VOLUME 3
2020/2021 SEASON
Northern Sounds THE MAGAZINE OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA
Photos: Steven R. Mattson Zenith City Photgraphy
DSSO 2020-21 SEASON
TABLE OF CONTENTS 05
WELCOME LETTERS 6 7 9 9
Dirk Meyer Biography Executive Director Brandon VanWaeyenberghe Board of Directors Staff and Administration
10
10-11 Meet the Orchestra
14
MASTERWORKS 4: STRAUSS AND HAYDN
MEET THE ORCHESTRA
15 Jim Pospisil Biography 16-19 Masterworks 4 Program Notes
22
MASTERWORKS 5: PRICE AND MENDELSSOHN 23 Clayton Stephenson Biography 24-27 Masterworks 5 Program Notes
30
MASTERWORKS 6: FROM BEETHOVEN TO MILHAUD 31 Jennifer Gerth Biography 32-36 Masterworks 6 Program Notes
37
WAYS TO SUPPORT THE DSSO 37 How to Donate 38-43 DSSO Contributors 43 In Memory 43-44DSSYO Campaign
OUR MISSION Our mission is to enhance our community through the performance of symphonic music that engages and inspires.
OUR VISION We envision a stronger community through the power of music and musicians’ artisty.
SCREENSHOTS FROM THE WDSE RECORDING OF
PROKOFIEV’S PETER & THE WOLF FILMED AT THE ST. LOUIS COUNT Y DEPOT ON NOVEMBER 8, 2020
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MUSIC DIRECTOR BIO As a champion of orchestral music, Meyer creates concert experiences that bring classical music to new audiences. These endeavors range from conversational concerts to multimedia performances, and include collaborations of all kinds. One of the most adventurous colloborations he created was Runway Duluth, a fashion and music collaboration that received national recognition and redefined what the concert experience can be.
DIRK MEYER GERMAN CONDUCTOR DIRK MEYER IS MUSIC DIRECTOR OF DULUTH SUPERIOR SYMPHONY ORCHESTRA (DSSO) IN MINNESOTA AND AUGUSTA SYMPHONY IN GEORGIA.
Having received much of his training in European opera houses, Meyer is passionate about opera and also holds the position of Music Director with the Lyric Opera of the North (LOON). He has guest conducted many orchestras throughout the United States, including the Phoenix Symphony Orchestra, Symphoria in Syracuse, the Orlando Philharmonic, the Springfield Symphony Orchesta in Massachusetts, the Naples Philharmonic, and the Florida Orchestra. Other recent engagements have been with Toronto Symphony Orchestra and the Edmonton Symphony Orchestra in Canada, the New Bedford (MA) and East Texas Symphony Orchestras, as well as the Sarasota Orchestra in Florida. In 2012, Meyer was named the winner of The American Prize in orchestal conducting. Over the course of his career Meyer has earned an outstanding reputation with musicians, audiences and critics alike. His performance has been described as “most intimate and emotional” , “mesmerizing” and “out of this world” and his personable and entertaining style has made him an audience favorite.
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Most recently Meyer created The Beethoven Project, a collaboration between the DSSO and Minnesota Public Radio. During the five years of this project, the DSSO will perform and record all of Beethoven’s nine symphonies and, at the same time, create concerts and events that shed a light on the master’s works and bring his music to new audiences. Maestro Meyer is the author of “Chamber Orchestra and Ensemble Repertoire: A Catalog of Modern Music”. Published by Scarecrow Press with a foreword by David Daniels, this book is a resource for conductors, librarians, and administrators, providing them with performance infomation for approximately 4000 compositions. Meyer’s special interest in contemporary music had led to him featuring world premieres by composers such as Miguel del Aguila and Eve Baglarian, as well as the American or regional premieres of works by Arvo Pärt, Einojuhani Rautavaara, Joby Talbot, Elliot Sharp, Jonathan Leshnoff, and Hugo Alfven. Outside of North America Meyer has conducted many orchestras in Europe and abroad, including appearances in South Africa, the Czech Republic, and Germany. In the operatic world he has led performamces of Carmen and Don Giovanni with the Plovdiv Opera in Bulgaria and served as Assistant Conductor to the Michigan State University Opera Theatre, which he conducted in Puccini’s La Bohème and Stravinsky’s The Rake’s Progress. From 2007 to 2011, Meyer served as Music Director to the Sarasota Youth orchestras, giving his Carnegie Hall debut in New York City with the Sarasota Youth Philharmonic in 2008. Prior to his current appointments, Meyer served as Associate Conductor, and later Principal Guest Conductor of the Sarasota Orchestra in Florida. Further appointments haved included Assistant positions with the Traverse Symphony (MI) and Missouri Symphony
WELCOME LETTER Dirk Meyer’s Biography, continued
Orchestras, as well as the Music Director position with the Mason Symphony Orchestra in Michigan. Meyer has studied with teachers like Neeme Järvi and Jorma Panula and, in addition, he assisted with numerous productions at the Deutsche Oper am Rhein (Germany),as well as at the Vienna State Opera (Austria) and the Teatro Real in Madrid (Spain). He holds Doctor of Musical Arts and Master’s degrees in orchestral conducting from Michigan State University, where he worked with Leon Gregorian and Raphael Jimenez. Here he also worked as Graduate Teaching Assistant. His Bachelor’s Degrees are from the Folkwang Conservatory in Germany (music) as well as University Duisburg-Essen (philosophy).
The quote “Music is the space between the notes,” is sometimes attributed to either French composer Claude Debussy or jazz trumpeter Miles Davis. No matter who officially stated the phrase, the sentiment remains the same – that music needs space to resonate, reverberate and swell to reach its full potential. However, now nearly a year into this global pandemic that has upended so many aspects of our lives, I have come to view this phrase as something more – that the music we make now is being supported by those who are unable to join us in person. This health crisis has robbed us of social gatherings, and with that, the sense of tradition surrounding the preparation and performance of orchestral music. Not only has our loyal audience been interacting with us in new and virtual spaces, but our musicians are making music in ways that are almost antithetical to the notion of an ensemble. Sitting six feet from your stand partner gives this immense amount of space that forces the musicians to work harder to hear the ensemble and ensure their sound blends as part of the whole. And while this notion of space and distance has spurred innovation and new ways of listening and making music, it has also reminded me of how much I miss seeing each and every musician on the stage and each and every one of you in Symphony Hall. We continue to work hard, to embrace space, and to make music yet remain hopeful for a return to tradition in the coming year. Until then, know that we remember and hear you, and look forward to filling up those empty spaces soon.
Brandon VanWaeyenberghe, Executive Diretor
BRANDON VANWAEYENBERGHE EXECUTIVE DIRECTOR WELCOME LETTER
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Duluth Superior Symphony Orchestra
BOARD & STAFF
BOARD OF DIRECTORS 2020-2021:
STAFF AND ADMINISTRATION:
Mark Monson, Board Chair Christabel Grant, Vice Chair John Berchild, Past Chair Robert T. Bennett, Treasurer Sandra Barkley, Secretary
ADMINISTRATION
Brandon VanWaeyenberghe, Executive Director Kelly Katzmarek, Marketing Director Jean Larson, Patron Service Manager Audrey Beyer, Development Assistent
BOARD OF DIRECTORS
ARTISTIC STAFF
William Alexander Sandra Barkley Robert T. Bennett John Berchild Linda Boben Ruth Ann Eaton Beth Gilbert Christabel Grant Jeremy Hoglund Tina Koecher James McLeod Michael Mollerus Mark Monson William “Buzz” Palmer Fr. Andrew Ricci Branden Robinson Kathleen Sanders James Sebastian Nairi Stack Rajiv Vaidyanathan Christopher Virta Roberta Vose
Dirk Meyer,The Charles A. & Carolyn M. Russell Music Director Ho-Yin Kwok, Assistant Conductor Heidi Lord, Director of Artistic Operations Maureen Breemeersch, Stage Manager Kristin Sande, Music Librarian
HONORARY LIFE DIRECTORS
Elaine Killen Dexter Larsen Elisabeth Mason Nancy Melander James Zastrow
MUSIC DIRECTORS Dirk Meyer (2012 – present) Markand Thakar (2001 – 2012) Yong-yan Hu (1995 – 2000) Taavo Virkhaus (1977-1994) Joseph Hawthorne (1967-1977) Hermann Herz (1950-1967) Joseph Wagner (1947-1950) Tauno Hannikainen (1942 – 1947) Paul Lemay (1932 – 1942)
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CHORUS
Richard Robbins, Chorus Master Nikki Norland, Chorus Adminstrator Beth Sobczak, Chorus Accompanist YOUTH ORCHESTRAS
Melanie Sever, Administrative Director and Concert Orchestra Conductor Kristin Sande, DSSYO Administrative Assistant Ho-Yin Kwok, Youth Symphony Conductor Erin Aldridge, Sinfonia Coordinator Brett Jones, Percussion Ensemble Director Ronald Kari, Youth Orchestras Coordinator L AYOUT & DESIGN OF NORTHERN SOUNDS
Šek Design Toni Scrignoli PRINTING OF NORTHERN SOUNDS
Arrowhead Printing, Inc NORTHERN SOUNDS PROGRAM NOTES
Vincent Osborn, Program Notes Writer Ronald Kari, Performance Historian, now in his 59th Season. DULUTH SUPERIOR SYMPHONY ORCHESTRA
130 West Superior Street, LL2-120 Duluth, MN 55802 TICKETS
218–623–3776 tickets@dsso.com | www.dsso.com
COMING TO YOU FROM THE ALLETE STAGE
MEET THE ORCHESTRA
DIRK MEYER, THE CHARLES A. & CAROLYN M. RUSSELL MUSIC DIRECTOR Sponsors: Harris & Diane Balko; Elisabeth C. Mason; The Charles A. & Carolyn M. Russell Foundation
FIRST VIOLIN: Erin Aldridge, Concertmaster Sponsor: Arend & Verna Sandbulte in support of the concertmaster chair through the Sandbulte Orchestra Leadership Fund Colin McGuire, Associate Concertmaster Sponsor: The Northern Mechanical/Plumbing Contractors Association Steve Highland, Assistant Concertmaster Sponsor: Thomas & Barbara Elliott Nicole Craycraft Sponsor: Glen Holt Kathleen Sanders Sponsor: Terry & Vicki Anderson Nairi Stack Sponsor: Stack Brothers Mechanical Contractors; Tom & Mimi Stender Joan Halquist Sponsor: James & Elizabeth Prest Amanda Wirta Sponsor: James & June Farkas Lindsey Bordner Sponsor: Joel & Catherine Koemptgen Daniel Radosevich Sponsor: Robert & Angelica Fryberger
SECOND VIOLIN: Laurie Bastian, Principal Sponsor: Jacquie & James Sebastian Jean Leibfried, Assistant Principal Sponsor: Sandra Barkley; Marcia & Gary Doty Amy Eichers Sponsor: Thomas & Alice McCabe Michael Husby Sponsor: Brad Schmugge, CPA Olga Chernyshev Sponsor: Kay & Walt Gower Yukina Ono (on Leave in 20-21) Sponsor: Rose & Lester Drewes Michael Zellgert Sponsor: Vern & May Nordling Sarah Warner Sponsor: Kathy & James Sanders
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Kristen Anderson Sponsor: James Seitz & Diane Kolquist Karen Durfee Sponsor: Kenneth Schoen Mary Negus Sponsor: Anonymous Friend of the DSSO Stephen Baillie Sponsor: Henry & Terry Roberts
VIOLA: Kevin Hoeschen, Principal Sponsor: Ruth R. Johnson in memory of Dr. Ted Johnson Ronald Kari, Assistant Principal Sponsor: Stephen & Lauri Cushing; Ruth Ann Eaton Clare Chopp Sponsor: Martha Aas Jonathan Kresha Sponsor: Nancy Odden & Doug Britton Kevin Peterson Sponsor: Robert T. & Barbara K. Bennett; Linda & Mark Boben; Ruth Frederick Kirsti Petraborg Sponsor: Anonymous Friend of the DSSO Judy MacGibbon Sponsor: J. Clark & Jean A. Laundergan in memory of Warren & Viola Askeland J. David Arnott Sponsor: Sylvia Jamar
CELLO: Betsy Husby, Principal Sponsor: Christabel & James Grant Lucia Magney, Assistant Principal Sponsor: Ann Mars Julia Morehouse Sponsor: Nancy Melander; Nancy & Mark Melhus Eric Graf Sponsor: Dean Peterson and Deb Rausch Rebecca M. Peterson Sponsor: Robert T. & Barbara K. Bennett Darin Anderson Sponsor: Dr. Michael and Sharon Mollerus Jesse Nummelin Sponsor: Anonymous Friend of the DSSO
MEET THE ORCHESTRA
Elena Denny Sponsor: Anonymous Friend of the DSSO Scott Lykins Sponsor: Anonymous Friend of the DSSO
SAXOPHONE: Gregory Kehl Moore, Principal Sponsor: Anonymous Friend of the DSSO
DOUBLE BASS:
HORN:
Vincent Osborn, Acting Principal Sponsor: Lane Smith; Andrea Wahman & Lee Zimmerman Anthony Lischalk Sponsor: John Ivey Thomas & Mary Rees Thomas Family Fund James McLeod Sponsor: Branden Robinson Irving G. Steinberg Sponsor: Lurene Buhrmann Blake Bonde Sponsor: Carolyn Sundquist
James Pospisil, Principal Sponsor: James & Mary Zastrow Erika Hammerschmidt, Horn 2 Sponsor: Roger and Elaine Engle; Robert & Mary Evans Gwendolyn Hoberg, Horn 4 Sponsor: Susan Meyer
FLUTE: Claudia White, Principal Sponsor: Thomas & Janice Shuey Kathleen Winters, Flute 2 Sponsor: Anonymous Friend of the DSSO Hannah Peterson, Piccolo/Flute 3 Sponsor: Anonymous Friend of the DSSO
OBOE: Michael Dayton, Principal Sponsor: Gary Foley Darci Griffith Gamerl, Oboe 2 Sponsor: Dr. Dennis & Donna Soukup Sarah Carmack, English Horn/Oboe 3 Sponsor: Anonymous Friend of the DSSO
CLARINET: Jennifer Gerth, Principal Sponsor: William & Saundra Palmer Kristine Peterson, Clarinet 2 Sponsor: Kay & William Slack Theodore Schoen, Bass Clarinet/Clarinet 3 Sponsor: Karl Diekman
BASSOON: Michael Roemhildt, Principal Sponsor: Janet Sklaris in memory of Frank Sklaris Jefferson Campbell, Contrabassoon Sponsor: Timothy Sandor
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TRUMPET:
Earl Salemink, Principal Sponsor: Sharon & Robert Wahman Charles Leibfried, Trumpet 2 Sponsor: Jeff & Vickie Cadwell; Marcia & Gary Doty; David and Patricia Mast Thomas Pfotenhauer, Trumpet 3 Sponsor: Mark & Grace Monson
TROMBONE:
Larry Zimmerman, Principal Sponsor: Gale and Jeri Kerns; Roberta Vose James Erickson, Bass Trombone Sponsor: Mark Danielson & Theresa Smith
TUBA:
Steve Grove, Principal Sponsor: Helena Jackson & Doug Dunham
TIMPANI:
Fred Morgan, Principal Sponsor: Ellen Marsden
PERCUSSION:
Gene Koshinski, Principal Sponsor: Susan J. Relf Henry Eichman, Acting Principal Sponsor: Happy Sleeper
HARP: Janell Kokkonen Lemire, Principal Sponsor: Elaine Killen
KEYBOARD:
Beth Gilbert, Principal Sponsor: John & Kathy Berchild
STRAUSS AND HAYDN SATURDAY MARCH 20, 2021 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, MUSIC DIRECTOR JIM POSPISIL, FRENCH HORN Stravinsky: Pulcinella Suite Sinfonia Serenata Scherzino Tarantella Toccata Gavotta Vivo Menuetto Finale
24’
Strauss: Horn Concerto No. 1 in E-Flat Majar, Op. 11 Allegro Andante Rondo - Allegro
15’
Haydn: Symphony No. 104 in D Major, (London) Adagio - Allegro Andante Menuetto - Allegro Finale - Spiritoso
28’
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Sponsored by:
MUSICIAN PROFILE
Every time we play Sibelius 2 in the DSSO, I can’t help but cry at that moment, every time” Jim is also on faculty at UMD as horn instructor and as a performer in the wind and brass chamber ensembles. Particularly, Jim enjoys playing in the faculty wind quintet, performing full recitals each semester. The ensemble frequently performs newer works in addition to the standard wind quintet repertoire. He enjoys teaching the horn studio and brass techniques at UMD.
JIM POSPISIL JIM POSPISIL HAS BEEN PRINCIPAL
HORN OF THE DSSO SINCE 1996. HE HAS FOUND DULUTH TO BE A GREAT FIT FOR HIS MUSICAL LIFE IN
PERFORMANCE, TEACHING, AND LEARNING.
At the age of eight, Jim began his musical studies on piano, begging his parents to allow him to take lessons and learn the repertoire his mother played on the record player(Beethoven, Chopin, Mozart). The horn adventure came in sixth grade, with the typical challenges. His always supportive father recalls the hideous sounds for the first week. Jim recalls being quite mediocre on horn until 8th grade, when he came under the tutelage of Rick Richards, his junior high and high school band director in Rising City, Nebraska, population 395. Through Rick’s inspiring instruction on horn and piano, Jim became consumed with the world of classical music. Jim recalls the downbeat of the first rehearsal at the Nebraska All-State Orchestra(last chair horn). “We were playing the final movement of Sibelius’ Second Symphony, and from the first note, I knew that orchestral horn playing was to be for the rest of my life.
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One of Jim’s busiest and enjoyable jobs is as Music Director of Peace United Church of Christ. He began as pianist and organist in 1997, eventually becoming Music Director, including choral conducting. Duties include not only playing piano, organ, and choral conducting, but a little guitar, bass, and even some composition. There are dozens of talented musicians to work with, ranging from young amateurs to colleagues from the DSSO. Jim finds the church environment highly rewarding, in that much of the work is collaborative and positive. In the wee hours, Jim can also be found satisfying his rock and roll desires with playing keyboards for “A Band Called Truman”. The band plays at several local establishments, playing mostly high energy originals. “Nothing like playing a profound DSSO concert to be followed by a loud, sweaty rock band gig after hours. What a life!”
MASTERWORKS 4
PULCINELLA SUITE IGOR STRAVINSKY: Born: June 17, 1882, in Oranienbaum (now Lomonosov), Saint Petersburg, Russia Died: April 6, 1971, in New York City Work Composed: 1919–20 (original ballet); 1922 (suite); revised 1949 World Premiere: Ballet on May 15, 1920, in Paris, Ernest Ansermet conducting; Suite on December 22, 1922, in Boston, Boston Symphony Orchestra, Pierre Monteux conducting Performance History: The DSSO performs music from the ballet Pulcinella for the first time on the Masterworks Series this evening. Instrumentation: Two flutes (second doubling piccolo), two oboes, two bassoons, two horns, trumpet, trombone and strings. After Stravinsky enjoyed a great triumph with his ballet The Firebird and after the scandal of The Rite of Spring, he made a complete about-face with his ballet Pulcinella. Shortly after the end of World War I Sergei Diaghilev, impresario of Les Ballets Russes, approached Stravinsky with a commission for a ballet based on an early 18th-century commedia dell’arte libretto and music attributed to Giovanni Battista Pergolesi (1710-1736). More recent research has found that some of the themes may have come from other composers: Domenico Gallo (1730-1768), Unico Wilhelm, Count van Wassenaer
“PULCINELLA WAS MY DISCOVERY OF THE PAST, THE EPIPHANY THROUGH WHICH THE WHOLE OF MY LATE WORK BECAME POSSIBLE. IT WAS A BACKWARD LOOK, OF COURSE—THE FIRST OF MANY LOVE AFFAIRS IN THAT DIRECTION—BUT IT WAS A LOOK IN THE MIRROR, TOO.”
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Obdam (1692-1766), Carlo Ignazio Monza (c. 1680-1739) and Alessandro Parisotti (1853-1913). Because Pergolesi was so popular in his day these other composers would attribute their compositions to him so they would be received more favorably. Stravinsky did not initially embrace the idea of using Pergolesi’s music, but after he studied some scores that Diaghilev had found in the libraries of Naples and London he changed his mind. By adapting the older music with modern rhythms, cadences and harmonies, Pulcinella marks the beginning of Stravinsky’s neoclassical period. He wrote, “Pulcinella was my discovery of the past, the epiphany through which the whole of my late work became possible. It was a backward look, of course—the first of many love affairs in that direction—but it was a look in the mirror, too.” Pulcinella was a traditional character of the Neapolitan stage in the early 18th century. Stravinsky’s one-act ballet features Pulcinella, his girlfriend Pimpinella, his friend Furbo, Prudenza and Rosetta, Florindo and Cloviello. The story begins with Florindo and Cloviello serenading Prudenza and Rosetta. The women, unimpressed, shower the suitors with water and Prudenza’s father chases them away. Then we see Rosetta dancing for Pulcinella and they kiss. Pimpinella sees this and breaks them up. Florindo and Cloviello arrive and being jealous of Pulcinella, they beat him up. Pulcinella is stabbed, but this is all staged in order to get Pimpinella to forgive him. Furbo arrives disguised as a magician and resurrects Pulcinella. Pimpinella forgives Pulcinella, Prudenza and Rosetta succumb to the charms of Florindo and Cloviello and the ballet ends with the marriage of the three couples. The Suite from Pulcinella is a pared-down version of the ballet and replaces the singing roles with instruments. The suite consists of eight movements compared with 21 in the ballet, and it opens with a short Sinfonia that is perhaps the most well known of the movements. Next is a Serenata, an interpretation of traditional Sicilian rhythms, followed by a Scherzino in two contrasting parts. The vivacious Tarantella, a Neapolitan dance said to ward off the effects of a tarantula bite, leads directly into the Toccata. Toccatas are usually instrumental showpieces;
MASTERWORKS 4
this one features the winds and two brass players (the trombonist ends it with a ‘blat’ - make of that what you will). Next is an homage to Bach in the Gavotta with two variations, however this one has a pastoral, instead of the usual dance-like character. The brass noisily start the Vivo and lead the way for the double bass solo, which suffers rude interruptions from the trombone in a very un-classical style. A graceful Minuetto is introduced by the bassoons and horns and includes an elegant trombone solo. As it approaches the end, Stravinsky interjects harsh dissonances to prepare for the Finale. The mad, frantic dash to the end is similar to Stravinsky’s L’Histoire du soldat, which comes from the same period. The excitement it creates makes it easy to understand the overwhelming positive reception of Pulcinella at its premiere in Paris. Nearly one hundred years after its premiere in Boston, the Suite from Pulcinella continues to be a breath of fresh air.
Meiningen Orchestra, Hans von Bülow conducting, Gustav Leinhos, soloist Performance History: The Orchestra has played this concerto twice previously on the Masterworks Series. On March 20, 1942, Principal Horn William Arsers was the soloist and on November 12, 1993, Patrick Hughes was featured. Mr. Hughes had been the DSSO’s Principal Horn the two previous seasons. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, strings and solo horn. “My mother tells of my earliest childhood that I used to react with a smile to the sound of the horn and with loud crying to the sound of a violin.” So begins Richard Strauss’s brief essay “Recollections of My Youth and Years of Apprenticeship.” There was a lot of horn playing for him to hear as he grew up: his father, Franz Strauss, was the principal hornist of the Munich Court Orchestra for 45 years. During his youth, Strauss studied piano and violin and would play with his father and other musicians from the Court Orchestra at his home. He started writing orchestral music when he was eight and his Romance for Clarinet and Orchestra was written at age fifteen. Three years later he produced his Violin Concerto. Not much later he was ready to compose for the horn, which proved to be much more successful than his concerto for the violin. Initially written for horn and piano it was premiered in 1883, but not with the composer’s father as soloist. According to his sister Johanna, in a letter to the British horn player Dennis Brain, their father struggled with the difficult work and never attempted it in public. Franz
IGOR STRAVINSKY
“MY MOTHER TELLS OF MY EARLIEST CHILDHOOD THAT I USED
HORN CONCERTO NO. 1 IN E-FLAT MAJOR, Op.11 RICHARD STRAUSS: Born: June 11, 1864, in Munich, Germany Died: September 8, 1949, in Garmisch-Partenkirchen Work Composed: 1882-83 World Premiere: March 4, 1885, at Meiningen,
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TO REACT WITH A SMILE TO THE SOUND OF THE HORN AND WITH LOUD CRYING TO THE SOUND OF A VIOLIN.”
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Strauss had his student, Bruno Hoyer, (who would succeed him as principal in the Court Orchestra) perform the premiere.
SYMPHONY NO.104 IN D MAJOR, HOB. 1.104, LONDON FRANZ JOSEPH HAYDN:
Hans von Bülow, one of the most powerful musical figures of the day, saw the young composer as a brilliant, untamed talent and considered him the “most original composer since Brahms.” Through his urging, Strauss prepared an orchestral arrangement for the concerto and in March 1885 von Bülow premiered the Horn Concerto No. 1 with his elite Meiningen Orchestra and its principal hornist, Gustav Leinhos.
Born: March 31, 1732, in Rohrau, Austria Died: May 31, 1809, in Vienna Work Composed: 1795 World Premiere: May 4, 1795, at the King’s Theatre in London, England Performance History: There have been only two previous performances of this symphony: on November 11, 1977 with guest conductor Robert Walton Cole and on October 9, 1987 with Taavo Virkhus. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.
The Horn Concerto No. 1 is in three movements (Allegro, Andante, Allegro) which are intended to be played without pause. Musically it reflects the Romantic style of the time and shows the influence of Mendelssohn, but then during the orchestral interludes are moments that Strauss will develop further in future compositions. In a few years he would become the master of the symphonic tone poem with Don Juan, Ein Heldenleben, Till Eulenspiegel and others. Listeners familiar with his works will hear Strauss’ unmistakable sound in its early development stage. His fresh and vibrant style makes this Horn Concerto one of the most frequently performed horn concertos written in the 19th century.
RICHARD STRAUSS
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The majority of Haydn’s career was spent under the employ of the Esterházy family and when, in 1790, Prince Nikolaus died, his son Anton sought to economize and dismissed most of the court musicians. Haydn was kept on at a reduced salary and as Anton had little need for his services, he allowed him to travel. The German violinist and impresario, Johann Peter Salomon, made Haydn a lucrative offer to visit England and conduct new symphonies with a large orchestra. During Haydn’s first visit to London in 1791-92 he composed the first six of his London symphonies, Nos. 93-98. The public was delighted and astonished at his music, notably The Surprise (No. 94) and The Miracle (No. 96) symphonies. On his second visit, Haydn outdid himself with his second set of six symphonies which included Military (No. 100), The Clock (No. 101), Drumroll (No. 103) and the last, London (No. 104). Most commonly known as the London Symphony, in Germany it is called the Salomon Symphony after the impresario who arranged his London visits. The freedom and reception (and also the financial earnings) Haydn enjoyed in England opened a whole new world to him. He considered his time in England to be the happiest days of his life and he might have established a second home there had the Esterházys not called him back for service in 1795.
MMAASSTTEERRW WOORRKKSS 42
FRANZ JOSEPH HAYDN Although Haydn is considered the ‘father’ of the string quartet, he can very well also be considered the ‘father’ of the symphony. In no other genre in Western music is there a single composer whose output is so vast, historically important and of such a high artistic quality as Haydn’s. While Mozart was undoubtably a child prodigy (he composed his first symphony when he was eight years old) Haydn’s much longer life gave him the opportunity to develop his compositional styles as the music periods developed from late-Baroque, Classical and early Romantic. It is interesting to note that elements of the last movement of Mozart’s Symphony No. 40 can be detected in the final movement of Symphony No. 104. The two were great friends and this may have been meant as an homage to that great symphony and its composer. The London Symphony is in four movements and, like Beethoven’s symphonies, unifies them through the use of recurring motivic material. While he may not have considered that this would be his last symphony, Haydn makes broad and dramatic statements throughout. Typically he throws in one of his characteristic traits, his subversive humor evidenced in the third movement by a sudden break and pause in the music after the entire orchestra plays a trilling passage suggesting laughter. The finale’s theme suggests a folk tune, which has only recently been identified as Oj Jelena (a ballad sung by the Croatians living in Eisenstadt, near where the Esterházy Palace is located), that Haydn develops into a breathtaking finale.
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PRICE AND MENDELSSOHN SATURDAY APRIL 17, 2021 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, MUSIC DIRECTOR CL AY TON STEPHENSON, PIANO
Torke: Ash
15’’
Price: Piano Concerto in One Movement
19‘
Mendelssohn: Symphony No. 4 in A Major, Op. 90 (Italian) Allegro vivace Andante con moto Con moto moderato Saltarello - Presto
27’
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Sponsored by:
MUSICIAN PROFILE
Chicago’s Millennium Park Pritzker Pavilion, and with the International Youth Orchestra at the United Nations General Assembly Hall on the 69th U.N. Day. Stephenson appeared at “Grammy Salute to Classical Music” Concert, Carnegie Stern Auditorium. Clayton Stephenson has participated in master classes with John Perry, Julian Martin, Krzusztof Jablonski, André Laplante, Mark Durand, Lee Kum-Sing, and Frank Levy, among others. Fluent in the Mandarin Chinese language, Stephenson's extra curricular study is Jazz at the Boys’ Club of New York and he devotes himself to sharing his knowledge and good fortune with underprivileged children in East Harlem.
CLAYTON STEPHENSON NAMED THE 2017 U.S. PRESIDENTIAL SCHOLAR IN THE ARTS, LANG LANG MUSIC FOUNDATION YOUNG SCHOLAR, ENCORE ARTIST CLAYTON STEPHENSON WAS ADMITTED INTO THE JUILLIARD PRE-COLLEGE AT AGE TEN. Stephenson is also prize winner of the 2016 Cooper International Competition and 2015 Van Cliburn Junior International Competition. Stephenson is a proud recipient of the Jack Kent Cooke scholarship. Highlights of Stephenson's burgeoning career include recitals at the Louis Vuitton Foundation in Paris, the Kissinger Sommer Festival in Beethoven Fest Bad Kissinger, Beethoven Fest in Bonn, Star and Rising Star in Munich, and at Weill Recital Hall at Carnegie Hall. Stephenson’s orchestral performances include Chicago Sinfonietta Season Opening Concert at Chicago’s Symphony Center, the Colour of Music Festival Gala Concert at Charleston Gaillard Center, the Midwest Young Artists Symphony at the Ravinia Festival and
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DULUTH SUPERIOR SYMPHONY ORCHESTRA
MASTERWORKS 5
ASH MICHAEL TORKE:
support from the Jerome Foundation. Torke provided the program notes:
Born: September 22, 1961, in Milwaukee, Wisconsin Work Composed: 1988 World Premiere: February 3, 1989, in St. Paul, Minnesota, St. Paul Chamber Orchestra, John Adams conducting Performance History: The Orchestra performs Ash for the first time this evening. The only other work by Torke performed on the Masterworks Series was Bright Blue Music, given on March 6, 2010 with Markand Thakar conducting. Instrumentation: Flute, two oboes, clarinet, two bassoons, three horns, trumpet, timpani, synthesizer and strings.
In trying to find aclear and recognizable language to write this piece, I have chosen some of the most basic, functionally tonal means: tonics and dominants in F minor, a modulation to the relative major (A-flat), and a three-part form which, through a retransition, recapitulates back to F minor. What I offer is not invention of new "words" or a new language but a new way to make sentences and paragraphs in a common, much-used existing language. I can create a more compelling musical argument with these means because, to my ears, potential rhetoric seems to fall out from such highly functional chords as tonics and dominants more than certain fixed sonorities and Pop chords that I have used before. My musical argument is dependent on a feeling of cause and effect, both on a local level where one chord releases the tension from a previous chord and on the larger structural level where a section is forced to follow a previous section by a coercive modulation. The orchestration does not seek color for its own sake, as decoration is not a high priority, but the instruments combine and double each other to create an insistent ensemble from beginning to end. Only occasionally, as in the middle A-flat section, do three woodwind instruments play alone for a short while to break the inertia of the ensemble forging its course together.
Michael Torke is one of the leading American composers of his generation. In the Minimalist era of Philip Glass, John Adams, Steve Reich, Terry Riley and others, composers created series of notes that would be repeated numerous times, now and then adding an additional note or two creating forward momentum. John Adams’ Short Ride in a Fast Machine (1986) or Arvo Pärt’s Fratres are prime examples of this compositional style. By incorporating musical techniques from both the classical tradition and the contemporary pop world Torke has defined the Post-Minimalist era. As a young classical piano student, Torke was immersed in classical music and it wasn’t until he attended the Eastman School of Music that he ‘discovered’ jazz and rock. The pulsating, driving rhythms of jazz and rock strongly influence his compositions. “The idea that rhythm is intrinsically human — not just primitive — that we all have hearts that beat at a steady rate and don't stop...reminds me of life itself. In that sense my music is like certain popular music where the rhythm drives from beginning to end.” Torke also has a strong sense of synesthesia, associating specific colors with notes, keys or chords. Individuals rarely agree on what color a sound is; D might be blue for one person and green for another. Both Franz Liszt and Nikolai Rimsky-Korsakov were known to have synesthesia and would disagree on the colors of musical keys. The St. Paul Chamber Orchestra commissioned Ash with
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MICHAEL TORKE
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PIANO CONCERTO IN ONE MOVEMENT FLORENCE PRICE: Born: April 9, 1887, in Little Rock, Arkansas Died: June 3, 1953, in Chicago, Illinois Work Composed: 1933 World Premiere: June 24, 1934, in Chicago, Chicago Musical College Orchestra, composer as soloist Performance History: Tonight marks the DSSO’s first performance of any music by Florence Price. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, timpani, percussion (bass drum, snare drum, crash cymbals, triangle), strings and solo piano. Florence Price is the first African-American woman to be recognized as a symphonic composer and the first to have a composition played by a major orchestra. She was one of three children born into a mixed-race family. Despite the racial issues of the time, her family was well respected. Her father was a dentist and her mother a music teacher who began Florence’s musical training at a young age. The young Florence was a truly a gifted child and she graduated as valedictorian of her class at age 14. She then enrolled in the New England Conservatory of Music in Boston majoring in piano and organ. She graduated with honors in 1906 with both an artist diploma in organ and a teaching certificate. She taught briefly after returning to Arkansas before moving to Atlanta, Georgia in 1910 where she became head of the music department of what is now Clark Atlanta University, a historically black college. In 1912 she married attorney Thomas J. Price and moved back to Little Rock where he had his practice. After a series of racial incidents in Little Rock, particularly a lynching of a black man in 1927, the Price family moved north to Chicago in hopes of escaping the Jim Crow conditions. Price’s musical career flourished in Chicago. She met and studied with the leading teachers in the city. In 1928 she published four pieces for piano. At various times she was enrolled at the Chicago Musical College, Chicago Teacher’s College, University of Chicago, and American Conservatory of Music, studying liberal arts and languages as well as music. Financial struggles and spousal abuse led to her getting a divorce in 1931. As a single
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FLORENCE PRICE mother to two daughters she worked as an organist for silent movies and, under a pen name, composed songs for radio ads. During this time she lived with friends and eventually moved in with her student and friend, Margaret Bonds, who was also a black pianist and composer. This connection was to propel Price onto the national stage. Through Bonds, Price met writer Langston Hughes and contralto Marian Anderson, both of whom aided Price in her future success as a composer. In 1932 Price submitted her Symphony in E minor for the Wanamaker Foundation Awards and won first prize. On June 15, 1933, Frederick Stock conducted the Chicago Symphony Orchestra in the premiere of Price’s symphony, making it the first composition by an African-American woman to be performed by a major orchestra. Price’s Piano Concerto in One Movement was premiered one year later. Although it is in one movement there are three distinct sections played without a break, similar to the Mendelssohn Violin Concerto. In listening to this work I was struck by how delightful and enjoyable it is. My first thought went to Gershwin’s Piano Concerto, but the comparison is unfair and not necessary. Price incorporates elements of African-American spirituals, emphasizing their rhythm and syncopation. The melodies are blues-inspired and mixed with the more traditional European Romantic techniques. She performed the premiere in 1934 and most likely performed it a subsequent number of times, but then it seemed to disappear from view.
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Fast forward to 2009 and a dilapidated house on the outskirts of St. Anne, Illinois. A large stockpile of manuscripts by Florence Price was discovered and thankfully whoever found them knew they were important. Trevor Weston, at the behest of the Center for Black Music Research, was tasked with reconstructing Price’s works. Because the Piano Concerto had been performed a number of times in the 1930s, there were more sketches, arrangements and also an incomplete set of orchestra parts found, but the original orchestra score is lost and has yet to surface. Alex Ross stated in The New Yorker in February 2018, “not only did Price fail to enter the canon; a large quantity of her music came perilously close to obliteration. That run-down house in St. Anne is a potent symbol of how a country can forget its cultural history.” Learning about Florence Price and listening to recordings of her works has been one of the highlights for me of this otherwise miserable year. Her music lifted me up when I needed a boost and I sincerely hope you enjoy this true gem from this incredibly talented woman.
SYMPHONY NO. 4 IN A MAJOR, OP. 90, ITALIAN FELIX MENDELSSOHN Born: February 3, 1809, in Hamburg, Germany Died: November 4, 1847, in Leipzig Work Composed: 1833, revised 1837 and 1847 World Premiere: May 13, 1833, in London at a Philharmonic Society Concert, Mendelssohn conducting Performance History: The Orchestra performs this work for the 12th time on the Masterworks Series. It was also heard in 1937, 1945, 1950, 1953, 1960, 1964, 1969, 1976, 1993, 1999 and on March 9, 2013. The November 13, 1976 performance was led by DSSO Music Director Candidate Taavo Virkhaus. It was the first piece on the program. Taavo later become the Orchestra’s sixth Music Director from 1977 to 1994. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings. “This is Italy!” Mendelssohn wrote to his father while on his journey of Italy (from October 1830 until his return to Germany in October 1831). His journey started in Venice, followed by stops in Bologna and Florence on his way to Rome. While in Rome he witnessed the coronation of Pope Pius VIII and the festivities during Holy Week. From
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Rome, before returning to Germany via Genoa and Milan, he went to Naples and visited Pompeii. While in Rome he wrote to his sister Fanny, “The Italian symphony is making great progress. It will be the jolliest piece I have ever done, especially the last movement. I have not found anything for the slow movement yet, and I think that I will save that for Naples.” Mendelssohn was a reasonably good amateur artist and, through a series of watercolors and sketches, recorded his impressions of Italy. The monumental art, architecture, open countryside, religious solemnity and Mediterranean sunshine are conveyed in the Italian Symphony.
“THE ITALIAN SYMPHONY IS MAKING GREAT PROGRESS. IT WILL BE THE JOLLIEST PIECE I HAVE E V E R D O N E , E S P E C I A L LY T H E L A S T MOVEMENT. I HAVE NOT FOUND ANYTHING FOR THE SLOW MOVEMENT YET, AND I THINK THAT I WILL SAVE THAT FOR NAPLES.”
The trip to Italy was spurred on by the urging of his friend Johann Wolfgang von Goethe and his composition teacher Carl Friedrich Zelter. He began the trip with a two-week visit in Weimar with Goethe, which would be the last time they would be together as Goethe died while Mendelssohn was in Italy. In his February 22, 1831, letter to his sister he reported, “I have once more begun to compose with fresh vigor…” Yet it wasn’t until November 1832, when the Philharmonic Society of London offered Mendelssohn a sizable commission for a new symphony, among other pieces, that he decided to move forward with this new symphony. The Italian Symphony was hugely successful at its premiere. However, the composer had misgivings and soon began making changes in the score, much to the objections of both his sister Fanny and his friend Ignaz Moscheles, who wrote of the premiere in his diary, “Mendelssohn was the outstanding success of the concert, he conducted his magnificent A major Symphony and received rapturous applause.” With such
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great success, it is difficult to understand Mendelssohn’s displeasure. He made two revisions, in 1837 and again before he died in 1847, but it was never published in his lifetime and he never allowed the Italian Symphony to be played in Germany during his lifetime. The final version, which is regularly performed today, was premiered on November 1, 1849, in Leipzig with Julius Rietz conducting the Gewandhaus Orchestra. The Italian Symphony grabs hold from the very first notes; the vigorous, joyful and extroverted character embraces you like the proverbial Italian family inviting you over for dinner and all of a sudden you’re one of them. As is normal there are numerous conversations going on at the same time and just when you begin to feel overwhelmed a solo oboe sings out with a single note (A), held for nine and a half measures, then moves to a similarly extended F-sharp, grabbing your attention back to the original conversation. The second movement, an Andante con moto, recalls the processions Mendelssohn witnessed while in Rome. The prevalent and near constant motion of the bass-line gives the impression that while this may be a solemn procession, it has direction and purpose. The third movement minuet is a love-poem that is humorous and sensual. Perhaps Mendelssohn thought the mood would evoke the then-current stereotypes of Italians as openly amorous. The musical portrayal of Italy sparkles in the finale. After the opening five introductory notes the strings perform a saltarello rhythm that comes from Tuscany in the 15th century. Very popular in southern Italy, Mendelssohn would have certainly witnessed this lively dance during the celebratory festivities in Rome. The name comes from the Italian verb saltare, meaning ‘to jump’. Dance is the theme of the entire finale as Mendelssohn also introduces a tarantella during the development section. He then combines both dances to bring the Italian Symphony to a whirlwind finish.
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FELIX MENDELSSOHN
FROM BEETHOVEN TO MILHAUD SATURDAY MAY 8, 2021 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, MUSIC DIRECTOR JENNIFER GERTH, CL ARINET
Yousufi: Freedom
3’
Mozart : Clarinet Concerto in A Major, K. 622 Allegro Adagio Rondo Allegro
25’
Golijov: ZZ‘s Dream
7’
Milhaud: Le Bœuf sur le Toit, Op. 58
15’
Beethoven: Leonore Overture No. 3, Op. 72b
15’
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Sponsored by:
MUSICIAN PROFILE
Jennifer is a passionate teacher of clarinet students of all ages. She is currently in her 30th year of collegiate teaching and has taught at St. Olaf College, St. Cloud State University and College of St. Benedict. She currently teaches at the University of Minnesota, the University of St. Thomas, University of Wisconsin-Superior, and maintains a private studio. When not playing or teaching clarinet, Jennifer can be found running, doing yoga, cooking, sewing, gardening, chasing chickens or hatching monarch butterflies. Her most important job is being mother to her sons Raef and Riley, who will both be in college next year. She’s looking forward to a post-pandemic world where she can travel and go on adventures with her husband, Bill.
JENNIFER GERTH JENNIFER GERTH IS IN HER 24TH SEASON AS PRINCIPAL CLARINET OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA. A substitute with the Minnesota Orchestra since 1995, she has performed with the Saint Paul Chamber Orchestra, the Minnesota Opera, VocalEssence, and in orchestras for touring Broadway shows, and ballet companies. Jennifer has a BA degree from St. Olaf College in music and mathematics, an MM degree from Northwestern University in Evanston, IL, and was a DMA candidate at the University of Minnesota (1992-1995), studying with Burt Hara. During her DMA she was a concerto competition winner, performing the Debussy Rhapsody with the University of Minnesota Orchestra. In 1999 she was a founding member of the Prospect Park Players, a chamber music group that was active in the Twin Cities for seven years. Jennifer continues her love for chamber music playing at the Festival of the Lakes chamber music festival in Alexandria, MN.
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Jennifer thanks the DSSO for nearly a quarter of a century of great musical memories……and to faithful 25-year carpool-mates Claudia, Larry, and Steve… I love you to the moon!
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FREEDOM MILAD YOUSUFI: Born: 1995, in Afghanistan Work Composed: 2017 World Premiere: May 20, 2017, in New York, New York Philharmonic Chamber Orchestra Performance History: Tonight marks the DSSO’s first performance of any music by Milad Yousufi. Instrumentation: Flute, clarinet, horn, percussion (cajon, triangle) and strings. Milad Yousufi was born during the civil war in Afghanistan. Music was completely banned at that time by the Taliban. At the age of two he started drawing and drew the piano keys on paper and pretended to play. After the Taliban rule was defeated in late 2001 the arts flourished in Afghanistan and Yousufi took advantage of every opportunity to study music and art. By the age of 12 he was teaching painting and was able to attend the one and only music school in Kabul. After three years of formal piano training he was one of four students accepted into a music program in Denmark. He was also chosen to represent Afghanistan at music festivals in The Netherlands, Belgium, Poland and Germany, where he placed third in the International Golden Key competition in Frankfurt. After his return to Afghanistan, Yousufi concentrated on teaching piano, theory, and a course of the Sibelius music notation software at the Afghanistan National Institute of Music. In 2011 the Afghan Youth Orchestra was formed with Yousufi as pianist and its first Afghan conductor. He also arranged music for their performances. Two years later, in 2013, they made a tour of the United States playing sold out concerts at Carnegie Hall, the Kennedy Center and the New England Conservatory.
“HAS A DREAM TO MAKE A DIFFERENCE IN THE FUTURE OF M U S I C A N D C U LT U R E I N AFGHANISTAN.”
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MILAD YOUSUFI Upon moving to the United States, Yousufi was awarded a full scholarship to attend Mannes School of Music as an undergraduate studying piano with Simone Dinnerstein. He also studied jazz piano and improvisation with Uri Caine, orchestration with Rudolph Palmer, music arrangement with Jacob Garchik and Matt Haimovitz and film music with Michael Bacon. He graduated from Mannes School of Music in 2020 and is currently pursuing a masters degree in composition with Dr. Dalit Warshaw at Brooklyn College. Freedom was commissioned by the New York Philharmonic Chamber Orchestra. Yousufi states on his website that he “has a dream to make a difference in the future of music and culture in Afghanistan.” He has definitely made a great start!
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CLARINET CONCERTO IN A MAJOR, K. 622 WOLFGANG AMADEUS MOZART: Born: January 27, 1756, in Salzburg, Austria Died: December 5, 1791, in Vienna Work Composed: 1791 World Premiere: October 16, 1791, in Prague, Anton Stadler soloist Performance History: DSSO’s Principal Clarinet Jennifer Gerth’s performance of this concerto is the Orchestra’s sixth on the Masterworks Series. Then Principals Robert Beverley and Joseph Meidt also played this work, in 1957 and 1977, respectively. Guest soloists have been David Shifrin (1998), Minnesota Orchestra then Principal Burt Hara (2003), and Richard Stoltzman on September 25, 2010. Instrumentation: Two flutes, two bassoons, two horns, strings and solo clarinet. The last year of Mozart’s life was exceedingly difficult. The demand for his music was quickly waning with the fickle Viennese aristocracy and the audiences had begun to move on; they considered him ancient. Ancient! At 35 years of age! There were also extenuating circumstances; the war with Turkey was draining the coffers and mired the empire in a recession. After peace was achieved, the reactionary emperor Leopold II clamped down on civil rights, particularly the freedom of expression. Patronage was fading, and concerts were few and far between as a pall settled over the once-jolly Vienna. Even Mozart’s skill as a pianist and tutor to children of the aristocracy was no longer in demand. But this doesn’t mean that he stopped composing. Along with a number of smaller works, he composed the Piano Concerto in B-flat, K. 595, the String Quintet in E-flat, K. 614, a choral motet Ave verum corpus, K. 618, two operas - Die Zauberflöte (The Magic Flute) and La clemenza di Tito, the sketches for the Requiem and this Clarinet Concerto. In late August 1791, Mozart set off for Prague to supervise the first performances of La clemenza di Tito. His traveling companion was clarinetist Anton Stadler (1753-1812), who would be playing in the orchestra. On the journey Mozart worked on the opera in the coach, writing two virtuosic obbligato solos for Stadler. Although the opera had a decent premiere, the empress Maria Luisa is said to
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have shouted from her box, “Una porcheria tedesca!” (“German garbage,” to use a polite translation.) Mozart returned to Vienna and Stadler remained with the orchestra for the subsequent performances. Sometime after September 28, when Mozart entered The Magic Flute in his catalog, he composed the Clarinet orchestrating almost Concerto. The first mention of it is in a letter on October 7 he wrote to his wife Constanze mentioning that he “smoked a splendid pipe of tobacco before orchestrating almost the whole Rondo for Stadler.” Around the time Mozart met Stadler, he had started to play a large new clarinet which had no name at that time but is now referred to as a basset clarinet. It extended the lower range of the clarinet down a major third. Mozart experts agree that this is the instrument he had in mind when he wrote the Clarinet Quintet in A major, K. 581 and the Clarinet Concerto. But by the time it was published, in 1801, the basset clarinet had already gone out of favor. The publisher printed a version that was adjusted for the standard clarinet (without the extended range). Even though a review argued that this wasn’t the music Mozart wrote, and Stadler was still alive to protest, soloists and audiences came to accept this revised version, which of course was after Mozart was already deceased. Unfortunately, Mozart’s autograph score has been lost. Over the past number of years some soloists have attempted to reconstruct the original version. There aren’t extensive differences; only 53 of the 359 measures in the first movement are affected and most just involve transposing a particular passage down an octave or changing the shape of a phrase to bring it to a natural conclusion.
WOLFGANG AMADEUS MOZART
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The Clarinet Concerto is one of the last and most personal of Mozart’s creations. Its chamber-like quality creates an intimate and conversational atmosphere, in contrast to the grand and dramatic quality of his many other concerti. Very few of Mozart’s other works have the depth of emotion and personality that the second movement displays. The outer movements have an endless and natural lyricism that H. C. Robbins Landon described with a quote from Shakespeare: “The heart dances, but not for joy.”
ZZ’S DREAM OSVALDO NOÉ GOLIJOV: Born: December 5, 1960, in La Plata, Argentina Work Composed: 2008 World Premiere: May 11, 2008, in Jordan Hall, Boston, Boston Symphony Chamber Players, Julian Kuerti conducting Performance History: Performance History: The Orchestra performs this work for the first time. On the Masterworks Series the DSSO has also performed Golijov’s Sidereus (2012), Azul (2016) with cello soloist Matt Haimovitz, and Last Round (October 28, 2017). The latter two works were conducted by Dirk Meyer. Instrumentation: Flute, oboe, clarinet, bassoon, horn, trumpet, trombone, vibraphone, harp, celeste and strings. Golijov’s parents were Romanian Jewish immigrants to Argentina. Beyond being exposed to the traditional music (Jewish liturgical and traditional klezmer) of his parents’ culture and faith, growing up in Argentina exposed him to that country’s many styles, including the tango. Traveling abroad to Jerusalem in 1983 and then to Pennsylvania in 1986 to finish a PhD in composition with George Crumb, he absorbed the various musical styles he encountered in his studies. These influences of other people and their music had a great impact on the development of Golijov’s musical personality. The musical language of Golijov is living and vibrant and he is in great demand as a film composer as well as for his vocal and orchestral music. ZZ’s Dream was inspired by a poem of Zhuang Zhou (c.369 BC - c.286 BC) in the Zhuangzi, one of the foundational texts of Taoism. Golijov’s accessible musical language in this work is a bit of Chopin mixed with South
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American folk music. As the title suggests, the atmosphere is dreamlike and captures the essence of the poetry which was its inspiration: Once, Zhuang Zhou dreamed he was a butterfly, a butterfly flitting and fluttering about, happy with himself and doing as he pleased. He didn't know that he was Zhuang Zhou. Suddenly he woke up and there he was, solid and unmistakable Zhuang Zhou. But he didn't know if he was Zhuang Zhou who had dreamt he was a butterfly, or a butterfly dreaming that he was Zhuang Zhou. Between Zhuang Zhou and the butterfly there must be some distinction! This is called the Transformation of Things.
OSVALDO NOÉ GOLIJOV LE BŒUF SUR LE TOIT, OP. 58 (THE OX ON THE ROOF) DARIUS MILHAUD: Born: September 4, 1892, in Marseille, France Died: June 22, 1974, in Geneva, Switzerland Work Composed: 1919 World Premiere: February 21, 1920, at the Théâtre des Champs-Élysées, Paris, Vladimir Golschmann conducting Performance History: Performance History: The DSSO performs this work for the first time. Other pieces by Milhaud programmed by the Orchestra have included Suite Francaise (in 1951 and 1959), Chansons de Ronsard (1965) with soprano Gianna d’Angelo, Suite Provencale (1967), On the Murder of a Great Chief of State (1968), and La Creation du Monde in 1991 with Assistant Conductor Andrew D. Johnson and in 2007 with Markand Thakar.
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Instrumentation:Two flutes (one doubling piccolo), oboe, two clarinets, bassoon, two horns, two trumpets, trombone, percussion (guiro, tambourine, bass drum, tambourin provençal) and strings. Darius Milhaud (pronounced Mee-OH) was one of the most prolific composers of the 20th century. His compositions, nearly 450, range from piano pieces for children, chamber music, concertos, symphonies, theater and film scores to full-length operas. He was a member of Les Six,a group of composers, five French and one Swiss, whose music is often seen as a reaction against both the musical style of Richard Wagner and the impressionist music of Claude Debussy and Maurice Ravel. The members, along with Milhaud, were Georges Auric (1899-1983), Louis Durey (1888-1979), Arthur Honegger (1892-1955), Francis Poulenc (1899-1963) and the only female member, Germaine Tailleferre (1892-1983). Milhaud’s compositions are influenced by jazz and Brazilian music and make extensive use of polytonality. He is considered one of the key modernist composers. Milhaud’s parents were both musically gifted and from the age of three, he was playing piano duets with his father. He started playing the violin at age seven and at thirteen he began harmony lessons and discovered composition. Milhaud studied at the Paris Conservatoire where he met Honegger and Tailleferre. He studied composition under Charles Widor, harmony and counterpoint with André Gedalge, and studied privately with Vincent d’Indy. Milhaud was unable to join the military during WWI, he suffered from rheumatoid arthritis, therefore he was assigned as secretary to the poet and dramatist Paul Claudel at the French embassy in Brazil. Milhaud returned to France after the war via New York where he enjoyed the jazz clubs in Harlem, listening to the music that would have a lasting influence on him.
of the samba that the band was playing this evening while the … women, dressed in blue, were dancing.” Beginning the project in 1919 he merged folk tunes, tangos, maxixes (a kind of Brazilian syncopated polka), sambas, and Portuguese fado music (a mixture of Portuguese and Brazilian popular and dance music). He conceptualized the music as if it was accompanying an imaginary Charlie Chaplin film, initially calling it cinéma fantasie, but Jean Cocteau turned it into a ballet-pantomime. Prohibition had just begun and Cocteau set the scene in a Manhattan speakeasy called Le Bœuf sur le toit. The pantomime featured the three Fratellini brothers: Paul (1877-1940), François (1879-1951) and Albert (1886-1961). The Fratellini family was a famous European circus family in the late 1910s and 1920s. The other characters involved are: “a Boxer, a Negro Dwarf, a Lady of Fashion, a Redheaded Woman dressed as a man, a Bookmaker, a Gentleman in evening clothes.” The Barman, with a beautiful face, serves everyone cocktails. Soon after a Policeman arrives, and the speakeasy is immediately transformed into a milk-bar. As the patrons dance and sip milk the Barman switches on a big fan which decapitates the Policeman. The Redheaded Woman does a dance with the Policeman’s head and ends it by standing on her hands like the Salome in Rouen Cathedral. The customers drift away one-by-one and the Barman presents an enormous bill to the resuscitated Policeman.
Upon Milhaud’s return to Paris, after being exposed to Brazilian music and subsequently American jazz, he declared his intent to “… write a ballet about the carnival in Rio, which will be called Le Bœuf sur le toit, from the name
DARIUS MILHAUD
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In contrast to the lively tempo of the music, Jean Cocteau choreographed all the movements to be slow, like a slow-motion film, giving it an unreal, dreamlike atmosphere - probably best enjoyed while under the influence of Absinthe. It was a scandalous success and soon after the Paris nightclub, Club Gaya, changed its name to Le Bœuf sur le toit and presented Milhaud with a lifetime membership.
“DON’T BE AFRAID OF WRITING SOMETHING PEOPLE CAN REMEMBER AND WHISTLE. DON’T EVER FEEL DISCOMFITED BY A MELODY.” Milhaud led a very productive and influential life until his death in 1974. From 1947 to 1971 he taught in alternate years at Mills College in California and the Paris Conservatoire. He also was among the founders of the Music Academy of the West summer conservatory. One of his most famous students was jazz pianist Dave Brubeck, who said, “Milhaud was an enormously gifted classical composer and teacher who loved jazz and incorporated it into his work.” The popular songwriter Burt Bacharach was also a student and was told by Milhaud, “Don’t be afraid of writing something people can remember and whistle. Don’t ever feel discomfited by a melody.” Milhaud used a cyclical pattern of key changes incorporated it into his work.” The popular songwriter Burt Bacharach was also a student and was told by Milhaud, “Don’t be afraid of writing something people can remember and whistle. Don’t ever feel discomfited by a melody.” Milhaud used a cyclical pattern of key changes that would boggle Bacharach’s mind in Le Bœuf sur le toit. The opening, and oft-repeated, rondo theme rises in tonality on each restatement by a minor third, but after the fourth appearance it is reiterated a whole tone lower
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and the pattern continues until it finally ends at C major. The only keys not used are B minor and E minor. What ensues makes Le Bœuf sur le toit an engaging and memorably beautiful work of music.
LEONORE OVERTURE NO. 3, OP. 72B LUDWIG VAN BEETHOVEN: Baptized: December 17, 1770, in Bonn, Germany Died:March 26, 1827, in Vienna, Austria Work Composed: 1806 World Premiere: March 29, 1806, at the Theater an der Wien in Vienna, Ignaz von Seyfried conducting (the revival of Fidelio with this overture) Performance History: Performance History: The DSSO performs this work for the 11th time on the Masterworks Series. It was also heard in 1936, 1940, 1942, 1948, 1952, 1958, 1975, 1993, 1997 and on November 13, 2010. Six of the performances featured this overture as the opening work of the season. Instrumentation: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings. It has been said that Beethoven spent more time composing an overture to Fidelio than Rossini or Donizetti spent on entire operas, overtures included. For his only opera, originally titled Leonore, he composed four overtures! Of the four, No. 3 has gained favor in the concert halls and also in the opera house, where it is often played just before the finale of Fidelio. An inappropriate place as it easily overshadows the entire performance of the opera. Beethoven chose to use a different overture that he prepared for the 1814 revival, one of lighter character that works better as an introduction. The story of Fidelio begins with Florestan, who has been unjustly sent away to prison by politician Don Pizarro. No one knows where Florestan is and his wife, Leonore, sets out to find him. To ease her on her quest she assumes a male disguise and calls herself Fidelio. She finds where Florestan is imprisoned and gets a job as assistant to the jailer. Meanwhile, Pizarro learns of an impending inspection of his cruelty at the prison by the minister from
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the capital. The presence of the innocent Florestan would put Pizarro in a compromising situation, so he decides he has to kill the prisoner. Just at the moment when Pizarro brandishes his dagger, Fidelio jumps in between Pizarro and Florestan and reveals herself to be Leonore. Pizarro raises his dagger to kill her, but she pulls out a gun and threatens to shoot him. Pizarro is escorted upstairs to face the minister, Don Fernando, who is waiting at the gate. Don Fernando announces to the gathering crowd that the tyranny is over and Pizarro is placed under arrest. Florestan is released and everyone sings the praises of Leonore, the loyal savior of her husband. Beethoven’s overture Leonore No. 3 can be viewed as an abridged version of the entire opera. The dramatic work tells the story from its dark, troubled beginnings to Florestan recalling the better times of his life before his imprisonment. This is followed by fiery, energetic music, interrupted by the trumpet signaling the arrival of Don Fernando and the victorious ending. Beethoven realized, almost immediately, that this overture was too dramatic, big and strong to be an effective introduction, although it has been used throughout the history of Fidelio performances. The opera and overture come from Beethoven’s ‘heroic’ period, 1802-12, only a couple of years after his Eroica Symphony No. 3 and around the same time as his work on the Fourth and Fifth Symphonies and the Violin Concerto. The Leonore Overture No. 3 stands on its own as one of Beethoven’s great works during that period as a potent, musical embodiment of humanistic passion.
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LUDWIG VAN BEETHOVEN
HOW TO DONATE
WAYS TO SUPPORT THE DULUTH SUPERIOR SYMPHONY ORCHESRA
Just as it takes an ensemble to perform the great works of Beethoven, so it takes a collection of individuals to support the work of the Duluth Superior Symphony Orchestra. When you give to the DSSO, you are supporting an organization that is a cultural cornerstone of the Twin Ports region, bringing together the best of our local musicians to entertain, educate and enrich the lives of more than 20,000 individuals each year. Your ticket purchase tonight was important - but it only covers a quarter of our annual operating expenses. Individual donors play an important part in helping the Symphony bridge that gap. Each season, gifts from individuals provide more than 60% of our contributed income. That means donations of any size make a big difference and support our efforts to share great music with everyone in the community.
MOST COMMON WAYS TO MAKE A GIFT TO DULUTH SUPERIOR SYMPHONY ORCHESTRA In Person - Come say hello to us at the tables in the lobby. We want to hear your stories about concerts you have enjoyed over the years Call the Office - We are happy to process your donation over the phone and love it when people call. (Did you know more than 50% of all single ticket sales are done over the phone!?) (218) 623-3776 Donate Online - Give securely by visiting www.DSSO.com/give Mail Us a Check - We know it can be old-fashioned, but our office loves getting mail. 130 W. Superior St Suite LL2 - 120 Duluth, MN 55802
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ADDITIONAL WAYS TO MAKE A GIFT Monthly Giving- Sign up for a monthly donation that can be automatically deducted from your credit card or checking account. Stock Donations- You can transfer appreciated stock as a gift that is fully tax-deductible. IRA Distribution- Make a distribution directly from your IRA to the DSSO.
PERPETUAL SUPPORT VIA THE LEGACY SOCIETY: The Legacy Society recognizes and honors the visionary individuals, couples, and families who have included the DSSO in their estate plans, ensuring that the music you care about continues into the future. To join the Legacy Society, you can make a bequest to the DSSO as part of your Will, name the organization as a beneficiary in a policy or retirement fund or provide a direct cash donation into our endowment. To begin, contact your attorney and ask for the DSSO to be included in your Will, Trust or policy. Then contact the DSSO office and we can provide you with a membership form so we can begin recognizing your generosity and including your gift in our future planning. In recognition of their support, Legacy Society members are listed in all concert Program Books and are invited to an exclusive annual benefit event each year.
BUSINESS SUPPORT: The Duluth Superior Symphony Orchestra (DSSO) is proud to be a part of the Twin Ports business community. The Symphony is an employer, a downtown tenant, a consumer, an advertiser, and a member of the Chamber of Commerce. We understand that each company has different needs and motivations, from marketing and brand identification to client and employee entertainment and recognition, and more. We welcome the opportunity to discuss your corporate objectives and identify customized ways we can work together for mutual benefits.
DSSO CONTRIBUTORS
THANK YOU TO THE FOLLOWING CORPORATE AND INDIVIDUAL CONTRIBUTORS WHO HAVE GIVEN IN SUPPORT OF THE DSSO JANUARY 1, 2019 THROUGH DECEMBER 31, 2020
MAESTRO ($25,000 AND UP) Margaret Dale Ames Lifetime Trust Jeremy & Carol Fryberger McKnight Foundation Minnesota State Arts Board The Charles and Carolyn Russell Family Foundation US Bank The Depot Foundation
PRINCIPAL ($10,000 AND $24,999) Duluth Superior Area Community Foundation Essentia Health Helena Jackson & Doug Dunham Gary & Jacqueline Foley Lloyd K. Johnson Foundation Elisabeth C. Mason Wildey H. Mitchell Family Foundation Sharon & Michael Mollerus Nancy Odden & Doug Britton Pachel Foundation William & Saundra Palmer Verna & Arend Sandbulte in support of the concertmaster chair through the Sandbulte Orchestra Leadership Fund Janet R. Sklaris Robert & Sharon Wahman Muriel Whiteside Charitable Trust Mary & James Zastrow
GUEST ARTIST ($6,000 AND $9,999) Martha Aas Arrowhead Regional Arts Council Duluth News Tribune Adelaide M. Cline Karl Diekman
DSSO Young Composers Fund The Estate of Mr. John Elliott Thomas & Barbara Elliott James & Christabel Grant St. Luke’s Hospital Inter City Oil Co., Inc. Mt. Royal Market National Bank of Commerce North Shore Bank Henry & Terry Roberts
FULL CHAIR ($4,500 AND $5,999) Allete, Inc. Dr. Vicki & Terry Anderson Harris & Diane Balko Robert T. & Barbara K. Bennett John & Kathy Berchild Linda & Mark Boben Elizabeth & Richard Burns Mark Danielson & Theresa M. Smith Mr. & Mrs. Robert Eaton Beth Gilbert Happy Sleeper Mattress Elaine Killen Ellen Marsden Cheryl & Joe Meese James & Kathleen Sanders Brad Schmugge, CPA
HALF CHAIR ($2,500 AND $4,499) Stack Brothers Mechanical Contractors Honorable Judge David & Gloria Bouschor Laura Budd Cecilians Society City of Duluth Marcia & Gary Doty Ruth Ann Eaton Jeremy Hoglund and Andréa Mueller Hoglund Sylvia Jamar
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Mark & Nancy Melhus Mark & Grace Monson May & Vern Nordling Northern Mechanical Plumbing Contractors Association Jacquie & James Sebastian Jane S. Smith Memorial Fund Carolyn Sundquist Roberta Vose
QUARTER CHAIR ($1,200 AND $2,499) Anonymous Natascha & Ramin Artang Sandra Barkley Mary Ann & Dell Bernard Jared & Leslie Broadway Lurene Buhrmann Jeffrey & Vickie Cadwell City of Duluth 1200 Fund Alison Jean Clarke Stephen & Lauri Cushing Rose & Lester Drewes Elaine & Roger Engle Rondi Erickson Robert & Mary Evans James & June Farkas Ruth Frederick Robert & Angelica Fryberger Kay & Walt Gower Ron & Kay Gustafson Wayne Holmberg Mary & Glen Holt Pamella Jacobson Ruth R. Johnson in Memory of Dr. Ted Johnson Jeri & Gale Kerns Robert Knighton in Memory of Priscilla Knighton Matthew & Tina Koecher Family Joel & Catherine Koemptgen Diane M. Kolquist & James Seitz Dennis Lamkin
CONTRIBUTORS
J. Clark & Jean Laundergan in Memory of Warren & Viola Askeland Ann Mars David & Patricia Mast Tom & Alice McCabe Nancy Melander Susan Meyer Heather A. Muster Nordling Family Fund Dean Peterson & Deborah Rausch Father Andrew Ricci Timothy & Adeline Sandor in Memory of Joseph A. Sandor Kenneth Schoen Lane Fryberger Smith Donna & Dennis Soukup South Pier Inn Tom & Mimi Stender John Ivey Thomas & Mary Rees Thomas Family Foundation Fund Andrea Wahman & Lee Zimmerman Gudrun & Geoffrey Witrak
ACCELERANDO ($600 TO $1,199) Bill Anderson Jan Biga Karen Crowell Kate Dean Margaret Foss Patricia Gannon Robert Goodin Carlton & Judy Gustafson in Memory of Arlyne and Kalervo Kokkonen Joan & Thomas Hedin Mary Holm-Lund Mr. James Jarocki & Ms. Kristin Blakeslee Taylor Johnson Margaret Joynes Sharon & Jack Kemp Kiwanis Club of Friendly Duluth Mr. & Mrs. Knuti in Memory of Erik G. Knuti and in Honor of James Erickson John, Judith & James Lampi
Donn Larson Gary & Darla Meier Dirk & Paula Meyer William & Irene Moser Barbara L. Olson in Honor of Betty A. Melde & in Memory of R. James Melde Gerald & Mary Ann Ostroski David J. Ouse Ben & Jeanne Overman Susan J. Relf Gerald Ruona William & Kay Slack Tobin Sobaski Patrick Spott & Kay Biga Anita Swanson Valentini’s Vicino Lago Elaine Wickstrom
ADAGIO ($200 TO $599) Anonymous Benedictine Sisters of St. Scholastica Monastery Benedictine Health Center Benevity Fund Janet Akervik John & Cathy Ameel Evelyn M. Anderson Richard & Yvonne Anderson Allen Anway in Memory of Dorothy Anway Chuck & Judyth Babst Linda & Glen Backman Leonore Baeumler Judith & James Bailey Susanne & Johan Bakken Lee Ball Connie Barnabee Anthony Barrett Susan Bathory & Donald Lane Daniel & Marjorie Bergeland Anne Bier Dawn Boman Angie Bomier Jean & Tom Brozic Wendy Buczynski Doug & Karen Buell Jean Captain
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Jan Carey Craig Carlson David Carroll Nancy Carroll Mark & Cathy Casper Terrence Clark John Congdon Marian Congdon Bill & Kathy Croke Dorene Degidio Kathleen Desanto Michael & Carol Donahue R. Craft & Ellie Dryer Julie & Phil Eckman Tom & Joanne Ellison Enbridge Dennis Falk Margaret Fawcett Martha & Conrad Firling David Flemming Flint Group in Memory of Donn Larson John M. Fochs Kayla & Dan Foley Julie A. Ford Claudia French Diane Dinndorf Friebe & Joseph M. Friebe Donald Gaalaas in Honor of the Youth Orchestras Program Debra Gergen John Gibbs Hilary Godard Richard & Karen Gran James & Christabel Grant in Memory of Laura Budd Barbara & William Gravelle Edwin Hall Hope Heikkinen Rose Heldt Robert & Lois Heller Jim & Shirley Herman Robert & Joyce Hickman Barbara & Bob Hjort Susan Hjort Karen Hoeschen Paul Holm Mary Ann & Oliver Houx Kenneth Jackson
CONTRIBUTORS
Dan Jaeckel in Memory of Mae Peterson Sylvia Jamar in Memory of Charlotte Moyer Jane & Jack Jarnis Austin Jarrow Dr. David Jennings Ellis Johns Dennis Johnson Julie Johnson Barbara Johnson-Kim Linda Jorgenson Ronald Kari in Memory of Bradley Bombardier Danette Kealey John & Beth Kelly Milka Kleiner Katie & Bob Kuettel Dr. Jerome Kwako Sharon Layon & Neil Nelson Cynthia Ledin Martin Lee, RN, MBA Paul Lee Charlie & Jean Leibfried in Honor of Tom & Mary Donahue Paul & Nancy Lokken Dr. John & Mrs. Michelle Magdsick Dean McCall Betty Melde Norma Miles Patricia Miller in Memory of David Miller Pam Moore & Jon Stephenson Wende & James Morrell Katherine Munck Dan & Cathy Mundt Susan Nelson Judith A. Newman Noelle Paulson in Honor of Dennis Paulson Kevin & Rebecca Peterson Suzanne & Brian Rauvola Paul Rigstad Branden Robinson Michael & Betsy Rosenzweig Karen & Jon Sande Dr. John Schrock & Mary Berube Helen Sever Mark T. Signorelli
Beth Sobczak Cindy S. Spillers James & Judith Stewart Thom & Cindy Storm Thirsty Pagan Brewing Thrivent Financial Kathleen Thibault Sharon L. Torrison in Memory of David Vose & Don Niemi Rajiv Vaidyanathan Sharon van Druten Pat Wellberg Claudia & Harry Welty Cathy & Kirby Wood Geiger Yount
TEMPO (UP TO $199)
Anonymous in Honor of Char & Bernie Nem Erin Abramson Gina Ademino Monica Ademino Pete Ademino Cigale Ahlquist John Alexander James J. Amato Ann Anderson Deb Anderson & Ed Herzog in Memory of Charlotte Moyer Bill Anderson Gwendolyn Anderson Jody Anderson Mary Anderson Patricia M. Anderson in Memory of Ralph Andres Paul Anderson Richard & Yvonne Anderson in Memory of Lorraine Johns The Anderson Family Patricia Anscomb Kathy Antilla in Memory of Marge Kuehn Allan Apter Judith Arnold Beth Arnson Jane & Thomas Barthell Lois Bauer Carla Bayerl
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Barbara Bentz Roy Berg William Berglund in Memory of Ralph Andres Damita Beyer David & Karen Bjorkman Ronald & Terry Blaisdell Joanne M. Blakeslee Charles Block & Kathryn Nettleman David Blomberg Gary Boelhower & Gary Anderson Amity Borden in Memory of Beverly Wipson Shirleyann Brandser Kathleen Bray Elton Brown in Honor of Mark Monson Laura Budd in Memory of Charlotte Moyer Ronald Caple Jay Carlsgaard Nathan Carlsgaard Peggy Carlson in Memory of Ray E.Carson Joann Carmack in Memory of Mae Peterson Leah Carr Jeanne Carroll David Carter Timothy & Leslie Churchill Natalie Constance Julia Convissor Kathy Coughlin Ruth Cox in Memory of Ralph Andres Tim Craig Dianna Crandall Jerry Curnow Gwyn Curran Martyn Dahl Thomas Dahlberg Coralee J. Danielson Carolyn & Alan Diamond in Memory of Charlotte Moyer Karen Dingle Tom & Mary Donahue in Memory of Anne & Daryl Leibfried Jeanne Doty
CONTRIBUTORS
Mary Dragich Duluth Sister Cities International Nancy Eaton Duraine Egan Hendershot David Eichman Ronald A. Ellefson Joe Ehlers & Sarah Nelson Jeff Elliott in Memory of Laura Budd Paul Enenbach Gerald Erickson Geraldine Erickson in Memory of Ralph Andres Karen Erickson Russell Erickson Heather Fails Marie Fegley Diane Felde-Finke Sue Fena Peg Ferguson Edward Flenz Elizabeth Gaalaas Michael Galeski Eileen Gannon in Memory of Ralph Andres Geoffrey Gates Sandra Gazdus Mary Gdula Jane Gilley Neil Glazman Mary Godfrey Kay & Walt Gower in Memory of Mae Peterson Kay & Walt Gower in Memory of Charlotte Moyer Kay & Walt Gower in Memory of Laura Budd Betty Greene Sarah Greer Sarah Grosshuesch Steve Grove Ann Gumpper Paul Gustad Linda Haagensen Joanne Hagen Mary K. Hagen Elizabeth Hall Larry & Jean Hammargren Keith Hamre
Martha Han Lynne Harrington Hall Ellen Hedin Vernon A. Harrington David Helf Kathy Heltzer Barbara G. Hemenway Melissa Hendrickson in Memory of Ralph Andres Sandra & Thomas Henning Christine Hensolt Jill Hilliard Jill Hoag Mary Hoberg Lisa Hoch Kevin & Carol Hoeschen Karen B. Holden Patricia Holliday Diane Holliday-Welsh Sara Hollingsworth Sheryl Homan Timothy Horyza Robert D. Howe Rita Hughes Austin Jarrow Jenny Jensen Pat Jirsa Donald & Mary John Charles Johns Barbara Johnson Edna & George Johnson Mark Johnson Marlene Johnson Mary A. Johnson Matthew Johnson Patricia Johnson Marissa Kari Carol & Bob Kelley Lori Kersey-Dukat Robert Kidd Jane Killough in Memory of Mae Peterson Patti Kleimola Dorothy Knudsen Carol Kondrath Pat Kruschke Damien Kujawa Jean & Steve L’Abbe in Memory of Bradley Bombardier
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Katie LaBrie Cot Lafond Anne Liable Lake Superior Brewing Co. Devereaux Lalond Barb Lamaster Andre Lamourea Catherine A. Larson Paul Lee Jessica Leibfried Melissa Lentz De Ann Letourneau in Honor of Diane Balko and Erin Aldridge Beth Liljeblad Michael Lillo Ketti Lindberg Bonnie Lloyd Gary Loberg Jean Loushin Michael Lucas Patricia Luder Joyce Lund Lai La Lunde Charlie Lydon Judy MacGibbon Ruth MacNutt Joan Mahle Hannah Maki Lisa Mandelin Audrey Markon Sam Marks James Martin Cindy Martinson Rachel Z. Mason Patricia Young Massie Monica Mattila in Memory of Mae Peterson Clinton Mattson Dr. Robert McClellan Susan McKim Karen McManus Nancy McParlan Nancy Melander in Memory of Laura Budd Patty Mester Carol Michealson Joseph & Jodi Milli in Memory of Charlotte Moyer William Miner
CONTRIBUTORS
Alison Moffat Tom Morehouse Tom & Julie Morgan in Honor of Christabel Grant Catherine Morin Bruce & Nora Moss Jason & Kelly Mraz Sally Munger Janet & John Murphy Bob Myers in Honor of Margaret Myers Joann M. Narhi Molly Negus Nancy Neilson Kristina Niere May & Vern Nordling in Memory of Ralph Andres Ryan & Natasha Nordrum in Memory of Dirk Robert Nordrum Emily Nygren George H. Nylander Nancy Odden & Doug Britton in Memory of Mae Peterson Marlys Olson Terry Olson Margaret Oman Alan Onken Sharon & Vincent Osborn Korrie Osthus Mary Ostman Mark Ostrov Laurie Ostrowski William & Saundra Palmer in Memory of Susan Poupore William & Saundra Palmer in Memory of Carl Victor Petersen John Pastor Gerald Patten Barb Pearman Judy G. Pearson Ann Pellman Marylou Perham Greg Pesola Louann Petersen-Noltner Anne Peterson Bauers Barry & Elizabeth Peterson Glenn Peterson Janet Peterson
Richard & Linda Peterson Sharon Picconatto Mary Kay Plank Mary Planten-Krell Antoinette Poupore-Haats Therese Presley James Proudlock Kim Quinones Daniel Radosevich Nancy & Roger Ralston Deborah Ralston-Wolfe Kurt Ramlo Deborah Rasmussen Lance Reasor Frances L. Reed Mary Pat Renaud Jack Renick Kathleen Risku Sheryl Robins Delores Rogers Steve & Janet Rosen David Rosetter Geraldine Russo Richard Sandeen Carol Saranpaa Steve Savageau Paul Scaringi Nichole Schaefer Eileen Schantz-Hansen Carrie Scherer Jacalyn Schlies in Honor of Steven Boyd Paul R. Schmitz Theodore Schoen Carl Schroeder Deb Schroeder Linda Schwartz Doug Scott Jack & Cindy Seiler Judy Seliga-Punyko Chris Settle Laurie Severson Dr. Thomas & Alice Shuey Eugene Shull Sheila Shusterich Richard Skogg James Slocum Carrie Slordal in Memory of Ralph Andres
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Amelia Smith Phyllis Smith Barbara Soufflet Lawrence Spears Carol Spencer Patrick Spott & Kay Biga in Memory of Laura Budd Nadine Srdar Nairi Stack Paul Stein Craig & Sandra Sterle Katie Stevenson Robert & Zabelle Stodola Thom & Cindy Storm in Honor of Laurie Bastian Rebecca Strand Tim Stratton Kay Suffron Nick Susi Claryce Swensen Mary Tennis Barbara Teske Ruth Thorpe in Honor of Vincent Osborn Ruth Thorpe in Honor & Memory of Barbara Rae Amlotte Adrienne Thureen Steve Tomhave Lucas Trea Shelby Trost Donna Trostad Nancy Turchi Brenda Uecker in Memory of Ralph Andres Tiss Underdahl Jeff Urbaniak Sharon van Druten Judith Van Dyne Brandon VanWaeyenberghe Therese Vaughn Roberta Vose in Memory of Laura Budd Roberta Vose in Memory of Dorothy Anway Roberta Vose in Memory of Thomas Stolee Mary Voss Jennifer Wabrowetz
CONTRIBUTORS
Mary Wagner Zbaracki for sons Edward, David, & Joseph Dr. Margaret Waisman Dana T. Waldbillig Jori & Chuck Walt Lue Ann Warcholak Sarah Warner Sheldon & Susan Watts Elizabeth Weberg Mark & Carol Weitz James Westman Trevor L. White in Memory of Alberte & Trevor White Whiteman Family Charitable Fund in Memory of Richard Whiteman Margaret Wilson in Memory of Mae Peterson Ruth Winters in Honor of Kathleen Winters Amity Wipson in Honor of Beverly Wipson Mona & Stan Wold Marcia Wolter Britton in Memory of Mae Peterson Georgette Wondolkowski Jay & Helyn Woolf Beva Lee Wunderlich Yasuyo Yamazaki Paul Zahorosky Suzanne Zallar Mary & James Zastrow in Memory of Laura Budd Marion R. Zbaracki in Memory of Mae Peterson
IN MEMORY
Our hearts go out to the family & friends of the following DSSO partrons & musicians who passed in 2019/2020
Barbara Rae Amlotte Ralph Andres Dorothy Anway Bradley Bombardier Laura Budd Ray E. Carson Marge Kuehn Priscilla Knighton Donn Larson David Miller Charlotte Moyer Carl Victor Petersen Mae Peterson Susan Poupore Joseph A. Sandor Thomas Stolee Beverly Wipson
DSSYO CAMPAIGN
Thank you to the generosity of those who gave in support of the youth musicians of the Duluth Superior Symphony Youth Ensembles
Anonymous Martha Aas Janet Akervik John Alexander Mary Anderson Ann Anderson Jody Anderson Allen Anway Allan Apter Leonore Baeumler Lee Ball Sandra Barkley Bob Barnabee Thomas Barthell John Berchild Audrey Beyer Jan Biga David Bjorkman Jill Blazevic David Blomberg Linda Boben
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Stephen Cushing Landon Dahl Thomas Dahlberg Kate Dean Mary Donahue Jeanne Doty R. Craft Dryer Nancy Eaton Paul Enenbach Sue Fena Peg Ferguson Kayla Foley Elizabeth Gaalaas Donald Gaalaas Michael Galeski John Gibbs Beth Gilbert Neil Glazman Mary Godfrey Steve Grove Lois Guderian Ann Gumpper Linda Haagensen Mary Hagen Martha Han Lynne Harrington Hall Ellen Hedin Rose Heldt Barbara Hemenway Robert Hickman Luke Hilliard Bob Hjort Jill Hoag Mary Hoberg Lisa Hoch Karen Hoeschen Kevin Hoeschen Robert Howe James Jarocki Jenny Jensen Charles Johns Ellis Johns Mary Johnson Patricia Johnson Barbara Johnson-Kim Carol Kelley John Kemp Gale Kerns Elaine Killen
CONTRIBUTORS
DSSYO CAMPAIGN CONTINUES... Angie Bomier Jean Brozic Lurene Buhrmann Jeffrey Cadwell Ronald Caple Jay Carlsgaard Craig Carlson Leah Carr Christopher Carroll Cathy Casper Cecilian Society Terrence Clark John Congdon Gwyn Curran Robert Knighton Dorothy Knudsen Diane Kolquist Carol Kondrath Pat Kruschke Robert Kuettel Andre Lamourea J. Clark Laundergan Sharon Layon Cynthia Ledin Paul Lee Michael Lillo Bonnie Lloyd Gary Loberg Paul Lokken Jean Loushin Lai La Lunde Charlie Lydon John Magdsick Lisa Mandelin Ann Mars Ellen Marsden Cindy Martinson Hannah Mason Clinton Mattson Dean McCall Dr. Robert McClellan Nancy McParlan Nancy Melander Dirk Meyer Norma Miles Pam Moore Wende Morrell William Moser
Nora Moss Will Munger Joann Narhi North Shore Bank Nancy Odden Alan Onken Vincent Osborn Korrie Osthus Mark Ostrov Laurie Ostrowski David Ouse Gerald Patten Ann Pellman Marylou Perham Louann Petersen-Noltner Janet Peterson Sharon Picconatto Mary Planten-Krell Therese Presley Elizabeth Prest Daniel Radosevich Lance Reasor Mary Pat Renaud Jack Renick Delores Rogers David Rossetter Gerald Ruona Karen Sande Richard Sandeen Carol Saranpaa Nichole Schaefer Carrie Scherer John Schrock Deb Schroeder Doug Scott Jack Seiler Judy Seliga-Punyko Helen Sever Tom Shuey Sheila Shusterich Mark Signorelli Daniel Skorich William Slack Amelia Smith Phyllis Smith Nairi Stack Irving Steinberg David Steininger
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Craig Sterle Rebecca Strand Tim Stratton Carolyn Sundquist Nick Susi Claryce Swensen Mary Tennis Kathleen Thibault Adrienne Thureen Sharon Torrison Lucas Trea Shelby Trost Donna Trostad Jeff Urbaniak Rajiv Vaidyanathan Laurie Van Brunt Therese Vaughn Roberta Vose Mary Voss Jennifer Wabrowetz Sheldon Watts Harry Welty Stan Wold Georgette Wondolkowski Kirby Wood Sheryl Wood Homan Suzannne Zallar James Zastrow Lee Zimmerman
TAKE A BOW, SPONSORS
We are pleased to offer a big thank you to our sponsors for the 2020-2021 Season. Their generous support makes it possible for the DSSO to bring world-class concerts, educational programs, and community outreach to the Northland. BRAVO!
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