24-25 Volume 1 NS

VOLUME 1

2024/2025 SEASON

Northern Sounds THE MAGAZINE OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA

Photos: Steven R. Mattson Zenith City Photgraphy

2 DULUTH SUPERIOR SYMPHONY ORCHESTRA

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5 DULUTH SUPERIOR SYMPHONY ORCHESTRA

DSSO 2024-25 SEASON

TABLE OF CONTENTS 08

WELCOME LETTER

16

MEET THE ORCHESTRA

18

MASTERWORKS 1: AMERICAN RHAPSODY

32

MASTERWORKS 2: COURAGEOUS LIGHTS

38

MASTERWORKS 3: TE DEUM

44

POPS 1: HOLIDAY SPECTACULAR

48

8 Music Director Dirk Meyer 8 Board of Directors 9 Executive Director J. David Arnott 14 Staff and Administration

16-17 Meet the Orchestra

18-25 Masterworks 1 Program Notes

32-36 Masterworks 6 Program Notes

38-43 Masterworks 6 Program Notes

44-45 Masterworks 6 Program Notes

WAYS TO SUPPORT THE DSSO 48 How to Donate 49-53 DSSO Contributors

6 DULUTH SUPERIOR SYMPHONY ORCHESTRA

FALL 2024 CONCERT SERIES October 1 | 7:30 p.m.

University Recital Series � The Rite of Spring Lina Lee & Hector Landa, pianos Ryan Loken & Brett Jones, percussion Thorpe Langley Auditorium

November 19 | 7:30 p.m.

University Recital Series Jacob Jonker, guitar Webb Recital Hall

December 8 | 4:00 p.m.

Season of Song: Chorus & Orchestra Cathedral of Christ the King

December 10 | 7:30 p.m.

Season of Song: Chorus & Orchestra Cathedral of Christ the King

2024/25 Season Begins November 2nd! www.mesabisymphonyorchestra.org

7 DULUTH SUPERIOR SYMPHONY ORCHESTRA

MUSIC DIRECTOR

WELCOME TO THE SYMPHONY! With the 2024/25 season the DSSO completes its three-year artistic initiative of bringing the voice of underrepresented composers to the stage of Symphony Hall. After featuring music by Black composers and female composers in the past two years, this season we turn our focus to American music, specifically contemporary American composers. With several regional premieres (and many more DSSO premieres), our season is packed with incredible music and unforgettable experiences.

DIRK MEYER

Did you know that in 2024 we celebrate the 100th anniversary of Gershwin’s famous Rhapsody in Blue? We join in the celebration by bringing back acclaimed pianist Jeffrey Biegel, performing not just the Gershwin, but also the MN premiere of Peter Boyer’s new Rhapsody in Red, White and Blue, written specifically for this occasion. Another highlight awaits when the DSSO’s own principal second oboe, Darci Gamerl, performs the Midwest premier of James Lee III’s new concerto for English Horn: Courageous Lights. Written especially for Darci, this work celebrates the work and life of three courageous women activists.

Amongst all those new works, of course we will not forget about the enduring classics and beloved favorites. Some of the highlights include works by Mozart and Mendelssohn, Sibelius’ mesmerizing Symphony No.3 alongside our celebration of Anton Bruckner’s 200th birthday (featuring his Te Deum), Chopin, Brahms, Ravel and Debussy’s unparalleled musical picture of the sea: La Mer. Finally, we feature music by two important American composers in our mini-festival: with two Masterworks concerts at the DECC and a chamber music performance in between at the Depot, we will get to know the incredible works of Hollywood composer Erich Wolfgang Korngold and Baltimore based composer Jonathan Leshnoff.

Our celebration of American music carries over into our pops where we bring back our annual Holiday concert tradition and wrap up the season with the one-and-only Star Wars: A New Hope, playing live on the big screen, with the DSSO performing the soundtrack live.

To paraphrase Obi-Wan Kenobi: May the DSSO be with you!

Dirk Meyer, Music Director Duluth Superior Symphony Orchestra

BOARD OF DIRECTORS 2024-2025: Mark Monson, Past Chair Branden Robinson, Board President Kay Biga, Treasurer Tammy Ostrander, Secretary BOARD OF DIRECTORS

J. David Arnott John Berchild Linda Boben Mark Danielson Rhonda Degelau Beth Gilbert

8 DULUTH SUPERIOR SYMPHONY ORCHESTRA

Jeremy Hoglund Jill Kaiser James McLeod Dirk Meyer Mark Monson Emily Nygren William Palmer Kathleen Sanders James Sebastian Nairi Stack

Rajiv Vaidyanathan Roberta Vose HONORARY LIFE DIRECTORS

Mark Monson Christabel Grant Elaine Killen Dexter Larsen Nancy Melander James Zastrow

EXECUTIVE DIRECTOR

and you may even see me pushing a piano now and then, and I’m for sure not yet ready to give up my seat in this fine ensemble.

One final note. Our sponsors make all of what we do at the DSSO possible. If you know someone on the donor page, please thank them for their support. If you find yourself at an establishment that advertises in this program booklet, send a message of thanks through the staff. If you would like to join the ranks of sponsors yourself, it is as simple as clicking on www.dsso.com/give. All arts organizations are struggling to stay afloat these days, some more than others. Please do whatever you are able to in order to preserve our way of life in the Twin Ports. An orchestra of this quality in a market such as ours is rare.

J. David Arnott, Executive Director Duluth Superior Symphony Orchestra

J. DAVID ARNOTT Welcome to the 2024-2025 Duluth Superior Symphony Orchestra season. We have a variety of spectacular musical offerings in store for you this year including something old, something new, and something blue (still working on borrowed). Beginning the season with Gershwin’s iconic Rhapsody in Blue, a monumental early step in bridging jazz and classical genres, and ending the season with Star Wars featuring the DSSO providing a live-orchestra soundtrack, we will keep you delighted, engaged, and we will feed your soul with our music all season.

At the end of the 2021/2022 season, after playing in this orchestra for 20 years, I sat here on the Symphony Hall stage wondering if this would be my last concert ever with the DSSO. My daughter was moments away from graduating from St. Scholastica, and I had decided to “graduate” after 26 years teaching in higher ed. The future was wide open but unclear as to what the next adventure would hold. My search included seeking administrative positions with orchestras of varying sizes from Vermont to Alaska. A development position with the DSSO appeared and my application was immediately submitted. Several interviews later I somehow found myself hired on as the Manager of Orchestra Operations (we will not refer to this as “bait-and-switch”). Two years later, life has changed again, and has granted me an opportunity to serve this ensemble that has served me so well for the last 22 seasons. You will see me in the lobby before concerts for sure,

9 DULUTH SUPERIOR SYMPHONY ORCHESTRA

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STAFF & ADMINISTRATION

STAFF AND ADMINISTRATION ADMINISTRATION

J. David Arnott, Executive Director Kelly Katzmarek, Director of Marketing & Cultivation Ginger Dallin, Sales & Promotions Specialist ARTISTIC STAFF

Dirk Meyer, The Charles A. & Carolyn M. Russell Music Director J. David Arnott, Director of Orchestra Operations Kristin Sande, Librarian Kathleen Laasko, Production Coordinator CHORUS

Richard Carrick, Chorus Master Aine Miller, Chorus Administrator Beth Sobczak, Rehearsal Accompanist

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 Teresa Aho, Sinfonia Conductor Marc Harroo, Sinfonia Conductor Amy Eichers, Sinfonia Conductor Jeremy Craycraft, Percussion Ensemble Director PRINTING OF NORTHERN SOUNDS

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NORTHERN SOUNDS PROGRAM NOTES

Vincent Osborn, Program Notes Writer Ronald Kari, Performance Historian, now in his 63nd Season with DSSO Kristin Sande, Research Assistant

CONCERT BOX OFFICE

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

DULUTH SUPERIOR SYMPHONY ORCHESTRA

Office: 506 W. Michigan St., Ste. 7 Duluth, MN 55802 TICKETS

218–623–3776 patronservices@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

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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 & Verna Sandbulte in support of the concertmaster chair through the Sandbulte Orchestra Leadership Fund Angela Waterman-Hanson, Assistant Concertmaster Nicole Craycraft Kathleen Sanders Sponsor: Terry & Vicki Anderson Nairi Stack Sponsors: Stack Brothers Mechanical Contractors; Bill Stack 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 Sponsors: Karen Hanson Sande, Joshua & Nathan Sande

Kevin Hoeschen, Principal Sponsor: Kay Biga & Patrick Spott Ronald Kari, Assistant Principal Sponsors: Stephen & Lauri Cushing; Ruth Ann Eaton Clare Chopp Sponsor: Martha Aas Jonathan Kresha Sponsors: Nancy Odden & Doug W. Britton Kevin Peterson Sponsors: Robert T. & Barbara K. Bennett; Linda & Mark Boben Elizabeth Cregan J. David Arnott Sponsor: Sylvia Jamar Judy MacGibbon Kelli Barker John Middleton

SECOND VIOLIN Laurie Bastian, Principal Sponsor: Jacquie & Jim Sebastian Jean Leibfried, Assistant Principal Sponsor: Sandra Barkley Amy Eichers Michael Husby Sponsor: Brad Schmugge, CPA Olga Chernyshev Sponsor: Walter & Kay Gower Marc Harroo Michael Zellgert Sponsor: Vern & May Nordling Sarah Warner Sponsor: Kathy & James Sanders Kristen Anderson Sponsor: James Seitz & Diane Kolquist Lara Hicks

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CELLO Betsy Husby, Principal Sponsor: Christabel & James Grant Lucia Magney, Assistant Principal Julia Morehouse Sponsors: Nancy Melander; Nancy & Mark Melhus Eric Graf Rebecca M. Peterson Sponsor: Robert & Barbara Bennett Darin Anderson Byron Klimek Lindsay Schlemmer Scott Lykins (On Leave 24-25) Daniel Keeler

MEET THE ORCHESTRA

DOUBLE BASS

HORN (continued)

Cassidy Morgan, Principal Vincent Osborn, Assistant Principal Sponsor: Lane Fryberger Smith Anthony Lischalk James McLeod Sponsor: Branden Robinson Irving G. Steinberg Sponsor: Lurene Buhrmann Blake Bonde Sponsor: Carolyn Sundquist Gordon Lewis

Gwendolyn Hoberg, Horn 3 Nicholas Brown, Horn 4 Deborah Rausch, Assistant / Utility Sponsor: Janice Biga

FLUTE James DeVoll, Principal Melanie Sever, Flute 2

OBOE Michael Dayton, Principal Sponsor: Gary & Jacqueline Foley Darci Griffith Gamerl, Oboe 2 Sarah Boyle Carmack, Oboe 3/English Horn

CLARINET Jennifer Gerth, Principal (On Leave 24-25) Sponsor: William “Buzz” & Saundra Palmer Theodore Schoen, Acting Principal 24-25 Sponsor: Karl Diekman Kristine Peterson, Clarinet 2

BASSOON Michael Roemhildt, Principal Sponsor: Gudrun Witrak Jefferson Campbell, Bassoon 2 Sponsor: Timothy Sandor Karl Kubiak, Bassoon 3/Contrabassoon

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

TROMBONE Larry Zimmerman, Principal Sponsor: Gale & Jeri Kerns; Roberta Vose Christian Howard, Trombone 2 James Erickson, Bass Trombone Sponsor: Mark Danielson & Theresa Smith

TUBA Steve Grove, Principal Sponsors: Helena Jackson & Doug Dunham

TIMPANI Fred Morgan, Principal

PERCUSSION Colin O’ Day, Principal

HARP Janell Kokkonen Lemire, Principal Sponsor: Elaine Killen

SAXOPHONE

KEYBOARD

Gregory Kehl Moore, Principal

Alexander Sandor, Principal Sponsor: Mary Hunner Robinson

HORN James Pospisil, Principal Sponsor: James & Mary Zastrow Erika Hammerschmidt, Horn 2 Sponsors: Roger & Elaine Engle; Robert & Mary Evans

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MASTERWORKS 1

am er i ca n

RHAPSODY

SATURDAY, S E P T E M B E R 2 1 , 2024 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR JEFFREY BIEGEL, PIANO DVOŘÁK 19’ American Suite Andante con moto Allegro Moderato (alla Pollacca) Andante Allegro BOYER Rhapsody in Red, White & Blue Jeffrey Biegel, piano *Minnesota Premiere

15’

INTERMISSION BARBER 21’ Symphony in One Movement, op. 9 GERSHWIN 17’ Rhapsody in Blue Jeffrey Biegel, piano

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CONCERT SPONSOR:

MUSICIAN PROFILE In an age when many artists’ fortunes begin with a meteoric ascent and quickly cool with the inexorable free-fall, pianist Jeffrey Biegel has managed to buck that trend, fashioning a career of steady success studded with concerts at major venues with major orchestras, a Grammy winning recording, and more than 25 commissioned works by living composers.

His life takes its roots from age three, barely able to hear nor speak, until corrected by surgery. The ‘reverse Beethoven’ phenomenon explains his lifelong commitment to music, having heard only vibrations in his formative years. The pandemic year of 2020 focused on composing original “Waltzes of Hope”, “Sonatina”, and “Three Reflections: JFK, RBG and MLK” for solo piano, and for piano and orchestra, orchestrations by Harrison Sheckler. 2021 saw the world premieres of his “Reflection of Justice: An Ode to Ruth Bader Ginsburg” with the Dallas Symphony Orchestra, and Ellen Taaffe Zwilich’s “Remembering Ruth Bader Ginsburg” for mezzo-soprano, piano and orchestra in tribute to the late Supreme Court Justice Ruth Bader Ginsburg, with mezzo-soprano Denyce Graves. Also, the world premiere of Ellen Taaffe Zwilich’s “Shadows” newly arranged for piano and seven players with the Idaho State Civic Symphony. In 2022, he premiered Jim Stephenson’s ‘Piano Concerto’, Daniel Perttu’s ‘A Planets Odyssey’ for piano and orchestra, Farhad Poupel’s “The Legend of Bijan and Manijeh” for piano, orchestra and chorus, his own concerto, ‘Three Reflections: Freedom (JFK), Justice (RBG) Equality (MLK)’, and Christopher Marshall’s ‘Thanksgiving Variations on “We Gather Together”’. For 2023, The 50-state Rhapsody National Initiative begins, with the Utah Symphony leading a three-season effort with Peter Boyer’s “Rhapsody in Red, White & Blue”, with a world premiere recording of the new Rhapsody with Peter Boyer conducting the London Symphony Orchestra for a February 2024 Naxos digital release. Jake Runestad’s “Dreams of the Fallen” with True Concord Voices and Orchestra was released August 16 2024 on Reference Recordings, depicting the lives of veterans returning from war. The 2024-25 season foresees a new work for piano and orchestra by Adolphus Hailstork with the Pacific Symphony, Carl St. Clair conducting, and Grammy winning singer/songwriter, Melissa Manchester’s ‘AWAKE’ for piano and orchestra (premiere tba).

JEFFREY BIEGEL

Considered the most prolific artist of his generation, Moravian College in Bethlehem, PA, conferred the Honorary Degree of Doctor of Humane Letters upon Mr. Biegel in 2015, for his achievements in performance, recordings, chamber music, champion of new music, composer, arranger and educator. In 2019, Kenneth Fuchs’s “Piano Concerto: ‘Spiritualist’” with the London Symphony Orchestra led by JoAnn Falletta received a Grammy Award for Best Classical Compendium, featuring Mr. Biegel as its soloist. In 2019, the first digital recordings were released on Mr. Biegel’s Naturally Sharp label: “Cyberecital: An Historic Recording”, “A Pianist’s Journey”, and the September 2021 release of George Gershwin’s “Rhapsody in Blue” 1924 version with the Adrian Symphony Orchestra, Bruce Kiesling conducting.

Mr. Biegel created the first largest consortium of orchestras in 1998 for Ellen Taaffe Zwilich’s ‘Millennium Fantasy’ premiered with the Cincinnati Symphony Orchestra in 2000, followed with Charles Strouse’s ‘Concerto America’ with the Boston Pops, Lowell Liebermann’s ‘Concerto no. 3’ with the Milwaukee Symphony Orchestra, William Bolcom’s ‘Prometheus’ for piano, orchestra and chorus, with the Pacific Symphony and Pacific Chorale, Richard Danielpour’s ‘Mirrors’ with the Pacific Symphony, Ellen Taaffe Zwilich’s ‘Shadows’ with the Louisiana Philharmonic Orchestra, Jake Runestad’s ‘Dreams of the Fallen’ with the Louisiana Philharmonic Orchestra and Symphony Chorus of New Orleans, Lucas Richman’s ‘Piano Concerto: In Truth’ with the Knoxville Symphony Orchestra, recorded with the Pittsburgh Symphony Orchestra, and Kenneth Fuchs’s “Piano Concerto: ‘Spiritualist’” with the Springfield Symphony Orchestra (MA). He also premiered and recorded Giovanni Allevi’s ‘Concerto for Piano and Orchestra’ and commissioned Christopher Theofanidis’s “Concerto no. 2 for Piano and Orchestra” with the Harrisburg Symphony Orchestra, the “Peanuts Concerto” by Dick Tunney, based on music by Vince Guaraldi, Jimmy Webb’s ‘Nocturne for Piano and Orchestra’ and, PDQ Bach’s ‘Concerto for Simply Grand Piano and Orchestra’ by Peter Schickele with the Colorado Symphony Orchestra. Bringing new music to youth orchestras saw the world premiere of Daniel Dorff’s ‘Piano Concerto’ with the Etowah Youth Orchestra, conducted by Michael Gagliardo.

He studied at The Juilliard School with Adele Marcus, herself a pupil of Josef Lhevinne and Artur Schnabel, and is currently on faculty at the Conservatory of Music at Brooklyn College.

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MASTERWORKS 1

number of his later works and even gave a few of them a subtitle alluding to America: Symphony No. 9 From the New World; String Quartet in F major The American; and this Suite in A major American.

ANTONÍN DVOŘÁK Suite in A major, Op. 98b, B. 190 American Antonín Dvořák BORN:September 8, 1841, in Nelahozeves, near Prague, Czech Republic (then Bohemia) DIED: May 1, 1904, in Prague WORK COMPOSED: 1894 for piano; 1895 for orchestra WORLD PREMIERE: 1894 (piano version); 1910 (orchestra version) PERFORMANCE HISTORY: Dvořák’s American Suite is being performed for the first time by the DSSO this evening.

INSTRUMENTATION: Two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, triangle) and strings.

DURATION: 19 minutes Whenever the American Sound is discussed the names that first come to mind are Gershwin, Copland and Bernstein. Rarely would anyone consider Dvořák among that list. We think of those first three because they are all products of America’s modern era which has also defined the American image. Dvořák came to the United States in the fall of 1892 to be the artistic director and professor of composition at the National Conservatory of Music in New York City. During his time in the United States, Dvořák composed a

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Jeanette Thurber, president of the National Conservatory of Music, had long dreamt of the creation of an American style of art music and because of Dvořák’s use of folk music, it was her hope that he would pave the way. Dvořák took advantage of spending time in other parts of the United States, most significantly in Spillville, Iowa during his summer vacation of 1893 (the village of Spillville had a majority Czech population). His experience on the Iowa prairie, “endless acres of wood and meadow,” was completely opposite to life in New York City. He wrote that life in Iowa is “very wild here, and sometimes sad - sad to despair.”

Imagine leaving behind family and friends, along with established villages for a new life in a strange, new land. We have to remember that although this was nearly the 20th century, life in rural Iowa was still difficult and most likely many longed for their homeland.

Dvořák composed the American Suite for piano in New York between February 19 and March 1, 1894.

It received its world premiere shortly afterwards.

Dvořák and his family spent that summer’s holiday in Bohemia and returned to New York in October.

He began to orchestrate the American Suite in January 1895, but it was not performed publicly until 1910, six years after his death. The Suite may be considered Dvořák’s farewell to America; instead of an intentional use of folk melodies we detect his expression of the sounds and experiences of his time in the New World. The unmistakable use of Bohemian rhythms and sounds juxtaposed with the American influence makes us think of the Czech emigrants creating a new life while keeping their culture and traditions alive.

MASTERWORKS 1

public performances by more than 250 orchestras, and tens of thousands of broadcasts by classical radio stations around the United States and abroad.

The composer describes his composition:

PETER BOYER Rhapsody in Red, White and Blue PETER BOYER BORN: February 10, 1970, in Providence, Rhode Island WORK COMPOSED: 2023 WORLD PREMIERE: June 30, 2023, Deer Valley Snow Park Amphitheater, Park City, Utah; soloist Jeffrey Biegel, Utah Symphony, Benjamin Manis conducting PERFORMANCE HISTORY: Tonight’s performance of Rhapsody in Red, White and Blue marks the first DSSO performance of any music

by Peter Boyer.

INSTRUMENTATION: Two flutes and piccolo (optional), two oboes and English horn (optional), two clarinets and bass clarinet (optional), two bassoons and contrabassoon (optional), four horns, three trumpets, three trombones, tuba, timpani, percussion (glockenspiel, chimes, xylophone, vibraphone, triangle, tambourine, hi-hat, suspended cymbal, snare drum, bass drum), strings and solo piano DURATION: 15 minutes Peter Boyer is one of the most frequently performed American orchestral composers of his generation. His works have received nearly 700

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This work was conceived by the prodigious American pianist Jeffrey Biegel, who approached me in early 2020 with his ambitious idea for a project to celebrate the centennial of George Gershwin’s Rhapsody in Blue, in February 2024. I hesitated before accepting the commission, knowing that the piece I was being asked to compose would be performed repeatedly alongside Rhapsody in Blue – one of the most iconic and beloved works of American music. I wondered how any piece of mine could withstand the inevitable comparisons to the Gershwin work – especially with Jeffrey’s chosen title, Rhapsody in Red, White & Blue. However, he is as persuasive as he is gifted, and so I accepted the commission.

Like the Gershwin work, my Rhapsody is in a single long multi-sectional movement. As Gershwin did a century ago, I have attempted to capture a sense of American energy and optimism in much of this music. Though my musical style typically does not employ any jazz elements, in this work it seemed appropriate to include some allusions to a 1920s, “quasi-Gershwin” style. There is one section of the work, largely pastiche, which does this, in the form of a “bluesy scherzo.” The slow, lyrical section of the work, coming after its midpoint, might be heard as both an allusion to America’s wide-open spaces, and to my personal belief in the country’s promise, despite its many challenges.

At its premiere the new work received a prolonged standing ovation from an audience numbering over 3,000, which was a joy to experience. That performance launched the “Rhapsody National Initiative,” a remarkably ambitious endeavor created by Jeffrey, which will see him performing the work with at least one orchestra in every one of the 50 United States by summer 2026. As of this writing (December 2023), a total of 54 orchestras in all 50 states have committed to this project, a group which, to my knowledge, is unprecedented in its scope for a new piano and orchestra work.

Tonight’s performance marks the Minnesota premiere of Boyer’s Rhapsody in Red, White and Blue.

MASTERWORKS 1

The one-movement symphony is modeled after Sibelius’ Symphony No. 7 and is divided into four sections: Allegro ma non troppo - Allegro molto Andante tranquillo - Con moto. In the program notes for its premiere in New York Barber explained:

SAMUEL BARBER Symphony in One Movement, op. 9 SAMUEL BARBER BORN: March 9, 1910, in West Chester, Pennsylvania DIED: January 23, 1981, in New York City, NY WORK COMPOSED: 1935-36 WORLD PREMIERE: December 13, 1936, in Rome, Italy; Philharmonic Augusteo Orchestra, Bernardino Molinari conducting PERFORMANCE HISTORY: Barber’s Symphony No. 1 was previously played by the Orchestra in 1966, 1982 and on May 3, 2008.

INSTRUMENTATION: Three flutes (3rd doubles piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals), harp and strings.

DURATION: 21 minutes In October 1935, Samuel Barber arrived in Rome for a two-year residency at the American Academy, part of the American Prix de Rome award he won earlier that year in May. In his luggage he packed preliminary sketches for “an orchestra piece of ambitious tendencies.” After traveling around Europe and spending months writing other music, he completed his new, ambitious orchestral work Symphony No. 1 on February 24, 1936, during a visit to the French Riviera. He dedicated it to his long-time companion Gian Carlo Menotti (19112007).

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The form of my Symphony in One Movement is a synthetic treatment of the four-movement classical symphony. It is based on three themes of the initial Allegro non troppo… The Allegro ma non troppo opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes… the first theme… forms the basis of a scherzo section. The second theme (oboe over muted strings) then appears… in an extended Andante tranquillo.

An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by the low strings), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony.

Barber was not wrong in describing the work as having ambitious tendencies! The immediate impact is tremendous; the resemblance to the music of Sibelius and his use of orchestral timbres is remarkable considering that he was only 25 years old at its completion.

At its premiere in Rome the Italian critics thought it “too dark-toned, too Nordic and Sibelian.” The critics were more favorable when the Cleveland Orchestra, conducted by Rudolf Ringwall, gave it its American premiere on January 21 and 23, 1937. Barber’s Symphony No. 1 was also positively received at its premiere in London and New York. In the summer of 1937, it became the first work written by an American composer to be presented at the prestigious Salzburg Festival.

MASTERWORKS 1 discussed an upcoming concert the next month by Paul Whiteman. What caught Ira’s attention was the last paragraph claiming, “George Gershwin is at work on a jazz concerto, Irving Berlin is writing a syncopated tone poem, and Victor Herbert is working on an American suite.” This was news to both brothers. A phone call to Whiteman the next morning ended with George being persuaded to compose the piece.

Gershwin began working on the Rhapsody on January 7, with the ideas coming to him on a train journey to Boston as he told his biographer, Isaac Goldberg, in 1931:

GEORGE GERSHWIN Rhapsody in Blue GEORGE GERSHWIN BORN: September 26, 1898, in New York City, NY DIED: July 11, 1937, in Hollywood, California WORK COMPOSED: 1924 WORLD PREMIERE: February 12, 1924, Aeolian Hall in New York City; Paul Whiteman and his Palais Royal Orchestra with the composer as soloist PERFORMANCE HISTORY: Gershwin’s Rhapsody in Blue was also presented by DSSO in 1934 (with piano soloist Ramona Gerhard), in 1940 (with Alec Templeton), 1948 (Richard TetleyKardos),1959 (Jesus Maria Sanroma), September 20, 2014 (John Novacek). On the Pops Series it was played in 1976 (with Phillip Clark), 1988 (Thomas Wegren), 1990 (Indrek Laul), and on February 8, 1997 (Beth Gilbert).

INSTRUMENTATION: Two flutes, two oboes, two clarinets and bass clarinet, two bassoons, three horns, three trumpets, three trombones, tuba, three optional saxophones (two alto, tenor), optional banjo, timpani, percussion (snare drum, suspended cymbal, cymbals, glockenspiel, triangle, bass drum, tam-tam), strings and solo piano.

DURATION: 17 minutes Late on the evening of January 3, 1924, Gershwin’s brother, Ira, was reading the next day’s edition of the New York Tribune while George and Buddy De Sylva were playing billiards at the Ambassador Billiard Parlor on Broadway and 52nd Street in Manhattan.

The article Ira was reading “What Is American Music?”

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It was on the train, with its steely rhythms, its rattle-ty bang, that is so often so stimulating to a composer – I frequently hear music in the very heart of the noise.... And there I suddenly heard, and even saw on paper – the complete construction of the Rhapsody, from beginning to end. No new themes came to me, but I worked on the thematic material already in my mind and tried to conceive the composition as a whole. I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness. By the time I reached Boston I had a definite plot of the piece, as distinguished from its actual substance.

Gershwin titled the work American Rhapsody while he was composing it. Ira suggested Rhapsody in Blue after visiting an exhibition of James McNeill Whistler paintings, which had titles such as Nocturne in Black and Gold: The Falling Rocket and Arrangement in Grey and Black (better known as Whistler’s Mother). Gershwin completed the composition on February 3 and handed it over to Whiteman’s arranger Ferde Grofé (1892-1972) for orchestration. Grofé finished the orchestration the next day.

Deciding to keep his options open and allow for improvisation, Gershwin had Grofé write into Whiteman’s score “Wait for nod” as cues for when to bring in the orchestra. Gershwin did not write out the solo piano part until after the premiere. He acknowledged that Grofé was responsible for the critics’ praise of the orchestral color and the piece’s success.

In 1938 Grofé confirmed that Gershwin did not have sufficient knowledge of orchestration in 1924. The original orchestration was for 23 musicians and after the premiere Grofé made new orchestrations in 1926 and 1942, each time for larger orchestras.

Program notes by Vincent Osborn © 2024

MASTERWORKS 1

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MASTERWORKS 2

SATURDAY, OCTOBER 26TH, 2024 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR DARCI GAMERL, ENGLISH HORN MOZART 17’ Symphony No. 31 in D Major, K. 297 Paris Symphony Allegro assai Andante Allegro LEE III 24’ Courageous Lights Amanda’s Ascent Zitkála-Sá’s Song Malala’s Yearning Darci Gamerl, English Horn *Minnesota Premiere INTERMISSION

MENDELSSOHN 32’ Symphony No.1 Allegro di molto Andante Menuetto: Allegro molto Allegro con fuoco

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CONCERT SPONSOR:

MUSICIAN PROFILE

DARCI GAMERL “A musician of great sensitivity and dynamic stage presence” - Duluth News Tribune, oboist & English Horn specialist, Griffith Gamerl continues to redefine the definition of a successful career in classical music.

Darci Griffith Gamerl’s groundbreaking, collaborative artistry, production & compositions have won awards with recognition via the Omaha Entertainment Awards, The American Prize. ​ A frequent guest artist, Griffith Gamerl performs as a soloist and orchestral musician with various orchestras, national touring touring productions (Wicked, The King & I, The Little Mermaid, Johnny Mathis, Aladdin, The Sound of Music). Gamerl holds orchestral positions throughout the USA, including the Duluth Superior Symphony Orchestra, the Sioux City Symphony Orchestra, Lincoln’s Symphony Orchestra, and the South Dakota Symphony Orchestra. ​ Founded in 2016, Griffith Gamerl composes, arranges and performs with cellist, David Downing in Bel Canto Duo. The duo was awarded Outstanding New Artist by the Omaha Entertainment Awards (2023) & were finalists (American Prize) for both chamber music composition & for the Ernst Bacon Prize for the performance of American music. Past commissioners have included work for the documentary film, Nebraska Flatwater - Gallery 1516 & The Four Cather Tableaux (The National Willa Cather Center). Darci & David are currently scoring Willa Cather, a documentary featuring the life, work and commemoration of the preeminent author. ​ BCD’s clients include KANEKO, the National Music Museum, the University of Nebraska Medical Center, The Durham (Dressing the Abbey - Exhibit Opening), DA Davidson, Temple Israel, Joslyn Castle, the International Double Reed Society, Nebraska Wedding Day & Gallery 1516. ​ As a chamber musician with the trio I the Siren, Ms. Gamerl received a finalist award (American Prize) in Chamber Music Performance. In 2021 she was a semi-finalist in the professional composition category for her work, The Seven Directions & received a finalist award in the professional chamber music category (American Prize) with David Downing for their collaborative composition, Sacred Waters. ​ As a soloist, Ms. Gamerl has premiered works by Dr. James Lee III, Jonathan Leshnoff, Kelly Hale, Marie Rubis Bauer, Robert K. Mueller & Fabio Mengozzi. Her performance of ‘Courageous Lights’ for English horn & orchestra by Dr. James Lee III (Premiere Augusta, GA - January 2024) received a standing ovation. Upcoming concerto performances are slated for the 24/25 season (Lincoln’s Symphony Orchestra & the Duluth Superior Symphony Orchestra. ​ In addition to an active performing career, Ms. Gamerl continues to instruct - with former students winning jobs with major orchestras across the country. Her production work includes The Silent Canon (nationally syndicated with Dr. Anthony TrecekKing), KVNO Classical 90.7, the South Dakota Symphony Orchestra, Down the Pit (podcast).

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MMAASSTTEERRW WOORRKKSS 22 became director of the Concerts Spirituels (one of the first public concert series in existence, they began in Paris in 1725 and ended in 1790).

The Paris Symphony uses an unusually large orchestra for the period, and it is the first of Mozart’s symphonies to use clarinets. The premiere included 22 violins, five violas, eight cellos and five basses, a large complement of strings for that time.

Mozart did not have a great opinion of the French people and after it was performed in private for two of his friends he wrote to his father:

WOLFGANG AMADEUS MOZART Symphony No. 31 in D major, K. 297 Paris Symphony WOLFGANG AMADEUS MOZART BORN: January 27, 1756, in Salzburg, Austria DIED: December 5, 1791, in Vienna WORK COMPOSED: 1778 WORLD PREMIERE: June 12, 1778, a private performance in the home of Count Karl Heinrich Joseph von Sickingen; June 18, 1778, in Paris at the Concerts Spirituels PERFORMANCE HISTORY: Mozart’s Symphony No. 31 is receiving its third DSSO performance tonight. It was also played in 1954 and on April 26, 1968.

INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani and strings.

DURATION: 17 minutes In 1777 Mozart, accompanied by his mother Anna Maria, made an extended tour of Europe. After stopping in Mannheim, they arrived in Paris on March 23, 1778, where he began a six-month residency. The only major work he composed during this time was Symphony No. 31, which was commissioned by Joseph Legros (1739-1793), a popular counter-tenor and composer who, in 1777,

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They both liked it very much. I too am very pleased with it. But whether other people will like it I do not know … I can vouch for the few intelligent French people who may be there; as for the stupid ones – I see no great harm if they don’t like it. But I hope that even these idiots will find something in it to like; and I’ve taken care not to overlook the premier coup d’archet [A fancy term that simply means all the instruments playing together at the start of a symphony, one of the contemporary fashions of the Concerts Spirituels.] … What a fuss these boors make of this! What the devil! – I can’t see any difference – they all begin together – just as they do elsewhere. It’s a joke.

The letters Mozart wrote to his father give us an idea of his condescension toward the French audiences.

Despite his feelings, he acquiesced and composed an exciting symphony that would be guaranteed to please any audience. The symphony was performed again on August 15th with a different middle movement. He replaced the original Andantino (in 6/8) with an Andante (in 3/4). For this concert we will be performing the original Andantino.

Mozart’s time in Paris was successful and he earned well-deserved praise and recognition, but it also included a personal tragedy. His mother fell ill around mid-June, the doctors called in could do nothing for her and she died on July 3rd. After her burial, Mozart took care of his affairs in Paris and traveled home in mourning to Salzburg and his father.

Mozart won over the Parisian audience with Symphony No. 31. After a four-year hiatus from the symphonic form, he wrote one of his grandest works to that time and it paved the way for even greater works to come.

MASTERWORKS 2 Washington, D.C. in October 2006. Lee studied composition with Michael Daugherty, William Bolcom, Bright Sheng, Betsy Jolas, Susan Botti, Erik Santos and James Aikman. Lee also served as a composition fellow at the Tanglewood Music Center in the summer of 2002, studying with Osvaldo Golijov, Michael Gandolfi, Steven Mackey, Kaija Saariaho, and Stefan Asbury.

JAMES LEE III Concerto for English Horn Courageous Lights JAMES LEE III BORN: November 26, 1975, in St. Joseph, Michigan WORK COMPOSED: 2023 WORLD PREMIERE: January 6, 2024, Augusta, Georgia; soloist Darci Griffith Gamerl, Augusta Symphony Orchestra, Dirk Meyer conducting PERFORMANCE HISTORY: Tonight marks the first DSSO performance of any music by James Lee III. INSTRUMENTATION: Two flutes, two clarinets, two bassoons, two horns, two trumpets, trombone, timpani, percussion, harp, strings and solo English horn.

DURATION: 24 minutes

Lee’s Courageous Lights was written for tonight’s soloist, Darci Griffith Gamerl. Gamerl offers insight about the work: “The concerto revolves around the lives of three notable and powerful activists: poet Amanda Gorman, Native-American author and classically trained violinist Zitkala-Ša, and education activist Malala Yousafzai. Their voices ring true with the touching and powerful clarity of Dr. Lee’s compositional voice. I am honored to work with him and my fabulous colleagues to bring this work to life, and to add such a phenomenal work to the English horn repertoire. In modern society, many of us feel that we do not fit in or that we do not belong, and I believe that was very much the case for Zitkala-Ša. It was her inability to fit in that granted her the drive and tenacity to enact change for her people – work that is being commemorated in a new series of coins featuring the work of notable women. At the forefront of my mind is Ša’s ability as a master communicator. Her training as a classical violinist, author and composer gave her the skills to enact longstanding changes integral to granting Native Americans citizenship and the prioritization and preservation of Native American culture. My preparation has been very different as I honor the history that this concerto brings to life, and the lives of the many teachers and mentors that have helped me along my path – not only as a performer, but as a human being. My heartfelt gratitude goes out to each one. My hope is that this work will inspire future generations to find their unique voice, to know that they matter and to use their talents to enact change that will lead to a society that values equality, education and justice for all.”

American composer James Lee III has composed over 80 works for orchestra, chamber ensemble, piano, vocals, choral ensemble and more. After earning a bachelor’s degree in piano performance from the University of Michigan, he entered the university’s Master of Music program in composition, where he earned both master’s and doctoral degrees in composition. His career began in earnest when his dissertation work Beyond Rivers of Vision (2005) was premiered by Leonard Slatkin and the National Symphony Orchestra at the Kennedy Center in 35 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

Program notes by James Lee III © 2024

MASTERWORKS 2 Do you remember what you were doing when you were fifteen years old? Were you possibly completing your 13th symphony? Although it is now known as Symphony No. 1, the manuscript Mendelssohn gave the London Philharmonic Society bore the title “No. 13” (his earlier symphonies remain unnumbered in tacit validation of his ‘coming of age’ in 1824).

FELIX MENDELSSOHN Symphony No. 1 in C minor, Op. 11 FELIX MENDELSSOHN BORN: February 3, 1809, in Hamburg, Germany DIED: November 4, 1847, in Leipzig WORK COMPOSED: 1824 WORLD PREMIERE: November 14, 1824, at a private gathering to honor his sister Fanny’s 19th birthday; February 1, 1827, Leipzig Gewandhaus Orchestra, Johann Schulz conducting; May 25, 1829, London Philharmonic Society, Mendelssohn conducting PERFORMANCE HISTORY: The DSSO performs Mendelssohn’s Symphony No. 1 for the first time this evening.

INSTRUMENTATION: Two flutes, two oboes, two clarinets., two bassoons, two horns, two trumpets, timpani and strings.

DURATION: 32 minutes

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We can include Mendelssohn in the same breath with Mozart, Chopin, and others as a true child prodigy. This Symphony No. 1, completed only a few years before the death of Beethoven and only a few decades after the death of Mozart, shows an understanding of the musical styles of these two greats that belies his young age. The first movement is a brilliant statement that could be compared with Beethoven’s early symphonies as well as Mozart’s later works. The lyricism of the second movement is exquisitely romantic, displaying his love for his sister Fanny on her 19th birthday. For the London premiere in 1829 Mendelssohn replaced the Menuetto with an orchestration of the Scherzo from his Octet, Op. 20. The Menuetto, which will be performed on this concert, is a beautiful movement that reflects the earlier works of Beethoven, whereas the Scherzo is lively, vibrant and exciting. The final movement, Allegro con fuoco, is as complex and thrilling as the conclusions of Mozart’s later symphonies.

Mendelssohn’s Symphony No. 1 was well-received when he conducted the London premiere on May 25, 1829. It was reviewed in The Harmonicon: “[Mendelssohn] has already produced several works of magnitude, which, if at all to be compared with the present, ought, without such additional claim, to rank him among the first composers of the age.... Fertility of invention and novelty of effect, are what first strike the hearers of Mendelssohn’s symphony; but at the same time, the melodiousness of its subjects… The author conducted it in person, and it was received with acclamations.” This first symphony from his ‘coming of age’ displays his selective use of the developing Romantic-era ideals and would be a harbinger of his works yet to come in his short life.

LIVE CONCERTS & LECTURES THIS FALL THURSDAY, SEPT. 26, 7 P.M.

FRIDAY, NOV. 8, 7 P.M.

WHAT I WANT YOU TO KNOW

BENEDICTINE BOOGIE

FILM SCREENING AND PANEL DISCUSSION

CSS JAZZ BAND, NORTH SHORE BIG BAND, & NORTH SHORE BALLROOM

FRIDAY, OCT. 4, 3:40 P.M.

FRIDAY, NOV. 22, 7 P.M.

DESPAIR, BLASPHEMY, & THE HARDENED HEART

FLIGHT TO NEVERLAND

WITH DR. ASHLEY COMSTOCK

TWIN PORTS BRASS QUINTET

SATURDAY, OCT. 5, 11 A.M.

FRIDAY, DEC. 6, 7:30 P.M. SATURDAY, DEC. 7, 7:30 P.M.

PRISM CONCERT CSS MUSIC ENSEMBLE SHOWCASE

O HOLY NIGHT CSS CHORAL, BRASS AND STRING ENSEMBLES

THURSDAY, OCT. 10, 7:30 P.M.

SATURDAY, DEC. 14, 7:30 P.M.

VIVALDI’S GLORIA

GUIDE US TO THY PERFECT LIGHT

CSS, DULUTH EAST & DENFELD CHOIRS & ORCHESTRAS

INSTRUMENTAL HOLIDAY CONCERT

TUESDAY, NOV. 5, 7 P.M.

TUESDAY, DEC. 17, 7:30 P.M.

THE SYNOD ON SYNODALITY

MESSIAH SINGALONG

WITH DR. KRISTIN COLBERG

CSS MUSIC PROGRAM & BOREALIS CHAMBER ARTISTS

VISIT GO.CSS.EDU/SHOWS FOR A CALENDAR OF EVENTS AND TICKETS. 37 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

MASTERWORKS 3 MASTERWORKS 7

SATURDAY, N O V E M B E R 1 6 T H , 2 0 2 4 , 7 P M DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR RICHARD CARRICK, CHORUS MASTER DSSO CHORUS LINDSAY OHSE HART, SOPRANO | EMILY TRIEBOLD, ALTO DAVID BL ALOCK, TENOR | THOMAS GL ASS, BASS BRUCKNER Symphonic Prelude 6’ SIBELIUS Symphony No.3 29’ Allegro moderato Andantino con moto, quasi allegretto Moderato – Allegro ma non tanto INTERMISSION WAGNER Wesendonck Lieder 21’ Der Engel (“The Angel”) Stehe still! (“Be still!”)

Im Treibhaus (“In the Greenhouse”) Schmerzen (“Sorrows”) Träume (“Dreams”) Lindsay Ohse Hart, soprano

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BRUCKNER Te Deum 25’ Te Deum laudamus Te ergo quaesumus Aeterna fac Salvum fac populum tuum In Te, Domine speravi DSSO Chorus Lindsay Ohse Hart, soprano Emily Triebold, alto David Blalock, tenor Thomas Glass, bass

CONCERT SPONSOR: DULUTH SUPERIOR SYMPHONY ORCHESTRA BOARD OF DIRECTORS

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 performances include 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.

MEET DSSO’S NEW CHORUS MASTER!

RICHARD CARRICK 39 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

Richard Carrick is a conductor, clinician, singer, and educator. He is the Director of Choral Activities at The College of St. Scholastica in Duluth, MN, Director of Music at the Cathedral of Our Lady of the Rosary, and a founding member and conductor of Borealis Chamber Artists. Richard holds a D.M.A. in Choral Conducting from the University of Washington where he studied with Geoffrey Boers and Giselle Wyers. Some professional highlights include singing with the Oregon Bach Festival Chorus under Helmuth Rilling and Matthew Halls, The St. Paul Chamber Orchestra, and the Minnesota Orchestra. When not teaching or conducting, Richard can be found on a trail somewhere in the woods, or baking with his wife and children.

MASTERWORKS 3 Foster, performed a “Symphonic Prelude by Gustav Mahler.” This was based on a reconstruction provided by composer Albrecht Gürsching (19342017) who orchestrated a piano score that he, along with Mahler researcher Paul Banks, found in the Austrian National Library. They attributed it then to Mahler and their version is published by the publishing firm Sikorski. They had no knowledge of the original manuscript discovered among Krzyzanowski’s estate. The actual premiere of Symphonic Prelude was performed by the Munich Philharmonic in 1949 and was based on a copy of the manuscript. That version was then filed in their archives.

ANTON BRUCKNER Symphonic Prelude in C minor ANTON BRUCKNER BORN: September 4, 1824, in Ansfelden (then a village, now a suburb of Linz), Austria DIED: October 11, 1896, in Vienna WORK COMPOSED: 1876 WORLD PREMIERE: September 7, 1949, Munich Philharmonic, Fritz Rieger conducting PERFORMANCE HISTORY: Bruckner’s Symphonic Prelude receives its first DSSO performance this evening.

INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings.

DURATION: 6 minutes It is practically mind-boggling that this work, written in 1876, was not conclusively attributed to Anton Bruckner until 146 years later! It was lost for a very long time and when it resurfaced after the Second World War in Rudolf Krzyzanowski’s (1859-1911) unpublished papers the authorship was contested.

For years the Symphonic Prelude was attributed to Gustav Mahler. On March 19, 1981, the Berlin Radio Symphony Orchestra, conducted by Lawrence

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The story continues when conductor Wolfgang Hiltl did a meticulous analysis of the score in 1985 and attributed it to Bruckner. Hiltl created an edition that was published in 2002 by the publishing firm Doblinger. One of the clues as to the authorship is a handwritten note on the score “by Anton Bruckner.” However, the manuscript is in Krzyzanowski’s handwriting. The conclusion Hiltl and others have come to is that this may have been an orchestration exercise Bruckner gave to his student, Krzyzanowski. Even though there now exist two versions, with both having been recorded, the final word came in 2022 when it was published as being composed by Bruckner.

Why all the confusion? Both Mahler and Krzyzanowski were pupils of Bruckner at the time of the composition of Symphonic Prelude. The work was not included in Bruckner’s estate, which added to the confusion. Hiltl’s conclusion that it was an orchestration exercise for his students makes the most sense. Interestingly, the edition published

by Sikorski is still available and still attributed to Mahler.

MASTERWORKS 3 subsequent works. I imagine this as taking time to smell the roses; Sibelius is in no hurry to move from one idea to another - in a sense he wants us to absorb the acoustical sounds and not only the melodic lines.

JEAN SIBELIUS Symphony No. 3 in C major, Op. 52 JEAN SIBELIUS BORN: December 8, 1865, in Hämeenlinna, in the Russian Grand Duchy of Finland DIED: September 20, 1957, in his home, Ainola, at Lake Tuusula, Järvenpää, Finland WORK COMPOSED: 1906-07 WORLD PREMIERE: September 25, 1907, in Helsinki; Helsinki Philharmonic Society, Sibelius conducting PERFORMANCE HISTORY: Symphony No. 3 by Sibelius was previously performed by the DSSO in 1983 and on April 28, 2012.

INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani and strings.

DURATION: 29 minutes.

On January 19, 1905, Sibelius wrote to his wife, Aino, “This is the crucial hour, the last chance to make something of myself and achieve great things.” Almost three years had passed since the premiere of his Second Symphony, which established his reputation as the first Finnish composer to achieve international prominence. The grandiosity of Sibelius’ first two symphonies makes it understandable that his Third Symphony was met with puzzlement and confusion; where is the flair and opulence that made his first two symphonies such successful works?

Musicologist James Hepokoski wrote of the Third that it was in part a “counter-response to Mahler's expansive Fifth Symphony, which he had studied in 1905.” With this Sibelius created a form that would concentrate on the “hidden secrets of sound itself,” which would become more and more evident in his

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The first movement, marked Allegro moderato, is notable for its economy of material and organic development. The movement opens with a simple yet compelling theme in the cellos and basses, setting a tone of pastoral serenity. This theme is soon taken up by the winds and developed through a series of variations that highlight Sibelius’ skill in orchestration. The movement’s structure is reminiscent of classical models, but the harmonic language and rhythmic vitality are unmistakably modern, reflecting Sibelius’ unique voice.

The second movement, Andantino con moto, quasi allegretto, offers a lyrical contrast to the first.

It begins with a gentle, hymn-like theme in the woodwinds, evoking a sense of introspection and calm. The thematic material is developed with a lightness and clarity that is characteristic of Sibelius’ middle period. The movement’s episodic structure, with its shifting moods and textures, creates a tapestry of sound that is both intricate and deeply expressive.

The finale, Moderato - Allegro (ma non tanto), is the symphony’s most ambitious and innovative movement. It opens with a mysterious, almost hesitant theme that gradually gains momentum, leading to a vigorous and triumphant conclusion.

This movement is particularly notable for its use of a chorale-like theme, which is introduced by the brass and subsequently developed by the full orchestra. The finale’s seamless integration of thematic material from the previous movements creates a sense of unity and coherence that is both satisfying and compelling.

One critic wrote: “While the symphony echoes elements of the magisterial eloquence and galactic monumentalism of the first two symphonies, it is much more cheerful and free-wheeling- and shorter – in its presentation. He seems to purposefully avoid the “excesses” of the symphonists of the time – Richard Strauss, Alexander Scriabin, and Gustav Mahler.” Sibelius’ Third Symphony is not as popular with audiences as the First, Second and Fifth, but it truly is a masterpiece that created the ground work for his later works and it continues to inspire and captivate.

MASTERWORKS 3

befriend the textile merchant Otto Wesendonck, who extended the composer generous loans, and beginning in 1857, provided the Wagners lodging in a small house on his estate. Wagner and Wesendonck’s beautiful wife Mathilde, an amateur poet, soon became infatuated with each other.

RICHARD WAGNER Wesendonck Lieder, WWV91 RICHARD WAGNER BORN: May 22, 1813, in Leipzig, Germany DIED: February 13, 1883, in Venice, Italy WORK COMPOSED: 1857-58 WORLD PREMIERE: Undocumented PERFORMANCE HISTORY: Wagner’s Wesendonck Songs were performed by the Orchestra on March 12, 2005 with soprano Helen Donath. In 1949 Regina Resnik sang the fifth song (Traume) with the DSSO. INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, trumpet, timpani, strings and solo soprano.

DURATION: 21 Minutes Most parts of Richard Wagner’s life make for interesting reading and the backstory of his Wesendonck Lieder does not disappoint! In 1842 Wagner and his wife Christine Wilhelmine ‘Minna’ Planer (1809-1866) moved to Dresden where Wagner would eventually be appointed the Royal Saxon Court Conductor. However, his involvement with left-wing politics abruptly cut short his welcome there; he played a supporting role in the unsuccessful May Uprising, the last of the events known as the Revolutions of 1848. A warrant was issued for his arrest and the Wagners were forced into exile, eventually settling in Zurich. With no financial resources, Wagner was lucky, in 1852, to

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

Both marriages may have been in trouble, but this situation only exacerbated the situation. Minna discovered a letter from Wagner to Mathilde in April 1858. She accused him of adultery (not the first time she had this issue with him), which he vehemently denied and she packed her bags and left. Minna wrote a letter to Mathilde, that in part read: “I must tell you with a bleeding heart that you have succeeded in separating my husband from me after nearly twenty-two years of marriage.

May this noble deed contribute to your peace of mind, to your happiness.” In her later letters Minna referred to her as “that filthy woman” and “that hussy.” Wagner and Minna never divorced, and he did support her until her death in 1866 (he did not attend her funeral because he was then too busy with Cosima von Bülow, then the wife of his friend Hans von Bülow, whom he married in 1870).

Mathilde wrote five poems that Wagner set to music: Der Engel (The Angel), Stehe still! (Be still!), Im Treibhaus (In the Greenhouse), Schmerzen (Sorrows) and Träume (Dreams). Wagner himself called Im Treibhaus and Träume ‘studies’ for Tristan und Isolde and used the musical ideas from these that he later developed in the opera. Träume provided the roots of the love duet in Act 2 and he developed the music for Im Treibhaus for the prelude to Act 3. The Wesendonck Lieder were originally written for voice and piano. Wagner wrote the orchestration for Träume and the other four were orchestrated with his approval by Austrian conductor Felix Mottl.

The relationship between Wagner and Mathilde Wesendonck inspired five passionate poems. As Mathilde wrote in her memoirs, he took each and gave to them a “supreme transfiguration and consecration” with his music.

MASTERWORKS 3

Anton Bruckner was a devout Catholic and nearly all of his compositions are imbued with a profound reverence. We think of Bruckner as mostly a composer of symphonies, but he also wrote a significant amount of sacred choral music. He called his Te Deum the “pride of my life.” Written around the same time as his Seventh Symphony, Bruckner was in full command of both choral and orchestral compositional techniques.

ANTON BRUCKNER Te Deum in C major, WAB 45 ANTON BRUCKNER BORN: September 4, 1824, in Ansfelden (then a village, now a suburb of Linz), Austria DIED: October 11, 1896, in Vienna WORK COMPOSED: 1881-84 WORLD PREMIERE: May 2, 1885, Kleiner Musikverinsaal, Vienna; soloists Ulrich-Linde, Emilie Zips, Richard Exleben, Heinrich Gassner, Wiener Akademischer Richard Wagner Verein choir, Robert Erben and Joseph Schalk, piano (substituting for an orchestra), Bruckner conducting; with orchestra on January 10, 1886, Großer Musikverinsaal, Vienna; Hans Richter conducting PERFORMANCE HISTORY: The DSSO performs Bruckner’s Te Deum for the first time this evening.

A Te Deum is a song of praise to God, traditionally attributed to St. Ambrose. From medieval times, it was sung as part of the Roman Catholic rite at the conclusion of Matins (the early morning service) on Sundays and feast days. The Latin incipit, Te Deum laudamus, means ‘We praise thee, O God.’ The balance of the text has certain lines in common with the Sanctus of the Mass, but other portions can vary, borrowing from several psalms.

In modern times, the Te Deum has become a more secular musical vehicle, often sung as a hymn of thanksgiving, for example after a military victory or a special occasion such as a royal coronation.

Bruckner’s Te Deum was very successful at its full premiere in 1886, something that was not always the case at his premieres. There were almost thirty more performances of Te Deum during Bruckner’s lifetime. On his copy of the score, Gustav Mahler crossed out “for choir, solos, and orchestra, organ ad libitum” and wrote “for the tongues of angels, seekers of God, chastened hearts, and souls purified in the fire!” Mahler conducted a performance of Te Deum in April 1892 in Hamburg. Bruckner wrote: “The performers and the entire audience were deeply moved by the powerful structure and truly sublime concept. When it was over, I experienced what to me is the greatest triumph a work can have: the audience sat there in silence, motionless, and only after the conductor and the performers had left their places did a storm of applause burst out.”

INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, optional organ, strings, soprano, alto, tenor, baritone soloists and mixed chorus.

DURATION: 25 minutes

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Program notes by Vincent Osborn © 2024

POPS 1

HOLIDAY SPECTACULAR SATURDAY, D E C E M B E R 7 T H , 2024 DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, MUSIC DIRECTOR DSSO CHORUS, RICHARD CARRICK, CHORUS MASTER DSSO YOUTH SYMPHONY; PEDRO OVIEDO, CONDUCTOR STUDENTS OF THE SCHOOL OF THE MINNESOTA BALLET KARL VON RABENAU, ARTISTIC DIRECTOR

MAIN PERFORMANCE SPONSOR:

CASUAL CONCERT SPONSOR:

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

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

POPS 1

2 P.M. CASUAL CONCERT

Wendel CHRISTMAS A LA VALSE Stillman/Allen (THERE’S NO PLACE LIKE) HOME FOR THE HOLIDAYS Arr. Higgins CHRISTMAS ON BROADWAY Richman REINDEER VARIATIONS with students of the School of the Minnesota Ballet Arr. Richman HANUKKAH MEDLEY Anderson SLEIGH RIDE with DSSO Youth Symphony Humperdinck HANSEL & GRETEL OVERTURE with DSSO Youth Symphony Arr. Wendel A MERRY CHRISTMAS SINGALONG with DSSO Youth Symphony

7 P.M. CONCERT Wendel CHRISTMAS A LA VALSE Stillman/Allen (THERE’S NO PLACE LIKE) HOME FOR THE HOLIDAYS

Rutter CANDLELIGHT CAROL Delius SLEIGH RIDE Hanby UP ON THE HOUSETOP Arr. Harrell AN ENGLISH CHRISTMAS Richman REINDEER VARIATIONS with students of the School of the Minnesota Ballet

INTERMISSION Arr. Richman CHRISTMAS ORNAMENTS OVERTURE Arr. Richman HANUKKAH MEDLEY Arr. Tyzik MIZ SHE HIDLIK (BEHOLD THE LIGHTS) Betsy Husby, cello Arr. Higgins CHRISTMAS ON BROADWAY

Anderson SLEIGH RIDE with DSSO Youth Symphony Humperdinck HANSEL & GRETEL OVERTURE with DSSO Youth Symphony Arr. Wendel A MERRY CHRISTMAS SINGALONG with DSSO Youth Symphony

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

MUSICIAN PROFILE

RICHARD ROBBINS

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 WE OPENED Music, the John Paul II Liturgical Institute, and at Krakow’s Academy of OUR DOORS IN Music. As a conductor, his performances have been featured on numerous CANAL PARK’S nationally syndicated programs, including American Public Media’s DEWITT-SEITZ Pipedreams. His extensive experience in preparing B choral-orchestral UILDING performances includes leading choirs for the Houston Ballet and for over 1905 50 performances with the Houston Symphony. He has prepared choruses for 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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218.733.7555 47 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

JUNE 6, 2025

APR 3 - APR 13, 2025

OCT 17 - 0CT 27, 2024

AUG 15 - AUG 17, 2025

AUG 8 - AUG 10, 2025

APR 25 - APR 27, 2025

NOV 8 - NOV 10, 2024

JUL 11 - JUL 27, 2025

MAY 23 - JUN 1, 2025

MAR 14 - MAR 30, 2025

JAN 31 - FEB 9, 2025

DEC 6 - DEC 22, 2024

SEP 13 - SEP 29, 2024

24 / 25 MAIN STAGE SEASON

24 / 25 YOUTH THEATRE SEASON

24 / 25 UNDERGROUND SEASON

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! 218-623-3776 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. Suite 7 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.

48 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

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.

CONTRIBUTORS

DSSO CONTRIBUTORS

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

MAESTRO ($25,000 & up) Arnold “Larry” Luukkonen Irrevocable Trust The Depot Foundation Elisabeth C. Mason Revocable Trust Jeremy & Carol Fryberger McKnight Foundation Anonymous Minnesota State Arts Board Muriel Whiteside Charitable Trust Pachel Foundation Margaret Ames Memorial Fund

PRINCIPAL ($10,000 to $24,999) Aspirus St. Luke’s Charles A. & Carolyn M. Russell Family Foundation DSSO Young Composers Fund Helena Jackson Lloyd K. Johnson Foundation Minnesota Power Dr. Michael & Sharon Mollerus Mark & Grace Monson North Shore Bank of Commerce Nancy Odden & Doug Britton Arend J. & Verna Sandbulte Shirley Tratechaud Wildey H. Mitchell Family Foundation

GUEST ARTIST ($6,000 to $9,999) Martha A. Aas Linda & Mark Boben Mark Danielson & Theresa Smith Essentia Health Jill & Tom Kaiser Vern & May Nordling Kathleen & James Sanders Jacquie & Jim Sebastian

FULL CHAIR ($4,500 to $5,999) Dr. Vicki & Terry Anderson Karl Diekman Thomas & Barbara Elliott

Sylvia Jamar Elaine B. Killen Darla Meier William (“Buzz”) & Saundra Palmer Stack Bros. Mechanical Contractors The Teberg Fund Gudrun & Geof Witrak

HALF CHAIR ($2,500 to $4,499) Sandra Barkley Robert & Barbara Bennett John & Kathleen Berchild Alison Clarke Steve & Lauri Cushing Gary & Jacqueline Foley Dr. Beth Gilbert Walter & Kay Gower Christabel & James Grant Thomas & Joan Hedin Robert Knighton Diane Kolquist & James Seitz National Bank of Commerce Tammy Ostrander & Tony Barrett Branden Robinson Timothy Sandor Brad Schmugge Nairi Stack Roberta Vose

QUARTER CHAIR ($1,200 to $2,499) Susanne & Johan Bakken Susan Bathory The Honorable David & Gloria Bouschor Gary & Kathy Bubalo Lurene Buhrmann Jeffrey & Vickie Cadwell Rhonda & John Degelau Rose & Lester Drewes Ruth Ann Eaton Roger & Elaine Engle Rondi Erickson Mary Evans Kay & Ronald Gustafson Happy Sleeper Mattress Pam & Rich Jacobson Otto Johnson & September Mihaly Paul & Carol Knuti Tina Koecher

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Mary & Jim Krook Dennis Lamkin & Jon Niemi Patricia & David Mast Nancy Melander Heather Muster Emily Nygren Vincent & Sharon (Rigby) Osborn Gerald & Mary Ann Ostroski Jennifer Owen Gerald & Karen Ruona Lane Fryberger Smith Tobin Sobaski & Kari Koehler Carolyn Sundquist Anita Swanson Rajiv & Emily Vaidyanathan Geiger & David Yount James & Mary Zastrow

ACCELERANDO ($600 to $1,199) Allen Anway J. David Arnott, DMA Leonore & Robert Baeumler Daniel & Marjorie Bergeland Angie Bomier Timothy & Kathleen Cortes John & Judy Dahl Kari Dresback Craft & Ellie Dryer Duluth-Superior Area Community Foundation Martha & Conrad Firling Bruce Fuentes Patricia Gannon Wayne Holmberg Dr. Glen E. Holt Kenneth G. Jackson Dr. Jason & Megan Johnson Ronald Kari John & Sharon Kemp Richard D. Kivela Barbara Melde Olson David Mesner & Joyce Piper Ann Pellman Dr. Susan Relf Janet R. Sklaris Jim & Judy Stewart Kathy Stinnett Dr. Andrew Thompson Sharon L. Torrison Cathleen & Kirby Wood

CONTRIBUTORS

ADAGIO ($200 to $599) Kathleen Antilla Charles R. & Judyth Babst Linda Backman Diane & Harris Balko Riley Barka Eileen Barratt Jan Biga Kay Biga & Patrick Spott Tamara Bottge Maryjane Burdge Bill & Renee Burns Ronald Caple Jean & Sharon Captain Jan Carey Father Daniel Dahlberg Mary & Jeff Charnes Charles Corcoran Henry F. Coyle Bonnie Crum Jerry & Judy Curnow Dorothy Dayton Kathleen DeSanto Katherine DeVinck Linville Doan & Bernardo Perez Michael & Carol Donahue Paul Enenbach Paula Fenstad Ruth Frederick David & Barbara Gaddie Michelle Gribbon Judith & Carlton Gustafson Linda Haagensen Mary K. Hagen Lois & Robert Heller Ann Hockman Sister Kathleen Hofer Mark & Sharon Holm Paul & Alice Holm Oliver & Mary Ann Houx Bill & Kate Isles James Jarocki Ellis Johns Dennis & Susan Johnson Matthew Johnson Linda Jorgenson & Jack Gunderson John & Beth Kelly Gale & Jeri Kerns Mark Kolbo Katie & Bob Kuettel Andre & Marilyn LaMourea James Lampi Nancy & Doug Lane Sharon Layon & Neil Nelson Charles & Jean Leibfried Jonathan Lewis Michael Lillo Gary & Nancy Loberg

Paul Lokken The Candace Madich Fund John & Michelle Magdsick Dean & Kate McCall Cathy McCarty & Dan Wallerstein Robert Meese Jr. & Ann E. Small Mark & Nancy Melhus David Mesner Patricia Mester Julie Michels William Miner Pam Moore & Dr. Jon Stephenson Darren & Suki Mozenter Jennifer Naegele Jeannette Nesseth David J. Ouse Kim Quinones Kenneth & Sandra Rausch Mary Pat Renaud Kathleen Risku Jo Ann Rossetter Dr. Nancy & Jonathan Rova Patty Salo Downs Dr. Penny Schwarze Nicholas & Dr. Mark Scott Janis Sengupta Phyllis & Vic Smith Sandra & Craig Sterle Thom & Cindy Storm Tim Stratton & Suzanne Wasilczuk Charles Sundquist & James Sontag Richard Swenson Christine E. Underdahl Brandon VanWaeyenberghe Mary W. Zbaracki Dr. Robert Wahman Elizabeth Weberg Claudia Welty

TEMPO (up to $199) William & Barbara Abalan John J. Agacki Cigale Ahlquist Janet Akervik Barbara Akre William Alexander John & Cathy Ameel Daphne Amundson Richard & Yvonne Anderson Patricia Anderson Jesse Anderson Sylvia Angradi Allan L. Apter & Brenda J. Ion Franklin Doane-Arkulary Parker Artists Patricia & Michael Bagley

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

Judith Bailey Stacey Bailey Joe Barnstorf Tiffany Beckman Claire Belisle Seth & Katie Benziger Anne Bier David Bjorkman Samuel Black & Kathy Stinnett Leslie Black Bryan Block Joseph Boulley Richard Bradford Kathleen S. Bray Day Breitag Rebecca M. Brookman Sally J. Brown Wendy Buczynski Debra Buresh Jacob Burski Trilby Busch Tom Bergin & Debby Callies Rev. Craig S. Carlson Lea Carr Greta Carroll Cathy Casper Nancy & Tom (Young) Caswell Nancy S. Caswell Molly Clabots Dennis O. Cochrane Natalie Constance Rodger & Penny Cragun Tim & Joanne (Itami) Craig Anthony Croeker Gwyn Curran Matthew Daeuber Tom & Kathy Dahlberg Dave Dake Ginger Dallin Dean Danielson Debbie Davis Julie Demgen Diana Deming Ca Davis Family (Charlene) Domingo Thomas Donahue Patricia Dorn Peggy & Steve Downing Mary Dragich Anna Dufford Bonnie Lou Dunphy Julie Eckman Kari Embree Donald Erickson Paul Eskuche John & Louise Ann Farrell Anya Felts Karen Finseth Anne & William Fleischman

CONTRIBUTORS Dewaine Forbragd Julie A. Ford Joel Forgacs Jonathan Forgrave Louise (Margaret) Foss Geoffrey Gates John D. Gibbs Jane Gilley Deborah Good Paul Goossens Karen & Richard Gran Rikki Graskey Debra Grimsrud Kathy Guitare Mary & Joe Gummerson Diane Hagerty Sherry & Ed Hall Lynne Harrington Hall Charles Hanson Michon Harju Ellen Hedin Alex Heil Clay Helberg Laura Herrero Linda Herron Eve Hessler Alex Hickok Jill Hilliard Barbara Hjort Jill-Ann Hoag Mary & Allen Hoberg Lisa Hoch Karen Hoeschen Joel Hoffman Sara Hollingsworth Bobby & Sally Horstman Gy Houle Bryan Howell John Hsieh Mary Jane Jacobus Debra Jensen Mark & Theresa Jobin Rachel Johnson Evan Johnson Marian Johnson Casey Johnson Murray Johnson Robert Johnson James & Cindy McLeod Callia Karr Jason Kearney Meg Kearns Georgia L. Keeney Sami Keller Robert Kelley Barbara Johnson Kim Melissa King Carl Klubertanz Patricia & Mark Kolquist

Mary Planten-Krell Diane Kruger Pat Kruschke Karl Kubiak Randy & Heather Schmidt Sally & Nick Lansing Paul Lantieri Abigail Latanich Thomas & Cynthia Ledin Paul & Marsha Lee Jonathan Leshnoff Bonnie Lloyd Eric Long Philip Lundquist Charlie Lydon Lucia Magney & Richard Wildberger Lisa Mandelin Sharon Marcovich Tiffany Martin Clinton Mattson Thomas McCann Serena & Robert (Lamers) McClellan Elena Metcalf Carol Michealson Bruce Munson Janet & John Murphy Mary K. Murphy & Family Elsa Murray Susan & Charles Nelson Hannah Nelson Jeanette Nelson Judith A. Newman Dale & Joretta Nikula Louann Petersen-Noltner Ann M. Novack Richard & Ruth Nystrom K.R. Olivera Margaret (Peg) Oman Mesabi Symphony Orchestra Michael Orth Avery Overlie Timothy Panula Lacey Parr Al & Lynda Parrella Judith Pearson Kenrea Perell Kimberly Pintok Ericka Pitrago Charles J. Pleski Veronica Poquette Judy Seliga-Punyko Paul Van Puymbrouck Luther & Angela Qson International Chapter PEO Sisterhood Brian Rauvola Lance G. Reasor

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

Cory Renbarger Lela Rikkola Eric Rodvold Leonard Rouse Lonnah Royale Sheila Runquist Deirdre Ryan Nathan Sager Diane Sauer Nichole & Jeffrey Schaefer Sharon Scheidel Carrie Scherer Britta Schielke Barbara Schlichting Randy & Heather Schmidt Denise Schreifels Dr. John Schrock & Mary Berube Judi Scott Ronald Scott Edwyna Scouton Buddy Scroggins Jack & Cindy Seiler Melanie Sever Laurie Severson Dr. Thomas & Janice Shuey Mark & Sandra Signorelli Julia Sisler Jake Skoglund Paige Slemmons Judy Smith Howard Smith Tina Solots Lawrence Spears Roxanne Stahl Harlan & Anita Stech Marilyn Steele Paul Stein Cindy Storm Clifford & Lucia Storr Paul Straka Rebecca Strand Lee Stuart Scott Sueker Lynette Swanberg Sue Swendsen Julie Takkunen Paul Takkunen Linnea Swenson Tellekson Mary A. Tennis & Stacy Lavres Ruth Thorpe Adrienne Thureen Brynn Torgerson Lucas Trea Nicole Turner Shelly J. Vanneste Steve Voltzke Marina Vork Jennifer & Steve Wabrowetz John Wakefield

CONTRIBUTORS

Grimaldo Walker Jori & Chuck Walt Joe Walters Sarah Warner Rachel Warner Sheldon & Susan Watts Elizabeth Weberg

Kim Westerham Trevor L. White Hope White Cyrus White Peggy White Laura Whitney Heidi Wick

Janelle & Josh Wightman Tom & Linda Wiig Kelly Wiisanen Josh Wightman David Steininger & Lori Williams Dietrich Winter

Mandi Wojciehowski Zach Wood Jay & Helyn Woolf Jason Young Lyle & Michelle Zappa Rebecca Zunkerr

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.

ANNETTE RADTKE

Gwyn Curran

PATRICIA DIANE JOHNSON

DOROTHY ANWAY

Roxanne Stahl Kari Embree Deborah Callies Heidi Wick Edwyna Scouton Peggy White Charles Hanson Paul Van Puymbrouck Debbie Davis Robert Johnson James Bester Stacey Bailey Sarah Warner Mesabi Symphony Orchestra Ca Davis Family (Charlene) Domingo Patricia Dorn

DR. JAY PARKER

Bryan Howell

GARY MEIER

Barbara Hjort Jan Lippitt Sharon Marcovich Kay Gower Marilyn Steele Sally J. Brown Diane Kruger Kay Biga Sylvia Jamar Janice Biga Janet Murphy Ronald Scott Katherine DeVinck Richard Nystrom Murray Johnson Dennis O. Cochrane

AUDREY FISHER

Jean & Sharon Captain

VICTORIA BENDA LUEPKE

Harlan Stech

JANET MILLEA BYE

R. Craft Dryer Paul Lantieri Mary K. Murphy Jennifer Naegele Sheila Runquist Roberta Vose Lisa Hoch

MARY DONAHUE

Thomas Donahue Allen Anway Kay Biga

Darla Meier

KALERVO & ARLYNE KOKKONEN

Carlton Gustafson DAVID KORTIER

Dr. Penny Schwarze MARGE KUEHN

Kathleen Antilla

JOSEPH MEESE

Julie Demgen William Palmer James Sebastian Linda Boben Anne Fleischman Patricia Anderson Serena Lamers McClellan Robert Meese Jr.

KERSTIN PAPCKE (MEYER)

Diane Balko James Zastrow

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

ROBERT G. HOWELL

DR. CLARENCE MALCOLM SCOTT

JAMES E. SMITH

Ronald Kari

MARA SOLIE

William Palmer

LORAINNE STOLEE

Dr. Glen E. Holt James Sebastian William Palmer Paula Fenstad Dale Nikula Jeanette Nelson North Shore Bank of Commerce Roberta Vose THOMAS MCCABE

Julie Eckman

SHARON WAHMAN

Roberta Vose Lane Fryberger Smith ALBERTE WHITE

Trevor L. White

JANET R. YOUNG

Lyle Zappa Nancy Young Caswell Nancy S. Caswell Diane Hagerty Kay Gower William Abalan K.R. Olivera Bonnie Crum John Farrell Patricia Kolquist Kim Westerham

DARYL & ANNE LEIBFRIED

Thomas Donahue

WALTER & ALTA MOE, SAMUEL TRATECHAUD

Shirley Tratechaud DAVID VOSE

Sharon L. Torrison Roberta Vose DON NIEMI

Sharon L. Torrison

CONTRIBUTORS

DSSO DONOR SPOTLIGHT

IN EACH ISSUE WE ARE PROUD TO HIGHLIGHT SOME OF THOSE WHO LOVE AND HAVE DONATED TO THE DSSO.

JANICE BIGA Jan is a lifelong Duluthian and started attending DSSO concerts approximately 30 years ago.

She is a season ticket holder and enjoys sitting with Lane Smith, Elaine Killen and Sylvia Jamar at many of the concerts. This year Jan sponsored one of the summer concerts at the Great Lakes Aquarium and she is a chair supporter. Jan is on the board of the Pachel Foundation which has sponsored a DSSO Masterworks concert for the past fifteen years.

ELAINE KILLEN Elaine and her husband John started attending DSSO concerts when they moved to Duluth in 1955. As you may know the concerts were held at the Armory before later moving to the DECC in 1966. Elaine is a longtime season ticket holder and enjoyed her seats in “Row K .”

After working with WADSO (Women’s Association Duluth Superior Orchestra) for many years, Elaine joined the board of directors and served for nine years. She was selected as a Honorary Life Director in recognition of her many achievements. Elaine provided support for the acoustic shell in honor of her parents. She is a chair supporter for harpist Janell Lemire.

LANE SMITH Lane began attending DSSO concerts almost eighty years ago with her grandmother. What a family legacy! She is a chair supporter for bassist Vince Osborn and has had season tickets for many years. One of her favorite things to do is to meet friends for dinner at the Kitchi Gammi Club and take the van to the DECC for a DSSO concert. Like Elaine, Lane was also active in WADSO for many years.

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

Left to right in the photo: Elaine Killen, Roberta Vose, Cheryl Meese, Sylvia Jamar, Alison Clarke, Janice Biga

TAKE A BOW, SPONSORS TAKE AA BOW, SPONSORS TAKE BOW, SPONSORS TAKE ATAKE BOW,A SPONSORS BOW, SPONSORS TAKE A BOW, SPONSORS educational programs, and community outreach to the Northland. BRAVO!

We are to pleased atobig offer a big thank yousponsors to our sponsors for the 2021-2022 Season.

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Their generous support makes it possible for the DSSO to bring world-class concerts, Their Theirgenerous generoussupport supportmakes makesititpossible possiblefor forthe theDSSO DSSOtotobring bringworld-class world-classconcerts, concerts, are pleased to offer a big thank youprograms, to our sponsors for the 2021-2022 Season. educational and community outreach to the Northland.

BRAVO! educational educationalprograms, programs,and andcommunity communityoutreach outreachtotothe theNorthland.

Northland.BRAVO! BRAVO! Wemakes are pleased to offer a big thanktoyou to our sponsorsconcerts, for the 2021-2022 Season. eir generous support it possible for the DSSO bring world-class generous support makes it possible for the DSSO to bring world-class concerts, ucational programs,Their and community outreach to 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!

7 SDUUPLEURTIH S USPYEMRPI H OO R NSYY M PRHCO N Y TO R CHESTRA 44 7 7DD U L7 U T4U H R OO H EO S AH LD U TH IPO YM E SRR TCR AE S T R A 4U L USTUHP ESRUO ERR SI O R PSH YOMNPYH ORNC YH

This activity is made possible by the voters of Minnesota

U L U T H S U P E R I O R S4 YM HO S TP RE A RIOR 7 PD UNLYUOTRHC HSEU

S Y M P H O through N Y O R aCMinnesota H E S T R A State Arts Board

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.

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2024-25

218.623.3776 DSSO.COM

SEASON

MASTERWORKS 1 MASTERWORKS 2 MASTERWORKS 3 POPS 1 MASTERWORKS 4 MASTERWORKS 5 MASTERWORKS 6 POPS 2

WOMEN OF NOTE 9.29.2024 | 3 PM WEBER MUSIC HALL

| American Rhapsody | Courageous Lights | Te Deum | Holiday Spectacular! | Brahms’ Three | La Mer | La Valse | Star Wars: A New Hope in Concert

MESSIAH 12.22.2024 | 1 PM CATHEDR AL OF OUR LADY OF THE ROSARY

September 21, 2024 October 26, 2024 November 16, 2024 December 7, 2024 February 1, 2025 March 1, 2025 April 5, 2025 May 10, 2025

THE LITTLE MATCH GIRL | 2.9.2025 3 PM | PILGRIM CONGREGATIONAL CHURCH

LATIN AMERICAN BAROQUE 5.18.2025 | 2 PM CATHEDR AL OF OUR LADY OF THE ROSARY

TICKETS: BOREALISCHAMBER ARTISTS.COM 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

Orchestrate a Meaningful Legacy.

Become a part of this beautiful movement.

Learn how your generosity can transform our community for generations to come. dsacommunityfoundation.com

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The Pillars Senior Living Life as it should be Newly opened, The Pillars of Hermantown brings the best of senior living to one of Minnesota’s most beautiful regions. With a highly skilled staff, this charming community offers independent living, assisted living, and memory care. Enjoy a variety of personal services to meet your needs as well as a variety of activities and amenities to enjoy.

Schedule an appointment to learn more!

218-600-5755 or Julie.Hudecheck@Fairview.org

©2024 Fairview Health Services

pillarsseniorliving.com/hermantown 4110 Lavaque Road, Hermantown, MN 55811

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OUR ENERGY VISION IS YOUR CARBON-FREE FUTURE.

Together we‘re moving EnergyForward.

mnpower.com/EnergyForward

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