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VOLUME 2

2023/2024 SEASON

Northern Sounds THE MAGAZINE OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA

Photos: Steven R. Mattson Zenith City Photgraphy

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Mesabi Symphony Orchestra 2023-2024 Season

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DSSO 2023-24 SEASON

TABLE OF CONTENTS 08

WELCOME LETTER

MEET THE ORCHESTRA

POPS 1: HOLIDAY SPECTACULAR

MASTERWORKS 2: EPIC TALES

8 Music Director Dirk Meyer 8 Board of Directors 9 Executive Director BVW 12 Staff and Administration

14-15 Meet the Orchestra

20-23 Masterworks 2 Program Notes

POPS 2: EVENING AT THE POPS

MASTERWORKS 4: REFLECTIONS

WAYS TO SUPPORT THE DSSO

32-37 Masterworks 4 Program Notes

40 How to Donate 41-44 DSSO Contributors

6 DULUTH SUPERIOR SYMPHONY ORCHESTRA

2023-2024 CONCERT SERIES September 26 | 7:30 p.m. September 30 | 3:00 p.m University Recital Series Collage Concert Vicki Fingalson, soprano Featuring UWS Alumni Teresa Vaughan, piano Thorpe Langley Auditorium Webb Recital Hall November 14 | 7:30 p.m. University Recital Series | Vincent Osborn, double bass Theodore Schoen, clarinet | Ed Willett, cello | Erin Aldridge, violin Hector Landa, piano Webb Recital Hall

October 17 | 7:30 p.m. Twin Ports Brass Quintet Steven Siegel, trumpet | Charlie Leibfried, trumpet Deborah Rausch, horn | Derek Bromme, trombone David Leslie, bass trombone 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.

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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

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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

EXECUTIVE DIRECTOR

Fall brings change as well, and not just the color of the leaves. The DSSO is in the process of moving its administrative office back into the St. Louis County Depot, and we look forward to not only serve our patrons in a more visible location but also sharing the nearly 100 year history of the orchestra through archival displays. On behalf of the Board of Directors, our Musicians, our staff and volunteer Chorus, thank you so much for your support of the DSSO. Your investment – whether through purchasing a ticket or donating – supports our musicians and their ability to make music for the Twins Ports Community. We are so happy to celebrate Dirk Meyer’s 10 years as Music Director, and we hope you join us for all of the concerts.

BRANDON

VANWAEYENBERGHE Welcome to the 2023-24 Season of your Duluth Superior Symphony Orchestra! I am so excited that you are able to join us for one (or all) of the concerts this year. Before I talk about this current season, I want to share with you some of the highlights from last year and this summer. Last year, we grew our subscription base by more than 450 seats through our “9 for $90” offer. This introductory offer was a gateway for so many into our concerts, and we certainly set the bar across the nation for subscription growth. Over half of those individuals renewed their subscription for this season, so if you are one of them, thank you for coming back! We also were fortunate to have three capacity concerts this calendar year. In February, the “Tribute to John Williams” concert was the Symphony’s first sell-out in seven years. Then the Beethoven 9 concert in May had only a few seats remaining, where something spectacular happened in the hall that night. Patrons are still talking about it to this day. And speaking of being talked about, August’s performance of “Jurassic Park in Concert” had people shouting, crying, laughing and clapping during and after the performance. John Williams’ score along with the 30th anniversary of an iconic movie was a spectacular event and we hope to bring more similar productions to the Twin Ports in the future.

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Brandon VanWaeyenberghe, Executive Director Duluth Superior Symphony Orchestra

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STAFF & ADMINISTRATION

STAFF AND ADMINISTRATION: ADMINISTRATION

Brandon VanWaeyenberghe, Executive Director Kelly Katzmarek, Marketing Director Jean Larson, Patron Service Manager Ginger Dallin, Box Office Associate

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 Audrey Beyer, Production Assistant Kristin Sande, Music Librarian CHORUS

Aine Miller, Chorus Administrator Beth Sobczak, Rehearsal Accompanist

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

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

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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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

VIOLA

Erin Aldridge, Concertmaster Sponsor: Arend J. & Verna Sandbulte in support of the concertmaster chair through the Sandbulte Orchestra Leadership Fund

Kevin Hoeschen, Principal

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 Daniel Radosevich Steve Highland Sponsor: Thomas & Barbara Elliott Jenna Mattson Sponsors: Tom & Jill Kaiser Kristin Sande Lara Hicks

SECOND VIOLIN Laurie Bastian, Principal Sponsor: James & Jacquie Sebastian Jean Leibfried, Assistant Principal Sponsor: Sandra Barkley

Ronald Kari, Assistant Principal Sponsor: Steve & Lauri Cushing Clare Chopp Sponsor: Martha A. Aas Jonathan Kresha Sponsor: Nancy Odden & Doug Britton Kevin Peterson Sponsors: Robert & Barbara Bennett and Linda & Mark Boben Elizabeth Cregan J. David Arnott Sponsor: Sylvia Jamar Judy MacGibbon Kelli Barker John Middleton

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) Rebecca M. Peterson Sponsor: Robert & Barbara Bennett Darin Anderson

Amy Eichers Sponsor: Thomas & Alice McCabe

Byron Klimek

Michael Husby Sponsor: Brad Schmugge

Scott Lykins

Olga Chernyshev Sponsor: Walt & Kay Gower Michael Zellgert Sponsor: Vern & May Nordling Sarah Warner Sponsor: Kathleen & James Sanders Kristen Anderson Sponsor: Diane Kolquist & James Seitz Marc Harroo

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Lindsay Schlemmer Daniel Keeler

MEET THE ORCHESTRA

DOUBLE BASS

HORN

Cassidy Morgan, Principal Vincent Osborn, Assistant Principal Sponsor: Lane Fryberger Smith Anthony Lischalk Sponsor: John Ivey Thomas & Mary Rees Thomas Family Fund

James Pospisil, Principal Sponsor: James & Mary Zastrow

James McLeod Sponsor: Branden Robinson Irving G. Steinberg Sponsor: Lurene Buhrmann Blake Bonde Sponsor: Carolyn Sundquist

FLUTE James DeVoll, Principal

Deborah Rausch, Assistant Principal / Utility Erika Hammerschmidt, Second Horn Sponsors: Roger & Elaine Engle and Mary Evans Gwendolyn Hoberg, Third Horn

TRUMPET Earl Salemink, Principal Sponsor: Dr. Robert Wahman Charles Leibfried, Second Trumpet Sponsor: Jeffrey & Vickie Cadwell Dr. Thomas Muehlenbeck-Pfotenhauer, Third Trumpet Sponsor: Mark & Grace Monson

Melanie Sever, Second Flute

TROMBONE

OBOE

Larry J. Zimmerman, Principal Sponsor: Roberta Vose

Michael Dayton, Principal Sponsor: Gary & Jacqueline Foley Darci Griffith Gamerl, Second Oboe (Leave 23-24)

James Erickson, Third Trombone Sponsor: Mark Danielson & Theresa Smith

Sarah Boyle Carmack, Third Oboe / English Horn

TUBA

CLARINET

Steve Grove, Principal Sponsor: Helena Jackson

Jennifer Gerth, Principal Sponsor: William & Saundra Palmer Kristine Peterson, Second Clarinet Theodore Schoen, Third Clarinet / Utility Sponsor: Karl Diekman

BASSOON Michael L. Roemhildt, Principal Jefferson Campbell, Second Bassoon Sponsor: Timothy Sandor Karl Kubiak, Third Bassoon / Contra

PERCUSSION

Colin O’Day, Principal Percussion Sponsor: Susan J. Relf Fred Morgan, Principal Timpani

HARP Janell Kokkonen Lemire, Principal Sponsor: Elaine B. Killen

SAXOPHONE Dr. Gregory Kehl Moore, Principal

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POPS 1

HOLIDAY SPECTACULAR SATURDAY, D E C E M B E R 2 N D , 2023 DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, MUSIC DIRECTOR DSSO CHORUS, MICHAEL FUCHS, GUEST CHORUS MASTER

MAIN PERFORMANCE SPONSORS:

CASUAL CONCERT SPONSOR:

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Casual Concert 2:00 pm Main Performance 7:00 pm

POPS 1

2 P.M. CASUAL CONCERT

7 P.M. CONCERT

Coleridge-Taylor Christmas Overture

Rimsky-Korsakov Polonaise from Christmas Eve Suite

Arr. Hayes Little Drummer Boy

Coleridge-Taylor Christmas Overture

Tchaikovsky Waltz of the Flowers from The Nutcracker Suite, Op. 71a

Arr. Hayes Little Drummer Boy

Arr. Campbell Jingle Bells

Tchaikovsky Selections from The Nutcracker Suite, Op. 71a Trepak Dance of the Sugarplum Fairy Waltz of the Flowers

Anderson Sleigh Ride Arr. Biegel Hanukah Fantasy Case Rocket Sleigh Silvestri Believe from The Polar Express Arr. Krogstad Music from Frozen Arr. Holcombe Christmas Medley

Schubert/Tyzik Ave Maria Arr. Holcombe American Christmas Folk Suite Handel Selections from Messiah “And the glory of the Lord” “O thou that tellest good tidings” Hallelujah Chorus INTERMISSION Arr. Campbell Jingle Bells Anderson Sleigh Ride Nancy Odden, Guest Conductor Arr. Biegel Hanukkah Fantasy Case Rocket Sleigh Silvestri Believe from The Polar Express Arr. Krogstad Music from Frozen Arr. Holcombe Christmas Medley

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MASTERWORKS 2

SATURDAY, JANUARY 20TH, 2024 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR BLYTHE GAISSERT, MEZZO-SOPRANO DSSO WOMEN’S CHORUS, MICHAEL FUCHS, GUEST CHORUS MASTER LSYC CONCERT CHOIR, BRET AMUNDSON, DIRECTOR

MAHLER 99’ Symphony No. 3 1. Kräftig. Entschieden INTERMISSION 2. Tempo di Menuetto. Sehr mässig. 3. Comodo. Scherzando. Ohne Hast. 4. Sehr langsam. Misterioso. 5. Lustig im Tempo und keck im Ausdruck 6. Langsam. Ruhevoll. Empfunden. Blythe Gaissert, Mezzo-soprano

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MUSICIAN PROFILE Mezzo-soprano Blythe Gaissert has established herself as one of the preeminent interpreters of some of the brightest stars of new classical music. A true singing actress, she has received critical acclaim for her interpretations of both new and traditional repertoire in opera, concert, and chamber repertoire. “Gaissert gave a dramatically powerful, vocally stunning portrait of a woman growing increasingly desperate and delusional from lack of contact with the outer world. Gaissert’s development of Loats’s personality was utterly believable, and she gave a virtuoso performance of this very challenging music’ (Arlo McKinnon, Opera News for The Echo Drift). Known for her warm tone, powerful stage presence, and impeccable musicianship and technical prowess….

“Mezzo-soprano Blythe Gaissert was impossible to ignore as the headstrong Mother Marie. She has a pure, powerful and appealing voice and a forceful stage presence to match.” (Denver Post)

In the 19-20 season, Ms. Gaissert created the role of Dorothy in the world premiere of Kamala Sankaram and Rob Handel’s Looking At You with Here Arts Center NYC, sang Gertrude Stein in Ricky Ian Gordon and Royce Vavrek’s 27 with Intermountain Opera Bozeman, Hannah After in As One with Opera Columbus and Opera Memphis, covered Margret in Wozzeck at the Metropolitan Opera, sang Hansel in Hansel and Gretel at San Diego Opera, performed the world premiere of a chamber piece by John Glover and Kelly Rourke with Echappe Ensemble, sang Beethoven 9 with the Fort Worth Symphony, performed the world premiere of songs by Kamala Sankaram, David T. Little and Martin Hennessy with Sybarite5 as well as the world premiere of Robert Paterson’s Autumn Songs with American Modern Ensemble at Carnegie Hall. Blythe finished out with a recital of Brahms and Schubert with the Brooklyn Art Song Society. In the 2018-19 season, Ms. Gaissert created the role of Georgia O’Keefe Today It Rains with San Francisco’s Opera Parallele, the world premiere of the third opera by the highly acclaimed and record setting team of As One: Laura Kaminsky, Mark Campbell and Kimberly Reed. She also reprises her role as Hannah After in her 6th production of As One with New York City Opera/American Opera Projects, performed Beethoven’s 9th Symphony with both the Buffalo Symphony and Sarasota Orchestra, and performed in a workshop performance of Laura Kaminsky’s fourth opera, also with librettist Kimberly Reed, Postville: Hometown To The World with Opera

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BLYTHE GAISSERT Fusion: New Works in conjunction with Cincinnati Opera and her alma mater Cincinnati College Conservatory of Music. Recent engagements include Berio Folk Songs and Siegrune Die Walkuere with the Dallas Symphony, and Berlioz L’Enfance du Christ with the Orquesta Sinfónica y Coro Rtve conducted by Miguel Harth-Bedoya. Previous engagements include Carmen, Orlovsky Die Fledermaus, Hansel Hansel und Gretel, Siegrune Die Walkure, Lucretia Rape Of Lucretia, Maddalena Rigoletto, Suzuki Madama Butterfly, soloist in the Verdi Requiem, Berio Folk Songs, Mozart Requiem, world premieres by John Adams, Laura Kaminsky, Mikael Karlsson, Robert Paterson, Martin Hennessy, Mohammed Fairouz, Richard Pearson Thomas, Glen Roven, Yotam Haber, Jorge Martin, Tom Cipullo, Renee Favand-See, Gilda Lyons, Jessica Meyer, Gabriel Kahane and more. Companies with whom Ms. Gaissert has performed include the Metropolitan Opera, Los Angeles Philharmonic, LA Opera, Dallas Symphony, San Diego Opera, Prototype Festival, Aldeburgh Festival, Lyrique en Mer, Tulsa Opera, Lyric Opera of Kansas City, Sarasota Opera, and Opera Saratoga.

MMAASSTTEERRW WOORRKKSS 22

GUSTAV MAHLER Symphony No. 3 in D minor GUSTAV MAHLER BORN: July 7, 1860, in Kalischt, near Iglau, Bohemia [now: Kaliště, Jihlava, Czech Republic] DIED: May 18, 1911, in Vienna, Austria WORK COMPOSED: 1895-96 WORLD PREMIERE: June 9. 1902, Krefeld, Germany; Festival Orchestra of the German Musical Association (Allgemeiner Deutscher Musikverein), Mahler conducting PERFORMANCE HISTORY: Tonight marks the first DSSO performance of this Mahler Symphony INSTRUMENTATION: Four flutes (all doubling piccolo), four oboes (4th doubling English horn), four clarinets and E-flat clarinet (3rd doubling bass clarinet, 4th doubling E-flat clarinet), four bassoons (4th doubling contrabassoon), eight horns, four trumpets (one doubling posthorn), four trombones, tuba, timpani (two players), percussion (bass drum, snare drums, cymbals, triangle, tambourine, tam-tam, rute (bundle of attached canes for hitting drums), glockenspiels, chimes), two harps, strings, alto solo, women’s and children’s chorus. DURATION: 99 minutes 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

Mahler’s Third Symphony belongs to the early period of his life and to his own personal quest for life’s meaning in the face of suffering and death. As a young man Mahler suffered great personal losses; his father died early in 1889 followed by the deaths of both his sister and mother later that same year. Suddenly, at the age of 29 and already in poor health, Mahler became a guardian of his four younger siblings. A worse tragedy befell Mahler when his younger brother Otto shot himself in February 1895. Faced with these challenges he was deeply affected by his encounter with the works of Friedrich Nietzsche (1844-1900). Mahler’s First Symphony, Titan, focused on heroism and earthly existence. His approach to redemption in his Second Symphony, Resurrection, is that humankind is subservient to God’s grace achieved through belief. The Third Symphony is Mahler’s attempt to experience all that nature has to offer in a quest to reach higher forms of existence, until ultimately forming a union with God and humanity. The Third Symphony is the longest symphony in the standard repertoire and in a survey of conductors carried out by the BBC Music Magazine, was voted one of the ten greatest symphonies of all time. The Third has six movements and is divided into two parts. Part One is the first movement alone and Part Two consists of the other five movements. As he did with all of his first four symphonies, Mahler provided a programmatic description to explain the narrative of the piece, however he was ambivalent about the use of these descriptions. The following messages give an excellent example of Mahler’s diverse opinions regarding descriptive program notes, this to the critic Max Kalbeck in 1902: Beginning with Beethoven there is no modern music without its underlying program. But no music is worth anything if you first have to tell the listener what experience lies behind it and what he is supposed to experience in it. And so yet again: to hell with every program! You just have to bring along ears and a heart along and - not least - willingly surrender to the rhapsodist. Some residue of mystery always remains, even for the creator.

At about the same time he wrote to the conductor Josef Krug-Waldsee: Those titles were an attempt on my part to provide non-musicians with something to hold on to and with a signpost for the intellectual, or better, the expressive content of the various movements and for their relationships to each other and to the whole. That it didn’t work (as, in fact, it could never work) and that it led only to misinterpretations of the most horrendous sort became painfully clear all too quickly. It’s the same disaster that had overtaken me on previous and similar occasions, and now I have

MASTERWORKS 2 once and for all given up commenting, analyzing all such expediencies of whatever sort. These titles . . . will surely say something to you after you know the score. You will draw intimations from them about how I imagined the steady intensification of feeling, from the indistinct, unbending, elemental existence (of the forces of nature) to the tender formation of the human heart, which in turn points toward and reaches a region beyond itself (God). Please express that in your own words without quoting those extremely inadequate titles and that way you will have acted in my spirit. I am very grateful that you asked me [about the titles], for it is by no means inconsequential to me and for the future of my work how it is introduced into “public life.”

When Mahler completed the Third, dated August 6, 1896, the subtitle of the work was simply A Midsummer Noon’s Dream. The individual movements were titled: First Part: Pan Awakes. Summer Comes Marching In Second Part: What the Flowers in the Meadow Tell Me What the Animals in the Forest Tell Me What Humanity Tells Me What the Angels Tell Me What Love Tells Me Critics of Mahler have great fun with these titles; Mahler was a flower-child long before it came into vogue. However, the titles of the movements disappear by the Third Symphony’s first publishing. Mahler acquired a one-room cabin at Steinbach on the Attersee, about twenty miles east of Salzburg, in 1893 where he would spend summers composing. In the summer of 1895 his sister Justine (1868-1938) and his friend Natalie Bauer-Lechner (1858-1921) accompanied him there to look after him, which meant basically to silence the crows, waterbirds, children and whistling farmhands, as he began composing the Third Symphony. I’m reminded of Ken Russell’s 1974 film Mahler where a young woman (most likely Justine) is running all over silencing every possible noise that might be a disturbance to Mahler. Part One opens with a declamatory fanfare that is heavy and menacing. Mahler described the effect of this opening to Bauer-Lechner: “Over the introduction to this movement, there lies again that atmosphere of brooding summer midday heat; not a breath stirs, all life is suspended, and the sun-drenched air trembles and vibrates.” A second theme, with winds and solo violin, offers some light into the ominous gloom. Several of the themes heard near the beginning will be transformed into material for the last three movements (fascinating in that Mahler wrote the first movement after the others). The entire movement is a series of marches that continue to build, becoming more 23 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

and more impassioned. A return to the menace of the opening march cuts off that section. The climactic ending of Part One is nothing short of breathtaking. The orchestra is playing at full force as Mahler instructs “mit höchster Kraft” (with all possible strength). This is certainly a place where not only the audience, but the orchestra as well needs a well-deserved break. After the first movement in the Second Symphony, Mahler calls for a short pause before beginning the remainder of the work; a break is recommended between Part One and Part Two of the Third Symphony. Part Two, except for the finale, is a series of short character pieces beginning with Blumenstück, the first music he composed for this symphony. Blumenstück is a minuet that is interrupted with a sinister section with brief moments of frantic activity, only to return to the gentle minuet. The third movement harkens back to his First and Second Symphonies. The love of nature in the First Symphony and the great summoning at the end of the Second Symphony are evoked. The fourth movement enters with low strings and provides a foundation for the solo alto. Nietzsche provides the words to the Midnight Song from Also sprach Zarathustra with each of its eleven lines to be imagined as coming between two of the twelve strokes of midnight. “Oh man, give heed! What does deep midnight say? I Slept! From a deep dream have I waked. The world is deep. And deeper than the day had thought! Deep is its pain! Joy deeper still than heartbreak! Pain speaks: Vanish! But all joy seeks eternity. Seeks deep, deep eternity.” As dark as Nietzsche’s midnight is, the change to a world of bells and angels is most welcome. The text for the fifth movement comes from Des Knaben Wunderhorn (The Boy’s Magic Horn) with interjections of Mahler’s words Du sollst ja nicht weinen (But you mustn’t weep). The children’s chorus is at first confined to bell noises but joins in later with the exhortation Liebe nur Gott (Love only God) and the final stanza. Mahler ends the Third with an exceptionally beautiful Adagio. As he explained to Bauer-Lechner, “In adagio movements everything is resolved in quiet. The Ixion [Ixion was a king who, by Zeus’ command, was pinned to a fiery wheel that revolved unceasingly through the underworld, as punishment for his alleged seduction of Hera] wheel of outward appearances is at last brought to a standstill. In fast movements - minuets, allegros, even andantes nowadays - everything is motion, change, flux. Therefore I have ended my Second and Third symphonies contrary to custom… with adagios - the higher form as distinguished from the lower.” The final movement’s original title, What Love Tells Me, refers to Christian love, to agape, and Mahler’s drafts include “Behold my wounds! Let not one soul be lost!” And as Michael Steinberg writes, Mahler’s performance directions also speak to spirituality; the immense final bars with the thundering timpani are not to be played with brute strength, but with a rich, noble tone and the last measure should “not be cut off sharply” - so that there is some softness to the edge between sound and silence at the end of this profound utterance of serene power and beauty. Program notes by Vincent Osborn © 2023

POPS 2

EVENING AT THE POPS SATURDAY, F E B R U A R Y 1 0 T H , 2024 DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, MUSIC DIRECTOR DSSO YOUTH SYMPHONY

CASUAL CONCERT SPONSOR:

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Casual Concert 2:00 pm Main Performance 7:00 pm

POPS 2

2 P.M. CASUAL CONCERT

7 P.M. CONCERT

Rossini Overture to William Tell

Brahms Hungarian Dance No. 5

Massenet Meditation from Thaïs

Grieg Morningstimmung from Peer Gynt Suite No. 1, Op. 46

Erin Aldridge, violin

Anderson The Typewriter Kabalevsky Overture to Colas Breugnon, Op. 24

Strauss Emperor Waltzes Massenet Meditation from Thaïs Erin Aldridge, violin

Coleridge-Taylor Novelette No. 4 in D Major, Op. 52

Ponchielli Dance of the Hours from La Gioconda, Op. 9

Mascagni Intermezzo from Cavalleria rusticana

Anderson The Typewriter

Suppe Light Cavalry Overture

Kabalevsky Overture to Colas Breugnon, Op. 24

Anderson Bugler’s Holiday

INTERMISSION

Sibelius Finlandia

Elgar Pomp and Circumstance March No. 1 in D Major, Op. 39

Side-by-side with the Duluth Superior Youth Symphony

Coleridge-Taylor Novelette No. 4 in D Major, Op. 52 Mascagni Intermezzo from Cavalleria rusticana Suppe Light Cavalry Overture Debussy/Mouton Clair de lune Anderson Bugler’s Holiday Sibelius Finlandia Side-by-side with the Duluth Superior Youth Symphony

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MASTERWORKS 1

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MASTERWORKS 4 MASTERWORKS 7

SATURDAY, F E B R U A R Y 2 4 T H , 2 0 2 4 , 7 P M DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR CHARLES SUNDQUIST, GUEST CHORUS MASTER GRIEG Two Melodies, op.53 8’ Norwegian: Allegro risoluto The First Meeting: Lento DVOŘÁK 27’ Serenade for Strings Moderato Tempo di Valse Scherzo: Vivace Larghetto Finale: Allegro vivace INTERMISSION SHAW 12’ Entr’acte

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MOZART Vesperae solennes de confessore 26’ Dixit: Allegro vivace Confitebor: Allegro Beatus vir: Allegro vivace Laudate pueri Laudate Dominum: Andante ma un poco sostenuto Magnificat: Adagio. Allegro DSSO Chorus Lacy Sauter, soprano Sadie E. Cheslak, mezzo-soprano Jesse Darden, tenor John Allen Nelson, baritone

CONCERT SPONSORS:

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 Tippet’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 4

GRIEG Two Melodies, Op. 53 EDVARD GRIEG BORN: June 15, 1843, Bergen, Norway DIED: September 4, 1907, Bergen WORK COMPOSED: 1890 WORLD PREMIERE: Undocumented INSTRUMENTATION: String orchestra. PERFORMANCE HISTORY: The Two Melodies by Grieg (“Norwegian” and “The First Meeting”) have not been previously performed on the DSSO’s Masterworks Series. DURATION: 8 minutes. Much of Grieg’s music is based on songs, many of which are very melodic and inspired by the folk music of Norway. In 1900 Grieg wrote to his American biographer Henry Theophilus Finck (1854-1926) that “The essential feature of Norwegian folksongs, as compared with German ones, is a deep melancholy, which can suddenly veer into wild, uninhibited humor. Mysterious darkness and unbridled wildness - these are the two sides of Norwegian folksong.” These two sides are evident in Grieg’s Two Melodies. Grieg arranged the Two Melodies for string orchestra in 1890 from two songs he had written a little more than a decade earlier. The first song, Norsk (Norwegian), is from Twelve Melodies, Op. 33, No.

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12. The original version is from a poem by Aasmund Olavsson Vinje (1818-70) titled Fyremål (The Goal). (Vinje also penned the poem Våren (The Last Spring), which was heard in a November 14, 2015, DSSO performance.) The words of Fyremål have a strong nationalistic ring: “We take the true path, through twists and turns, traveling forward to our journey’s end: we must hold fast to our goal, or we will fall by the wayside. Confident and constant, we speak our Norwegian tongue. Come, kind friends! We work side by side.” After the recession caused by the Napoleonic Wars (1803-15), Norway’s economic development remained slow until 1830. Between 1840 and 1867 a movement called Norwegian romantic nationalism emphasized the aesthetics of Norwegian nature and the uniqueness of its national identity. Much of the study and debate in Norway during this time was characterized by nostalgia and the endurance of their historic culture. The enduring impact can be seen in the influence on the arts represented by Grieg, Henrik Ibsen (18281906), Vinje, Bjørnstjerne Bjørnson (1832-1910) and others. The second song, Det første møde (The First Meeting), is from Fire Digte fra Fiskerjenten (Four Songs from The Fisher Maiden), Op. 21, No. 1. The poem by Bjørnson is a nature idyll. The enchantment of the first meeting fuses nature and human emotions in quiet ecstasy. Grieg wrote in his diary in 1865 describing a similar atmosphere, “Little by little the sun disappeared, as if it sank to sleep in the bosom of the sea; night drew its veil over nature all around us, and a wonderfully gentle, mournful mood took hold of me.” The inspiration of folk music is evident in Grieg’s Two Melodies, but he didn’t merely quote folksongs and dances, he enriched them with the kind of harmony he felt lay undiscovered within. The beauty of these melodies can only be described by Grieg in the letter he wrote to Finck: “How does it happen that my songs play such an important part in my production? Quite simply owing to the circumstances that even I, like other mortals, was for once in my life endowed with genius (to quote Goethe). The flash of genius was: love. I loved a young girl who had a wonderful voice and an equally wonderful gift of interpretation. That girl became my wife and my lifelong companion to this very day. For me, she has been – I dare admit it – the only genuine interpreter of my songs.”

MASTERWORKS 4

Music) epitomizes the definition and sets the model for future composers. Although a serenade might be considered background music, don’t think for a moment that it describes Dvořák’s Serenade for Strings. The carefree and joyful atmosphere is the perfect tonic for a troubled spirit or a challenging day at work. In 1873 Dvořák married Anna Čermáková (1854– 1931) (the younger sister of Josefina, a former pupil of Dvořák with whom he had fallen in love and she did not return the affections) and their first son was born in 1875. The mood of the Serenade for Strings shows Dvořák at his happiest, so much so that he composed it in only twelve days! That seems very plausible as the piece flows in a stream of inspiration and consciousness. It is lyrically enchanting and at times irresistibly exuberant. How can anyone consider this background music?!

DVOŘÁK Strings in E major, Op. 22, B. 52 ANTONÍN DVOŘÁK BORN: September 8, 1841, in Nelahozeves, near Prague, Czech Republic (then Bohemia) DIED: May 1, 1904, in Prague WORK COMPOSED: May 1875 WORLD PREMIERE: December 10, 1876, in Prague by the combined orchestras of the Czech and German theaters; Adolf Čech conducting INSTRUMENTATION: String orchestra PERFORMANCE HISTORY: The only previous DSSO performance of this Dvořák work was on December 15, 1968, with Joseph Hawthorne conducting. DURATION: 27 minutes. A serenade is defined in a musical dictionary from 1732 as “an evening piece; because such works are usually performed on quiet and pleasant nights.” Having played background music for years, I am very familiar with that definition. It’s a diversion (divertimento) that fills the silence during meals or lulls in conversations. Dare we call it Muzak? Mozart’s Eine kleine Nachtmusik (A Little Night

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The conductor Misha Rachlevsky described the work perfectly: Just like delivering good news to someone has a positive rub-off effect on the messenger, performing Dvořák's Serenade is really a very therapeutic endeavor for performers. There is so much 'pure goodness' in it. Somehow even the moments which could cast a gloomy shadow – light melancholy of the Waltz, or the fragility of the opening of Larghetto – retain the wonderfully cloudless atmosphere... The remarkable thing about Dvořák's Serenade – this 'cloudless goodness' is fully sufficient for sustaining meaningful communication for nearly half an hour of music. Dvořák is considered the quintessential Czech composer who incorporated so much of the Czech and Bohemian culture and folk music into his compositions. Although he was considered a ‘latebloomer’ whose major mature works came later in his life, the Serenade for Strings shows an incredibly talented composer who is ready to make his mark on the world.

MASTERWORKS 4

In 2013, at the age of 30, Caroline Shaw won the Pulitzer Prize for Music for her Partita for 8 Voices, making her the youngest person ever to receive that award. Far from being an ‘overnight success’ Shaw has been working diligently since childhood. She began the violin at the age of two and has been composing from age ten. She received degrees in violin from Rice University in 2004 and Yale in 2007. She continued working on a Doctorate in composition at Princeton while establishing herself on the New York music scene as a violinist comfortable in a wide range of styles. Shaw also performed with Sir Paul McCartney on Saturday Night Live, with The National on the David Letterman Show, and with The Roots on The Tonight Show.

CAROLINE SHAW Entr’acte CAROLINE SHAW BORN: August 1, 1982, in Greenville, North Carolina WORK COMPOSED: 2011 WORLD PREMIERE: April 2011, Brentano Quartet at Princeton University INSTRUMENTATION: String orchestra PERFORMANCE HISTORY: Entr’acte – Tonight marks the first DSSO performance of any music by Caroline Shaw. DURATION: 12 minutes. In a theatrical production an Entr’acte indicates a pause between two acts, intending to create a break in the mood or action. Shaw’s Entr’acte was inspired after she heard the Brentano Quartet play Haydn’s String Quartet in F major, Op. 77, No. 2, particularly the shift to the D-flat major trio in the minuet. Shaw describes the moment as “the way some music (like the minuets of Op. 77) suddenly takes you to the other side of Alice’s looking glass, in a kind of absurd, subtle, technicolor transition.”

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The string orchestra version of Entr’acte was commissioned by the Boston-based chamber orchestra A Far Cry in July 2014. It has become one of Shaw’s most performed works. The opening of Entr’acte has a ghostly quality as though the the theme, harmonies and broken phrases are heard from a distance. In the true meaning of its title, the work seems to intend a distraction from past moments and prepares for moments to come. When it is programmed between other works Shaw’s Entr’acte makes for a perfect transitional piece.

MASTERWORKS 4

fall of 1777 and traveled to Augsburg, Mannheim, Paris and Munich. Of course, during this journey he got into serious debt and had to start pawning of his valuables. While he was in Paris his father worked to find him employment back in Salzburg and also during this time, Wolfgang’s mother died on July 3, 1778. Mozart finally returned to Salzburg on January 15, 1779, and took up his new appointment with his old employer, but his feelings about Salzburg and the Archbishop were unchanged.

MOZART Vesperae solennes de confessore, K. 339 WOLFGANG AMADEUS MOZART BORN: January 27, 1756, in Salzburg, Austria DIED: December 5, 1791, in Vienna WORK COMPOSED: 1780 WORLD PREMIERE: Undocumented INSTRUMENTATION: Bassoon, two trumpets, three trombones, timpani, organ, strings (no violas), mixed chorus and soprano, alto, tenor and bass soloists. PERFORMANCE HISTORY: There are no previous performances of Mozart’s Solemn Vespers by the Orchestra and Chorus DURATION: 26 minutes. From 1773 Mozart was under the employ of the ruler of Salzburg, Prince-Archbishop Hieronymus Colloredo (1732-1812). The young Mozart was not one to be tied down to work he didn’t enjoy and he was unhappy in his home town of Salzburg. Although he had many friends and admirers, along with artistic successes, Mozart’s unhappiness in Salzburg only festered, mostly because of his very low salary. Determined to find more suitable employment he resigned his position in Salzburg the

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The battles with Archbishop Colloredo, who treated Mozart like his lapdog, would come to a boiling point in late 1781 and the repercussions would include a severe fallout with his father Leopold, who chose to side with the Archbishop. Wolfgang and his father exchanged intense letters, but it was all for naught when the Archbishop dismissed Mozart from his employ. This has been characterized as Mozart’s ‘revolutionary step’ that altered the course of his life; he was free from his employer and from his father’s demands that he remain in Salzburg. Composed in 1780, Vesperae solennes de confessore was Mozart’s final composition for the Salzburg Cathedral, one of two settings for a Vesper service he wrote, the other being Vesperae solennes de Dominica (K. 321) from a year earlier. Archbishop Colloredo liked his services short and demanded that musical settings be straightforward with no repetition of the text. Despite these restrictions, Mozart’s music abounds in amazing imagination. With each movement Mozart is pushing the envelope in different ways to overcome Colloredo’s restrictions. Mozart displays his developing mastery of counterpoint in Laudate Pueri, presaging his fugal masterpiece in the Requiem (K. 626). The Laudate Dominum, one of his masterpieces, shows his love of the soprano voice in its long and luxurious lines. Although Mozart’s religious works are actually the least important of his output, the Vesperae solennes de confessore is a masterpiece and it foreshadows two of his greater unfinished works, the Mass in C minor (K. 427) and the Requiem.

MUSICIAN PROFILE

DSSO chorus master Richard Robbins is the director of choral activities at the University of Minnesota Duluth, where directs the University Singers 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

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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

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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. 130 W. Superior St Suite LL2 - 120 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 $1,000 and includes access to a private bartender on the second floor of the Symphony Hall Lobby Space. 40 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

CONTRIBUTORS

DSSOCONTRIBUTORS THANK YOU TO THE FOLLOWING CORPORATE AND INDIVIDUAL CONTRIBUTORS WHO HAVE GIVEN IN SUPPORT OF THE DSSO JUNE 1, 2022 THROUGH OCTOBER 25, 2023.

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

PRINCIPAL ($10,000 to $24,999) Karl Diekman Jeremy & Carol Fryberger Helena Jackson Anonymous Minnesota Power An ALLETE Company Dr. Michael & Sharon Mollerus National Bank of Commerce Vern & May Nordling North Shore Bank of Commerce Nancy Odden & Doug Britton Dr. Ann Rock Arend J. & Verna Sandbulte St. Luke’s Wildey H. Mitchell Family Foundation

GUEST ARTIST ($6,000 to $9,999) Martha A. Aas Robert & Barbara Bennett Linda & Mark Boben Adelaide M. Cline Thomas & Barbara Elliott Essentia Health Dr. Beth Gilbert Kathleen & James Sanders The Teberg Fund

FULL CHAIR ($4,500 to $5,999) Dr. Vicki & Terry Anderson John & Kathleen Berchild Sylvia Jamar Elaine B. Killen maurices

Dr. Mark & Grace Monson William (“Buzz”) & Saundra Palmer Timothy Sandor Brad Schmugge James & Jacquie Sebastian Bill Stack of Stack Bros. Mechanical Contractors Shirley Tratechaud

HALF CHAIR ($2,500 to $4,499) Hon. David & Gloria Bouschor Lurene Buhrmann Steve & Lauri Cushing Mark Danielson & Theresa Smith Gary & Jacqueline Foley Christabel & James Grant Jill & Tom Kaiser Tina Koecher Tammy Ostrander & Tony Barrett Branden Robinson Diane Kolquist & James Seitz Lane Fryberger Smith Nairi Stack Carolyn Sundquist Roberta Vose Dr. Robert Wahman James & Mary Zastrow

QUARTER CHAIR ($1,200 to $2,499) Sandra Barkley Bell Bank Jeffrey & Vickie Cadwell Alison Clarke Rhonda & John Degelau Rose & Lester Drewes Ruth Ann Eaton Roger & Elaine Engle Mary Evans John Fochs of Happy Sleeper Mattress Harold & Ruth Frederick Walter & Kay Gower Jeremy Hoglund Dr. Glen E. Holt Gale & Jeri Kerns Robert Knighton Paul & Carol Knuti Mary & Jim Krook Lakeview Arts Fund Dennis Lamkin & Jon Niemi

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Ann Mars Patricia & David Mast Thomas & Alice McCabe Nancy Melander Mark & Nancy Melhus Heather Muster Vincent & Sharon (Rigby) Osborn Jennifer Owen Tobin Sobaski & Kari Koehler Gudrun & Geoffery Witrak Cathleen & Kirby Wood

ACCELERANDO ($600 to $1,199) Susan Bathory & Donald Lane Benedictine Sisters of St. Scholastica Monastery Daniel & Marjorie Bergeland Kate Dean Kari Dresback Rondi Erickson Louise (Margaret) Foss Kay & Ronald Gustafson Thomas & Joan Hedin Christine Hensolt Dr. Jason & Megan Johnson Otto Johnson & September Mihaly Ronald Kari John & Sharon Kemp Richard D. Kivela Dirk & Paula Meyer Emily Nygren Gerald & Mary Ann Ostroski Dr. Susan Relf Gerald & Karen Ruona Nicholas & Dr. Mark Scott Anita Swanson Dr. Andrew Thompson Rajiv & Emily Vaidyanathan Geiger & David Yount

ADAGIO ($200 to $599) John Alexander Anonymous Allen Anway Charles R. Babst Linda Backman Leonore & Robert Baeumler Susanne & Johan Bakken Riley Barka Janice Biga Angie Bomier

CONTRIBUTORS Tamara Bottge Gary & Kathy Bubalo Maryjane Burdge Bill & Renee Burns Jean & Sharon Captain Jan Carey Jay Carlsgaard Mary & Jeff Charnes Timothy & Kathleen Cortes Jerry Curnow John & Judy Dahl Dorothy Dayton Kathleen DeSanto Linville Doan R. Craft & Ellie Dryer Paul Enenbach Paula Fenstad Martha & Conrad Firling David & Barbara Gaddie Patricia Gannon Karen Gran Michelle Gribbon Carlton Gustafson Linda Haagensen Lois & Robert Heller Shirley Herman Barbara Hjort Mark & Sharon Holm Paul & Alice Holm Wayne Holmberg Oliver & Mary Ann Houx Bill & Kate Isles Kenneth G. Jackson Pamella Jacobson Dan & Lois Jaeckel James Jarocki Ellis Johns Dennis & Susan Johnson Matthew Johnson Linda Jorgenson & Jack Gunderson John & Beth Kelly Mark Kolbo Katherine Kuettel Andre & Marilyn LaMourea James Lampi Sharon Layon & Neil Nelson Charles & Jean Leibfried Michael Lillo Gary & Nancy Loberg Paul Lokken Candace Madich John & Michelle Magdsick Rachel & Gregory Mason Dean & Kate McCall Robert Meese Jr. & Ann E. Small Gary & Darla Meier Barbara Melde Olson David Mesner & Joyce Piper Alice & Don Michels Julie Michels William Miner Pam Moore & Jon Stephenson

Daniel & Catherine Mundt Jennifer Naegele Jeannette Nesseth David J. Ouse Deborah Rausch Mary Pat Renaud Kathleen Risku Joseph & Catherine Roby Jonathan & Nancy Rova Janet R. Sklaris Phyllis & Vic Smith James H. Stewart Thom & Cynthia Storm Sharon L. Torrison Lucas Trea Claudia Welty

TEMPO (up to $199) Anonymous John J. Agacki Cigale Ahlquist Janet Akervik William Alexander John & Cathy Ameel Gwendolyn Anderson Patricia Anderson Richard & Yvonne Anderson Sylvia Angradi Kathleen Antilla Allan Apter J. David Arnott Ramin Artang Anonymous Carla Bailey Judith & James Bailey Carolyn Baird Lee Ball Thomas & Mary Jean Barratt Jane & Thomas Barthell Dr. Niles H. Batdorf Carla Bayerl Anonymous Tiffany Beckman Claire Belisle Jessica Bellefeuille Bridget Bemis Lisa Benson Audrey Beyer Damita Beyer Anne Bier Kay Biga & Patrick Spott David & Karen Bjorkman Bryan Block Gary Boelhower & Gary Anderson Thomas & Mary Boman Joseph Boulley Richard & Jane Bradford Kathleen Bray Day Breitag Rhianna Brodin

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Rebecca M. Brookman Anonymous Wendy Buczynski Debra Buresh Jacob Burski Trilby Busch Jose Cabrera Nic Caine Ronald Caple Rev. Craig S. Carlson Lea Carr Eun Joo Choi Timothy & Leslie Churchill Molly Clabots Jan Cleary Katie Comley Stevenson Natalie Constance Anthony Croeker Gwyn Curran Matthew Daeuber Tom & Kathy Dahlberg Dave Dake Joel Day Julie Demgen Franklin Doane-Arkulary Michael & Carol Donahue Thomas Donahue Jeanne Doty Mary Dragich Nancy Eaton Joanne & Tom Ellison Donald Erickson Paul Eskuche Anya Felts Karen Finseth Anne & William Fleischman Dewaine Forbragd Ernie Forgach Joel Forgacs Jonathan Forgrave Greg Fox Rebecca Fulin Kristin Garey Cole Gasper Geoffrey Gates John Gibbs Jane Gilley Sarah Glesner Mary Godfrey Robert Goodell Rikki Graskey Mary & Joe Gummerson Trammell Gutierrez Mary K. Hagen Elizabeth Hall Michon Harju Lynne Harrington Hall Margaret M. Hayes Cheryl Hedgecock Ellen Hedin Alex Heil Clay Helberg

CONTRIBUTORS Thomas Henning Sara Henriksen Linda Herron Bobby & Sally Horstman Joyce & Robert Hickman Alex Hickok Jill Hilliard Susan Hjort Anonymous Mary & Allen Hoberg Lisa Hoch Karen Hoeschen Sister Kathleen Hofer Sara Hollingsworth Kerri Holm-Eberling Sally Horstman Gy Houle Jane Hovland Robert D. Howe Anonymous John Hsieh Debra Jensen Jana Jensen Mark & Theresa Jobin Donald & Mary John Casey Johnson Evan Johnson Leif Johnson Rachel Johnson Barbara Johnson-Kim Aziza Jones Jennifer & Erik Julsrud Kelly Katzmarek Jason Kearney Karen & John Keenan Georgia L. Keeney Sami Keller Melissa King Carl Klubertanz Rena Kraut Pat Kruschke Cot LaFond Barbara & David LaMaster Serena & Robert (Lamers) McClellan Cheryl Lancette Paul Lantieri Dan Larson Abigail Latanich Peter Lawson Thomas & Cynthia Ledin Melissa Lentz Tony & Renate Lischalk Bonnie & Robert Lloyd Philip Lundquist Judy MacGibbon Lucia Magney & Richard Wildberger Lisa Mandelin Tiffany Martin Cari Matheson Cathy McCarty & Dan Wallin

Debra McDonald James McLeod Karen McManus Nancy McParlan Patricia Mester Elena Metcalf Carol Michealson Patricia Miller William Miller & Stephanie Hemphill Wende Morrell Penelope Morton Mary K. Murphy & Family Elsa Murray Leigh Neitzel Hannah Nelson Jeanette Nelson Susan & Charles Nelson Judith A. Newman Dale & Joretta Nikula Phil & Lorraine Norrgard Ann M. Novack Pamella J. Oberfeld Anonymous Margaret (Peg) Oman Myrna Orensten Michael Orth Avery Overlie Timothy Panula Lacey Parr Judith Pearson Ann Pellman Kenrea Perell Marylou Perham Anonymous Kimberly Pintok Ericka Pitrago Mary Planten-Krell Chuck & Della Pleski Veronica Poquette Nancy & Roger Ralston Lance Reasor Lela Rikkola Eric Rodvold Michael & Betsy Rosenzweig Sheila Runquist Nathan Sager Patty Salo Downs Keiko Satomi Diane Sauer Nichole & Jeffrey Schaefer Barbara Schlichting Sam Schmall Randy Schmidt Ernst Schoenfeld Linda Schwartz Shelly Schwartz Buddy Scroggins Jack & Cindy Seiler Judy Seliga-Punyko Helen Sever Melanie Sever

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Laurie & Mark Severson Charlene Shimmin & Don Lemmerman Dr. Thomas & Janice Shuey Paul & Vicky Siders Julia Sisler Melissa Skelton Sandy Skrien Howard Smith Beth Sobczak Tina Solots Lawrence Spears Michelle Stark Stacey Stark Harlan & Anita Stech Paul Stein David Steininger & Lori Williams Sandra & Craig Sterle Sophie Stone Paul Straka Tim Stratton & Suzanne Wasilczuk Scott Sueker Lynette Swanberg Shirley Swenson Linnea Swenson Tellekson Julie Takkunen Philip Tarnowski Mary Tennis Ruth & Dale Thorpe Adrienne Thureen Brynn Torgerson Nicole Turner UW-Eau Claire Haas Fine Arts Center Laurie Van Brunt Logan Vander Wiel Brandon VanWaeyenberghe Sam Verduzco Steve Voltzke Jennifer & Steve Wabrowetz Mary Wagner Zbaracki John Wakefield Grimaldo Walker Jori & Chuck Walt Joe Walters Rachel Warner Sheldon & Susan Watts Elizabeth Weberg Hope White Trevor L. White Laura Whitney Janelle & Josh Wightman Tom & Linda Wiig Kelly Wiisanen Dietrich Winter Mandi Wojciehowski Zach Wood Jay & Helyn Woolf Rebecca Zunkerr

CONTRIBUTORS

Honoring Ron Kari’s 60 years with the DSSO Martha Aas John Alexander John & Cathy Ameel Dr. Vickie & Terry Anderson Kathleen E. Antilla Leonore & Robert Baeumler Thomas & Mary Jean Barratt Thomas & Jane Barthell Susan Bathory & Donald Lane John & Kathy Berchild Kay Biga & Patrick Spott Linda & Mark Boben Honorable David Bouschor Jeffrey Cadwell Ronald Caple Jean & Sharon Captain Rev. Craig Carlson Timothy & Leslie Churchill Mark Danielson Jeanne & Daniel Doty Patty Salo Downs R. Craft & Ellie Dryer Joanne & Tom Ellison

Mary & Bob Evans Louise Foss Greg Fox Harold A. Frederick Lane Fryberger Smith Dr. Beth Gilbert Jane Gilley Mary Godfrey Walter and Kay Gower Christabel and James Grant Thomas & Sandra Henning Joyce & Robert Hickman Jill Hilliard Jane Horland Linda Jorgenson & Jack Gunderson Pamella Jacobson Dan & Lois Jaeckel Sylvia Jamar Karen Keenan John & Sharon Kemp Gale and Jeri Kerns Elaine Killen

Diane Kloquist Rena Kraut Pat Kruschke Cot Lafond Charles & Jean Leibfried James Lake & Melissa Lentz Renate & Tony Lischalk Gary Loberg Judy MacGibbon Bruce & Ann Mars Nancy McParlan Mark & Nancy Melhus Julie Michels Carol Michealson Penny Morton Judith A. Newman Margaret (Peg) Oman David J. Ouse William & Saundra Palmer Dean Peterson & Deb Rausch Nancy and Roger Ralston Mary Pat Renaud

Kathleen Risku Michael & Betsy Rosenzweig Kathleen Sanders Brad Schmugge Ernst Schoenfeld Jacquie & Jim Sebastian Laurie & Mark Severson Paul & Vicky Siders Bill & Nairi Stack David Steininger & Lori Williams William Miller & Stephanie Hemphill Thom and Cindy Storm Carolyn Sundquist Ruth Thorpe Robert and Sharon Wahman M.D. Sheldon Watts Tom & Linda Wiig Kelly Wiisanen Jim & Mary Zastrow

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. Alberte & Trevor White by Trevor L. White Daryl & Anne Leibfried and Mary Donahue by Thomas Donahue

Marge Kuehn by Kathleen Antilla Samuel Tratechaud and Walter & Alta Moe by Shirley Tratechaud Sharon Wahman by Lane Fryberger Smith and by Roberta Vose

IN MEMORY OF JANET MILLEA BYE

IN MEMORY OF LORRAINE STOLEE

Our hearts go out to the family and friends of Janet Millea Bye who passed in February 2023.

Our hearts go out to the family and friends of Lorraine Stolee who passed in March 2023. Paula Fenstad William (“Buzz”) Dr. Glen E. Holt & Saundra Palmer Jeanette Nelson Jacquie & Jim Sebastian Dale & Joretta Nikula Roberta Vose North Shore Bank

Lisa Hoch Paul Lantieri Mary K. Murphy & Family

Jennifer Naegele Sheila Runquist Roberta Vose.

IN MEMORY OF JOSEPH MEESE

IN MEMORY OF JAMES E. SMITH

Our hearts go out to the family and friends of Joseph Meese who passed in March 2023.

DSSO Concertmaster (1960-1967) “My UMD Professor and Violin Teacher.” -Ronald Kari

Patricia Anderson Linda & Mark Boben Julie Demgen, Anne & William Fleischman Serena & Robert (Lamers) McClellan Robert Meese Jr. & Ann E. Small William (“Buzz”) & Saundra Palmer Jacquie & Jim Sebastian.

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IN MEMORY OF FORMER DSSO MUSICIANS Our hearts go out to the family and friends of DSSO Musicians who have recently passed away. Barbara LeBeau Coffin – Piano David Kortier – Bassoon / Contrabassoon Amy Tobin – Violin Vicki Wheeler – French Horn

PROPRINT AD

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

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