NSM 2023-24 Vol. 3

VOLUME 3

2023/2024 SEASON

Northern Sounds THE MAGAZINE OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA

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DSSO 2023-24 SEASON

TABLE OF CONTENTS 08

WELCOME LETTER

8 Music Director Dirk Meyer 8 Board of Directors 12 Staff and Administration

14

MEET THE ORCHESTRA

18

MASTERWORKS 5: SURVIVE & THRIVE

28

MASTERWORKS 6: SLAVIC SOUL

36

MASTERWORKS 7: SLAVIC SOUL

46

14-15 Meet the Orchestra

19-23 Masterworks 5 Program Notes

29-34 Masterworks 6 Program Notes

37-42 Masterworks 7 Program Notes

WAYS TO SUPPORT THE DSSO 40 How to Donate 41-44 DSSO Contributors

6 DULUTH SUPERIOR SYMPHONY ORCHESTRA

SPRING 2024 CONCERT SERIES March 19 | 7:30 p.m.

University Recital Series Hector Landa, piano

April 6 | 7:30 p.m St. John’s Passion: UWS & CSS Choruses and Orchestras

April 7 | 3:00 p.m St. John’s Passion: UWS & CSS Choruses and Orchestras

Webb Recital Hall

Cathedral of Our Lady of the Rosary, Duluth

Pilgrim Lutheran Church, Superior

April 16 | 7:30 p.m.

University Recital Series Erin Aldridge, violin Alexander Sandor, piano Webb Recital Hall

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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’ artistry.

7 DULUTH SUPERIOR SYMPHONY ORCHESTRA

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MUSIC DIRECTOR

WELCOME TO THE SYMPHONY! Time flies, if you’re having fun. Looking back at 10 years with the DSSO, it seems that I just started working here yesterday! It has been an incredible honor and privilege to lead this wonderful orchestra over the past decade.

Together we have performed over 200 works – on our Masterworks Series alone. We made lots of memories along the way and I can’t wait to embark on our next decade together. One thing is for certain: More great music will find its way to us and enrich our lives, beginning with our 2023/24 Season.

DIRK MEYER

As we continue our efforts to make underrepresented voices heard, we focus our attention on works written by female composers. From composers with a romantic voice, like Clara Schumann and Amy Beach, to more modern voices, like Anna Clyne and Joan Tower: This season we explore rich and powerful compositions, written by strong women around the globe. We are thrilled to even include a world premiere, a new work written for the DSSO

by Duluth composer Wendy Durrwachter.

Our second focus this season is to celebrate our past 10 years together. What better way to do so than with audiences’ and musicians’ favorites. Last season we asked all of you to submit your favorites from the past decade. For the audience the clear winner was Carmina Burana, while the musicians voted Gustav Mahler as their favorite. With these blockbusters bookending the season, we complete our Masterworks Series with beloved composers like Mozart, Sibelius and Brahms while, at the same time, presenting amazing works by lesser known masters, like Wieniawski, Walton and Weill.

In our Pops Series we bring back our Holiday tradition and take a stroll back through the Pops classics.

This promises to be one of our most exciting and fun seasons ever. A great way to ring in the next decade!

Dirk Meyer, Music Director Duluth Superior Symphony Orchestra

BOARD OF DIRECTORS 2023-2024: Mark Monson, Board President John Berchild, Past Chair Robert T. Bennett, Treasurer Tammy Ostrander, Secretary BOARD OF DIRECTORS

William Alexander Sandra Barkley Robert T. Bennett John Berchild Linda Boben

8 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Mark Danielson Rhonda Degelau Beth Gilbert Jeremy Hoglund Jill Kaiser Tina Koecher James McLeod Mark Monson Emily Nygren Tammy Ostrander William “Buzz” Palmer Branden Robinson

Kathleen Sanders James Sebastian Nairi Stack Rajiv Vaidyanathan Roberta Vose HONORARY LIFE DIRECTORS

Christabel Grant Elaine Killen Dexter Larsen Nancy Melander James Zastrow

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STAFF AND ADMINISTRATION: ADMINISTRATION

Brandon VanWaeyenberghe, Executive Director Kelly Katzmarek, Marketing Director Audrey Beyer, Development Manager Ginger Dallin, Sales and Promotion Specialist

YOUTH ORCHESTRAS

Melanie Sever, Administrative Director and Concert Orchestra Conductor Kristin Sande, DSSYO Administrative Assistant Ronald Kari, Youth Orchestras Coordinator Pedro Oviedo, Youth Symphony Conductor Kevin Hoeschen, Sinfonia Conductor Byron Klimek, Sinfonia Conductor Teresa Aho, Sinfonia Conductor

ARTISTIC STAFF

Dirk Meyer, The Charles A. & Carolyn M. Russell Music Director David Arnott, Manager of Orchestra Operations Kristin Sande, Music Librarian CHORUS

Aine Miller, Chorus Administrator Beth Sobczak, Rehearsal Accompanist

CONCERT BOX OFFICE

Hannah Wohlers, Front of House Assistant Cas Bordner, Front of House Assistant

MUSIC DIRECTORS Dirk Meyer (2013 – 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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Jeremy Craycraft, Percussion Ensemble Director PRINTING OF NORTHERN SOUNDS

Pro Print NORTHERN SOUNDS PROGRAM NOTES

Vincent Osborn, Program Notes Writer Ronald Kari, Performance Historian, now in his 62nd Season with DSSO DULUTH SUPERIOR SYMPHONY ORCHESTRA

Office: 506 W. Michigan St., Duluth, MN 55802 TICKETS

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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 J. & Verna Sandbulte in support of the concertmaster chair through the Sandbulte Orchestra Leadership Fund Mary Alice Hutton, Associate Concertmaster Angela Waterman-Hanson, Assistant Concertmaster Nicole Craycraft Kathleen Sanders Sponsor: Dr. Vicki & Terry Anderson Nairi Stack Sponsor: Bill Stack of Stack Bros. Mechanical Contractors Joan Halquist Amanda Wirta Sponsors: John & Rhonda Degelau Lian Ojakangas Daniel Radosevich Steve Highland Sponsor: Thomas & Barbara Elliott Jenna Mattson Sponsors: Tom & Jill Kaiser Kristin Sande

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CELLO

Betsy Husby, Principal Sponsor: Christabel & James Grant Lucia Magney, Assistant Principal Sponsor: Ann Mars Julia Morehouse Sponsor: Nancy Melander Eric Graf (Leave 23-24)

Jean Leibfried, Assistant Principal Sponsor: Sandra Barkley

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MEET THE ORCHESTRA

DOUBLE BASS Cassidy Morgan, Principal Vincent Osborn, Assistant Principal Sponsor: Lane Fryberger Smith 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 Gordon Lewis

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MASTERWORKS 5

SATURDAY, MARCH 16TH, 2024 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR GENEVA LEWIS, VIOLIN GABRIEL MARTINS, CELLO

BRAHMS 32’ Concerto for Violin and Cello in A minor, op. 102 Allegro Andante Vivace non troppo Geneva Lewis, Violin Gabriel Martins, Cello INTERMISSION WALTON 41’ Symphony No.1 in B-flat minor Allegro assai Presto con malizia Andante con malinconia Maestoso - Allegro brioso ed ardentemente

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MUSICIAN PROFILE

GABRIEL MARTINS & GENEVA LEWIS Cellist Gabriel Martins (b. 1998) has established himself as one of the world’s most compelling young musicians. His artistry has already been recognized through an extensive list of accolades including the Concert Artists Guild/Young Classical Artists Trust Grand Prize, the Sphinx Competition Gold Medal, the David Popper International Cello Competition Gold Medal, the International Tchaikovsky Competition for Young Musicians Silver Medal, the Schadt String Competition Gold Medal, the Orford Music Award, and the Prague Spring Czech Music Fund Prize. These successes have led to a number of high-profile debuts including Carnegie, Merkin, and Wigmore Halls, 92nd Street Y, the Great Hall of the Moscow Conservatory, Maison Symphonique in Montréal, and the Arkansas, Greensboro, Houston, Indianapolis, Memphis, New Russian State, Omaha, Pacific, Phoenix and São Paulo Symphony Orchestras. In 2022, The Strad Magazine declared his New York City recital debut to be "flawlessly played...a deeply moving experience”, and Classic FM named him one of their “30 under 30” Rising Stars.

Lauded for his "rich, warm" and "mesmerizing" sound, Martins carries a concerto repertoire spanning every major work. In recital, his performances of the Bach Cello Suites have garnered particular recognition. Martins’ playing has been broadcast on NPR, WQXR, KUSC, WFMT, and more. His festival appearances include Aspen, Bard, Brevard, Chamberfest Cleveland, Four Seasons, La Jolla, Ravinia, and Yellow Barn.

Born of American and Brazilian heritage, Martins grew up in Bloomington, Indiana. He began playing the cello when he was five, studying with Susan Moses at the Indiana University String Academy. He went on to receive his B.M. as a Presidential Scholar at the USC Thornton School of Music with Ralph Kirshbaum. In his freshman year at USC, he won the school’s concerto competition as well as its Bach competition. He received his M.M. at the New England Conservatory of Music with Laurence Lesser. In addition to performing, he also composes, arranges, and teaches. He plays a composite Francesco Ruggieri cello made in Cremona, c. 1690 and a François Nicolas Voirin bow made in Paris, c. 1880.

New Zealand-born violinist Geneva Lewis has forged a reputation as a musician of consummate artistry whose performances speak from and to the heart. Lauded for “remarkable mastery of her instrument” (CVNC) and hailed as “clearly one to watch” (Musical America), Geneva is the recipient of a 2022 Borletti-Buitoni Trust Award, 2021 Avery Fisher Career Grant and Grand Prize winner of the 2020 Concert Artists Guild Competition. Additional accolades include Kronberg Academy’s Prince of Hesse Prize, being named a Performance Today Young Artist in Residence, and Musical America’s New Artist of the Month. Most recently, Geneva was named one of BBC Radio 3’s New Generation Artists.

Since her solo debut at age 11 with the Pasadena POPS, Geneva has gone on to perform with orchestras including the Orpheus Chamber Orchestra, Pasadena Symphony, Sarasota Orchestra, Pensacola Symphony and Duluth Superior Symphony Orchestra and with conductors including Nicholas McGegan, Edwin Outwater, Michael Feinstein, Sameer Patel, Peter Rubardt, and Dirk Meyer. The 2022-23 season includes performances with the Auckland Philharmonia, North Carolina Symphony, Augusta Symphony, Kansas City Symphony, Austin Symphony and Arkansas Symphony. In recital, recent and upcoming highlights include performances at Wigmore Hall, Tippet Rise, Philadelphia Chamber Music Society, Washington Performing Arts, Merkin Hall, and the Dame Myra Hess Memorial Concerts.

Geneva received her Artist Diploma and Bachelor of Music as the recipient of the Charlotte F. Rabb Presidential Scholarship at the New England Conservatory, studying with Miriam Fried. Prior to that, she studied with Aimée Kreston at the Colburn School of Performing Arts.

She is currently studying at Kronberg Academy with Professor Mihaela Martin.

Geneva is currently performing on a composite violin by G.B. Guadagnini, c. 1766, generously on loan from a Charitable Trust.

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MMAASSTTEERRW WOORRKKSS 25 for Amalie that was introduced at the trial and Joachim felt he had been betrayed by his best friend. Brahms saw Hausmann’s request for a concerto as an opportunity to make a peace offering to Joachim. Brahms even wrote to Joachim, “… I have been unable to resist the ideas that have been occurring to me for a concerto for violin and cello, much as I have tried to talk myself out of it.”

JOHANNES BRAHMS Concerto for Violin and Cello in A minor, Op. 102 JOHANNES BRAHMS BORN: May 7, 1833, in Hamburg, Germany DIED: April 3, 1897, in Vienna, Austria WORK COMPOSED: 1887 WORLD PREMIERE: October 18, 1887, in Cologne, Germany; Gürzenich Orchestra, Brahms conducting INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, strings, solo violin and solo cello.

PERFORMANCE HISTORY: Two of the three previous performances of Brahms’ Double Concerto featured the Orchestra’s Concertmaster and Principal Cello: in 1955 with Clifford Berge and Lois Miller and in 2006 with Erin Aldridge and Betsy Husby. It was also played in 1978 with sisters Alice and Eleonore Schoenfeld.

DURATION: 32 minutes.

The Concerto for Violin and Cello, or as it is commonly referred to as the Double Concerto, is Brahms’ final work for orchestra. Robert Hausmann (1852-1909) asked his friend to compose a cello concerto in 1887. Hausmann was a notable cellist in the 19th century who performed the premieres of, among others, Max Bruch’s Kol Nidrei and Brahms’ Cello Sonata No. 2, both of which were dedicated to him. He was also a member of the Joachim Quartet.

Brahms and violinist Joseph Joachim (1831-1907) had been friends since 1853 and were now alienated. In 1884 when Joachim was divorcing his wife, Amalie, convinced that she was having an affair with the publisher Fritz Simrock (1837-1901), Brahms wrote a supportive letter 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

The concerto makes use of the musical motif A-E-F, a permutation of F-A-E, which stood for Joachim’s personal motto Frei aber einsam (free but lonely). In 1853, when Brahms and Joachim collaborated on a violin sonata, he used the F-A-E motif, which became known as the F-A-E Sonata. Brahms was successful in winning back the friendship as Joachim was receptive of Brahms’ offering. After Hausmann, Joachim and Brahms played it for friends, Clara Schumann wrote in her diary, “The Concerto is a work of reconciliation. Joachim and Brahms have spoken to one another again.”

By combining a violin and cello as solo instruments, Brahms created the sonority and range that could not be accomplished by one or the other. Perhaps Brahms is stating that we need each other, we cannot do this alone.

The Double Concerto begins with the cello responding to the orchestra’s opening in a solo recitative. The violin joins and their duet leads to the orchestra’s introduction of the main theme. Brahms uses the two soloists as a study in contrast. They are imitative then supportive, playful then argumentative, at times accompanying each other and at times finishing each other’s statements.

A melancholic four-note melody in the wind section begins the second movement with the soloists gently completing the melody an octave apart. The finale, a rondo in a gypsy-dance style, is Brahms’ tribute to Joachim’s Hungarian origins.

Although Clara Schumann felt the work a success in regard to Brahms’ intentions, she was not as receptive to the work itself, considering it “not brilliant for the instruments… Nowhere has it the warmth and freshness which are so often to be found in his works.” Richard Specht (1870-1932),well-known for his writings on classical music, described the Double Concerto as “one of Brahms’ most inapproachable and joyless compositions.”

Even Brahms’ supportive critic Eduard Hanslick (18251904) called it “a product of a great constructive mind rather than an irresistible inspiration of creative imagination and invention.” Ouch! Regardless, it’s clear that the Double Concerto carried great significance for Brahms. Although he provided no formal dedication, he wrote on the score which he gave to Joachim: “To him for whom it is written.” In the Double Concerto Brahms developed a work that not only shows individual virtuosity, it also is a monument to mutuality and friendship.

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MMAASSTTEERRW WOORRKKSS 25 wrote to the Dean of Christ Church, “There’s a lot in this chap; you must keep your eye on him.” At age sixteen Walton became an undergraduate of Christ Church, among one of Oxford’s youngest undergraduates since Henry VIII. After leaving the university he lived with the literary Sitwell siblings (Edith, Osbert and Sacheverell), where he was provided a cultural education as well as a home. His earliest success was a collaboration with Edith Sitwell, Façade, which at first labeled him as a modernist; it later became a popular ballet score. Walton was a slow worker and a perfectionist who continually revised his music. As he put it, “Without an india-rubber [eraser] I was absolutely sunk.” Attempting to create the appropriate tone colors during the composition of Belshazzar’s Feast, Walton was stuck on the word gold for seven months! Consequently, his sixty-year career as a composer did not result in a large body of work.

SIR WILLIAM TURNER WALTON Symphony No. 1 in B-flat minor WILLIAM WALTON BORN: March 29, 1902, in Oldham, Lancashire, England DIED: March 8, 1983, in Forio, Ischia, Italy WORK COMPOSED: 1932-35 WORLD PREMIERE: November 6, 1935, London; BBC Symphony Orchestra, Sir Hamilton Harty conducting INSTRUMENTATION: Two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani (two players), percussion (cymbals, field drum, tamtam) and strings.

PERFORMANCE HISTORY: Sir William Walton’s First Symphony receives its first DSSO performance on this concert.

DURATION: 41 minutes.

Sir William Turner Walton, OM (Order of Merit), knighted by King George VI in 1951, was an English composer who is best known for the Viola Concerto, the British coronation anthem Crown Imperial, his First Symphony and the cantata Belshazzar’s Feast. The son of a musician, Walton’s initial musical talent was in singing, although he also took lessons on piano and violin and was a member of the choir at Christ Church Cathedral School, Oxford University for six years. After seeing some manuscripts of his early compositions, Sir Hubert Parry 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

In January 1932 Sir Hamilton Harty, conductor of the Hallé Orchestra in Manchester, asked Walton to compose a symphony; it would take nearly four years before it was completed! Early in the process a friend reported that “Willie” is vacillating between believing it is going well to “feeling sure that all he has done must be torn up.” Walton called it “anemic, sentimental, dull and worthless. …never been inspired in his life and can’t think why he writes.” There’s self- confidence for you!

However, persevere he did and by the spring of 1933 he had the first two movements in draft form. A year later three movements were complete and ready, but no finale.

By 1934 Harty had become the conductor of the London Symphony Orchestra. The orchestra’s management, after two consecutive years of including the work in their seasonal announcements, created pressure for Walton to finish the symphony. Harty and others finally persuaded Walton to allow a performance of the three completed movements, which took place at the Queen’s Hall on December 3, 1934, with Harty conducting the London Symphony. Some critics have suggested that Walton’s problem with finishing the symphony was because of his reaction to the break-up of the six-year love affair he had with the Baroness Imma von Doernberg (1901-1947), a young German widow to whom the he dedicated his Symphony No. 1.

From the very first premiere critics remarked on the influence of Sibelius in Walton’s writing. This is quite obvious in the breadth of the first movement: an eruption of sensual passion that has a direct power from the first measures. Indeed, the first movement is unrelenting in its intensity. The second movement, Presto con malizia (with malice), has the atmosphere of a violent argument - perhaps this movement describes the beginnings of the

end of his affair with the Baroness. If the first movement shows an influence from Sibelius, repeated listenings to the second movement had me wondering who it sounded like - I came up with Copland and Bernstein, but I’ll leave that up to you. In the third movement Walton bares his heartbreak and anguish over his lost love. The finale takes the clouds away and is celebratory in its character.

Walton said that the finale was a “piece for the mob” and also that “in some ways, I think the last movement to be the best of the lot.” It is worth noting that the finale was composed after he had met and fallen in love with Lady Alice Wimborne (1880-1948). Lady Alice was married to Winston Churchill’s cousin Ivor Guest (1873-1939) but had been living separately since 1930.

She is the subject of The Lady in White, Viscountess Wimborne, painted in 1939 by Sir John Lavery (1856-1941), which sold at auction in 2018 for $287,500.

Walton wanted to blow the other composers of his time out of the water with this First Symphony; “I may be able to manage to knock Bax of [sic] the map.” In an article from The Guardian the author states that it is the “most searing and emotional British symphony so far composed.” Walton’s Symphony No. 1 was a sensation at its November 1935 premiere. The News Chronicle reported, “The applause at the close was overwhelming, and when Mr. Walton, a slim, shy, young man, came on to the platform he was cheered continuously for five minutes.” It also aroused interest internationally; the leading conductors in Europe, Wilhelm Fürtwangler and Willem Mengelberg, sent for copies of the score. Harty premiered the symphony in the United States with the Chicago Symphony; Ormandy conducted the Philadelphia Orchestra for the New York premiere; and George Szell conducted it in Australia. Michael Steinberg wrote: “Walton’s Symphony No 1 is a free, strong, individual utterance, as far beyond mere imitation as, say, the Brahms First is in its relationship to Beethoven. Not many would wish to call Walton one of the great twentieth-century composers, but the claim that his First Symphony is one of the great twentieth-century symphonies is not excessive.” Walton certainly knocked this one out of the park.

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MASTERWORKS 6 MASTERWORKS 7

SATURDAY, A P R I L 1 3 T H , 2 0 2 4 , 7 P M DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR ANNA SHELEST, PIANO SMETANA Vyšehrad 12’

C. SCHUMANN 21’ Piano Concerto in A minor, op. 7 Allegro Maestoso Andante non troppo, con grazia Allegro non troppo Anna Shelest, Piano INTERMISSION TCHAIKOVSKY 19’ Romeo and Juliet Overture SMETANA 12’ The Moldau

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MUSICIAN PROFILE

ANNA SHELEST Hailed by The New York Times as a pianist of “a fiery sensibility and warm touch”, Anna Shelest is an international award-winning pianist who has thrilled the audiences throughout the world.

Champion of esoteric repertoire, Anna is collaborating with the legendary conductor Neeme Järvi on a project of recording complete works for piano and orchestra by Anton Rubinstein. The first CD in the set featuring Rubinstein Concerto no. 4 and Caprice Russe recorded live at Lincoln Center’s Rose Theater in New York City has been released in 2018 to great critical acclaim, praised by Gramophone Magazine for “…power and agility… effortless effect… nuanced and incisive all round.” The following release featuring Rubinstein Piano Concertos No. 3 & 5 with Estonian National Symphony Orchestra was released in the Spring of 2019. Her solo release in 2019, ‘Donna Voce’ surveys the music by women composers from the last three centuries.

Together with her husband Dmitri Shelest, Anna recorded Ukrainian Rhapsody, which explores works for solo and four hands piano by the composers of their homeland. A number of radio stations across the US has chosen “Ukrainian Rhapsody” as their Album of the Week.

An “effective collaborator” (The New York Times), Anna made her orchestral debut at the age of twelve with the Kharkiv Symphony Orchestra, playing Rachmaninoff’s Piano Concerto No. 1. Since then she has been a soloist with some of the world-class orchestras such as Montreal Symphony, Cincinnati Symphony under Paavo Järvi, St. Petersburg Philharmonic, and Estonian National Symphony, among others.

As a soloist she has appeared at Alice Tully Hall and Stern Auditorium at Carnegie Hall in New York City, The Kennedy Center in Washington DC, Wiener Konzerthaus in Vienna, and Palacio de Bellas Artes in Mexico City.

Born in Ukraine, Anna received her early music education at Kharkiv Special Music School. Since graduating The Juilliard School with a Masters Degree in the class of Jerome Lowenthal, Anna makes her home in New York City with her husband and two sons. www.annashelest.com

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MASTERWORKS 6 Bedřich Smetana used the form of the symphonic poem and combined it with the sense of nationalism that was current in the late nineteenth century to portray the country and land that he so deeply loved.

Because of his use of folk music and for conveying his view of the greatness of his homeland, Smetana is widely regarded as the father of Czech music.

However, with the exception of The Bartered Bride Overture and The Moldau, few of his works continue to be performed and it is Antonín Dvořák who is considered the more significant Czech composer.

BEDŘICH SMETANA Vyšehrad and The Moldau BEDŘICH SMETANA BORN: March 2, 1824, in Litomyšl, east of Prague near the traditional border between Bohemia and Moravia DIED: May 12, 1884, in Prague WORK COMPOSED: 1874 WORLD PREMIERE: Vyšehrad: March 14, 1875, in Prague; Prague Philharmonic; Vltava: April 4, 1875, Prague Provisional Theatre orchestra, Adolf Čech conducting INSTRUMENTATION: Two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (triangle, cymbals, (bass drum on Vltava)), two harps (Vltava only one harp) and strings.

PERFORMANCE HISTORY: Vyšehrad – This first of Smetana’s six My Fatherland tone poems has not previously been performed by the Orchestra.

The Moldau – The second of Smetana’s My Fatherland tone poems has been played on seven previous Masterworks concerts: in 1938, 1944, 1950, November 15, 1963, (and then repeated in Brainerd, MN the next day), 1968, 1990, and on April 18, 2015 (Dirk Meyer conducted).

DURATION: 12 minutes each.

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Smetana began to lose his hearing during the summer of 1874 and Vyšehrad was the last work he composed before he became completely deaf.

Like many, myself included, Smetana suffered from tinnitus and although he was totally deaf, there remained a permanent, constant buzzing.

Nevertheless this did not dampen his musical ideas and, like Beethoven, he accomplished a monumental work. Between 1874 and 1879 Smetana composed a set of six symphonic poems that he titled Má vlast (My Fatherland): Vyšehrad, Vltava (Moldau), Sarka, From Bohemia’s Woods and Fields, Tábor and Blánik; each poem depicting some aspect of the history, legends or countryside of Bohemia.

Towering over the east bank of the Vltava River in Prague is the historic fort, Vyšehrad. It was probably built in the 10th century and within its confines are the Basilica of St. Peter and St. Paul and the Vyšehrad Cemetery, which contains the remains of many famous Czechs, including Dvořák, Smetana and the first King of Bohemia, Vratislav II (c. 1032 - January 14, 1092).

Smetana uses the rich history of Vyšehrad in the first part of Má vlast.

Vyšehrad was composed between the end of September and November 18, 1874. It opens with a magical atmosphere set with large arpeggios in the harps, as if the twin towers of the basilica are essentially rising from the ground. Within moments a solo trumpet sounds a fanfare and brings the orchestra to its first climax from the calm and peaceful opening. Smetana depicts the history of the castle with the use of different styles: peaceful, royal, war, defeat. Despite its collapse, the beauty of the castle remains as Smetana quietly brings Vyšehrad to its close as the Vltava River flows below its ruins.

The longest river in the Czech Republic is Vltava, the Moldau, commonly referred to as the ‘Czech national river’. Over its length of 267 miles it runs southeast along the Bohemian Forest, then north across Bohemia through Prague and finally merges with the Elbe at Mělník.

Smetana’s Vltava was composed between November 20 and December 8, 1874.

MASTERWORKS 6 In describing The Moldau Smetana said: The composition describes the course of the Vltava, starting from the two small springs, the Cold and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through the woods and meadows, through landscapes where a farmer’s wedding is celebrated, the round dance of the mermaids in the night’s moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John’s Rapids; then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Elbe.

The main theme of The Moldau is Smetana’s most famous melody, which is an adaptation of La Mantovana, attributed to the Italian renaissance tenor Giuseppe Cenci (d. 1616). The same melody has been adapted and is the Israeli national anthem Hatikvah. Smetana dedicated the complete work, Má vlast, to the city of Prague and the premiere was conducted by Adolf Čech on November 5, 1882, in Žofín Palace, which is situated on Slavonic Island (Slovanský ostrov) in the Vltava River in New Town, Prague.

The complete set of works, Má vlast, is a musical journey through the beautiful cities and countryside of Smetana’s homeland. I had the extreme pleasure of traveling there in 1991 and walking the streets of Prague, Plzeň, Brno, Karlovy Vary, Bratislava; it was a journey back in time. Beautiful architecture, great food and of course… the beer! Thanks to Smetana, Dvořák and other composers, the culture and beauty of this land lives on.

Smetana’s health deteriorated and by the winter of 1882-83 he had insomnia, was depressed and suffered hallucinations along with a temporary loss of speech. He continued to compose music but only fragments as his mental state declined. Unable to nurse him any longer, his family moved him to the Kateřinky Lunatic Asylum in Prague on April 23, 1884, and he died there on May 12 of that year.

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MASTERWORKS 6 (née Tromlitz, 1797-1872), was the daughter and granddaughter of musicians. Her grandfather, Johann George Tromlitz (1725-1805), was a well-known flautist, flute maker and composer.

Mariane was the first student in the singing and piano school Friedrich Wieck established in 1815; they married the following year. Mariane was a gifted musician and appeared as a soloist both as a soprano and a pianist in the Leipzig Gewandhaus. She bore five children (two of whom died in infancy), assisted in her husband’s business and taught piano. Her letters reveal that she had a strong-minded personality, which clashed with that of her controlling and ambitious husband. They divorced in 1824. Initially the five-year-old Clara went with her mother to her family’s home in Plauen. However, the children were legally considered their father’s property and Friedrich was granted custody. Despite Mariane’s imploring letters to her husband, Clara was returned to him on September 17, 1824.

CLARA SCHUMANN Piano Concerto in A minor, Op. 7 CLARA SCHUMANN BORN: September 13, 1819, in Leipzig, Germany DIED: May 20, 1896, in Frankfurt WORK COMPOSED: 1833-35 WORLD PREMIERE: November 9, 1835, in Leipzig; Leipzig Gewandhaus Orchestra, composer as soloist, Felix Mendelssohn conducting INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani, strings and solo piano.

PERFORMANCE HISTORY: Clara Schumann’s Piano Concerto was performed once before by the DSSO. On March 15, 1998, Fabio Bidini was the soloist on a concert which also included Robert Schumann’s Piano Concerto. Yong-yan Hu conducted.

DURATION: 21 minutes.

Clara Schumann, née Wieck, was the daughter of Mariane and Friedrich Wieck. Her father (1785-1873) was a student of theology but, after settling in Leipzig in 1814, he established a business selling and hiring out pianos, also repairing them, and selling sheet music. He also gave piano lessons and rapidly acquired a reputation as an expert in this field. Clara’s mother Mariane 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

Clara began piano lessons with her mother and subsequently with her father. Both parents placed an emphasis on aural harmonic understanding, rather than exclusive notation-based training.

Friedrich eschewed repetitive mechanical practice in favor of ear training and a sensitive cultivation of sound and harmony. She later studied the violin, theory, harmony, orchestration, counterpoint and composition with the best teachers in Leipzig, Dresden and Berlin.

She attended every important concert, opera and drama given in Leipzig. Her father also taught her the most valuable lesson of how to manage the complex business arrangements of a musical career. Friedrich sought to capitalize on the public’s fascination with child prodigies and pushed Clara at every opportunity. Shortly after her ninth birthday she made her debut performance in the Leipzig Gewandhaus on October 28, 1828.

That same year Clara (hereafter referred to as Wieck or Clara) met Robert Schumann when she performed at the home of Dr. Ernst Carus. Schumann was nine years older than Wieck and had begun studying with her father that August. To continue his lessons, Schumann moved into the Wieck household in 1830. Wieck began to perform more as her abilities and her father’s ambitions developed. As any parent would do, Friedrich made sure all her needs were met while touring; her concert wardrobe, the pianos, etc. He insisted she wear pure white for her performances to emphasize her youth and girlish purity.

In January 1833 Wieck began composing a concerto for piano, completing it in November of that same

MASTERWORKS 6 year. It was a single-movement Konzertsatz (concert movement) that she orchestrated herself. Her future husband, Robert Schumann, revised the orchestration and she performed it in several concerts. Wieck expanded the work and added two more movements with the Konzertsatz remaining as the finale. She orchestrated the other two movements herself, and removed Schumann’s revisions of the original Konzertsatz! The complete Piano Concerto was finished twelve days before her sixteenth birthday. Wieck premiered her concerto on November 9, 1835, under the direction of Felix Mendelssohn. Schumann noted in his writings that they had their first kiss in the same month.

The orchestra opens the Piano Concerto with a majestic statement before the piano enters with ascending scales and cadenza-like flourishes. The introduction leads into a piano solo which has a Chopinesque improvisatory lyricism. Wieck’s playing was much admired

by Chopin and she was a strong advocate of his music. The second movement, Romanze, follows without a pause and is reminiscent of Mendelssohn’s Songs Without Words. Initially for unaccompanied piano, a solo cello joins in for an extended duet. Brahms would later feature a solo cello and Schumann the cello section in the slow movements of their piano concertos. The timpani quietly enters to introduce the trumpet fanfare that opens the Finale. It is in the manner of a grand polonaise in triple meter, another nod to Chopin. A fast coda brings the Concerto to an exciting conclusion.

Friedrich was vehemently opposed to the marriage of Clara and Robert and refused to give his permission; the couple had to go to court and sue him! The judge allowed their marriage, which took place on September 12, 1840 - a day before she turned 21 and would be considered an adult and no longer under the control of her father. She continued to concertize but she was usually pregnant, bearing eight children between 1841 and 1854. Her life was also accompanied with tragedy. Robert was permanently institutionalized after his mental breakdown and their son Ludwig (1848-1899) suffered from mental illness like his father and lived most of his adult life in a mental institution. Four of her children, along with Robert, predeceased her, some leaving children for whom she became caretaker. In later life she became deaf and often needed a wheelchair.

Wieck’s life is a fascinating study. She was revered as one of the greatest pianists of her time. Moreover, she was the central figure in the lives of Robert Schumann and Johannes Brahms, with whom she had a lasting, deep friendship. She made a strong impression on many: Goethe wrote “the girl has more power than six boys put together.” She had a deep friendship with Mendelssohn, performing his piano pieces and together playing piano duo repertoire at sight, and he conducting her in concerts. Clara (née Wieck) Schumann represents one of the best examples of the life of a prodigy guided by an ambitious parent and the challenges women musicians in 19th century Europe faced.

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Program notes by Vincent Osborn © 2023

MASTERWORKS 6

PYOTR ILYICH TCHAIKOVSKY Romeo and Juliet PYOTR ILYICH TCHAIKOVSKY BORN: May 7, 1840, in Kamsko-Votkinsk, Vyatka province, Russia DIED: November 6, 1893, in Saint Petersburg WORK COMPOSED: October 7 to November 27, 1869, final revision completed September 10, 1880 WORLD PREMIERE: March 16, 1870, in Moscow, at a concert of the Imperial Russian Musical Society, Nikolai Rubinstein, conductor; final revision on May 1, 1886, in Tbilisi, Georgia (then part of the Russian Empire), Mikhail Ippolitov-Ivanov conducting INSTRUMENTATION: Two flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (cymbals, bass drum), harp and strings.

PERFORMANCE HISTORY: There have been fifteen previous Masterworks performances of this Tchaikovsky tone poem. It was played in 1934, 1938, 1940, 1941, 1944, 1947, 1949, 1952, 1959, 1967, 1972, 1977 (conducted by DSSO Music Director candidate Stephen Simon), 1986, 2008, and on November 19, 2011 (with Music Director candidate Mariusz Smolij).

DURATION: 19 minutes.

In 1869 Tchaikovsky was a young professor at the Moscow Conservatory. He had written his first symphony and an opera, followed by the symphonic poem, Fatum. Tchaikovsky dedicated it to Mily Alexeyevich Balakirev (1836-1910), a member of The Five, which included Borodin, Cui, Mussorgsky and Rimsky-Korsakov. Fatum received a lukewarm reception prompting Balakirev to write Tchaikovsky

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some observations. After his criticisms of the work, he encouragingly wrote: “I am writing to you with complete frankness, being fully convinced that you won’t go back on your intention of dedicating Fatum to me. Your dedication is precious to me as a sign of your sympathy towards me—and I feel a great weakness for you.”

Tchaikovsky, who was already very self-critical, accepted Balakirev’s criticisms and they continued to correspond.

Balakirev suggested Tchaikovsky write a piece based on Shakespeare’s Romeo and Juliet. He wrote suggestions about the structure, giving details of the type of music needed for each section and offered ideas on which keys to use. Balakirev also suggested his own overture King Lear as a model for Romeo’s theme. Through the initial version, second and final revisions, Balakirev continued to comment, criticize and praise Tchaikovsky’s work.

For a brief period in 1868-69 Tchaikovsky was engaged to the Belgian soprano Désirée Artôt (1835-1907) until she abruptly broke the engagement. Actually Tchaikovsky’s friend Nikolai Rubinstein told her mother, in no uncertain terms, that the composer was not husband material. She took her daughter away to Warsaw where Désirée promptly married the Spanish baritone Mariano Padilla y Ramos (1843-1906). Tchaikovsky later claimed that Désirée was the only woman he ever loved. Some scholars believe the love themes in Tchaikovsky’s First Piano Concerto and Romeo and Juliet were inspired by this early infatuation.

The broad melody evoking the young lovers brought praise from Balakirev: “I imagine you are lying nude in your bath and that Artôt-Padilla herself is washing your tummy with a hot lather of scented soap.” Obviously Balakirev was not as observant of others in Tchaikovsky’s circle. At the time Tchaikovsky was deeply in love with Eduard Zak, a 15-year-old cousin of one of his students.

Zak committed suicide four years later in 1873.

Tchaikovsky’s personal life and Shakespeare’s tragedy collided to produce a masterpiece in which Tchaikovsky tells the story of the star-crossed lovers. It is all there: the dramatic conflict between the Montagues and Capulets, the achingly beautiful love theme for Romeo and Juliet, their love being crushed by the two families’ hatred and the extreme tragic ending. Tchaikovsky’s Romeo and Juliet showcases his ability to infuse classical music with deep human emotions, making it a timeless and evocative piece. It has not only become a staple in the orchestral repertoire but has also inspired numerous adaptations in ballet, film, and other artistic forms. The enduring popularity of Tchaikovsky’s interpretation of Romeo and Juliet attests to the universal appeal of Shakespeare’s timeless tale and the emotional depth captured by the Russian composer in this iconic work.

Program notes by Vincent Osborn © 2023

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MASTERWORKS 7 MASTERWORKS 7

SATURDAY, M A Y 4 T H , 2 0 2 4 , 7 P M DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR RICHARD CARRICK, DSSO GUEST CHORUSMASTER L AKE SUPERIOR YOUTH CHORUS ALICE PIERCE, SOPRANO BRIAN WALLIN, TENOR MARK BILLY, BARITONE

TOWER Fanfare for the Uncommon Woman

3’

WEILL 28’ Symphony No.2 Sostenuto - Allegro molto Largo Allegro vivace INTERMISSION ORFF 60’ Carmina Burana DSSO Chorus Lake Superior Youth Chorus Alice Pierce, soprano Brian Wallin, tenor Mark Billy, baritone

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MUSICIAN PROFILE

DSSO CHORUS The DSSO Symphony Chorus has a rich and storied history, dating all the way back to its establishment in 1959. Made up of dedicated volunteers, this chorus has become an integral part of the Duluth Superior Symphony Orchestra’s performances. They regularly join forces with the orchestra to present breathtaking choral-orchestral masterworks, operas, and pops concerts.

Over the years, the DSSO Symphony Chorus has had the privilege of performing a wide range of beloved choral compositions. They have tackled monumental works such as Beethoven’s Symphony No. 9, famously known for its triumphant “Ode to Joy.” They have also taken on Mahler’s Symphony No. 2, a powerful and emotionally charged piece often referred to as the “Resurrection Symphony.”

In addition to these monumental works, the chorus has showcased their versatility by performing Orff’s Carmina Burana, a vibrant and rhythmic composition that captivates audiences with its energetic melodies. They have also brought to life Bizet’s Carmen, an operatic masterpiece filled with passion and drama. They’ve performed Michael Tippett’s A Child of Our Time, an oratorio in support of oppressed people everywhere. More recent works, such as Brahms’ Requiem and Faure Requiem. 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.

The DSSO Symphony Chorus’s dedication and commitment to their craft have made them an essential component of the Duluth Superior Symphony Orchestra’s performances. Their contributions have enriched the cultural landscape of the community, bringing the joy and power of choral music to audiences year after year.

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MASTERWORKS 7 returned to the United States to study music, first at Bennington College and then at Columbia University, where she earned a doctorate in composition in 1968.

Tower’s early compositions are rooted in the serialist (12tone) tradition and reflect the influence of her mentors at Columbia University. She later broke away from the strict serialist model and her style gravitated towards the works of Olivier Messiaen and George Crumb, becoming more colorful and impressionistic. She often composes for specific ensembles and exploits the strengths of their performers.

JOAN TOWER Fanfare for the Uncommon Woman JOAN TOWER BORN: September 6, 1938, in New Rochelle, New York WORK COMPOSED: 1986 WORLD PREMIERE: January 10, 1987, in Houston, Texas; Houston Symphony, Hans Vonk conducting INSTRUMENTATION: Four horns, three trumpets, three trombones, tuba, timpani and percussion PERFORMANCE HISTORY: This is the first work

by Joan Tower to be performed on the Masterworks Series.

DURATION: 3 minutes.

Joan Tower is a Grammy-winning contemporary American composer, concert pianist and conductor.

She has been lauded by The New Yorker as “one of the most successful woman composers of all time.” Tower began her musical journey after her family moved to Bolivia when she was nine years old. There she discovered a love for rhythm and over the following decade of her life she learned to play percussion and piano due to her father’s insistence that she have consistent musical training. As a young woman she

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Along with violinist Joel Lester and flautist Patricia Spencer, pianist Tower founded the New York-based Da Capo Chamber Players in 1969. From the late 1970s to the early 1980s Tower’s compositions for the ensemble became increasingly successful leading to her first orchestral composition, Sequoia (1981). In 1985, a year after she left the Da Capo Players, Tower accepted a position as composer-in-residence at the Saint Louis Symphony Orchestra, a post she held until 1988.

Fanfare for the Uncommon Woman is the first part of six short compositions that Tower composed over a span of thirty years. She wrote them as a tribute to “women who take risks and are adventurous.” Each part is dedicated to an inspiring woman in music. The most popular of the Fanfares is Part I, which was commissioned by the Houston Symphony as part of its Fanfare Project and dedicated to conductor Marin Alsop. Tower took her inspiration from Aaron Copland’s Fanfare for the Common Man and she uses the same instrumentation as Copland’s Fanfare adding glockenspiel, marimba, chimes and drums.

Inspired to find other orchestral music by Tower, I am listening to her Piano Concerto Homage to Beethoven as I write this. What an amazing and interesting work that deserves to be heard more often in the concert halls! To this day Joan Tower is championed as a trailblazer for female composers in the male-dominated symphonic world. She most certainly can be labeled an uncommon woman.

MASTERWORKS 7 Bertolt Brecht, the most popular being The Threepenny Opera, a reworking of John Gay’s The Beggar’s Opera.

KURT WEILL Symphony No. 2 Symphonic Fantasy KURT WEILL BORN: March 2, 1900, in Dessau, Saxony, Germany DIED: April 3, 1950, in New York City, New York WORK COMPOSED: 1933-34 WORLD PREMIERE: October 11, 1934, in Amsterdam; Concertgebouw Orchestra, Bruno Walter conducting INSTRUMENTATION: Two flutes (2nd doubling piccolo), two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones, timpani, percussion (cymbals, triangle) and strings PERFORMANCE HISTORY: Surprisingly, no music by Kurt Weill has previously been performed on the DSSO’s Masterworks Series.

DURATION: 28 minutes.

Whether the name Kurt Weill is familiar or not, you most likely are very familiar with some of his music: Speak Low, Pirate Jenny, Alabama Song, My Ship, September Song and his most famous song, Mack the Knife. Kurt Julian Weill was one of the outstanding active composers in Germany after World War I. His exploratory works for stage made him the leading avant-garde theatre composer of the Weimar Republic. His best known collaborations were with

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Weill’s father was the chief cantor at the synagogue in Dessau from 1899 to 1919. He also composed, mostly liturgical music and sacred motets. Kurt was the third of four children, all of whom were taught music and taken regularly to the opera. As he entered his early teens, Kurt showed enough of an interest in composing that his father sought the advice of Albert Bing, the assistant conductor at the Hoftheater. Bing was so impressed with Weill’s talents that he decided to teach him himself. For three years, beginning in 1915. Bing and his wife (a sister of Carl Sternheim, a playwright and author who was a major exponent of German expressionism) introduced Kurt to a world of metropolitan sophistication. Weill enrolled at the Berlin Musikhochschule, at Bing’s suggestion, in April 1918. There he studied conducting with Rudolf Krasselt, counterpoint with Friedrich Koch and composition with Englebert Humperdinck (18541921). Within a year Weill found the musical climate at the Hochschule stifling and he applied to study privately with Arnold Schoenberg (1874-1951) in Vienna. However finances became a challenge and he returned to Dessau in the summer of 1919 where he worked for three months at the Hoftheater as an assistant conductor under Bing and head conductor Hans Knappertsbusch (1888-1965).

Weill joined the group of leftist Berlin artists, known as the Novembergruppe, in 1922. Other members of this group included Stefan Wolpe (1902-1972) and Hanns Eisler (1898-1962), two composers whose lives make for interesting reading. In Berlin Weill met the dramatist Georg Kaiser (1878-1945), with whom a creative partnership resulted in several one-act operas. He first met the singer and actress Lotte Lenya (1898-1981) in the summer of 1924 at Kaiser’s home.

Weill and Lenya married twice: in 1926 and again in 1937 (after their divorce in 1933). She was a great supporter of his works and, after his death, she formed the Kurt Weill Foundation.

Weill was officially denounced for his political views and sympathies, and for being a prominent and popular Jewish composer he became a target of the Nazi authorities.

They criticized and interfered with performances of his later stage works: Rise and Fall of the City of Mahagonny (1930), Die Bürgschaft (1932), and Der Silbersee (1933), which was warmly received at its triple premiere in Leipzig, Magdeburg and Erfurt in February 1933. The Reichstag fire two weeks later made it obvious to Weill that he had no future left in his homeland. On March 14, 1933, he fled to Paris taking only a few belongings and the sketches for his Second Symphony.

Program notes by Vincent Osborn © 2023

MASTERWORKS 7

Symphony No. 2 was composed on a commission from the Princesse de Polignac (Winnaretta Singer (1865-1943), an heir to the Singer sewing machine fortune and an arts patron). Singer was an avid supporter of the arts and she used her fortune to commission many compositions by the leading composers of her time including, along with Weill, Stravinsky, Satie, Milhaud, Poulenc, Françaix and others.

Weill’s Symphony No. 2 was enthusiastically received by the audience at its premiere, but the critics were not impressed; the composer reported to a friend that although it was a great success with the audience, the press called it a catastrophe - “banal, disjointed, empty, Beethoven in the beer garden, etc. Not one friendly word.” But conductor Bruno Walter believed in the work and after further European performances, premiered it at the end of the year with the New York Philharmonic.

The first movement begins slowly and is reminiscent of the melancholy cabaret ballads. Soon the tempo picks up and as Paul Serotsky wrote, it reminded him of Beethoven’s Coriolan Overture. The second movement has a Mahlerian funeral march resonance, maybe one of Walter’s reasons for his advocacy of the work. The optimistic finale is a rondo that, in the coda, transforms the opening theme of the second movement.

This symphony is the last serious work Weill wrote, devoting the remainder of his life to writing musicals and pop tunes.

Reviewer Lynn René Bayley wrote that the Second is “sort of a hybrid symphony… being far more popular than the First Symphony.” I agree; Weill’s First Symphony (1921) is in one movement, a far more complex work and not as accessible to the public. I disagree with the initial negative critique of the Second. It is truly an enjoyable and exciting work that does not diminish by repeated listenings. David Schiff remarked in a 2000 article in the Atlantic Monthly that it “sums up the musical revolution that Weill had begun as an enfant terrible in the mid-twenties.”

Kurt Weill and Lotte Lenya moved to New York City on September 10, 1935. He soon became acquainted with many of the leading artists of the time and began studying American popular and stage music, collaborating with Ira Gershwin, Oscar Hammerstein II, Langston Hughes and others. On August 27, 1943, Weill and Lenya became United States citizens (the judge overlooked Lenya’s error of naming Lincoln as the first president - she later said with complete seriousness, “I’m lucky he asked me that one, if he’d asked me anything else about the Presidents, I’d have answered wrong.”). Weill suffered a heart attack shortly after his 50th birthday. The text and music on his gravestone come from the song A Bird of Passage with lyrics by Maxwell Anderson (1888-1959): “This is the life of men on earth: Out of darkness we come at birth Into a lamplit room, and then - Go forward into dark again.” In his eulogy for Weill, Anderson said: “I wish, of course, that he had been lucky enough to have had a little more time for his work. I could wish the times in which he lived had been less troubled. But these things were as they were – and Kurt managed to make thousands of beautiful things during the short and troubled time he had …”

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MASTERWORKS 7

If there is a one-hit-wonder in classical music, Carl Orff’s Carmina Burana definitely qualifies. Some might also include Pachelbel’s Canon in D, but let’s not go there. The question we all ask, at one time or another is ‘What is it about that piece that makes it so popular?’ I first heard Carmina Burana and its companion piece Catulli Carmina during my freshman year at Moorhead State University. A friend of mine introduced it to me and this young, inexperienced eighteen year-old who cared only for jazz, was completely blown away! There was something primeval and visceral about Carmina that seemed to attack me at my most basic level.

CARL ORFF Carmina Burana, cantiones profanæ CARL ORFF BORN: July 10, 1895, in Munich, Germany DIED: March 29, 1982, in Munich WORK COMPOSED: 1935-36 WORLD PREMIERE: June 8, 1937, in Frankfurt am Main, Frankfurt Opera, Bertil Wetzelsberger conducting DSSO PERFORMANCES: This ever-popular Carl Orff work has been performed on eight previous DSSO concerts. It is the only piece by Orff to be presented by the Orchestra. In 1959 Herman Herz reformed the Symphony Chorus to perform the work and in 1967 he conducted it on the final concert of his 17 season tenure as Music Director.

Carmina Burana was also done in 1979 and 1992 (Taavo Virkhaus conducting), 1998 (Yong-yan Hu), 2003 and 2010 (Markand Thakar), and on May 7, 2016 (Dirk Meyer).

NSTRUMENTATION: Three flutes (one doubling piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, two trumpets, two cornets, three trombones, tuba, timpani, percussion (triangle, cymbals, castanets, finger cymbals, bass drum), two harps, strings, soprano, tenor, baritone and chorus DURATION: 65 minutes.

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Orff was born into a music-loving family, but it was also a family of army officers whose expertise was in science and history. At the age of five he began piano, organ and cello studies and although he continued formal studies until he was nineteen, he discovered the music of Schoenberg and Debussy on his own. This does not mean he disregarded the value of musical education. In fact in 1924 Orff founded, along with Dorothee Günther, the Güntherschule in Munich, an educational center for music, dance, rhythmic movement and gymnastics. From this exposure he developed his concept of elementare Musik (elemental music), a joining of poetic language, gestures and music that would later influence his compositions.

The concept of elementare Musik is similar to what we know as Gesamtkunstwerk (total work of art) espoused by Wagner, but with Orff it comes at a more elementary level. Eventually this concept evolved into a new approach to music education that exists to this day, known as Orff-Schulwerk or the Orff Approach.

This comes from a belief that just as children learn language without formal instruction, they can also learn music through a friendly and gentle approach.

By creating a musical environment that is similar to a child’s world of play, children can feel comfortable experimenting and exploring musical instruments. The idea is to keep them from feeling evaluated by their peers and teachers; all students are treated as equals, so there is less pressure in performing. Children learn by doing and with the Orff Approach teachers follow lesson plans and materials that expose the students to the act of creating and playing music. The benefits in concentration, dexterity and coordination of the Orff Approach have also been effective in working with individuals with special needs.

In 1934 Orff was in a rare bookstore in Würzburg where he found a collection of medieval poems from the 12th and 13th centuries. Most of the texts are in

MASTERWORKS 7 Latin, with a few in Middle High German and French. The manuscripts for Carmina Burana, or the Burana Codex comes from 1230 and was written by students, travelers and minstrels. For centuries this collection was preserved in the Benediktbeuern Abbey thirty miles south of Munich in the Bavarian Alps. The manuscripts were compiled by Johann Andreas Schmeller (Court Librarian of Munich) in 1847 (there is a complete English translation published in 2014 by Tariq William Marshall) and given the title Carmina Burana, which means “songs of Bavaria” (Carmina is pronounced with the accent on the first syllable). The topics celebrate springtime, love and the pleasures of a full, self- indulgent life although with an underlying dark and bitter tone.

The Wheel of Fortune refers to the capricious nature of Fate in medieval and ancient philosophy. The goddess Fortuna controls the wheel and spins it at random, awarding great gifts to some and terrible misfortunes to others. This motif is a significant part of Schmeller’s collection Carmina Burana. The bitter and dark tone is blatant in these excerpts from Fortuna Imperatrix Mundi (Fortune, Empress of the World) and Fortune Plango Vulnera (I Bemoan the Wounds of Fortune): Fate – monstrous and empty, you whirling wheel, status is bad, well-being is vain always may melt away, shadowy and veiled you plague me too; now through the game bare backed I bear your villainy.

The wheel of Fortune turns; I go down, demeaned; another is carried to the height; far too high up sits the king at the summit – let him beware ruin! for under the axis we read: Queen Hecuba.

Orff later remembered, “I found the familiar image of Fortune with her wheel, and under it the lines O Fortuna velut Luna statu variabilis…

(O fortune, like the moon ever-changing). Picture and words seized hold of me.” That same day he sketched the opening chorus. From the book Orff chose 24 poems and was already imagining a stage piece with chorus and dancers. With the assistance of Michel Hofmann, who transformed the poems into a libretto, Orff was soon composing the music in a huge burst of inspiration. He used the Wheel of Fortune as the pillars that would bookend the three sections. As Fortune spins her wheel the same relentless pattern builds in intensity and volume as the wheel goes round. The first section celebrates springtime in a series of dances and songs, the second section moves into the male-exclusive tavern that is the temple of food and drink. (The tale of the roasted swan, sung by a weeping countertenor, is a highlight of Orff’s use of tonal colors.) In the sensuous music of the third section, set in the court of love, we hear the voices of children projecting an air of innocence. Later the soprano, in a lower voice, vacillates between chastity and physical love in an exquisitely beautiful and too short monologue. The chorus encourages her to make a decision and she suddenly makes her choice, soaring to her highest reaches. A magnificent hymn of praise erupts and then the wheel begins to spin again.

Perhaps because of the atmosphere of Nazi Germany, Orff tried to establish his loyalty to the regime and never made any open or private opposition to Nazi policies. For example, he emphasized his hatred of jazz music and the atonality of Schoenberg and showed a sincere appreciation for folk music. All of this, along with Orff’s fascination with medieval and early music, definitely influenced his composing of Carmina. He rejected the prevailing styles of early 20th century German music, which he had discovered only twenty years before.

Instead of all the rich harmonies and complex modalities, Orff used basic harmonies that were easily accessible to the public. Most importantly, the texts he chose celebrated primal human experiences.

Carmina Burana was immensely popular in Nazi Germany after its premiere in 1937. It was so popular that Orff wrote a letter to his publisher, Schott, “Everything I have written to date… can be destroyed. With Carmina Burana, my collected works begin.” Thankfully the people at Schott Music were not very good at following his wish, as his earlier works are still available.

Unfortunately the popularity of Carmina has led to considerable debate and analysis about Orff’s relationship with the Nazi Party. Orff was never a member of the Nazi Party nor did he subscribe to its ideology. Also, none of his closest friends were supporters of the regime. Karl Huber, one of his friends and one of the founders of the resistance movement Weiße Rose (the White Rose), was arrested and executed by the Nazis. By sheer chance Orff went to visit his friend at his house the day after he was arrested. Huber’s wife begged Orff to use his influence to help her husband, but he declined, explaining that he would be “ruined” if his friendship with Huber were revealed. After the war Orff wrote a letter to his deceased friend, published in a memorial for Huber, begging him for forgiveness.

Carmina Burana is almost exclusively performed as a concert piece, but Orff’s original intention and the premiere of the work was as a stage piece with dance and song. In 1953 he grouped Carmina with Catulli Carmina (1941-43) and Trionfo di Afrodite (1949-51) into a triptych he called Trionfi. Unfortunately these other works are rarely performed.

Orff died in Munich in 1982 of cancer. He was buried in the church of the beer-brewing Benedictine priory of Andechs, south of Munich. Orff’s last composition De Temporum Fine Comoedia (Play of the End of Time) summarized his view of the end of time. Fittingly it also provided the inscription on his tombstone: Summus Finis (the ultimate goal).

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LIVE CONCERTS, LECTURES AND THEATRE THIS SPRING FRIDAY, MAR. 22, 3:40 P.M.

TUESDAY, APRIL 23, 6:30 P.M.

MEETING AT THE CROSSROADS

ART WALK

WITH SHARON OBST

A SELF-GUIDED MUSIC AND ART TOUR

THURSDAY, APRIL 11, 7:30 P.M.

FRIDAY, APRIL 26, 7:30 P.M.

FLINT WATER CRISIS & COMMUNITY RESILIENCE

PASSION AND POETS CSS CHOIRS

WATER: SUSTAINING LIFE IN THE 21ST CENTURY TUESDAY, APRIL 16, 12 P.M.

SATURDAY, APRIL 27, 10 A.M.

LUNCH WITH FRIENDS

CSS FAMILY MUSIC SERIES

KNOXVILLE: SUMMER OF 1915

CARNIVAL OF THE ANIMALS WEDNESDAY, APRIL 17, 7 P.M.

SATURDAY, APRIL 27, 7:30 P.M.

ANGELS & DEMONS

HOPE AND HEAL

A CONVERSATION WITH FR. GREGORY PINE, OP

CSS CONCERT BAND AND HANDBELL ENSEMBLE

FRIDAY, APRIL 19, 3:40 P.M.

FRIDAY, MAY 3, 7 P.M.

SINGING COMMUNITY AND CREATION

SALSA WITH THE SAINTS LATIN DANCE NIGHT

THE JEWISH PRACTICE OF AVODAT LEV WITH ELYSE CARTER VOSEN

VISIT GO.CSS.EDU/SHOWS FOR A CALENDAR OF EVENTS AND TICKETS. 43 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

MUSICIAN PROFILE

Orchestrating positive change DSSO chorus master Richard Robbins is the director of choral activities at through charitable the University of Minnesota Duluth, where directs the University Singers giving. and Chamber Singers, in addition to teaching an array of choral conducting

and music courses. Robbins travels extensively as a clinician, adjudicator, and director for choral festivals and honor choirs across the country, with recent engagements in Miami, Los Angeles, Orlando, San Francisco, Chicago, Baltimore, and New York City. He has conducted and lectured internationally on multiple occasions at Warsaw’s Chopin Conservatory of Music, the John Paul II Liturgical Institute, and at Krakow’s Academy of WE OPENED Music. As a conductor, his performances have been featured on numerous IN OUR DOORS nationally syndicated programs, including American Public Media’s CANAL PARK ’ S Pipedreams.

His extensive experience in preparing choral-orchestral DEWITT-Sperformances EITZ includes leading choirs for the Houston Ballet and for over BUILDING 50 performances with the Houston Symphony. He has prepared choruses 1905for several major conductors, including Christoph Eschenbach, Ermanno Florio, Hans Graf, Joan Glover, Bernard Labadie, Klaus Peter Flor, Michael Krajewski, Stephen Cleobury, Robert Franz, and Dirk Meyer

RICHARD ROBBINS

2010 W SUPERIOR ST • 218.722.2433 • happysleepermattress.com

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Learn more join the legacy: dsacommunityfoundation.org

YOUNG FRANKENSTEIN MISERY YOUTH ANYTHING GOES EDITION THE SOUND OF MUSIC AGATHA CHRISTIE’S MURDER ON THE ORIENT EXPRESS NEXT TO NORMAL CONSTELLATIONS DISNEY’S FINDING NEMO JR. NEW PLAY WHAT SHE SAID FESTIVAL PETER AND THE STARCATCHER GODSPELL JR. 9 TO 5 THE MUSICAL HIGH SCHOOL MEAN GIRLS VERSION SEPT 15– OCT 1, 2023

MEL BROOKS’

OCT 12–21 2023

OCT 27–29 2023 DEC 1–17 2023

JAN 26– FEB 4, 2024

MAR 15–31 2024

APR 11–20 2024

APR 26–28 2024 MAY 9–11 2024

MAY 24– JUN 2, 2024

JUN 21–23 2024

JUL 12–28 2024

AUG 16–18 2024

218.733.7555 45 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

duluthplayhouse.org

HOW TO DONATE

INVEST IN THE MUSIC YOU LOVE WAYS TO SUPPORT THE DULUTH SUPERIOR SYMPHONY ORCHESTRA

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.

WAYS TO MAKE A GIFT: 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 you call!

Donate Online - Give securely by visiting www.DSSO.com/give Debit Transfer - Join other DSSO patrons and simply authorize your banker to initiate a reoccurring debit transfer from your account directly to the DSSO. Mail Us a Check - We know it can be old-fashioned, but our office loves getting mail. 506 W. Michigan St. Duluth, MN 55802 IRA Donation - 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.

Charitable Bequest - Write your own story with planned gifts to the people & organizations you value by writing them to your Will and beneficiary designations.

Stock Donations- You can transfer appreciated stock as a gift that is fully tax-deductible.

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.

THE DSSO DONOR LOUNGE

The DSSO Donor Lounge is a space for where our most invested patrons can gather before a concert and during intermission. Access to the Donor Lounge starts with gifts to the annual fund of $500 and includes access to a private bartender on the second floor of the Symphony Hall Lobby Space.

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CONTRIBUTORS

DSSOCONTRIBUTORS THANK YOU TO THE FOLLOWING CORPORATE AND INDIVIDUAL CONTRIBUTORS WHO HAVE GIVEN IN SUPPORT OF THE DSSO JANUARY 1, 2023 THROUGH JANUARY 1, 2024.

MAESTRO ($25,000 & up) The Charles A. & Carolyn M. Russell Family Foundation The Depot Foundation Elisabeth C. Mason Revocable Trust Margaret Ames Memorial Fund McKnight Foundation Minnesota State Arts Board Muriel Whiteside Charitable Trust Pachel Foundation

PRINCIPAL ($10,000 to $24,999) DSSO Young Composers Fund Helena Jackson Lloyd K. Johnson Foundation Anonymous Dr. Michael & Sharon Mollerus PBS North Arend J. & Verna Sandbulte Wildey H. Mitchell Family Foundation

GUEST ARTIST ($6,000 to $9,999) Martha A. Aas Vern & May Nordling North Shore Bank of Commerce Nancy Odden & Doug Britton

FULL CHAIR ($4,500 to $5,999) Linda & Mark Boben Karl Diekman Thomas & Barbara Elliott Minnesota Power William (“Buzz”) & Saundra Palmer St. Luke’s Stack Bros. Mechanical Contractors The Teberg Fund Shirley Tratechaud

HALF CHAIR ($2,500 to $4,499) Dr. Vicki & Terry Anderson Robert & Barbara Bennett John & Kathleen Berchild Alison Clarke Adelaide M. Cline

Mark Danielson & Theresa Smith Ella Dohlin Gary & Jacqueline Foley Dr. Beth Gilbert Christabel & James Grant Pam & Rich Jacobson Sylvia Jamar Jill & Tom Kaiser Elaine B. Killen Thomas & Alice McCabe Mark & Grace Monson National Bank of Commerce Northern Mechanical/Plumbing Contractors Association Tammy Ostrander & Tony Barrett Kathleen & James Sanders Timothy Sandor Brad Schmugge Jacquie & Jim Sebastian Nairi Stack Carolyn Sundquist Gudrun & Geoffery Witrak

QUARTER CHAIR ($1,200 to $2,499) Leonore & Robert Baeumler Sandra Barkley Bell Bank The Honorable David & Gloria Bouschor Lurene Buhrmann Jeffrey & Vickie Cadwell Steve & Lauri Cushing Rhonda & John Degelau Rose & Lester Drewes Craft & Ellie Dryer Ruth Ann Eaton Roger & Elaine Engle Rondi Erickson Mary Evans Walter & Kay Gower Karen & Richard Gran Happy Sleeper Mattress Thomas & Joan Hedin Dan & Lois Jaeckel Otto Johnson & September Mihaly John & Sharon Kemp Richard Kivela Robert Knighton Paul & Carol Knuti Tina Koecher Diane Kolquist & James Seitz Mary & Jim Krook Lakeview Arts Fund

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Patricia & David Mast Pam Moore & Dr. Jon Stephenson Gerald & Mary Ann Ostroski Jennifer Owen Lane Fryberger Smith Tobin Sobaski & Kari Koehler Ralph Sundberg Roberta Vose Dr. Robert Wahman Cathleen & Kirby Wood Geiger & David Yount James & Mary Zastrow

ACCELERANDO ($600 to $1,199) William Alexander John & Cathy Ameel Ann Anderson Allen Anway Judith & James Bailey Susanne & Johan Bakken Diane & Harris Balko Susan Bathory & Donald Lane Miranda Behrends Jayda Bellefeuille Daniel & Marjorie Bergeland Linda Bergum Sergei & Irina Bezroukov Gary Boelhower & Gary Anderson Angie Bomier Day Breitag Jan Carey Rev. Craig S. Carlson Mary & Jeff Charnes Kathleen Collins & Richard Stewart John & Judy Dahl Kathleen DeSanto Linville Doan & Bernardo Perez Jonas Drayna Kari Dresback Paul Eckhardt Eve Erickson Susan Fackler Martha & Conrad Firling David Fulda Gregory & Mary Garmer Gary Glass Hilary Godard Robert & Susan Goodin Gregory Gunderson Kay & Ronald Gustafson Mary K. Hagen Lois & Robert Heller Thomas Henning

CONTRIBUTORS Susan Hjort Sister Kathleen Hofer Paul & Alice Holm Wayne Holmberg Oliver & Mary Ann Houx Kenneth G. Jackson Dan Jeutter Donald & Mary John Dennis & Susan Johnson Glenn Johnson Dr. Jason & Megan Johnson Julie & Clyde Johnson Barbara Johnson Kim Linda Jorgenson & Jack Gunderson Celeste Kawulok Elsa Keeler Bob Kelley Virginia Kovaleski Katie & Bob Kuettel Dennis Lamkin & Jon Niemi Andre & Marilyn LaMourea Ethan Lavan Grace Lavan Louise Levy Bonnie & Bob Lloyd John & Michelle Magdsick Hannah Mason Rachel & Gregory Mason Dean & Kate McCall Cathy McCarty & Dan Wallerstein Lloyd & Cindy McCormick Rosanne Mellesmoen William Miner Heather Muster Phil & Lorraine Norrgard Emily Nygren Michael Kershaw & Sarah Olson Vincent & Sharon (Rigby) Osborn Al & Lynda Parrella James Pavlek Ann Pellman Robert Reichert Dr. Susan Relf Paul & Barb Rigstad Branden Robinson Joseph & Catherine Roby Leonard Rouse Gerald & Karen Ruona Patty Salo Downs Nichole & Jeffrey Schaefer Carrie Scherer Ernst Schoenfeld Jane Shull Kari Smith Nyasha Spears Dr. David & Brenda Sproat David Steininger & Lori Williams Thom & Cindy Storm Tim Stratton & Suzanna Wasilczuk Anita Swanson Dr. Andrew Thompson Gloria Toivola

Sharon L. Torrison Rajiv & Emily Vaidyanathan Matthew Van Dyke Therese Vaughn Renee & Jim Wachter Mary W. Zbaracki Julia Williams Jessica Woodward Lavan Cammie Young

ADAGIO ($200 to $599) Ethan Adams Karen & Mark Aepelbacher John J. Agacki Janet Akervik Barbara Akre Erin Aldridge Jim Allen Campbell Amundson Claire Anderson David Anderson Gwendolyn Anderson Jeff Anderson Kristen & Tregg Anderson Paul & Carol Anderson Lincoln Angradi Gayle Ankarlo George Apostolou Judith Arnold Charles R. & Judyth Babst Dana Bach Linda Backman Patricia & Michael Bagley Theresa Bailen Brian Barber Riley Barka Eileen Barratt Dr. Niles H. Batdorf Paul Bates Jean Beauduy Benedictine Sisters of St. Scholastica Monastery David Benson Barbara Bentz Seth & Katie Benziger Roy & Nadine Berg Margaret Bergen Gary & Susan Berggren Vivian & Barry Bergquist Anonymous Laurie Berner Cynthia & Steven Betzler Anne Bier Jan Biga Kay Biga & Patrick Spott Boyd & Debra Billman Rosemarie & Philip Birch David & Karen Bjorkman John Bjorum Samuel Black & Kathy Stinnett

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Dawn & Robert Boman Thomas & Mary Boman Tamara Bottge Jennifer Boyle Rick Bradford Beryl & John Bredeson Andrea & Brian Brinkert Greta Brosell Erik Brown Gary & Kathy Bubalo Wendy Buczynski Maryjane Burdge Debra Buresh Lawrence Burkhard Bill & Renee Burns Liv Caine Arthur Calinao Giulia Calland Douglas Cameron Ronald Caple Jean & Sharon Captain Nathan & Sanna Carlsgaard David Carroll Ellen Chicka Cheryl Christensen John & Martha Church Jessica Cook Charles Corcoran Theresa Corey Timothy & Kathleen Cortes Henry F. Coyle Roger & Peny Cragun Tim & Joanne (Itami) Craig Dianna Crandall William & Kathleen Croke Karen Ruedi Crowell Kirsten Cruikshank Bonnie Crum Jerry & Judy Curnow Gwyn Curran Bill & Judy Curtis Martyn Dahl Mary Dailey Lori Dando Stephen B. Daniel Coralee J. Danielson Alan & Cheryl Dartanyan Hayden David Jannifer David Lochlan Davis Joel Day Dorothy Dayton Paul Deaner Katherine DeVinck Stephanie DeVlieger Dorothea Diver Diane Doda Michael & Carol Donahue Mary Dontje Trevor & Rachel Dupras Jeff Dzick Dr. Philip & Julie Eckman

CONTRIBUTORS Donna Elsbury Paul Enenbach Brian Erickson Diane Erickson Gerald & Barbara Erickson Victoria Everrett Dennis & Jacqueline Falk Anya Felts Paula Fenstad Peg Ferguson Robert Feyen Jason & Rose Fife Julie A. Ford Ruth Frederick Lauren Fuchs David & Barbara Gaddie Patricia Gannon Anna Gavrilova Debra Gergen Francesca Germano Helen Gettle John Gibbs Amy Giddings Jane Gilley Gail Gilliland Neil Glazman Tom Goar Mary Godfrey Michelle Gribbon Terri Griffiths Debra Grimsrud Judith Gruwell Paul Gustad Judith & Carlton Gustafson Linda Haagensen Levearne Hagen Sherry & Ed Hall Katheryn Hamm Kathleen Haney Milaina Hansen Debra Harmer Greta Harrison Ellen Hedin Erik Heen Kathy Heltzer Christine Hensolt Linda Herron Alex Hickok Jeffrey Hietala Betsy Hill Janet Hill Crystal Hintzman Anne Hjelle Jill-Ann Hoag Matthew Hokanson Lorelei Holland Mark & Sharon Holm Gary Hopp & Michele DeNoble Megan Hornby Bobby & Sally Horstman Timothy Horyza

John Hsieh Luanne Hunter Bill & Kate Isles Isla Jacobson James Jarocki John Jaros Beatrice Javaherian Lynn Johansen Ellis Johns Alexandra Johnson Ben Johnson Britt Johnson James & Janet Johnson Marian & Donald Johnson Matilda Johnson Matthew Johnson Will Johnson Sharon Kaner Sophia Kapsner Marissa Kari Ronald Kari Callia Karr Cai Karstens Daniel Keeler Georgia L. Keeney John & Beth Kelly Bettina Keppers Eugene Kim Gemma Kim Melissa King Isabel Kirkeby Milka Kleiner Carl Klubertanz Holly Kluhsman Reijer Klyn Nancy Kohlhaas Gianna P. Koker Mark Kolbo Lydia Kraker Zinnia Kraker Thea Kramer Glen Krenelka Viktoria Krikorian Dave & Barb LaMaster James Lampi Lynn Landstrom Nancy & Doug Lane Carol Larson Sharon Layon & Neil Nelson Kenneth Lee Charles & Jean Leibfried Kunchen Liang Michael Lillo Piper Linn Joy Loban Karena Loban Kiersten Loban Gary & Nancy Loberg Paul Lokken Eric Long Jean Loushin

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Patrice Lovald Stephanie Love Susan Lund Lai La Lunde Charlie Lydon Lynn Maas The Candace Madich Fund Logan Madsen Joan Mahle Lisa & Gary Mandelin Erin Manley Mary Manns Robert & Rachael Martin Isaiah Mason Kathleen McDonald Jennifer McEwen Tirzah McGill Susan McNeill Robert Meese Jr. & Ann E. Small Gary & Darla Meier Barbara Melde Olson Mark & Nancy Melhus David Mesner & Joyce Piper Patricia Mester Elena Metcalf Rebecca Meyerson Julie Michels William Miller & Stephanie Hemphill Molly Milroy Goldfine Margaret Mold Dee & Bernard Moog Hal & Beth Moore Wende & James Morrell Julianne & Matthew Moses Sacha Mozenter Susan Mullenix Sam Mumford Daniel & Catherine Mundt Rosalyn Muskovitz Jennifer Naegele Ruby Nancy Diane Nast Nancy Neilson Patricia Nelson Susan & Charles Nelson Jacob Nephew Jeannette Nesseth Judith A. Newman Sovay Nick Mark Niedermier Stacey Nipp Todd Norwood Ann M. Novack Julie O’Leary & Frank Whiteman Ann Marie Olson Jacob Olson Margaret (Peg) Oman Michael Orth David J. Ouse Dylan Paquette Selah Pavola

CONTRIBUTORS Judith Pearson Patricia Peters Ryan Petersen Stephanie & Tyler Petrey Roger W. Petry Nathan Pfau Hannah Pinther Joe Placek Mary Kay Plank Chuck & Della Pleski Sara Post Linda Puglisi Mary H. Pulford Mary Anne Quackenbush Don Quest Kim Quinones Mya Ramirez Natalie Rasch Becky Rathbun Janalee Reineke-Lyth Roger Reinert Mary Pat Renaud Father Andrew Ricci Kathleen Risku Michelle Robbie Frank Robbins Ann Robertson Mardy Rodman Lyla Ronkainen David Rossetter Jo Ann Rossetter Christopher Roth Dr. Nancy & Jonathan Rova Debra Ruby Nathan Sager Naomi Sandstrom Jane M. Saukko Paul & Eileen Scaringi Kevin Schanning Charles & Nancy Schumacher Dr. Penny Schwarze Josiah Schwetman Diane Scott Judi Scott Dr. Mark & Nicholas Scott Jack & Cindy Seiler Judy Seliga-Punyko Laurie & Mark Severson SFM Mutual Insurance Ariana Shahmammadli Jenny Shamla David Shaw Tracy Shaw Aleksander Shefchik Nikolai Shefchik Tom Sjoberg Eric Sjoding Janet R. Sklaris Richard & Barb Skogg Sandy Skrien Judy Smith Kleighton Smoniewski

Tina Solots Alice & Lawrence Sommer Cindy S. Spillers Christina St. Germaine Stacey Stark James R. Starzynski Mateo Stauffenecker Marilyn Steele Sandra & Craig Sterle Robert Stodola Thomas Strewler Lee Stuart Charles Sundquist & James Sontag Richard Swenson Linnea Swenson Tellekson Joshua Tang Mary A. Tennis & Stacy Lavres Raina Thomas Sophia Thomas Linus Thompson Oscar Thompson Ruth & Dale Thorpe Steve Tomhave Helen Tranah Lucas Trea Karen Tribby Shelby Trost Charlene & Jeremy Uecker Maeve Ulrick UMD College of Pharmacy Christine E. Underdahl Maeylin Urshan Joan Varda Nicholas Vidor Judy Viken Marina Vork Grimaldo Walker Frank Watsick Sheldon & Susan Watts Barbara & James Weinzierl Claudia Welty Damian Westermann Laura Whitney Ashton Wigg Ella Wightman Grace Wightman Mary Wilson Kay & David Winek Kaia Winter Mandi Wojciehowski Rhys Woodley Jay & Helyn Woolf Erin & Nick Wourms Annabelle Wu Shirley Wuchter Lisa Zummach Celeste Zuniga Brandt Rebecca Zunkerr

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

TEMPO (up to $199) William & Barbara Abalan Cigale Ahlquist Daphne Amundson Jesse Anderson Patricia Anderson Richard & Yvonne Anderson Sylvia Angradi Anonymous Kathleen Antilla Allan Apter Joe Barnstorf Tiffany Beckman Claire Belisle Jessica Bellefeuille Bryan Block Joseph Boulley Richard Bradford Kathleen S. Bray Holly Brining Rebecca M. Brookman Jacob Burski Nic Caine Lea Carr Greta Carroll Nancy S. Caswell Eun Joo Choi Molly Clabots Natalie Constance Anthony Croeker Matthew Daeuber Tom & Kathy Dahlberg Dave Dake Dean Danielson Julie Demgen Franklin Doane-Arkulary Thomas Donahue Peggy & Steve Downing Mary Dragich Anna Dufford Christine Erickson Donald Erickson John & Louise Ann Farrell Karen Finseth Anne & William Fleischman Dewaine Forbragd Joel Forgacs Jonathan Forgrave Louise (Margaret) Foss Kristin Garey Geoffrey Gates Rikki Graskey Kathy Guitare Mary & Joe Gummerson Diane Hagerty Michon Harju Lynne Harrington Hall Alex Heil Clay Helberg Sara Henriksen

CONTRIBUTORS

Jill & Greg Hilliard Mary & Allen Hoberg Lisa Hoch Karen Hoeschen Karen B. Holden Sara Hollingsworth Dr. Glen E. Holt Gy Houle Debra Jensen Mark & Theresa Jobin Casey Johnson Evan Johnson Rachel Johnson Jason Kearney Sami Keller Patricia & Mark Kolquist Diane Kruger Pat Kruschke Karl Kubiak Serena & Robert (Lamers) McClellan Sally & Nick Lansing Paul Lantieri Abigail Latanich Sarah Lawrence & Calland Metts Thomas & Cynthia Ledin Jonathan Leshnoff Philip Lundquist Lucia Magney & Richard Wildberger Sharon Marcovich Tiffany Martin Rachel Mason James & Cindy McLeod Carol & Vincent Michealson Janet & John Murphy Mary K. Murphy & Family Elsa Murray Hannah Nelson Jeanette Nelson Dale & Joretta Nikula Richard & Ruth Nystrom K.R. Olivera Avery Overlie Timothy Panula Lacey Parr Kenrea Perell Louann Petersen-Noltner Kimberly Pintok Ericka Pitrago Mary Planten-Krell Veronica Poquette Luther & Angela Qson Brian & Suzanne Rauvola Lance G. Reasor Lela Rikkola Eric Rodvold Sheila Runquist Diane Sauer Sharon Scheidel Britta Schielke Barbara Schlichting

Denise Schreifels Dr. John Schrock & Mary Berube Buddy Scroggins Melanie Sever Mark & Sandra Signorelli Julia Sisler Paige Slemmons Howard Smith Phyllis & Vic Smith Lawrence Spears Harlan & Anita Stech Jim & Judy Stewart Kathy Stinnett Paul Straka Rebecca Strand Scott Sueker Lynette Swanberg Sue Swendsen Julie Takkunen Adrienne Thureen Brynn Torgerson Nicole Turner Brandon VanWaeyenberghe Steve Voltzke Jennifer & Steve Wabrowetz John Wakefield Jori & Chuck Walt Joe Walters Rachel Warner Kim Westerham Hope White Trevor L. White Janelle & Josh Wightman Dietrich Winter Zach Wood Jason Young Nancy & Tom (Young) Caswell Lyle & Michelle Zappa

51 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

CONTRIBUTORS

In Memory of Dr. Clarence Malcolm Scott

In Memory of Janet R. Young

Passed away last November (11/16/2023) Former DSSO musician, played trombone

Passed away last October (10/30/2023)

His daughter, Kristin McMurtry, requested all donations in memory of her father be directed toward the trombone section Tributes: Janet Murphy Sharon Marcovich Kay Biga & Patrick Spott Sylvia Jamar Jan Biga Katherine DeVinck Richard Nystrom Marilyn Streele Diane Kruger

The family requests memorial donations to the DSSO or donor’s choice. She was heavily involved with the DSSO throughout her life.

Tributes: Nancy S. Caswell John Farrell K.R. Olivera Bonnie Crum Diane Hagerty Nancy & Tom (Young) Caswell Patricia Kolquist Lyle Zappa Walter & Kay Gower Kim Westerham

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.

In Memory of Victoria Benda Luepke Harlan Stech

In Memory of Marge Kuehn Kathleen Antilla

In Memory of Mara Solie William (“Buzz”) & Saundra Palmer

In Memory of Janet Millea Bye Sheila Runquist Mary K. Murphy Lisa Hoch Craft & Ellie Dryer Jennifer Naegele Paul Lantieri Roberta Vose

In Memory of Joseph Meese Serena Lamers McClellan William (“Buzz”) & Saundra Palmer Linda & Mark Boben Robert Meese Jr. & Ann E. Small Anne Fleischman Patricia Anderson Jacquie & Jim Sebastian Julie Demgen In Memory of Walter & Alta Moe Shirley Tratechaud

In Memory of Lorraine Stolee Roberta Vose Paula Fenstad Jacquie & Jim Sebastian Dr. Glen E. Holt Jeanette Nelson William (“Buzz”) & Saundra Palmer North Shore Bank of Commerce Dale Nikula

In Memory of Mary Donahue Thomas Donahue In Memory of Kalervo & Arlyne Kokkonen Carlton Gustafson In Memory of David Kortier Dr. Penny Schwarze

In Memory of Don Niemi Sharon L. Torrison In Memory of Kerstin (Meyer) Papcke Diane Balko James Zastrow In Memory of James E. Smith Ronald Kari

52 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 Memory of David Vose Sharon L. Torrison In Memory of Sharon Wahman Roberta Vose Lane Fryberger Smith In Memory of Alberte White Trevor L. White

PROPRINT AD

53 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

E TAKE A BOW, SPONSORS AKE ATAKE BOW, TAKE ASPONSORS BOW, SPONSORS TAKE ATAKE BOW, A BOW, AASPONSORS BOW, SPONSORS SPONSORS SPONSORS BOW, TAKE A BOW, SPONSORS We are pleased to offer a big thank you to our sponsors for the 2021-2022 Season.

Their generous support makes it possible for the DSSO to bring world-class concerts, andforcommunity outreach to the Northland. BRAVO! d to offer a big educational thank you to programs, our sponsors the 2021-2022 Season.

e pleased to offer a big thank you to our sponsors the 2021-2022 Season.

We arefor pleased offer a big thank you to our sponsors are We pleased aremakes pleased to We offer are toa pleased offer big thank a big to you thank offer to aour you big sponsors to thank our you sponsors fortothe ourto for 2021-2022 sponsors the 2021-2022 forSeason. the 2021-2022 Season.

Season. for the 2021-2022 Season. sgenerous support it possible for the DSSO to bring world-class concerts, support makes it possible for the DSSO to bring world-class concerts, Their generous support makes it possible for the DSSO to bring world-class concerts, We areoutreach pleased to offer a big thank sponsors for the 2021-2022 Season. eir generous Their and generous support Their support generous makes itmakes possible support it for makes the for itDSSO possible the BRAVO! DSSO toyou bring fortothe toour world-class bring DSSO world-class to concerts, bring world-class concerts, concerts, rograms, community to possible the Northland. tional programs, and community outreach toeducational the Northland.

BRAVO! programs, and community outreach to the Northland.

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

BRAVO! the Northland.

BRAVO! educational programs, and community outreach to the Northland. BRAVO! WE ARE PLEASED TO OFFER A BIG THANK YOU TO OUR SPONSORS FOR THE 2023-2024 SEASON. THEIR GENEROUS SUPPORT MAKES IT POSSIBLE FOR THE DSSO TO BRING WORLD-CL ASS CONCERTS, EDUCATIONAL PROGRAMS, AND COMMUNIT Y OUTREACH TO THE NORTHL AND. BRAVO!

47 DULUTH SUPERIOR SYMPHONY ORCHESTRA

SPONSORS

ponsors for the 2021-2022 Season.

DSSO to bring world-class concerts, to the Northland. BRAVO!

This activity is made possible by the voters of Minnesota ERIOR SYMPHONY ORCHESTRA UTH SUPERIOR SYMPHONY ORCHESTRA 4RR 7AO DSR UY LU TEP HS H SRUO Pthrough E RYI OO R R S YaC MMinnesota P HEOSNTYROAR State C H E S TArts RA Board U L U4T7HDSUULPUETRHI O S44U R 77PD SD E H TRTH O S N S Y U Y M P P O E H R R O C I O N H R Y E S S O T Y R M C A P H H E O S T N Y C H T A 4YURUM 7LILUPOUD U L U T H S U P E R I O M N H H SUPERIOR SYMPHONY ORCHESTR A Support grant, thanks to a legislative 4 7 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 TOperating RA

appropriation from the arts and cultural heritage fund.

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

202324 2023

218.623.3776

DSSO.COM

season

MASTERWORKS SERIES ONE TWO THREE FOUR FIVE SIX SEVEN

| MW1 | MW2 | MW3 | MW4 | MW5 | MW6 | MW7

September 16, 2023 January 20, 2024 November 4, 2023 February 24, 2024 March 16, 2024 April 13, 2024 May 4, 2024

POPS SERIES EIGHT NINE

| POPS1 | POPS2

December 2, 2023 February 10, 2024

CHAMBER TEN | An intimate chamber performance conducted by Maestro Dirk Meyer to be held at the Depot Theatre. This is a non-subscription event and tickets will go on sale this fall.

55 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

Creating a community free from mental health crisis WeAreHopeX.org

GRAMMY-WINNING MUSIC DIRECTOR CHRISTIAN REIF LEADING 200 OF THE NATION’S TOP PROFESSIONAL MUSICIANS 2024 SEASON HIGHLIGHTS

Beethoven’s Ninth Symphony Stravinsky’s The Rake’s Progress Stefan Jackiw plays Dvorak Violin Concerto Strauss’ Ein Heldenleben 56 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

JULY 26 - AUGUST 18, 2024 BRAINERD, MINNESOTA Lakesareamusic.org

RAISING

the CURTAIN ON SOLUTIONS. DULUTHLAW.COM 218872226331

577 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

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