE DSSO 58 Become a Chair Sponsor 60 How to Support the Orchestra 61 Legacy Giving 64–68 DSSO Contributors 70–71 In Memory 72 In Honor 73 Sponsors

THANK YOU TO OUR 2026-2027 SEASON SPONSOR North Shore Bank is a locally-owned and managed, independent, community bank that has been operating in the Duluth area for over 110 years. North Shore Bank has always been rooted here in our community. They offer personal, business, and private banking; mortgage services, insurance, and trust & investment services.

www.northshore.bank 4 DULUTH SUPERIOR SYMPHONY ORCHESTRA

America in Motion

Sep 19 MACKEY, GERSHWIN, ELLINGTON

Close to Home

Oct 24 STRAUSS, BARBER, MAHLER

Under Open Skies

Nov 21 COPLAND, HANSON, HIGDON, DVOŘÁK

Jeans ‘n Classics: Dec 5 The Heart of the Holidays

Across the Sea

Jan 23 BEETHOVEN, PAULUS, BRAHMS

In Sacred Light

Feb 20 IVES, SCHUBERT,

BACH, HAGENBERG

Pirates of the Apr 3 & 4 Caribbean: The Curse of the Black Pearl in Concert

New Frontiers

May 15 BEACH, ALDRIDGE, COPLAND

N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

MUSIC DIRECTOR

WELCOME TO SYMPHONY HALL! blue cathedral? How about a powerful musical depiction of the sea by Stephen Paulus? Or the heavenly sounds of Elaine Hagenberg’s Illuminare? There is so much to discover!

Music Director Dirk Meyer

here’s something wonderful about gathering at the concert hall: for a few moments we all unite in the shared enjoyment of the music. For 250 years, our country has provided a space for us to do just that: come together to share experiences, ideas, and dreams. This season, we celebrate these connections with music that unites and broadens our horizons. And, of course, with lots of music Made in the USA. If you are looking for blockbusters, look no further! Our season is packed with some of the greatest works of the repertoire: from Gershwin’s An American in Paris to Mahler’s Symphony No. 4, from Brahms’ Piano Concerto No. 1 to Dvořák’s Te Deum. Maybe you are looking for that hidden gem, or something new altogether? How about some jazzy sounds with Duke Ellington’s The River? Or do you prefer the ethereal sounds of Jennifer Higdon’s 6 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Our season culminates with a celebration of country and community. Copland’s Symphony No. 3, featuring his iconic Fanfare to the Common Man, brings our season to a close. But not before we give the world premiere of Erin Aldridge’s adventurous Fiddle Concerto. Combining all her musical worlds, Erin wrote a piece for herself, the DSSO, and her bluegrass band, Danny Frank & the Smoky Gold. With a fiddler, a band, and an orchestra on stage, this is an evening that is sure to bring brand new sounds to Symphony Hall! If you’re still looking for more, how about some Pops? Our performances offer family-friendly fun with our Holiday concert and Pirates of the Caribbean, complete with orchestra and the film on the big screen! I’m looking forward to celebrating all we have in common this season: our love for music, our love for art, and our love for the great ideals and ideas that our country has represented for 250 years.

Dirk Meyer, Music Director

EXECUTIVE DIRECTOR

North, all under one really cool roof. The two exciting projects scheduled this year are the DSSO collaboration with MN Ballet on The Nutcracker (please buy tickets so we can continue this artistic endeavor. I hear the conductor is awesome!) and in January, the 1st annual Winter Fest collaboration at The Depot featuring all three companies January 30/31.

Executive Director J. David Arnott

s Nina Simone sang, “It’s a new dawn, it’s a new day, it’s a new life for me!” As I write this, my third season as Executive Director of the DSSO has already officially begun. When I retired from a 26-year career teaching in higher ed, it never dawned on me that there would be an additional career in my future. Though there are crossover duties and obligations from the old career, the new duties are daunting. As with all similar non-profits, we cannot survive on ticket sales alone. The search for funding through grants, foundations, and individual contributions is what keeps the orchestra on stage. We are sincerely grateful for every contribution that comes our way. I would be remiss for not thanking my incredibly adept colleague, Kristin Sande, for keeping this ship afloat. We begin a second year at The Depot facing the challenges of working in a multiyear construction zone and a pending office move from the basement to the attic (though we will finally have a window to the outside world). That proximity to the Ballet and the Opera have made collaboration a breeze. We are the Lincoln Center of the Midwest: the DSSO, Minnesota Ballet, and Lyric Opera of the

We will again offer a soirée in the mezzanine between the 2:00 and 7:00 Holiday concerts. This offers you several benefits, including access to parking near the end of Winter Village and before the lights go on at Bentleyville, plus tasty treats and beverages before or after an exciting, uplifting, and moving Holiday concert. There might even be a silent auction. Tickets are limited so please don’t wait until the last minute to get yours! The greatest hope I have for this orchestra is for it to play in perpetuity at the DECC. We know there are sometimes challenges and we continue to work with the DECC to improve the overall experience for our patrons. After UMD hockey, we are the next most frequent renter of DECC space. We love playing here in our beautiful shell and under our clouds, and we look forward to doing so in the future. That said, our pending 100th anniversary offers the opportunity to name the DSSO in your estate planning. We don’t want anyone to die—but we all will at some point. A legacy gift to the DSSO ensures your memory will live on after you are gone. Page 61 of this program offers ways for you to make this gift. Thanks for coming out to experience the symphony. Please patronize our sponsors. I’ll wave to you from the stage.

J. David Arnott, Executive Director N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

2026-2027 BOARD OF DIRECTORS Branden Robinson, President Mark Danielson, Secretary Oliver Kelsey, Treasurer BOARD OF DIRECTORS Jeff Cadwell Jill Kaiser Mark Danielson Oliver Kelsey Rhonda Degelau Steve Mattson James McLeod Beth Gilbert William “Buzz” Palmer Amber Gurske Deborah Rausch Olivia Huston Maggie Coady Branden Robinson James Sebastian Tegan Johnson

Roberta Vose Kat Werchouski J. David Arnott (ex officio) Dirk Meyer (ex officio)

HONORARY LIFE DIRECTORS Christabel Grant Elaine Killen Nancy Melander James Zastrow

MEET MAESTRO DIRK MEYER German-American conductor Dirk Meyer is Music Director of the Augusta Symphony, the Duluth Superior Symphony Orchestra, and the Lyric Opera of the North. Meyer maintains an active guest conducting schedule and has worked with orchestras like the Toronto Symphony, the Phoenix Symphony, the Naples and Orlando Philharmonic, as well as the Edmonton Symphony and the Sarasota Orchestra. He is first prize winner of The American Prize in conducting and recipient of Arts & Culture awards from Georgia and Minnesota. Through the creation of new concert experiences that range from multimedia to adventurous collaborations, Meyer brings classical music to new audiences. With the Augusta Symphony Meyer recorded five previously unrecorded works by Uruguayan- American composer Miguel del Aguila, released on Albany Records. Maestro Meyer is also the author of “Chamber Orchestra and Ensemble Repertoire. A Catalog of Modern Music”. Additionally, he has conducted in countries like South Africa, the Czech Republic, Germany, and Bulgaria. Assistantships have led him to the Deutsche Oper am Rhein (Germany), the Vienna State Opera (Austria) and the Teatro Real in Madrid (Spain). Meyer holds graduate degrees from Michigan State University, and Bachelor’s Degrees from the Folkwang Conservatory in Germany. 8 DULUTH SUPERIOR SYMPHONY ORCHESTRA

S TA F F A N D A D M I N I S T R AT I O N CREATIVE SERVICES Marketing, Graphic Design & Digital Communications provided by Andrea Halligan

ADMINISTRATION J. David Arnott Executive Director Kristin Sande Arts Administration Specialist ARTISTIC STAFF Dirk Meyer The Charles A. & Carolyn M. Russell Music Director J. David Arnott Director of Orchestra Operations Kristin Sande Librarian Wyatt Millaway-Roodell Production Coordinator Kathleen Laasko Stage Manager CHORUS Richard Carrick Chorus Director, generously sponsored by members of the DSSO Chorus & anonymous donors Tasha Kapp Chorus Administrator Beth Sobczak Rehearsal Accompanist CONCERT BOX OFFICE Jean Larson Front of House Manager Hannah Wohlers Front of House Assistant Cas Bordner Front of House Assistant

YOUTH ORCHESTRAS Melanie Sever Administrative Director and Concert Orchestra Conductor Kristin Sande Youth Orchestras Administrative Assistant Ronald Kari Youth Orchestras Coordinator Byron Klimek Youth Symphony Conductor Kevin Hoeschen Sinfonia Conductor Teresa Aho Sinfonia Conductor Amy Eichers Sinfonia Coach Jennifer Turbes Sinfonia Coach Marc Hill Percussion Ensemble Director NORTHERN SOUNDS Vincent Osborn Program Notes Author Ronald Kari Performance Historian, now in his 65th Season with DSSO Kristin Sande Research Assistant Thanks to Pro Print for the printing of this edition of Northern Sounds. BILL TALKS Bill Bastian

A special thank you to Steve Mattson of Zenith City Photography for the wonderful photography used on the cover and throughout this program!

MEET THE ORCHESTRA Dirk Meyer, The Charles A. & Carolyn M. Russell Music Director

FIRST VIOLIN Erin Aldridge, Concertmaster

Sponsored by Arend J. & Verna Sandbulte in support of the concertmaster chair through the Sandbulte Orchestra Leadership Fund

Angela Waterman Hanson, Associate Concertmaster

Sarah Warner

Sponsored by Mary Hunner Robinson

Sponsored by William “Buzz” & Saundra Palmer

Theodore Schoen, Clarinet 2 Sponsored by Karl Diekman

BASSOON Michael Roemhildt, Principal Jefferson Campbell, Bassoon 2

Sponsored by Timothy Sandor in memory of Adeline & Joseph Sandor

Karl Kubiak, Bassoon 3/ Contrabassoon Sponsored by Dean Peterson & Deborah Rausch

PERCUSSION Colin O’Day, Principal Sponsored by Dr. Susan Relf

HARP Janell Kokkonen Lemire, Principal Sponsored by Elaine B. Killen

KEYBOARD Alexander Sandor, Principal

Sponsored by Dr. Beth Gilbert in memory of Tim Sandor

SAXOPHONE Gregory Kehl Moore, Principal Sponsored by Mary & Jeff Charnes

N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

LAND ACKNOWLEDGMENT Duluth Superior Symphony Orchestra’s Commitment to Building Bridges for Future Generations The Duluth Superior Symphony Orchestra acknowledges its responsibility to the Anishinaabe, or the Ojibwe people, who were some of the original inhabitants and continue to be the longstanding stewards of the lands on which we are gathered today, and so many of us now call home. The DSSO is deeply committed to uplifting a myriad of cultures, voices, and stories through the power of music. We recognize that music has roots tied to countless Indigenous peoples across the

globe and honor Indigenous people’s contributions past, present, and future. We encourage our patrons and partners to recognize, understand, and support the contributions of Indigenous individuals, communities, and organizations across the region and beyond. As we look toward celebrating our 100th year, we will continue to fulfill our mission to bring our communities together to embrace and celebrate music and musicians from across the world, and all walks of life, for many generations to come.

MEET YOUR HOST

Ken Buehler

Ken is honored to represent PBS North as host for the DSSO's “Under Open Skies” concert featuring the DSSO’s chorus on November 21. As host of In Business, Ken brings decades of experience in regional broadcasting, entrepreneurship, and community leadership to the screen, showcasing the vibrant stories and creative spirit that power our Northland community. You can watch In Business live Thursday at 5 30 PM on Explore Facebook Live and YouTube or listen to the radio rebroadcast Monday at 5 30 PM on The orth 03 3 FM :

September 29 | 7:30 p.m. University Recital Series Erin Aldridge, violin Betsy Husby, cello Jessica Schroeder, piano Webb Recital Hall October 2 | 7 p.m. Music Alumni Recital Webb Recital Hall October 8 | 6 p.m. Collage Concert Cathedral of Christ the King

November 17 | 7:30 p.m. University Recital Series Steven Siegel, trumpet Rachael Kresha, organ Webb Recital Hall December 6 | 4 p.m. Season of Song: Chorus & Orchestra Cathedral of Christ the King December 7 | 7:30 p.m. Season of Song: Chorus & Orchestra Cathedral of Christ the King

DULUTH SUPERIOR SYMPHONY YOUTH ORCHESTRAS

UPCOMING EVENTS

Eek! The Depot Concert October 24, 2026•2 PM

62nd Annual Lollipop Concert January 24, 2027•3 PM

Masterworks 5

(Youth Symphony Side-by-Side with DSSO)

February 20, 2027•7 PM

Spring Concert The DSSYO allows these young musicians to sharpen their music skills through a variety of experiences with DSSO conductors and musicians in rehearsals, sectionals, and sideby-side performances.

VISIT DSSO.COM/YOUTH 14 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

May 2, 2027•3 PM DSSYO GENEROUSLY SPONSORED BY

oses G. Smith, a member of the Fort Berthold tribe, grew up in North Dakota. A man of many interests, he played football in high school and went on to work as a barber, a policeman, and in road construction. Some of his most rewarding work came as an Indian Youth Advocate for ISD 709, and he performed on the Pow Wow Circuit throughout his life. Moses passed away in 2000 and is very fondly remembered by his family and friends. Julie M. Smith, a member of the Grand Portage tribe, was born in Two Harbors, Minnesota. Talented in beadwork, she studied at the College of St. Scholastica and became an RN. In their early days together, Julie served as Moses’ tutor. She passed away in 2018. The Moses G. and Julie M. Smith Foundation reflects the generosity of these two remarkable people.

The Smith Foundation proudly expands access to live orchestral music by sponsoring concert tickets for underserved audiences throughout our community. With support from the Smith Foundation, the DSSO was able to provide over 500 complimentary tickets to Indiana Jones and the Raiders of the Lost Ark in Concert to members of the Boys & Girls Clubs of the Northland and 23rd Veteran, as well as area public school

students. Additionally, several hundred vouchers for complimentary DSSO tickets, sponsored by the Smith Foundation, are donated each year to assist area nonprofits in their own fundraising efforts. The Smith Foundation also supports the Duluth Superior Symphony Youth Orchestras, providing music education, inspiration, and formative musical experiences to young instrumentalists ages 9-18 throughout the Northland. DSSYO students sharpen their skills through weekly rehearsals, coaching from professional musicians, and side-by-side performances with the DSSO. Support from the Smith Foundation assists with day-to-day operating expenses as well as tuition scholarships for students who would otherwise be unable to participate in the program. Through the Smith Foundation, Moses and Julie’s spirit of generosity and communitybuilding lives on, opening doors for the next generation of music lovers and music makers right here in the Northland. The DSSO is deeply grateful for their legacy and for all it continues to make possible.

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PEOPLE OF ACTION SERVING OUR COMMUNITY

ROTARIANS DO. Join Rotary today. Together, we can create lasting change. Local clubs are ready to welcome you! Rotary Club of Duluth Superior Eco Rotary Club of Duluth Harbortown Rotary Club of Duluth Skyline Rotary Club of Duluth Rotary Club of Superior Rotary Club of Cloquet Twin Ports Rotaract Superior Rotaract Club More clubs throughout MN, WI, ND, Canada, & worldwide!

LEARN MORE

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MASTERWORKS 1

America in Motion SATURDAY, SEPTEMBER 19, 2026, 7 PM DECC SYMPHONY HALL – ALLETE STAGE

Thank you to our generous concert sponsor

DIRK MEYER, CONDUCTOR ALEXANDER SANDOR, PIANO MACKEY 9’ Redline Tango GERSHWIN Second Rhapsody for Piano & Orchestra Alexander Sandor, piano

15’

GERSHWIN “I Got Rhythm” Variations Alexander Sandor, piano

9’

INTERMISSION

20’

ELLINGTON The River Suite Spring Meander Lake Giggling Rapids

20’

GERSHWIN An American in Paris

16’

The River Suite by Duke Ellington is presented under license from G. Schirmer, Inc. and Associated Music Publishers, copyright owners. 18 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Alexander Sandor, Piano and is active as a soloist and chamber musician throughout the Midwest. While a college student, he performed Beethoven’s Emperor Concerto with the Duluth Superior Symphony Orchestra on a day’s notice when the scheduled soloist was incapacitated.

Alexander Sandor is a freelance pianist, and a Senior Lecturer in Piano at the University of Wisconsin–Superior. He serves as Principal Pianist for the Duluth Superior Symphony Orchestra and the Lake Superior Chamber Orchestra,

Sandor holds degrees in Piano Performance from the University of Arizona (M.M.) and UW–Superior (B.M.), and his students have earned top honors in state competitions and masterclasses. In addition to his classical work, he is President of the Lake Superior Ragtime Society and a frequent presenter at national festivals. His recent work includes a grant-funded recording of his original song cycle Joe Sandor Songs for baritone and piano, available on YouTube.

Redline Tango JOHN MACKEY

respectively. Both of his parents were musicians, his father a trumpet player in the U.S. Navy during the 1960s and his mother was a flutist who performed regularly, along with her father, in the Mansfield and Ashland Symphonies in central Ohio. For many years she served as a secretary for the Ohio State University School of Music. Her father owned a music store in Mansfield, Ohio (Harvey’s House of Music) and it was he who introduced John to music notation through the computer program Music Construction Set. BORN: October 1, 1973, in New Philadelphia, Ohio WORK COMPOSED: 2002 WORLD PREMIERE: February 21, 2003, at the Brooklyn Academy of Music, New York City; Brooklyn Philharmonic Orchestra, Kristjan Järvi conducting. PERFORMANCE HISTORY: Tonight’s performance of Redline Tango is the first time the DSSO has played any music by John Mackey. INSTRUMENTATION: Two flutes and piccolo, two oboes, E-flat clarinet, B-flat clarinet and bass clarinet, bassoon and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (marimba, xylophone, glockenspiel, tom-toms, brake drum, finger cymbals, hi-hat, China cymbal, suspended cymbal, splash cymbal, bass drum, tam-tam), piano, harp and strings. DURATION: 9 minutes John Mackey holds degrees from the Juilliard School and the Cleveland Institute of Music, where he studied with John Corigliano and Donald Erb, 20 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Mackey began experimenting with inputting music notation into the computer and soon would obtain scores from the university’s music library and would enter them into the computer. By the age of twelve he was inputting all six of Bach’s Brandenburg Concertos and selections from the Well-Tempered Clavier, Dvořák’s Cello Concerto and other works. Interestingly, Mackey did not have any formal training on a musical instrument. After he learned that he would not be accepted into a music school without a successful instrumental or vocal audition, Mackey searched for composition programs and was able to apply and be accepted into the Cleveland Institute of Music based on some of his compositions. Redline Tango is based on an earlier chamber work, Breakdown Tango, written in 2000. In 2002, on a commission from the Brooklyn Philharmonic, Mackey rewrote the piece and changed its title. In 2004 he created a version for band, which has been performed numerous times. Mackey admits that he has become spoiled by the band world, probably because band conductors are always looking for new music to perform.

Mackey provides this program note for Redline Tango: Redline Tango takes its title from the idea of ‘redlining an engine,’ or pushing it to the limit. The work is in three sections. The first section is the initial virtuosic ‘redlining’ section, with constantly-driving 16th-notes and a gradual increase in intensity. After the peak comes the second

section - the ‘tango’ - which is a bit lighter, but demented, and even a bit sleazy, complete with a hint of klezmer thrown in. The material for the tango is derived directly from the first section of the work. A transition leads us back to an even ‘redder’ version of the first section, complete with one final bang at the end.

Second Rhapsody for Piano and Orchestra GEORGE GERSHWIN

bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (glockenspiel, xylophone, cymbals, drum set, bass drum, snare drum, woodblock), harp, strings and solo piano. DURATION: 15 minutes

BORN: September 26, 1898, in New York City, New York DIED: July 11, 1937, in Hollywood, California WORK COMPOSED: 1931 WORLD PREMIERE: January 29, 1932, at Symphony Hall, Boston; Boston Symphony Orchestra, George Gershwin soloist, Serge Koussevitzky conducting. PERFORMANCE HISTORY: This evening marks the DSSO premiere of Gershwin’s Second Rhapsody. INSTRUMENTATION: Two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two

Gershwin’s Second Rhapsody was composed while he was writing the music for the 1931 film Delicious, starring Janet Gaynor and Charles Farrell. Initially designed as a sixminute sequence to underscore a scene of an immigrant wandering through Manhattan, Gershwin expanded the material after the producers cut the scene and created an independent concert piece. Early titles for the work included Manhattan Rhapsody, New York Rhapsody and Rhapsody in Rivets. From the very first set of notes there is no doubt about the composer’s identity. Indeed, throughout the Rhapsody one hears the influence of Rhapsody in Blue and An American in Paris. As in both of those works, Gershwin wrote short segments that are brought together through transitional material to create the whole. In some ways much like filming a movie. The Second Rhapsody N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

unfolds in three clear sections. The Rivet theme opens with a lively trumpet melody that uses short, propelling rhythmic groupings suggesting a Latin influence and evoking urban construction, hence the rivets. The second Nostalgic theme begins with a sweeping piano cadenza that leads to a romantic violin melody. The Finale brings back the Rivet theme and builds to a flashy coda that is reminiscent of Rhapsody in Blue. Within the Second Rhapsody the keen ear of the listener may notice a hint of better things to come from the composer. The Rivet theme with its Latin flare most likely inspired Gershwin’s next large orchestral work Cuban Overture.

The Nostalgic theme, with its harmonic gestures and shape, is a foretelling of Porgy and Bess. Gershwin completed the Second Rhapsody in May 1931 and offered it, unsuccessfully, to Arturo Toscanini for the premiere. Boston Symphony Orchestra conductor Serge Koussevitzky, who vigorously promoted the works of young American composers, accepted the honor of conducting its premiere in January 1932. Though greeted with cheers from the opening night audience and described as descriptive of an “… America of untrammeled manners and cocktail energy,” the Second Rhapsody never achieved the overwhelming popularity of his earlier Rhapsody in Blue.

“I Got Rhythm” Variations GEORGE GERSHWIN

Reisman Orchestra, George Gershwin soloist, Charles Previn conducting. PERFORMANCE HISTORY: The Gershwin Variations is played for the first time on the DSSO’s Masterworks Series. The song “I Got Rhythm” has been played on Pops concerts including one in 1998 conducted by Yong-yan Hu.

BORN: September 26, 1898, in New York City, New York DIED: July 11, 1937, in Hollywood, California WORK COMPOSED: 1933-34; arr. by William C. Schoenfeld in 1953 WORLD PREMIERE: January 14, 1934, at Symphony Hall, Boston; Leo 22 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

INSTRUMENTATION: Two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), three clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, two alto saxophones, tenor saxophone, baritone saxophone, timpani, percussion (glockenspiel, xylophone, snare drum, ratchet, suspended cymbal, tam-tam, woodblock, bass drum, muffled drum), strings and solo piano. DURATION: 9 minutes Gershwin’s song “I Got Rhythm” comes from the 1930 musical Girl Crazy, which also includes two of his other hit

songs, “Embraceable You” and “But Not For Me”. Originally written as a slow song for Treasure Girl (1928), the faster version that Ethel Merman sang in Girl Crazy is the most well-known. Gershwin apparently told Merman, after hearing her sing the song in previews of the show, that she should never take a singing lesson. Her performance of the song made her an instant star. “I Got Rhythm” became and continues to be a jazz standard and has been performed and recorded countless times. The form is a 32-bar song with a structure of AABA. Simply put ‘A’ refers to the first theme of eight bars (or measures) and that is repeated. This is then followed by eight bars of the second theme ‘B’ (commonly referred to as the ‘Bridge’). The final eight bars is a repeat of the ‘A’ section. The chord progression, known as “rhythm changes” (e.g. A section: C-A-D-G (cyclical every two measures); B section: E-A-D-G (two measures for each chord)) is the second most common chord

structure in jazz after the 12-bar blues. Some other songs that use this chord progression are: “The Flintstones Theme”, “Cotton Tail”, “Oleo” and “Straighten Up and Fly Right”. Many early Rock and Roll songs from the 1950s and 1960s use a variation of this progression, such as: “Peggy Sue”, “Stand By Me”, “Be My Baby” and “Johnny B. Goode”. “I Got Rhythm” Variations was composed as a showpiece for a demanding 1934 concert tour that played 28 concerts in 28 cities over 28 days. The tour celebrated the tenth anniversary of the first performance of Rhapsody In Blue and Gershwin completed the Variations just days before the tour began. The original Variations was conceived for Leo Reisman’s 35-piece orchestra. In 1953 William C. Schoenfeld reworked it for a large orchestra. The Variations was dedicated to his brother Ira and displays a wonderful example of Gershwin’s broad talent.

The River

EDWARD KENNEDY “DUKE” ELLINGTON

BORN: April 29, 1899, in Washington, District of Columbia DIED: May 24, 1974, in New York City, New York WORK COMPOSED: 1970 (arr. Ron Collier) WORLD PREMIERE: June 25, 1970, by the American Ballet Theatre at New York State Theater, New York City. PERFORMANCE HISTORY: While the music of Duke Ellington has been previously presented on several Pops concerts, the only time an Ellington work was heard on the Masterworks series was Three Black Kings in 2002 led by Markand Thakar. INSTRUMENTATION:Two flutes (including piccolo), two oboes (2nd doubling English horn), two clarinets (including bass clarinet), two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (suspended cymbal, snare drum, glockenspiel, xylophone, maracas, claves), harp, piano and strings. DURATION: Full suite, 30 minutes. Tonight’s performance, 20 minutes. 24 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

In the history of 20th century American music, Duke Ellington ranks with Aaron Copland, Leonard Bernstein, George Gershwin and other greats. Although he was a pivotal figure in the history of jazz, and in the opinion of Gunther Schuller and Barry Kernfeld, “the most significant composer of the genre,” Ellington embraced the phrase that his music was ‘beyond category’ which he considered a liberating principle. He would later classify music into two simple categories: good and bad, and he referred to his own music as ‘American Music.’ President Richard Nixon presented the Presidential Medal of Freedom to Ellington, celebrating his 70th birthday on April 29, 1969, and in 1999 he was awarded a posthumous Pulitzer Prize Special Award for Music. Late in his career Ellington pondered writing a ballet and Lucia Chase, director of the American Ballet Theatre, commissioned him and dancer/ choreographer Alvin Ailey, to create a work for her company’s thirtieth anniversary in 1970. Ellington showed Ailey his concept of using a river as a metaphor for the passage from birth to death. Because of Ellington’s grueling tour schedule, which he maintained from the 1940s, he completed the score only a month before the premiere. Ailey wasn’t able to choreograph all the scenes in time and Seven Dances from a Work in Progress Entitled The River was premiered on June 25, 1970, at Lincoln Center. Ellington’s friend and collaborator Ron Collier created the orchestral arrangement for that performance. Ailey later added choreography and The River became a staple of the American Ballet Theatre.

The River begins with Spring, described by Ellington as “a newborn baby in his crib . . . wiggling, gurgling, squirming, squealing . . .” Meander blossoms out of a bluesy opening riff, followed by an extended flute solo. The movement meanders into a 12/8 feel, then to a waltz and then returns to the bluesy opening riff and back to the flute solo. Ellington described it as a

“baby finding an open door to the outside world.” The baby continues to explore the world and grows through life throughout the remaining movements: Giggling Rapids, Lake, Vortex, Falls, Two Cities, and Riba, until finally ending in a boisterous shout chorus.

An American in Paris GEORGE GERSHWIN

“Gotta Dance!” on February 9, 2013 conducted by Dirk Meyer. INSTRUMENTATION: Two flutes (2nd doubling piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, timpani, percussion (snare drum, woodblock, suspended cymbal, bass drum, triangle, glockenspiel, tom-toms, ratchet, xylophone, taxi horns), celesta and strings. DURATION: 16 minutes BORN: September 26, 1898, in New York City, New York DIED: July 11, 1937, in Hollywood, California WORK COMPOSED: 1928 WORLD PREMIERE: December 13, 1928, at Carnegie Hall, New York City; New York Philharmonic, Walter Damrosch conducting. PERFORMANCE HISTORY: Our records list nine previous performances of An American in Paris, mostly on Pops, outdoor and tour concerts with four of them of them being on the Masterworks series most recently in 1998 (Yong-yan Hu conducting). The most recent Pops performance was on a concert called

In March 1928 the Gershwin brothers, George and Ira, took a well-deserved and needed three month vacation from their hectic work on Florenz Ziegfeld’s (1867-1932) Rosalie and traveled to Europe. George had visited Paris in 1926 and wrote out some sketches that he labeled Very Parisienne and he hoped that during this trip he would complete an orchestral work based on those sketches. Inspired by the sights and sounds of the City of Lights, the resulting composition, An American in Paris, is a tone poem that has become one of the most performed and recorded orchestral works of the 20th century. One can imagine Gershwin walking down the Avenue des ChampsÉlysées from the Place de la Concorde to the Arc de Triomphe, stopping for a N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

glass of wine at a café and taking in l’atmosphère parisienne. Inspired by the sounds of the taxi horns, Gershwin and his friend Mabel Schirmer (18971994) went shopping for those horns in the automobile shops along the Avenue de la Grande Armée and incorporated them into the work. (Mabel (Pleshette) Schirmer’s uncle was married to the sister of Ira’s wife and with that familial connection their friendship began. Mabel was married to Robert Schirmer, director of the music publishing firm G. Schirmer, Inc., which had been founded by his great-grandfather Gustave Schirmer. The Schirmers were living in Paris in 1928.) Incidentally, according to George, Ira was content to spend much of his time “[seeing] the sights and [drinking] beer,” though he did keep a lengthy diary of the Gershwins’ activities. Gershwin wrote “My purpose here is to portray the impression of an American visitor in Paris, as he strolls about the city and listens to various street noises

and absorbs the French atmosphere.” To illustrate this he included what he called ‘walking themes’ that recur throughout the work, the most recognizable being the ‘homesick music’ played by the trumpet and the ‘American’ section with an up-tempo Charleston. An American in Paris is Gershwin’s first symphonic work for which he created his own orchestrations, proving to the musical world that he was not ‘just a song writer’. An American in Paris inspired the Academy-award winning film of 1951 starring Gene Kelly and Leslie Caron. Gershwin knew he had a hit, but he wanted to remind listeners not to take it too seriously. “It’s not a Beethoven symphony, you know,’’ Gershwin said. “It’s a humorous piece, nothing solemn about it. It’s not intended to draw tears. If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds.’’ Program notes by Vincent Osborn © 2026

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DIRK MEYER, CONDUCTOR LAQUITA MITCHELL, SOPRANO STRAUSS 10’ Overture and Dance Scene from Ariadne auf Naxos BARBER Knoxville: Summer of 1915, op. 24 Laquita Mitchell, soprano

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MAHLER 54’ Symphony No. 4 in G major Bedächtig; nicht eilen In gemächlicher Bewegung; ohne Hast Ruhevoll Sehr behaglich Laquita Mitchell, soprano

Knoxville: Summer of 1915, op. 24 by Samuel Barber is presented under license from G. Schirmer, Inc. and Associated Music Publishers, copyright owners. 30 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Laquita Mitchell, Soprano

Soprano Laquita Mitchell consistently earns acclaim on eminent international opera and concert stages worldwide, having recently been nominated for a Grammy for her contribution as the soprano soloist in the world premiere of Pulitzer Prize-winning composer Paul Moravec’s Sanctuary Road at Carnegie Hall with Oratorio Society of New York. Last season, Ms. Mitchell took the concert stage by storm in Strauss’ Four Last Songs with Berkeley Symphony Orchestra, Dvorak’s Te Deum and Beethoven’s Choral Fantasy with Charleston Symphony Orchestra, Porgy and Bess with Greenville Symphony Orchestra, and sang the world premiere of Nkeiru Okoye’s A Time for Jubilee with Montgomery Symphony Orchestra, Alabama Symphony Orchestra, and Tuscaloosa Symphony Orchestra, a new work honoring the spirit of resilience and freedom. In the 2026-2027 season, Ms. Mitchell joins Duluth Superior Symphony Orchestra for Barber’s Knoxville: Summer of 1915 and Mahler’s Symphony No. 4, as well as Omaha Symphony for Mahler’s Symphony No. 4 and Mozart’s Exsultate, jubilate. Most recently, Ms. Mitchell made her long-awaited début as Aida with Dayton Opera. She also joined the California

Symphony for Beethoven’s Symphony No. 9, Charleston Symphony for Sanctuary Road, the Bilkent Symphony in Turkey for a concert of American songs, Cleveland Orchestra for their 45th Annual Martin Luther King Jr. Celebration Concert, and Austin Symphony to sing Bess in a concert production of Porgy and Bess. Moreover, Ms. Mitchell recently returned to the role of Countess in Le nozze di Figaro with New Orleans Opera and Portland Opera and reprised her lauded performance of Sanctuary Road with Virginia Opera. Her previous world premieres include Julie in the Pulitzer Prize-winning Omar with the Spoleto Festival USA and Hannibal Lokumbe’s One Land, One River, One People under the baton of Yannick Nézet-Séguin with the Philadelphia Orchestra.

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Overture and Dance Scene from Ariadne auf Naxos , TrV 228a, Op. 60 RICHARD STRAUSS

adaptation of Molière’s (1622-1673) play Le Bourgeois gentilhomme. Strauss also composed incidental music to be performed during the play. Eventually the opera itself lasted 90 minutes and the entire performance of the play with the opera occupied over six hours! The audience got their money’s worth and then some! As you might imagine the performance was a bust; those who came to hear the opera, most likely the majority, resented having to first sit through a long play. Even in subsequent performances, after some cuts were made, the entirety of the work was impractical to maintain. BORN: June 11, 1864, in Munich, Germany DIED: September 8, 1949, in Garmisch-Partenkirchen WORK COMPOSED: 1912; revised in 1916 WORLD PREMIERE: October 25, 1912, at the Hoftheater Stuttgart, Strauss conducting; revised version on October 4, 1916, at the Vienna State Opera, Franz Schalk conducting. PERFORMANCE HISTORY: This evening marks the DSSO premiere of these excerpts from Ariadne auf Naxos INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, two horns and strings DURATION: 10 minutes The history of Strauss’ opera Ariadne auf Naxos reminds us: if at first you don’t succeed, keep working on it. Originally the opera was conceived as a 30-minute divertissement (entertaining diversion) to be performed at the end of Hugo von Hofmannsthal’s (1874-1929) 32 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

In 1913 Hofmannsthal proposed to Strauss that the play should be replaced by a prologue, which would explain why the opera combines a serious classical story with a comedy performed by a commedia dell’arte group. Strauss was reluctant at first, but he composed the prologue and modified some aspects of the opera in 1916 to the current version, creating an opera within an opera. Ariadne auf Naxos begins at the home of the richest man in Vienna where preparations are being made for an evening of music. Two troupes of musicians and singers have arrived; one is a burlesque group led by the brazen comedienne Zerbinetta and the other is an opera company that will present an opera seria, Ariadne auf Naxos. In the prologue the two troupes argue over which performance should be presented first until they learn that the dinner has run longer than planned. They are told that both performances will have to take place simultaneously and because there will be fireworks in the garden beginning at nine o’clock, it cannot run longer than scheduled.

In the opera Theseus has abandoned his former lover Ariadne on the desert island of Naxos with no company other than the nymphs Naiad, Dryad, and Echo. Ariadne bewails her fate, mourns her lost love, and longs for death. Zerbinetta and her four companions from the burlesque group enter and attempt to cheer Ariadne with singing and dancing,

but without success. Zerbinetta tells the Princess that the simplest way to get over a broken heart is to find another man. Both elements of the opera are represented in these two excerpts: the overture sets the melancholic scene, while the dance scene represents the attempts of the comedians to distract Ariadne.

Knoxville: Summer of 1915, Op. 24 SAMUEL BARBER

BORN: March 9, 1910, in West Chester, Pennsylvania DIED: January 23, 1981, in New York City WORK COMPOSED: 1947 WORLD PREMIERE: April 9, 1948, Symphony Hall, Boston; Eleanor Steber soprano, Serge Koussevitzky conducting. PERFORMANCE HISTORY: Knoxville: Summer of 1915 has not previously been played by the Orchestra. INSTRUMENTATION: Flute (doubling piccolo), oboe (doubling English horn), clarinet, bassoon, two horns, trumpet, percussion (triangle), harp, strings and solo soprano. DURATION: 16 minutes

Knoxville: Summer of 1915 is one of the true classics of American music. Barber used the text from James Agee’s prose poem Knoxville, 1915, that later became the preamble to his posthumously published novel “A Death in the Family,” which won the Pulitzer Prize in 1958. For Agee (1909-1955), 1915 was a significant year. He was five and it was the last year his family was intact; his father was killed in an automobile accident in 1916 and soon after the family left Knoxville never to return. Both Agee and his younger sister, Emma, were educated in several boarding schools. Barber chose only excerpts of Knoxville for his composition, but closely parallels Agee’s text. Agee’s life was irreversibly changed with the death of his father and while Barber was composing Knoxville, he was enduring his own father’s deteriorating health. Barber and Agee were roughly the same age and they were both compelled by nostalgia and inspiration to (supposedly) write their pieces quickly and without much revision. Barber said in a 1949 radio interview, “My musical response that summer of 1947 was immediate and intense. I think I must have composed Knoxville within a few days… You see, it expresses a child’s feelings of N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

loneliness, wonder and lack of identity in that marginal world between twilight and sleep.” When Barber sent the score of Knoxville to Koussevitzky in 1947 he had no particular expectations, but the conductor was delighted with the work and suggested he send it to Eleanor Steber. After receiving Knoxville from Barber, Steber retroactively commissioned it. Steber (19141990) was a leading soprano at the Metropolitan Opera for twenty-two continuous years during which time she gave more than 400 performances in more than thirty roles. In 1950 Steber recorded the work with the New York Philharmonic on Columbia, which has been remastered and can be found on Amazon or Apple Music. The beauty of her voice and clarity of her diction

leaves no doubt to her mastery as an artist. A reviewer on Amazon wrote: “If you don’t cry during this performance you must have a heart of stone.” The premiere was met with mixed reviews. Barber was not present due to a commitment at the American Academy in Rome and the premiere could not be rescheduled. Koussevitzky wired him that the performance was “an outstanding success and made a deep impression on all.” Agee includes philosophical commentary: “By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night.” Knoxville ends with a sense of awareness that none of those who care for him will ever be able to tell him who he is.

Symphony No. 4 in G major GUSTAV MAHLER

WORLD PREMIERE: November 25, 1901, at the Kaim-Saal in Munich; Margarete Michalek soprano, Kaim Orchestra, Mahler conducting. PERFORMANCE HISTORY: Tonight’s performance of Mahler’s Symphony No. 4 is the DSSO’s fourth. The others were on March 18, 2000 with Yong-yan Hu and soprano Rachel Inselman, 1983 with Taavo Virkhaus and Beverly Hoch, and on March 10, 1961 with Hermann Herz and Hildred Norman (the first time any music by Mahler was performed by the DSSO). BORN: July 7, 1860, in Kalischt, near Iglau, Bohemia [now: Kaliště, Jihlava, Czech Republic] DIED: May 18, 1911, in Vienna, Austria WORK COMPOSED: 1899-1901 34 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

INSTRUMENTATION: Four flutes (3rd and 4th doubling piccolo), three oboes (3rd doubling English horn), three clarinets (2nd doubling E-flat clarinet and 3rd doubling bass clarinet), three bassoons (3rd doubling contrabassoon), four horns, three trumpets, timpani,

percussion (sleigh bells, glockenspiel, triangle, cymbals, tam-tam, bass drum), harp, strings and solo soprano. DURATION: 54 minutes Compared to Mahler’s other symphonies, his Fourth Symphony uses a smaller orchestra giving it a transparent, luminous and chamber-like quality. (Indeed there are no less than five reductions of this symphony for chamber orchestra.) Though the majority was composed from 1899 to 1900, it incorporates a song originally written in 1892, Das himmlische Leben (The Heavenly Life), which is sung by a soprano in the Finale and represents a child’s vision of heaven. Mahler’s summer vacation in 1899 in Bad Aussee was the only time during that entire year that he was free to compose. However, due to poor weather and “ghastly health-resort music,” Mahler only worked on the symphony for ten days. The following year during his vacation in Maiernigg, he finished the full orchestral score on August 5, 1900. The symphony’s completion left Mahler feeling “empty and depressed because life has lost all meaning.” Bauer-Lechner wrote that he was “deeply upset to have lost such an important part of his life.” During the Christmas holidays he revised the second movement and then finalized the orchestration on January 5, 1901 (he continued to make revisions until 1911). The opening movement has a charming tunefulness, occasionally colored by jingling sleigh bells. The clarity of his orchestration, even when several counterpoints are heard at once, is really amazing. The second movement, kind of a scherzo, features a solo violin tuned higher than normal to suggest a country fiddler. At times there is a mild sense of something sinister going on, but it is juxtaposed with a light and cheery pulse that calms the growing angst. The third movement is an exquisite example of the beauty

of Mahler’s writing. In it we hear little quotes that tie the Fourth with his earlier symphonies. The finale depicts the vision of a carefree life in heaven, full of dancing and playing, good music and good food, and full of saints and martyrs too. Mahler thought that the transparency and relative brevity of the Fourth might win him some new friends, but many were unable to follow the complexity of the development in the first movement and the second movement was even more confusing. His fans, who delighted in the Second Symphony and expected another grandiose masterpiece (the Fourth premiered eight months before the Third), were enraged. They felt this new piece was pretentious, disjointed and simply not accessible. The Munich press reported disappointment when comparing Mahler’s Fourth to what they considered his superior Second Symphony; describing the Fourth to be a “succession of disjointed and heterogeneous atmospheres and expressions mixed with instrumental quirks and affectations” and that it was full of “incredible cacophony.” Henry-Louis de La Grange wrote that “the Fourth Symphony had cost Mahler more toil and anguish than the monumental symphonies that had preceded it, and, notwithstanding he was apprehensive of the reactions of its first audience, he secretly hoped that its modest dimensions and the clarity of its style would finally win him the approval of both the public and the musicians.” Today we can understand where Mahler was going with his symphonies because we have access to them all. In a conversation with Natalie BauerLechner in the summer of 1900, Mahler described the Fourth Symphony as the conclusion to the “perfectly self-contained tetralogy” of his first four symphonies. She later expanded on this to suggest that the First depicts heroic suffering and triumph; the Second explores death N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

and resurrection; the Third contemplates existence and God; and the Fourth, as an extension of the Third’s ideas, explores life in heaven. The third movement, Adagio, with its unfolding variations and seductive melodies erupts in a blaze of sound,

after which Mahler brings it back to serene quiet with his miracles of harmony and pacing. The finale emerges almost imperceptibly and the music sounds new and fresh, for Mahler wants us to understand that we are now in heaven. Program notes by Vincent Osborn © 2026

Knoxville: Summer of 1915

TEXT BY JAMES AGEE ©Copyright 1949 by G. Schirmer, Inc. It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt; a loud auto; a quiet auto; people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard and starched milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber. A streetcar raising its iron moan; stopping, belling and starting; stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter, fainting, lifting, lifts, faints foregone: forgotten. Now is the night one blue dew. Now is the night one blue dew, my father has drained, he has coiled the hose. Low on the length of lawns, a frailing of fire who breathes.... Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces. The dry and exalted noise of the locusts from all the air at once enchants my eardrums. On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there.... They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near. All my people are larger bodies than mine,...with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away. After a little I am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am. 36 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Symphony No. 4 in G major GUSTAV MAHLER

Bedächtig, nicht eilen (Deliberately, not rushed)

II. In gemächlicher Bewegung, ohne Hast. (With easy motion, without haste) III. Ruhevoll (Serene) Poco adagio IV. Sehr behaglich (Very leisurely) We await the joys of heaven, and therefore avoid earthly ones. The world’s hustle and bustle can’t be heard in Heaven! There, all live in gentle peace. We strive for an angelic existence, but nevertheless have a joyful time. We strive for an angelic existence, we dance and we leap, we skip and we sing! Meanwhile, St. Peter looks on from Heaven. John has let out his little lamb, and Herod the butcher is waiting! And so, we lead a patient, innocent, dear little lamb to slaughter. St. Luke slaughters cattle without any thought or care. Wine costs nothing in Heaven’s cellar, and little angels bake the bread. Every kind of good herb is grown in the heavenly garden! Nice asparagus, beans, and anything else we could want! Bowls of food are full and ready! Beautiful apples, pears and grapes! The gardener lets us have any of it! Do you like deer or rabbit? They run free in the street! And should it be a day of fasting, the fish gladly swim up to us! St. Peter races with his net and bait into the heavenly pool. Maybe St. Martha will be the cook! There is no music on Earth that can compare to ours. It inspires eleven thousand young girls to dance! Even St. Ursula is laughing! There is no music on Earth that can compare to ours. Cecilia and her relatives are all excellent musicians! The angelic voices rouse the senses! Everything joyously awakens. N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

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MASTERWORKS 3

Under Open Skies SATURDAY, NOVEMBER 21, 2026, 7 PM DECC SYMPHONY HALL – ALLETE STAGE DIRK MEYER, CONDUCTOR DSSO CHORUS RICHARD CARRICK, CHORUS DIRECTOR LINDSAY OHSE HART, SOPRANO JOHN ALLEN NELSON, BARITONE COPLAND An Outdoor Overture

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HANSON 28’ Symphony No. 2, op. 30 “Romantic” Adagio; Allegro moderato Andante con tenerezza Allegro con brio INTERMISSION 20’ HIGDON 11’ blue cathedral DVOŘÁK 21’ Te Deum, op. 103 Te deum laudamus. Allegro moderato maestoso Tu Rex gloriae: Lento maestoso Aeterna fac cum Sanctis: Vivace Dignare Domine: Lento Lindsay Ohse Hart, soprano John Allen Nelson, baritone DSSO Chorus Symphony No. 2, op. 30 “Romantic” by Howard Hanson is presented under license from the Theodore Presser Company. blue cathedral by Jennifer Higdon is presented under license from Lawdon Press. 40 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Lindsay Ohse Hart, Soprano Live in HD broadcasts, and is featured on the Grammy Award-winning recording of Philip Glass’s Akhnaten.

Grammy Award-winning soprano Lindsay Ohse has enjoyed an international career spanning more than seventeen years. She spent six seasons on the roster of the Metropolitan Opera, where she appeared in numerous productions, including two

Beyond the Met, Ms. Ohse has performed leading roles with opera companies throughout the United States and has appeared in productions with the Bayerische Staatsoper in Munich. Her repertoire spans Mozart, Handel, bel canto, Verdi, Strauss, and contemporary opera, while her concert appearances include engagements with orchestras across the country. Ms. Ohse is delighted to return to the Duluth Superior Symphony Orchestra for this performance of Dvořák’s Te Deum.

John Allen Nelson, Baritone the world premiere of Grounded with Washington National Opera.

Baritone John Allen Nelson has established himself as a compelling artist with a “deliciously hearty sound” and “uniformity from top to bottom.” This summer, he made his debut as Germont in Verdi’s La Traviata with Opera Acadia. This follows a dynamic season in Houston, where he portrayed the French Sentry in Houston Grand Opera’s Silent Night and made his role debut as Dr. Malatesta in Don Pasquale with Opera in the Heights. An advocate for contemporary opera, he was also featured in the title role of the world premiere of Hobson’s Choice at the Moores Opera Center, and he previously originated the role of Fighter Pilot in

Recent engagements include Enrico in Lucia di Lammermoor (Opera in the Heights), Senator Norton in Frederick Douglass (Odyssey Opera), Ping in Turandot (Moores Opera Center), Marcello in La Bohème (Northern Lights Music Festival), Schaunard in La Bohème (Pacific Symphony), and Marullo in Rigoletto (Pacific Symphony). Mr. Nelson also maintains a reputation for reliable “jump-in” performances, including of the title role in Don Giovanni with West Bay Opera. He has also appeared with Opera Colorado, Boston Lyric Opera, Des Moines Metro Opera, New York City Opera, Utah Opera, Minnesota Opera, the Lubbock Symphony Orchestra, the Spoleto Festival, and more. On the concert stage, Mr. Nelson has appeared as a soloist at Carnegie Hall, performing works by Schubert, Mozart, and Vivaldi. A Minnesota native, he holds degrees from Boston University, UMKC, and St. John’s University. N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

An Outdoor Overture AARON COPLAND

BORN: November 14, 1900, in Brooklyn, New York DIED: December 2, 1990, in North Tarrytown, New York WORK COMPOSED: 1938 WORLD PREMIERE: December 16, 1938, in New York City by the High School of Music and Art Orchestra, Alexander Richter, conducting. PERFORMANCE HISTORY: An Outdoor Overture has not previously been played by the DSSO. It was played by the Youth Symphony with Kevin Hoeschen conducting in 2007. INSTRUMENTATION: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, percussion (xylophone, snare drum, cymbals, triangle, bass drum), piano, celesta (optional) and strings. DURATION: 10 minutes Copland’s An Outdoor Overture, which evokes the great outdoors, was written for a performance in 42 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

the indoor auditorium of the High School of Music and Art in New York City - what a contrast! The school’s orchestra director, Alexander Richter, wanted a composition that would initiate the institution’s long-term plan to concentrate on “American music for American Youth.” Who better to inaugurate this plan than Aaron Copland who had recently flipped the music world upside down by replacing austerity and dissonance with folkish simplicity? In 1936 Copland introduced that style with El Salón Mexico and he interrupted his work on the ballet Billy the Kid to compose An Outdoor Overture. In a review, Elliott Carter wrote: “Its opening is as lofty and beautiful as any passage that has been written by a contemporary composer. It is Copland in his prophetic vein. . . never before has he expressed it so simply and directly.” An Outdoor Overture could be considered Copland’s emergence into his new style and as a warm-up of things to come. Although he was writing for a high school orchestra he didn’t underestimate the expertise of these talented students. He composed a piece that is immediately accessible to amateur and professional orchestras. In 1942 Copland created a symphonic band version that has introduced countless young band students to his music. The popularity of An Outdoor Overture is immeasurable and one could argue that its influence is heard in other works such as John Williams’ The Cowboys Overture, Richard Markowitz’s theme for the television show The Wild, Wild West, and numerous other works.

Symphony No. 2 in D-flat major, Op. 30 “Romantic” HOWARD HANSON

prestigious music schools in America and provided opportunities for commissioning and performing American classical music. Hanson estimated that more than 2000 works by over 500 American composers were premiered during that time. Hanson’s Symphony No. 4 won the Pulitzer Prize in 1944.

BORN: October 28, 1896, in Wahoo, Nebraska DIED: February 26, 1981, in Rochester, New York WORK COMPOSED: 1930 WORLD PREMIERE: November 28, 1930, in Symphony Hall, Boston; Boston Symphony Orchestra, Serge Koussevitzky conducting. PERFORMANCE HISTORY: Hanson’s Second Symphony was played in 1956 and on November 17, 2001. INSTRUMENTATION: Two flutes and piccolo, two oboes and English horn, two clarinets, three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, suspended cymbal), harp and strings. DURATION: 28 minutes Howard Hanson was an American composer, conductor, educator and music theorist. For forty years he was the director of the Eastman School of Music in Rochester, New York. During those years he created one of the most

To celebrate the 50th anniversary of the Boston Symphony Orchestra, Serge Koussevitzky commissioned Hanson’s Symphony No. 2 and premiered it on November 28, 1930. Soon after the premiere, the New York Philharmonic performed it under Toscanini’s direction, one of the very few American works he conducted with them. One of its themes, now known as the Interlochen Theme, is performed at the conclusion of all concerts at the Interlochen Center for the Arts. It is conducted by a student concertmaster after the featured conductor has left the stage and traditionally no applause follows its performance. You may recognize it as the music in the final scene and credits of Ridley Scott’s 1979 film Alien. The first half of the 20th century marked a massive shift from romantic music to modern styles such as impressionism, atonality, serialism and primitivism. In composing his Second Symphony, subtitled Romantic, Hanson wrote, “My aim, in this symphony, has been to create a work young in spirit, Romantic in temperament, and simple and direct in expression.” Neil Butterworth wrote in his book, The American Symphony, that Hanson “produced a popular concert work that is the epitome of the 20th century symphony that could have been written by an American.” It is one of the most recorded 20th century American symphonies and his most wellknown work. N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

blue cathedral

JENNIFER HIGDON

BORN: December 31, 1962, in Brooklyn, New York WORK COMPOSED: 1999 WORLD PREMIERE: March 1, 2000, in Philadelphia by the Curtis Institute of Music Symphony Orchestra, Louis Scaglione conducting. PERFORMANCE HISTORY: The orchestra performed blue cathedral on September 17, 2011 with DSSO Music Director candidate Rei Hotoda. This is the only piece the Orchestra has played by Higdon. INSTRUMENTATION: Two flutes (2nd doubling piccolo), two oboes (2nd doubling English horn), two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (crotales, marimba, tam-tam, vibraphone, glockenspiel, bell tree, sizzle cymbal, suspended cymbal, chimes, bass drum, tom-tom, triangle) crystal glasses (played by horns, trombones and tuba), Chinese bells (played by most orchestra members), harp, piano, celesta and strings. DURATION: 11 minutes 44 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Jennifer Higdon is one of America’s most acclaimed and most frequently performed living composers. She is a major figure in contemporary Classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto, a 2010 Grammy for her Percussion Concerto, a 2018 Grammy for her Viola Concerto and a 2020 Grammy for her Harp Concerto. blue cathedral has been performed over 600 times worldwide making it one of the most performed contemporary orchestral works. The Curtis Institute of Music in Philadelphia commissioned it to commemorate the conservatory’s 75th anniversary and it is dedicated to the memory of Higdon’s brother Andrew Blue Higdon, who died of skin cancer in June 1998. Higdon wrote the program note in the score: Blue…like the sky. Where all possibilities soar. Cathedrals…a place of thought, growth, spiritual expression…serving as a symbolic doorway in to and out of this world. Blue represents all potential and the progression of journeys. Cathedrals represent a place of beginnings, endings, solitude, fellowship, contemplation, knowledge and growth. As I was writing this piece, I found myself imagining a journey through a glass cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blueness permeating from the outside of this church. In my mind’s eye the listener would enter from the back of the sanctuary, floating along the corridor amongst giant crystal pillars, moving in a contemplative stance. The stained glass windows’ figures would start moving with song, singing a heavenly music. The listener would float down the aisle, slowly moving

upward at first and then progressing at a quicker pace, rising towards an immense ceiling which would open to the sky…as this journey progressed, the speed of the traveler would increase, rushing forward and upward. I wanted to create the sensation of contemplation and quiet peace at the beginning, moving towards the feeling of celebration and ecstatic expansion of the soul, all the while singing along with that heavenly music. I began writing this piece at a unique juncture in my life and found myself pondering the question of what makes a life. The recent loss of my younger brother, Andrew Blue, made me reflect on the amazing journeys that we all make in our lives, crossing paths with so many individuals singularly and collectively, learning and growing each step of the way. This piece represents the expression of the individual and the group... our inner travels and the places our souls carry us, the lessons we learn, and the growth we experience. In tribute to my brother, I feature solos for the clarinet (the instrument he played) and the flute (the instrument I play). Because I am the older sibling, it is the flute that appears first in this dialog. At the end of the work, the two instruments

continue their dialogue, but it is the flute that drops out and the clarinet that continues on in the upward progressing journey. This is a story that commemorates living and passing through places of knowledge and of sharing and of that song called life. Higdon later described the process of composing blue cathedral as “the most cathartic thing I could have done.” The reception of blue cathedral has been very positive. Tim Smith of The Baltimore Sun wrote, “The music seems to emit and reflect light as it moves from stillness to exuberance and back again, tapering off ethereally. If you didn’t know the personal story behind it, the music could still touch your heart; when you do know that story, it can touch your soul.” Travis Rivers remarked: “blue cathedral produced an otherworldly atmosphere of floating sound, yet the work never seemed directionless.” Patrick Stearns of the Philadelphia Inquirer praised the work writing: “Listeners don’t need to know that blue cathedral was written as a memorial for Higdon’s deceased brother: You’re so enveloped by the grief, hope and intuitive musical invention welling up through the rich orchestration that you might not remember many specific details about the music from one hearing to the next.”

JENNIFER HIGDON BIOGRAPHY Jennifer Higdon is one of America's most acclaimed figures in contemporary classical music, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto, a 2010 Grammy for her Percussion Concerto, a 2018 Grammy for her Viola Concerto and a 2020 Grammy for her Harp Concerto. Higdon's first opera, Cold Mountain, won the International Opera Award for Best World Premiere and the opera recording was nominated for 2 Grammy awards. In 2018, Higdon received the prestigious Nemmers Prize, awarded to contemporary classical composers of exceptional achievement who have significantly influenced the field of composition. Most recently, she was inducted into the American Philosophical Society and the American Academy of Arts and Letters. Higdon enjoys several hundred performances a year of her works, and blue cathedral is today's most performed contemporary orchestral work, with more than 850 performances worldwide. Her works have been recorded on more than 70 CDs. Her music is published exclusively by Lawdon Press. N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

Te Deum, Op. 103, B.176 ANTONÍN DVOŘÁK

BORN: September 8, 1841, in Nelahozeves, near Prague, Czech Republic (then Bohemia) DIED: May 1, 1904, in Prague WORK COMPOSED: 1892 WORLD PREMIERE: October 21, 1892, at Carnegie Hall, New York; Clementine de Vere soprano, Emil Fischer baritone, New York Philharmonic, Dvořák conducting. PERFORMANCE HISTORY: Dvořák’s Te Deum has not previously been performed by the DSSO and Chorus. INSTRUMENTATION: Two flutes, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (triangle, cymbals, bass drum), strings, mixed chorus and soloists. DURATION: 21 minutes In 1891 Jeannette Thurber finally convinced Dvořák to become the first director of the National Conservatory of Music that she established in New York City in 1885. He played hard to get and turned down several offers, but a little arm-twisting by his wife and 46 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

the offer of a $15,000 ($550,000 in 2026) salary settled the deal. Before Dvořák left Prague Thurber asked if he would compose a celebratory work commemorating the 400th anniversary of Christopher Columbus’ arrival in the New World to be presented in a grand October concert. When the specific poem she promised to send never arrived, Dvořák chose the centuries-old Latin Te Deum laudamus (We praise thee, O God). As he and his family were preparing for their move, Dvořák composed Te Deum (which Thurber had suggested if the poem was delayed) between June 25 and July 28. While he was composing Te Deum the poem, The American Flag by Joseph Rodman Drake, finally arrived. Dvořák later set that poem to music as well. Dvořák and his family arrived in New York on September 26. Te Deum was to be included in the Columbus Day gala concert on October 12, but it was not ready. Instead it was premiered on the composer’s first concert in the New World on October 21 at the Music Hall (renamed Carnegie Hall in 1894) with the Philharmonic Society of New York Orchestra (New York Philharmonic) and the 250 voices of the New York Oratorio Society. Composed for the concert hall instead of as part of a church mass, Dvořák grouped the text into a compact miniature symphony of four movements which are played without pause. Te Deum opens with thunderous timpani, sounding almost barbaric, followed by the orchestra. Very quickly a wall of sound erupts joyously from the stage when the chorus enters. This subsides into a slower section that allows room for the solo soprano to deliver the text clearly over a gently textured orchestra. The jubilant opening returns to morph into a brass fanfare that announces the second movement, Tu Rex gloriae, Christe. The

solo baritone and the fanfare share the first iterations of the text. There are three repetitions of the fanfare that reference the Holy Trinity. Once the baritone sings his longer phrases he is accompanied by the woodwinds and the movement ends quietly with the lower voices in the chorus. The third movement functions as a scherzo. Driven by restless, rhythmic pulses, it displays Dvořák’s high-energy, folk-like dance rhythms. The frantic energy melts into a beautiful, reflective finale led by the soprano soloist. As the baritone joins in, themes from the fiery opening movement return. The work culminates in a thrilling, climactic Alleluia sung by the entire ensemble. Dvořák was a devout Catholic and faith was very important to him. He exclaimed one time during family prayers that “I pray best over there at the window, looking out at the greenery and the sky!” His love of nature colored his faith and the music he wrote for his Te Deum has an earthiness that is not usually found in sacred music. Program notes by Vincent Osborn © 2026

Experience Music at UMD This season at the Weber Music Hall includes a full offering of Guest Artists, Large Ensemble Concerts, Chamber Concerts and Recitals! Hear and see Classical, Vocal, Wind, Percussion, Orchestra, Jazz and more.

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Te Deum, Op. 103, B.176 I. Te Deum laudamus: te Dominum confitemur. Te aeternum Patrem omnis terra veneratur. Tibi omnes Angeli; et caeli et universae potestates; Tibi Cherubim et Seraphim incessabili voce proclamant: Sanctus Dominus Deus Sabaoth. Sanctus Dominus Deus Sabaoth. Pleni sunt caeli et terra majestatis gloriae tuae. Te gloriosus Apostolorum chorus. Sanctus Dominus Deus Sabaoth. Te Prophetarum laudabilis numerus Sanctus Dominus Deus Sabaoth. Te Martyrum candidatus laudat exercitus Sanctus Dominus Deus Sabaoth. Te per orbem terrarum sancta confitetur Ecclesia, Patrem immensae majestatis: Venerandum verum et unicum Filium Sanctum quoque Paraclitum Spiritum. Te Deum laudamus: te Dominum confitemur. Te aeternum Patrem omnis terra veneratur. II. Tu Rex gloriae, Christe. Tu Patris sempiternus es Filius. Tu ad liberandum suscepturus hominem, non horruisti Virginis uterum. Tu, devicto mortis aculeo, aperuisti credentibus regna caelorum.

Te ergo quaesumus, tuis famulis subveni: quos pretioso sanguine redemisti. Tu ad dexteram Dei sedes, in gloria Patris. Judex crederis esse venturus. Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti. III. Aeterna fac cum sanctis tuis in gloria numerari. Salvum fac populum tuum, Domine, et benedic hereditati tuae. Et rege eos, et extolle illos usque in æternum. Per singulos dies benedicimus te; Et laudamus Nomen tuum in sæculum, in sæculum sæculi. IV. Dignare, Domine, die isto sine peccato nos custodire. Miserere nostri, Domine. Fiat misericordia tua, Domine, super nos, quemadmodum speravimus in te. Miserere nostri, Domine. In te, Domine, speravi: non confundar in æternum. Miserere nostri, Domine. Benedicamus Patrem, et Filium cum Sancto Spiritu. Alleluja! Benedicamus Patrem, et Filium cum Sancto Spiritu. Alleluja! Laudemus et superexaltemus eum in saecula. Alleluja!

The Nutcracker is not included in subscriptions. Scan the QR code or visit MinnesotaBallet.org to purchase tickets.

DULUTH SUPERIOR SYMPHONY ORCHESTRA CHORUS Founded in 1959, the volunteer DSSO Chorus is an integral part of the Duluth Superior Symphony Orchestra, regularly joining the orchestra for choral masterworks, operas, and pops concerts. The DSSO Chorus has performed an impressive range of choral masterpieces, from monumental works like Beethoven’s Symphony No. 9 (“Ode to Joy”) and Mahler’s “Resurrection Symphony” to vibrant and dramatic favorites such as Orff’s Carmina Burana and Bizet’s Carmen. Their repertoire also includes Michael Tippett’s A Child of Our Time, Brahms’ and Fauré’s Requiems, and, of course, no choral repertoire would be complete without Handel’s Messiah, a timeless and beloved oratorio that continues to inspire and uplift listeners.

MEET DSSO’S CHORUS DIRECTOR Richard Carrick is a conductor, clinician, singer, and educator. He is the Director of Choral Activities at The College of St. Scholastica in Duluth, MN, Director of Music at the Cathedral of Our Lady of the Rosary, and a founding member and conductor of Borealis Chamber Artists. He holds a D.M.A. in Choral Conducting from the University of Washington and has performed with the Oregon Bach Festival Chorus, the St. Paul Chamber Orchestra, and the Minnesota Orchestra. When not teaching or conducting, Richard can be found on a trail somewhere in the woods, or baking with his wife and children. Chorus Director generously sponsored by members of the DSSO Chorus and an anonymous donor. 50 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

MEET THE CHORUS CHORUS DIRECTOR Dr. Richard Carrick REHEARSAL ACCOMPANIST Beth Sobczak CHORUS ADMINISTRATOR Tasha Kapp

SOPRANOS Jenna Altonen* Cathy Ameel Sandra Berini Hannah Isabella Boadwine Emilie Bowman Therese Chialastri Nancy Dent Karen Finseth Maureen Gamradt Amy Giddings Anita Gille Rose Heldt Sara Henriksen Mary Holm-Lund Susan Hough Kaylie Jesperson Jan Johnson Jill Kaiser Tasha Kapp Michelle Kessler Lynne King Cathy Larson Lita Lind Steph Love Kelli Marlow Rosanne Mellesmoen Phyllis Messenger Aine Miller Chantal Norrgard Barbara Olson Eileen Patterson Debra Schroeder Deb Schroeder Susan Smart Sara Stefancik Beth Storaasli Shannon Swegle Maeve Ulrick Mary Wilson

ALTOS Andrea Asleson Naomi Atkins Alison Aune Linda Backman Mariana Beier Elsa Calhoon Jacinta “Cindy” Carlson Lea Carr Erin Durkee Diane Fernholz Jill Geyer Ann Gumpper Anneke Hoegen Carol Hoeschen Lindsey Korthals Lisa Larson Debora Magee Audrey May Carolyn Mikel Grace Monson Neve Moore* Jillian Odell Stacy Olson Alanna Pekuri Sharon Sandvik Ann Sanford Linda Senta Shelia Shusterich Sandy Skrien Connie Olson Stanley Tomina Starke Kathy Stinnett Charlotte Taylor Mary A. Tennis Shelby Ann Trost Colleen Tuura Gudrun Witrak

TENORS David Arnott Robert Asleson Anne Bier Nathan Borka Robin Calhoon Richard Carrick Kate Dean Robert Drevlow Bonnie Lou Dunphy Corbin Eddy Jim Johnson Tegan Johnson Benjamin Jorgenson* Glen Krenelka Madonna LeBlanc Donald D. Mitchem Patrick Russell Jim Schulzetenberg Tom Carlton Sjoberg Allen Thompson Peter Wodrich

BASSES Joe Berini Samuel Black Jeff Cadwell Mark Danielson Timothy Delnay Tom Diener Corbin Eddy David Ellison Nathaniel Fechtelkotter Hilary Godard Cade Hatlestad* David Helf Mark Knutson Larry LeBlanc Mike Lyons Mark Monson Andrew Nast David M. Olson Luther Qson David Steinberg Kirby Wood Christopher Wright *Denotes Section Leader

Are you interested in singing with the DSSO Chorus? We hold auditions every fall and winter. Please email chorus@dsso.com to receive more information.

N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

PLAYED HERE. HEARD HERE. Great music isn't just imported to the Northland, it’s woven into the very fabric of our communities.

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POPS 1

Heart of the Holidays Thank you to our generous concert sponsor

SATURDAY, DECEMBER 5, 2026 2PM*+7PM DECC SYMPHONY HALL, ALLETE STAGE GRANT O’BRIEN, GUEST CONDUCTOR JEANS ‘N CLASSICS: ANDREA KOZIOL, VOCALIST GAVIN HOPE, VOCALIST ROBYN BLACK, VOCALIST JEFF CHRISTMAS, DRUMS MITCH TYLER, BASS RALF BUSCHMEYER, GUITAR JOHN REGAN, KEYS

*2PM show abbreviated, with repertoire chosen from the evening program.

Last Christmas (I Gave You My Heart) Wham

Little Town Cliff Richard

Christmas (Baby Please Come Home) Darlene Love

Please Come Home For Christmas Bon Jovi

What Child Is This Traditional

Santa Baby Madonna

Winter Wonderland Ronettes / Darlene Love

Somewhere Over The Rainbow Barbra Streisand

Have Yourself A Merry Little Christmas Pretenders

Hanukkah Blessings Barenaked Ladies

Listen To Listen To The Bells Luther Vandross It's Christmas Time Smokey Robinson New Kid In Town Trisha Yearwood Jingle Bell Rock Bobby Helms INTERMISSION 54 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

What Christmas Means To Me Stevie Wonder / Paul Young Get Me Through December Alison Krauss When You Wish Upon A Star Linda Ronstadt God Bless The Child Blood, Sweat & Tears All I Want For Christmas Is You Mariah Carey

JEANS ‘N CLASSICS

Andrea Koziol

Gavin Hope

Robyn Black

Jeff Christmas

Mitchell Tyler

Ralf Buschmeyer

John Regan

Peter Brennan’s Jeans ‘n Classics has spent 27 years pairing world-class rock musicians with symphony orchestras, reimagining classic rock and pop through lush orchestral arrangements. Having collaborated with over 100 North American orchestras, the ensemble has built nearly 1,000 original orchestrations across 45 productions, drawing devoted, cross-generational audiences to symphony halls.

Vocalist

Bass

Keys

Vocalist

Drums

Guitar

jeansnclassics.com N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

Duluth’s internationally acclaimed handbell ensemble

presents

A Bell Noël Ringing in the holidays!

Friday, December 18 D 7pm First United Methodist Church 230 E. Skyline Parkway D Duluth, MN

Tickets at the door Adults $25; Students $10 www.strikepoint.com

Harmonizing FLAVORS

After the final note, continue your evening at Silos’ sophisticated bar & lounge. Enjoy a crafted drink and delightful appetizer in perfect harmony.

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learn more at lsyouthchorus.org ask about us at info@lsyouthchorus.org

BECOME A FIRST-TIME CHAIR SPONSOR Chair Sponsors support the DSSO by connecting with individual musicians who bring our concerts to life. Each annual sponsorship pairs a donor with a member of the orchestra, creating a unique relationship that goes beyond the stage. Whether you’re sponsoring in honor of a loved one, supporting a specific instrument, or simply giving back to your community, Chair Sponsorship is a meaningful way to become part of the DSSO family.

Choose Your Level of Support Full Chair

$5,000

Three-Quarter Chair

$3,750

Half Chair

$2,500

Quarter Chair

$1,250

Entry Level Chair

$500*

*Entry Level Chair valid for one season

Visit us online at DSSO.com/give or call 218.623.3776 to learn more.

Build a personal connection to the music you love

58 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

SUPPORT THE ORCHESTRA

The DSSO’s vision is to create a stronger community through the power of music. Have you had a transformative experience with music in your life? Maybe a memory of making music or listening to music that stands out in your mind? You could be a part of creating that experience for new generations of music lovers!

INDIVIDUAL GIVING

Your gift of any amount supports the music and musicians of the Duluth Superior Symphony Orchestra.

CORPORATE & FOUNDATION GIVING

Partner with the DSSO to strengthen arts and culture in our community through sponsorships and philanthropic support.

CHAIR SPONSORSHIPS

Connect with a member of the orchestra through a sponsorship that goes beyond the stage

PLANNED GIVING

Create a lasting legacy for symphonic music by including the DSSO in your estate plans.

QUALIFIED CHARITABLE DISTRIBUTIONS

Are you 70½ or older? You can support the music you love with a Qualified Charitable Distribution from your IRA. Please consult your tax or financial advisor for more information.

GIFTS OF STOCKS, BONDS, AND MUTUAL FUNDS

Investment markets have done very well over the last several years. Share that success by making a tax-smart contribution of appreciated securities directly to the DSSO.

VOLUNTEER OPPORTUNITIES

Donate your time and talents behind the scenes to help make concerts possible.

HOW TO GIVE 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.

Debit Transfer: Join other DSSO patrons and simply authorize your banker to initiate a recurring debit transfer from your account directly to the DSSO.

Call the Office: We are happy to process your donation over the phone and love it when you call! 218-623-3776

Security Transfers: Contact us for instructions.

Donate Online: Give securely by visiting www.DSSO.com/give 60 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Mail Us a Check: We know it can be oldfashioned, but our office loves getting mail. 506 West Michigan Street Duluth, MN 55802

LEGACY GIVING

Make an enduring gift to the DSSO through your estate plan.

WHY? Your gift will help assure that orchestral music will be experienced in the Northland for generations to come

HOW? You can name the DSSO as a beneficiary in your will, trust, retirement account, or life insurance policy. You can designate your gift so that it may be used at the discretion of the board, or have it added to the DSSO’s endowment fund, which means that it will generate income for the DSSO forever. Here is language you can share with your attorney or financial advisor: I give to the Duluth Superior Symphony Association, a non-profit organization currently located at 506 West Michigan St., Duluth, MN 55802, Tax ID # 41-0760835 ($____ or ____% of estate) for its general use and purposes. If you would like your gift to support the DSSO forever, consider: I give to the Duluth Superior Symphony Association, a non-profit organization currently located at 506 West Michigan St., Duluth, MN 55802, Tax ID # 41-0760835 ($____ or ____% of estate) to add to its unrestricted endowment fund.

Please let us know if you have named the DSSO in your estate plans. Patrons who do so in any amount become a member of our Legacy Society.

Here’s what one Legacy Giver says: “I have named the DSSO as a beneficiary in my trust because I believe in the power of music to change lives. We are so fortunate to have this wonderful, high-quality symphony in the Twin Ports! I want to do my part to ensure it for future generations.” Dr. Beth Gilbert Principal Keyboard for the DSSO (1987-2021) N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

I T A L L S TA R T S W I T H A C A L L I N G

Building the Future

CSS.EDU

DSSO CONTRIBUTORS ENDOWED FUNDS Endowed gifts provide a lasting foundation for the Duluth Superior Symphony Orchestra's future. We are deeply grateful to the following donors whose vision and generosity ensure that live symphonic music continues to enrich our community for generations to come. Arnold "Larry" Luukkonen Irrevocable Trust Paula Nelson-Guenther Charitable Trust

Thank you to the following corporate and individual contributors who have given in support of the DSSO between January 1, 2025, and September 1, 2026.

LEGACY

($25,000 & up) Margaret Ames Memorial Fund The Depot Foundation Jeremy Fryberger The Estate of Alice E. Kubista McKnight Foundation Cheryl Meese Minnesota State Arts Board Vernol A. Nordling Irrevocable Trust North Shore Bank of Commerce Pachel Foundation The Charles A. & Carolyn M. Russell Family Foundation Moses G. & Julie M. Smith Foundation Muriel Whiteside Charitable Trust

MAESTRO

($10,000 to $24,999) Aspirus St. Luke’s Mark Danielson & Theresa Smith Karl Diekman Duluth Dodge, Chrysler, Jeep, & Ram Duluth Grill Family of Restaurants Thomas & Barbara Elliott Helena Jackson & Douglas Dunham Pamella & Richard Jacobson Tegan Johnson Jill & Tom Kaiser Richard Kivela Wildey H. Mitchell Family Foundation Nancy Odden & Doug Britton William “Buzz” & Saundra Palmer Arend J. & Verna Sandbulte

Kathleen & James Sanders Signature Wealth Management: Endersbe, Herron & Associates Shirley Tratechaud VersaBank Family of Robert & Sharon Wahman Gudrun & Geoffrey Witrak

VIRTUOSO

($5,000 to $9,999) Anonymous (1) Dr. Vicki & Terry Anderson Dr. J. David Arnott & Tamara Bottge Dr. & Mrs. Bernhard Boecker Foundation Charitable Trust Rhonda & John Degelau Dr. Beth Gilbert ImOn Communications Keyport Liquor Elaine B. Killen Dr. Mark & Grace Monson Martha Ritter & Hilary Godard Branden H. Robinson Brad Schmugge Jacquie & Jim Sebastian Jane S. Smith Memorial Fund Harlan & Anita Stech Carolyn Sundquist John Ivey Thomas & Mary Rees Thomas Family Foundation

ENCORE

($1,000 to $4,999) Anonymous (3) Virginia Alexander Robert Baeumler Sandra Barkley Eileen Barratt Benedictine Sisters of the St. Scholastica Monastery Robert T. & Barbara K. Bennett

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John & Kathleen Berchild Linda & Mark Boben Boreal Waters Community Foundation The Honorable David & Gloria Bouschor Lurene Buhrmann Jeffrey & Vickie Cadwell Cecilian Society Alison Clarke John & JoAnn Congdon Stephen & Lauri Cushing Katharine DeVinck The Dog & Bear Fund Rose & Lester Drewes R. Craft & Eleanore Dryer Ruth Ann Eaton Roger & Elaine Engle Rondi Erickson Family of Mary Evans Gail Gilliland Kay & Walt Gower Thomas & Joan Hedin Paul Holm Gale & Jeri Kerns Robert Knighton Kari Koehler & Tobin Sobaski Diane Kolquist & James Seitz Mary & Jim Krook Dennis Lamkin & Jon Niemi Kristin Kinsela Larsen David & Patricia Wall Mast Alice McCabe Dean & Kate McCall Nancy Melander LaVonne Middleton Moms Run This Town The Nys Family Barbara Melde Olson Vincent & Sharon Rigby Osborn John & Ann Pellman Dean Peterson & Deborah Rausch

CONTRIBUTORS

Becky & Doug Pruitt Family Fund Dr. Susan Relf Mary Hunner Robinson Gerald & Karen Ruona Karen Hanson Sande, Joshua Sande & Nathan Sande Timothy Sandor Julie & Tom Seidelmann Janet R. Sklaris Stack Bros. Mechanical Contractors Dr. Andrew Thompson & Patricia Bugliosi Roberta Vose Karen Wahmanholm Geiger & David Yount James & Mary Zastrow

CRESCENDO

($250 to $999) Anonymous (2) Janet Akervik Mike & Teri Akervik Jim Allen Allen Anway & Judy Sage Beth Arnson Leonore Baeumler Susanne & Johan Bakken Dr. Niles H. & Patricia S. Batdorf Susan Bathory & Donald Lane Kathi & Bill Beasley Walter & Mariana Beier Daniel & Marjorie Bergeland Janice Biga Kay Biga & Patrick Spott Boyd Billman Dee A. Boulger Day Breitag & George Youngs Maryjane Burdge Thomas G. & Debra M. Buresh Jean & Sharon Captain Janeen Carey Mary & Jeffrey Charnes John & Martha Church Kathleen Collins & Richard Stewart Judy Mueller Dahl Patricia Salo Downs Bonnie Lou Dunphy Matti & Kaitlyn Erpestad Jason & Rose Fife Karen Finseth John & Cynthia Fochs Michael & Jennifer Fuchs Patricia Gannon

Douglas & Helen Gettle John D. Gibbs Drs. Karen & Richard Gran Judith & Carlton Gustafson Ron & Kay Gustafson Edwin & Sherry Hall Robert & Lois Heller Barbara Hjort Ann & Robert Hockman Sally Hunner Olivia Huston Kenneth Jackson Julia & Daniel Jacobson James Jarocki & Kristin Blakeslee Dennis & Susan Johnson Matthew Johnson Otto Johnson & September Mihaly Ronald Kari Karen & John Keenan Paul & Carol Knuti Mark Knutson & Elizabeth Storaasli Glen Krenelka Patricia Kruschke Joshua Lehigh Charles & Jean Leibfried Gary & Nancy Loberg James Lyttle Dr. Michael & Marta Maddy John & Michelle Magdsick Matinee Musicale Steve Mattson, Zenith City Photography Dirk & Paula Meyer Daniel & Catherine Mundt Charitable Fund Judith A. Newman Mark & Karen Niedermier Kathryn Noble Phil & Lorraine Norrgard Sarah Olson Dr. Peter & Carol Person Kevin & Rebecca Peterson Mary Pat Renaud Kathleen Risku Nichole & Jeffrey Schaefer Drs. Matthew Schiller & Betsy Schwartze Theodore Schoen & Laurie Van Brunt Dr. John Schrock & Mary Berube Dr. Penny Schwarze Jack & Cindy Seiler Kay Slack

Ken Smith & Melissa LaTour Dale & Elizabeth George Sola South Pier Inn Gerard & Melissa Spoelhof Dr. David & Brenda Sproat Nairi & William Stack Thomas & Cynthia Storm Dr. Tim Stratton and Rev. Suzanne Wasilczuk Linnea & Jon Swenson Tellekson Richard Swenson Terese Tomanek & Steve Davis Sharon L. Torrison The Ulrick Family (Shawn, Maeve, & Liam) Tiss Underdahl Rajiv & Emily Vaidyanathan Rolf & Elizabeth Bent Weberg Emily L. Wigg Sandra Reitz Wilson & Brian Lowell Steen John Wolf Kirby & Cathleen Wood Mary W. Zbaracki

OVERTURE

($1 to $249) Anonymous (9) Adam & Kelly Aarsvold Candy & Dick Adams Advantage Emblem & Screen Printing John & Catherine Ameel Arthur & Kay Amundson Logan & Samantha Amys Ann Anderson Jody Anderson John & Mary Anderson Richard & Yvonne Anderson Kathleen & James Antilla Allan Apter & Brenda Ion Judith Arnold Cody & Naomi Atkins Charles & Judyth Babst Glenn & Linda Backman Sandra & Michael A. Bailey Rick Ball Jill Baum Carla Bayerl Nicole Behm Beth Behme Laura & Timothy Berdahl Vivian & Barry Bergquist Sergei & Irina Bezroukov Anne & Allan Bier David & Karen Bjorkman

N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

CONTRIBUTORS Timothy Blackburn Dawn & Robert Boman Richard & Jane Bradford Eric & Celeste Zuniga Brandt Brianne Brandt-Griffith Kathleen & John Bray Sue & Kim Bretheim Amy & Bruce Briney Lynne & Bruce Briney Lana Broderson Carolyn Brooks Wendy Buczynski Christopher Bunch & Kimberly Boddicker Ronald Caple John & Ann Caple-Tobin Nathan & Sanna Carlsgaard Rev. Craig & Bobbie Lou Carlson Matthew & Michelle Cartier Andrew Chalberg Archie & Gretchen Chelseth Julia Cheng & Robin Washington Kristine & John Chua Chiaco Jennifer Cin Edith Close Maggie & Ethan Coady Patrick Colvin Natalie Constance Tom Cook Margaret J. Cooper Rodger & Penny Cragun Tim & Joanne Itami Craig Dianna Crandall Karen Ruedi Crowell Jerry & Judy Curnow Gwyn Curran Maria Cuzzo Ann & John Dahl Father Daniel Dahlberg Matthew Dane James A. Danielson James C. Danielson Emma Deaner Lori DeFrance Linville Doan & Bernardo Perez Michael & Carol Donahue Laura & Jim Donovan Jeanne & Daniel Doty Peggy & Steve Downing Mary Dragich & John Pastor Michele Dressel Paul & Kate Drevnick Wendy Durrwachter Jeffrey Eastman Paul Eckhardt

Julie Eckman Amy & Chad Eichers Courtney Ann Eickman Essentia Health Sophia Farell Nikky Farmakes Cameron Fick Peter I. Fifield Danny & Angie Frank Ruth Fransen Elizabeth Freeman Jennifer Frisch Kristin & Michael Garey Geoffrey Gates & Deborah Rasmussen Diana Giombetti James & Marina Giuffre Gary Glass Janene Glyn de Bedia Janelle Gomez Deborah Good Robert Goodell Paul Goossens Grandma’s Marathon Jason Gresh & Elizabeth Horst Kit Grode Henry R. Gunderson Amber Gurske & Roger Reinert Mary K. Hagen Gail & Kevin Hamre Phil Hartley Christopher & Rebecca Katz Harwood Sarah Harwood Theodore Harwood Arthur C. Hay Dean & Cathy Hecht Ellen Hedin Clay Helberg & Andrine Lemieux Dan & Rose Heldt David & Mary Helf Richard Hellman Linda & Norman Herron Kimberly Herschler Kay Hill Jill-Ann Hoag & James Johnson Lisa Hoch Karen Hoeschen Kevin & Carol Hoeschen Joel & Shannon Hoffman Karen Holden Rachael Holden-Kaufman Keith Holmquist Dr. Glen E. Holt Roderick Hood Justin Horan

66 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Susan & Alan Horvath George & Connie Host Laura & Doug Houston Robert Howe Iron Pines, Inc. Anthony & Lisa Jablonski Family Daniel & Lois Jaeckel Alan & Dorothy Johns Julie & Clyde Johnson Ruth R. Johnson Troy Johnson Zachary Johnson Linda Jorgenson & Jack Gunderson Marcus Juusola Crystal & Stefan Kaiser Jonathan Kane Marissa Kari Barbara Ellwanger Kase Celeste Kawulok & Perry Middlemist John & Sharon Kemp Charles Kendall Jennifer Ketola & the Ketola Family Melissa Ketola Jane Killough Young & Barbara Johnson Kim Lynne King Melissa King & Brian Ruggle Hunter Klemek Byron Klimek Brian Kohn Ann Kraker Joyce Krmpotich Arthur Kropp Adele Krusz Karl Kubiak Yergazy Kudaibergen Katherine & Robert Kuettel Cathy Kurtz Addison Kyte Anne Laible David & Barbara LaMaster Scott & Pamela Larson Christopher & Abigail Latanich Sharon Layon Paul & Marsha Lee John & Janell Kokkonen Lemire Janice Letsos Tom & Monica Liddle Dale & Janet Lietha Michael Lillo Jan & Bill Lippitt Eric Long Jean Loushin Victor & Jennie Lund

CONTRIBUTORS Lisa & Bill Lundberg Michael Lyons Judy MacGibbon Lucia Magney & Richard Wildberger Morgan Martin Rachel & Gregory Mason Cathy McCarty & Dan Wallerstein Julianne & Michael McCoshen Jennifer McEwen James & Cindy McLeod Karen McManus Drs. Phyllis & Lewis “Skip” Messenger John Middleton James & Christine Miller Matt Miller Jacob Miner Donald & Marilyn Mitchem Jane Moe Audrielle Mogg Peg Mold Pastor Dennis Morreim James & Wende Morrell Fran Morris Janet & John Murphy Malin Neal Jamie Ness & Maria Isley Jeannette Nesseth Randall & Janet Newberg Ann Marie Novack Emily Nygren & Zack Filipovich Ruth Nystrom Beatrice Ojakangas David & Carolynn Olsen Donald C. Olson Jacob Olson & Ryan Reid Steve & Jan Olson Margaret “Peg” Oman Daniel O’Neill Kristoffer Osthus & Deborah Sah Vicki Ott David J. Ouse Julie Padilla Al & Lynda Parrella Benjamin & Kailyn Pelerin Patricia Peters Laura Petite Jennifer Phillips Phyllis Piet-Hughes Joe Placek The Possibilities Quartet Betty Preus Jessica Prihoda Carol Prohaska Marjorie Provo

Luther & Angela Qson Donald Quest Dan & Ramona Radosevich Roger & Nancy Ralston Anthony & Tessa Ramsey Kristin Randall Jim Rau Kenneth & Sandra Rausch Brian & Suzanne Rauvola Hugh Reitan John Richardson Paul & Barb Rigstad Kristine Rikkola Mary “Terry” Roberts Joseph & Catherine Roby David & Jo-Ann Rossetter Mark & Nancy Rubin Cynthia Rugeley Debbie Sainsbury Holly Sampson Kristin Sande Ann Sanford Steven Savageau Barbara Schlichting Ruth M. Schmidt-Baeumler Debra Schroeder Jessica Schroeder & Richard Carrick Kathleen Schultz Marisa Schultz-Erickson Charles & Nancy Schumacher Judi Scott Terrence & Diane Scott Judy Seliga-Punyko & William Punyko Linda Senta Melanie Sever David Shaw Tara Shock Sheila & Fred Shusterich Jill Siegfried Lara Signorelli Mark & Sandra Signorelli Andrew & Cassandra Siirila Eleanor Simon Richard & Barb Skogg Jeff Skoraczewski & Jane Wester Sara Moen Slotness Edward Smith Shannon Smith Yelena Sokolova & Khagan Mammadov Lawrence & Alice Sommer Dr. Dennis & Donna Soukup Dr. Joseph & Judith Spencer Kristopher Spenningsby

Paul Stack Richard & Eileen Stack-Sandahl Connie Olson Stanley Stan & Amy Stanske Robert Steiner Bruce & Katherine Stender Dr. Jon Stephenson & Pam Moore Sandra & Craig Sterle Robert & Zabelle Stodola Clifford & Lucia Storr Kirstin Stutzman Jolane & John Sundstrom Shannon Swegle Luke Sydow Christina Tarasczuk & David Alexander Joyce Tassinari James R. Taylor & Therese Mooney Timothy Telega Mary Tennis & Stacy Lavres Mandy Theiner Ruth & Dale Thorpe Adrienne Thureen Alice Tibbetts Lucas Trea Karen Tribby Ellen Troeltzsch Mandy Turpin Mary Ann Ulishney & Bill Schneider Jill & Thomas Unterberger Gwen Updegraff Joe Utyro Shelly Vanneste Brandon VanWaeyenberghe Steve & Jennifer Wabrowetz Sally Wahman & Tim Carter Jori & Chuck Walt Michelle Warner Sarah & Jason Warner Trevor L. White Laura Whitney Steve Wick & Margie Nelson Kay & David Winek Amanda Wirta Shirley Wuchter Elizabeth Young Nisar & Anna-Marie Rojas Zaidi

N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

CHAIR SPONSORS

We are grateful to the following individuals, families, & organizations whose generosity directly supports the musicians of the DSSO.

FULL CHAIR ($5,000 & above) Mark Danielson & Theresa Smith Karl Diekman Duluth Dodge, Chrysler, Jeep, & Ram Thomas & Barbara Elliott Dr. Beth Gilbert Helena Jackson & Doug Dunham Tegan Johnson Jill & Tom Kaiser Vernol A. Nordling Irrevocable Trust Nancy Odden & Douglas W. Britton William “Buzz” & Saundra Palmer Martha Ritter & Hilary Godard Arend J. & Verna Sandbulte THREE-QUARTER CHAIR ($3,750) LaVonne Middleton Kathleen & James Sanders HALF CHAIR ($2,500) Dr. Vicki & Terry Anderson Anonymous (1)

Robert Baeumler Linda & Mark Boben Rhonda & John Degelau Sylvia Jamar Elaine B. Killen Alice McCabe Dr. Mark & Grace Monson Dean Peterson & Deborah Rausch Branden Robinson Karen Hanson Sande Timothy Sandor Brad Schmugge Jacquie & Jim Sebastian Stack Bros. Mechanical Contractors Carolyn Sundquist QUARTER CHAIR ($1,250) Anonymous in memory of Bob & Mary Evans (1) Sandra Barkley Lurene Buhrmann Jeffrey & Vickie Cadwell Stephen & Lauri Cushing Rose & Lester Drewes R. Craft & Eleanore Dryer Ruth Ann Eaton Roger & Elaine Engle

Walter & Kay Gower Gale & Jeri Kerns Diane Kolquist & James Seitz David & Patricia Wall Mast Steve Mattson, Zenith City Photography Nancy Melander Barbara Melde Olson Pachel Foundation Dr. Susan Relf Mary Hunner Robinson Julie & Tom Seidelmann Roberta Vose Geiger & David Yount James & Mary Zastrow ENTRY LEVEL ($500) Walter & Mariana Beier Mary & Jeff Charnes Julia & Daniel Jacobson Phil & Lorraine Norrgard Ken Smith & Melissa LaTour Terese Tomanek & Steven Davis The Ulrick Family (Shawn, Maeve, & Liam) Emily L. Wigg

DSSYO SUPPORTERS

We are grateful for the individuals and organizations who support the Duluth Superior Symphony Youth Orchestras. Anonymous (5) Cecilian Society Christian Eggert Violins Stephen & Lauri Cushing The Depot Foundation

Linville Doan & Bernardo Perez Paul & Kate Drevnick Matinee Musicale Donald & Marilyn Mitchem Moms Run This Town

Roger & Nancy Ralston Moses G. & Julie M. Smith Foundation

DSSO VOLUNTEERS

Thank you to our volunteers, who generously donate their time and energy to make each concert possible. Jayne Baumgartner Kelli Barker Ashley Beecroft Maggie Coady Charles Corcoran Erik Davies Bonnie Lou Dunphy

Elaine Haglund Kevin Hoeschen Patty Kaiser John Leach Susan Leach Lisa Mandelin Jenny Peterson

68 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Kevin Peterson Rebecca M. Peterson Deborah Rausch Heather Rickerl Lela Rikkola Judith Rogers

BIG SHOWS. BIG LAUGHS.

BIG FEELS.

SEP 11 – SEP 27, 2026

DEC 4 – DEC 20, 2026

JAN 22 – JAN 31, 2027

MAR 12 – MAR 21, 2027

MAY 28 – JUN 6, 2027

JUL 9 – JUL 25, 2027

DULUTHPLAYHOUSE.ORG | 218.733.7555

IN MEMORY

Our hearts go out to the families and friends of musicians or patrons who have passed. This list represents those we have been made aware of through Memorial Gifts. MARTHA AAS VICTORIA HAY Linda Senta Arthur C. Hay ERIN ABRAMSON & JACOB NEIL HENSRUD NEPHEW Kathleen Collins & Richard Stewart Moms Run This Town MILT HILL JOHN MAKI ALEXANDER Kay Hill Virginia Alexander Pastor Dennis Morreim WILLIAM “BILL” ALICE HOLM ALEXANDER Paul Holm Branden Robinson JACK JARNIS Kristin Sande Ripley Cook & Natalie Constance DR. EUGENE THOMAS MARGE KEUHN ALTIERE Kathleen & James Antilla Karen Finseth KALERVO & ARLYNE DR. & MRS. BERNHARD KOKKONEN BOECKER Judith & Carlton Gustafson Dr. & Mrs. Bernhard Boecker ALICE KUBISTA Foundation Charitable Trust Candy & Dick Adams ELIZABETH MURPHY BURNS Kay Biga & Patrick Spott Roberta Vose Dee Boulger MARY DONAHUE Jeffrey Eastman Charles & Jean Leibfried Kay & Walt Gower MARY EVANS Richard Hellman Anonymous (1) Christina Tarasczuk & Linda & Mark Boben David Alexander Alison Clarke Roberta Vose Family of Mary Evans DEXTER LARSEN Kay & Walt Gower Kristin Kinsela Larsen ROBERT EVANS HARRY THOMAS LONG Anonymous (1) Matti & Kaitlyn Erpestad JULIE FORD CAROL MILLER John & Kathleen Berchild Beth Arnson Amy & Bruce Briney WALTER & ALTA MOE Lynne & Bruce Briney Shirley Tratechaud Susan & Alan Horvath Iron Pines, Inc. DON NIEMI Ann Marie Novack Sharon L. Torrison Ruth Nystrom VERN NORDLING Bruce & Katherine Stender Mark Danielson & Theresa Smith Jill & Thomas Unterberger BERYL L. PETTIGREW CAROL FRYBERGER Arthur & Kay Amundson Kay Biga & Patrick Spott Gwyn Curran PHILOMENA GREGORIAN Stephen & Lauri Cushing Cathy Kurtz Matthew Dane Anne Laible Barbara Ellwanger Kase Scott & Pamela Larson Peter I. Fifield Julianne & Michael McCoshen Laura & Doug Houston Richard Sandahl & Jonathan Kane Eileen Stack-Sandahl Ronald Kari Paul Stack Barbara Ellwanger Kase John & Sharon Kemp LINDA HAAGENSEN Kathleen & James Sanders Jane Killough 70 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

Ann Kraker Kristin Randall Jill Siegfried Richard Skogg Roberta Vose Sally Wahman Karen Wahmanholm Elizabeth Young JAMES PETTIGREW Ann Kraker Karen Wahmanholm ADELINE & JOSEPH SANDOR Timothy Sandor TIMOTHY SANDOR Sandra & Michael A. Bailey Lana Broderson Dr. Beth Gilbert Dean & Cathy Hecht Jennifer Ketola & the Ketola Family Melissa Ketola Anthony & Lisa Jablonski Family Janice Letsos Dan & Ramona Radosevich Kristine Rikkola Jeff Skoraczewski & Jane Wester HELEN SEVER Linda & Mark Boben The Possibilities Quartet - Charlie & Jean Leibfried, Deborah Rausch, and Melanie Sever FRANK J. SKLARIS Janet R. Sklaris DAVID A. STECH Harlan & Anita Stech GLORIA TOIVOLA Anonymous (1) SAMUEL TRATECHAUD Shirley Tratechaud DAVID VOSE Sharon L. Torrison Roberta Vose DR. ROBERT WAHMAN John & Mary Anderson Beth Behme Kay Biga & Patrick Spott Mark Danielson & Theresa Smith Peggy & Steve Downing Julie Eckman Mary Evans Ruth Fransen

Grandma’s Marathon Robert & Lois Heller Dr. Glen E. Holt Roderick Hood Helena Jackson & Douglas Dunham Daniel & Lois Jaeckel Alan & Dorothy Johns Dennis & Susan Johnson Ruth R. Johnson Mary & Jim Krook Dr. Michael & Marta Maddy James R. Taylor & Therese Mooney William “Buzz” & Saundra Palmer Eleanor Simon Dr. Joseph & Judith Spencer Gerard & Melissa Spoelhof Linnea & Jon Swenson Tellekson Roberta Vose Family of Robert & Sharon Wahman Sandra Reitz Wilson & Brian Lowell Steen John Wolf James & Mary Zastrow SHARON WAHMAN Kay Slack Family of Robert & Sharon Wahman ALBERTE & TREVOR WHITE Trevor & Kathy White

A little bit of calm in a noisy world. On air, online & live performances that bring Wisconsin together

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IN HONOR

This list represents gifts being made in tribute to an individual, organization, or occasion. 20TH ANNIVERSARY OF ERIN ALDRIDGE, DSSO CONCERTMASTER Logan & Samantha Amys Anonymous (1) Allen Anway & Judy Sage Judith Arnold J. David Arnott & Tamara Bottge Kathi & Bill Beasley Janice Biga Timothy Blackburn Linda & Mark Boben Day Breitag & George Youngs Carolyn Brooks Jeffrey & Vickie Cadwell Archie & Gretchen Chelseth Julia Cheng & Robin Washington Maggie & Ethan Coady Patrick Colvin Maria Cuzzo Emma Deaner R. Craft & Eleanore Dryer Wendy Durrwachter Amy & Chad Eichers Rondi Erickson Mary Evans Sophia Farell Jason & Rose Fife Fife Music Studio Karen Finseth Danny & Angie Frank Michael & Jennifer Fuchs Dr. Beth Gilbert Kay & Walt Gower Gail & Kevin Hamre Hemslöjd Studios Kevin & Carol Hoeschen Olivia Huston Daniel & Lois Jaeckel Marcus Juusola Jill & Tom Kaiser Karen & John Keenan Elaine B. Killen Byron Klimek Dennis Lamkin & Jon Niemi Charles & Jean Leibfried John & Janell Kokkonen Lemire Lucia Magney & Richard Wildberger

Alice McCabe Dean & Kate McCall Jennifer McEwen Dirk & Paula Meyer Fran Morris Jamie Ness & Maria Isley Mark & Karen Niedermier Emily Nygren & Zack Filipovich Benjamin & Kailyn Pelerin Kevin & Rebecca Peterson Mary “Terry” Roberts Branden H. Robinson Mary Hunner Robinson Earl & Judith Rogers Mark & Nancy Rubin Patricia Salo Downs Holly Sampson Kristin Sande Kathleen & James Sanders Jessica Schroeder & Richard Carrick Dr. Penny Schwarze Judi Scott Jacquie & Jim Sebastian Jack & Cindy Seiler Melanie Sever Mark & Sandra Signorelli Lara Signorelli Dr. Dennis & Donna Soukup Nairi & William Stack Carolyn Sundquist Linnea & Jon Swenson Tellekson Luke Sydow Mandy Turpin Mary Ann Ulishney & Bill Schneider Laurie Van Brunt & Theodore Schoen Sarah & Jason Warner Rolf & Elizabeth Bent Weberg Steve Wick & Margie Nelson Amanda Wirta Gudrun & Geoffrey Witrak Kirby & Cathleen Wood Geiger & David Yount Mary W. Zbaracki

72 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

J. DAVID ARNOTT Branden Robinson LAURIE BASTIAN Thomas & Cynthia Storm LINDA BOBEN Mark Boben ANGIE BOMIER Paul Holm RICHARD CARRICK, DSSO CHORUS MASTER Anonymous (2) Karen Finseth KATHLEEN DALY Deborah Good MARK DANIELSON & THERESA SMITH Sue & Kim Bretheim THOMAS DONAHUE Charles & Jean Leibfried DSSO VIOLIN SECTION Beth Arnson KEVIN HOESCHEN Karen Hoeschen MARY HUNNER ROBINSON Sally Hunner ANDRE & MARILYN LAMOUREA Janis & Gautam Sengupta STEVE MATTSON Essentia Health MUSICIANS OF THE DSSO Brandon VanWaeyenberghe VINCENT OSBORN Ruth & Dale Thorpe BRANDEN ROBINSON Sally Hunner MELANIE SEVER Linda & Mark Boben The Dog & Bear Fund

TAKE A BOW, SPONSORS

We are pleased to offer a big thank you to our sponsors for the 2026-2027 Season. Their generous support makes it possible for the DSSO to bring world-class concerts, educational programs, and community outreach to the Northland. BRAVO!

SEASON SPONSOR

SUPPORTING SPONSORS

The Moses G. and Julie M. Smith Foundation proudly expands access to live orchestral music by sponsoring concert tickets for underserved audiences throughout our community.

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund. N O R T H E R N S O U N D S 20 26 – 20 27 V O L U M E 1

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