24-25 Volume 1 NS

Northern Sounds

THE MAGAZINE OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA

Photos: Steven R. Mattson Zenith City Photgraphy

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WELCOME LETTER

8 Music Director Dirk Meyer

8 Board of Directors

9 Executive Director J. David Arnott

14 Staff and Administration

MEET THE ORCHESTRA

16-17 Meet the Orchestra

MASTERWORKS 1: AMERICAN RHAPSODY

18-25 Masterworks 1 Program Notes

MASTERWORKS 2: COURAGEOUS LIGHTS

32-36 Masterworks 6 Program Notes

MASTERWORKS 3: TE DEUM

38-43 Masterworks 6 Program Notes

POPS 1: HOLIDAY SPECTACULAR

44-45 Masterworks 6 Program Notes

WAYS TO SUPPORT THE DSSO

48 How to Donate 49-53 DSSO Contributors

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

DIRK MEYER

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.

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!

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

Dirk Meyer, Music Director 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

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,

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

IT’S YOUR FUTURE

INVEST WITH INTEGRITY

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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

CONCERT BOX OFFICE

Hannah Wohlers, Front of House Assistant

Cas Bordner, Front of House Assistant

MUSIC DIRECTORS

Dirk Meyer (2013 – present)

Markand Thakar (2001 – 2012)

Yong-yan Hu (1995 – 2000)

Taavo Virkhaus (1977-1994)

Joseph Hawthorne (1967-1977)

Hermann Herz (1950-1967)

Joseph Wagner (1947-1950)

Tauno Hannikainen (1942 – 1947)

Paul Lemay (1932 – 1942)

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

Arrowhead Printing

NORTHERN SOUNDS PROGRAM NOTES

Vincent Osborn, Program Notes Writer

Ronald Kari, Performance Historian, now in his 63nd Season with DSSO

Kristin Sande, Research 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

MEET THE ORCHESTRA

DIRK MEYER, THE CHARLES A. & CAROLYN M. RUSSELL MUSIC DIRECTOR

Sponsors: Harris & Diane Balko; Elisabeth C. Mason; The Charles A. & Carolyn M. Russell Foundation

FIRST VIOLIN

Erin Aldridge, Concertmaster

Sponsor: Arend & Verna Sandbulte in support of the concertmaster chair through the Sandbulte Orchestra

Leadership Fund

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

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

VIOLA

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

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

DOUBLE BASS

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

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

SAXOPHONE

Gregory Kehl Moore, Principal

HORN

James Pospisil, Principal

Sponsor: James & Mary Zastrow

Erika Hammerschmidt, Horn 2

Sponsors: Roger & Elaine Engle; Robert & Mary Evans

HORN (continued)

Gwendolyn Hoberg, Horn 3

Nicholas Brown, Horn 4

Deborah Rausch, Assistant / Utility

Sponsor: Janice Biga

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

KEYBOARD

Alexander Sandor, Principal

Sponsor: Mary Hunner Robinson

am erinca

RHAPSODY

SATURDAY, SEPTEMBER 21, 2024 7 PM

DECC SYMPHONY HALL, ALLETE STAGE

DIRK MEYER, CONDUCTOR

JEFFREY BIEGEL, PIANO

American Suite

Andante con moto

Allegro

Moderato (alla Pollacca)

Andante

Allegro

BOYER

Rhapsody in Red, White & Blue

Jeffrey Biegel, piano

*Minnesota Premiere

Rhapsody in Blue

Jeffrey Biegel, piano

CONCERT SPONSOR:

JEFFREY BIEGEL

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).

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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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

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.

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.

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

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:

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.

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).

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

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.

SAMUEL BARBER

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?”

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:

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

GEORGE GERSHWIN

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CHOOSE EXCELLENCE CHOOSE HANFT

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

Courageous Lights

Amanda’s Ascent

Zitkála-Sá’s Song

Malala’s Yearning

Darci Gamerl, English Horn

*Minnesota Premiere

INTERMISSION

MENDELSSOHN

Symphony No.1

Allegro di molto

Andante

Menuetto: Allegro molto

Allegro con fuoco

CONCERT SPONSOR:

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).

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,

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:

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.

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

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

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.

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.”

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

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).

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.

WHAT I WANT YOU TO KNOW

FILM SCREENING AND PANEL DISCUSSION

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

DESPAIR, BLASPHEMY, & THE HARDENED HEART WITH DR. ASHLEY COMSTOCK

SATURDAY, OCT. 5, 11 A.M. PRISM CONCERT

CSS MUSIC ENSEMBLE SHOWCASE

THURSDAY, OCT. 10, 7:30 P.M. VIVALDI’S GLORIA

CSS, DULUTH EAST & DENFELD CHOIRS & ORCHESTRAS

TUESDAY, NOV. 5, 7 P.M. THE SYNOD ON SYNODALITY WITH DR. KRISTIN COLBERG

FRIDAY, NOV. 8, 7 P.M.

BENEDICTINE BOOGIE

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

FRIDAY, NOV. 22, 7 P.M. FLIGHT TO NEVERLAND TWIN PORTS BRASS QUINTET

FRIDAY, DEC. 6, 7:30 P.M. SATURDAY, DEC. 7, 7:30 P.M. O HOLY NIGHT

CSS CHORAL, BRASS AND STRING ENSEMBLES

SATURDAY, DEC. 14, 7:30 P.M. GUIDE US TO THY PERFECT LIGHT INSTRUMENTAL HOLIDAY CONCERT

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

CSS MUSIC PROGRAM & BOREALIS CHAMBER ARTISTS

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

SATURDAY, NOVEMBER 16TH, 2024, 7PM

DECC SYMPHONY HALL, ALLETE STAGE

DIRK MEYER, CONDUCTOR

RICHARD CARRICK, CHORUS MASTER

DSSO CHORUS

LINDSAY OHSE HART, SOPRANO | EMILY TRIEBOLD, ALTO DAVID BLALOCK, TENOR | THOMAS GLASS, BASS

BRUCKNER

Symphonic Prelude

SIBELIUS

Symphony No.3

Allegro moderato

Andantino con moto, quasi allegretto

Moderato – Allegro ma non tanto

INTERMISSION

WAGNER

Wesendonck Lieder

Der Engel (“The Angel”)

Stehe still! (“Be still!”)

Im Treibhaus (“In the Greenhouse”)

Schmerzen (“Sorrows”)

Träume (“Dreams”)

Lindsay Ohse Hart, soprano

BRUCKNER

Te Deum

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

DSSO CHORUS

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 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.

RICHARD CARRICK

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

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.

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.

ANTON BRUCKNER

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

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.

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.

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

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.

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.

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.

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

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.

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.”

ANTON BRUCKNER

HOLIDAY SPECTACULAR

SATURDAY, DECEMBER 7TH, 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:

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

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 Music. As a conductor, his performances have been featured on numerous nationally syndicated programs, including American Public Media’s Pipedreams. His extensive experience in preparing choral-orchestral performances includes leading choirs for the Houston Ballet and for over 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

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.

PERPETUAL SUPPORT VIA THE LEGACY SOCIETY:

The Legacy Society recognizes and honors the visionary individuals, couples, and families who have included the DSSO in their estate plans, ensuring that the music you care about continues into the future. To join the Legacy Society, you can make a bequest to the DSSO as part of your Will, name the organization as a beneficiary in a policy or retirement fund or provide a direct cash donation into our endowment.

To begin, contact your attorney and ask for the DSSO to be included in your Will, Trust or policy. Then contact the DSSO office and we can provide you with a membership form so we can begin recognizing your generosity and including your gift in our future planning.

In recognition of their support, Legacy Society members are listed in all concert Program Books and are invited to an exclusive annual benefit event each year.

BUSINESS SUPPORT:

The Duluth Superior Symphony Orchestra (DSSO) is proud to be a part of the Twin Ports business community. The Symphony is an employer, a downtown tenant, a consumer, an advertiser, and a member of the Chamber of Commerce. We understand that each company has different needs and motivations, from marketing and brand identification to client and employee entertainment and recognition, and more. We welcome the opportunity to discuss your corporate objectives and identify customized ways we can work together for mutual benefits.

DSSO CONTRIBUTORS

THANK YOU TO THE FOLLOWING CORPORATE AND INDIVIDUAL CONTRIBUTORS WHO HAVE GIVEN IN SUPPORT OF THE DSSO 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

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

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

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

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

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

Grimaldo Walker

Jori & Chuck Walt

Joe Walters

Sarah Warner

Rachel Warner

Sheldon & Susan Watts

Elizabeth Weberg

IN MEMORY

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

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

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

DOROTHY ANWAY

Allen Anway

DR. JAY PARKER

Kay Biga

GARY MEIER

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

PATRICIA DIANE JOHNSON

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

ROBERT G. HOWELL

Bryan Howell

DR. CLARENCE MALCOLM SCOTT

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

JAMES E. SMITH

Ronald Kari

MARA SOLIE

William Palmer

Mandi Wojciehowski

Zach Wood

Jay & Helyn Woolf

Jason Young

Lyle & Michelle Zappa

Rebecca Zunkerr

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

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.

Left to right in the photo:

Elaine Killen, Roberta Vose, Cheryl Meese, Sylvia Jamar, Alison Clarke, Janice Biga

TAKE A BOW, SPONSORS

TAKE A BOW, SPONSORS

TAKE A BOW, SPONSORS

educational programs, and community outreach to the Northland. BRAVO!

TAKE A BOW, SPONSORS

We are pleased to o er 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, educational programs, and community outreach to the Northland. BRAVO!

TAKE A BOW, SPONSORS

We are pleased to o er 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, educational programs, and community outreach to the Northland. BRAVO!

We are pleased to o er 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, educational programs, and community outreach to the Northland. BRAVO!

are pleased to o er 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, educational programs, and community outreach to the Northland. BRAVO!

TAKE A BOW, SPONSORS

We are pleased to o er 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, 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-CLASS CONCERTS, EDUCATIONAL PROGRAMS, AND COMMUNITY OUTREACH TO THE NORTHLAND. BRAVO!

SPONSORS

sponsors for the 2021-2022 Season. DSSO to bring world-class concerts, to the Northland. BRAVO!

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.

T h e P i l l a r s S e n i o r L i v i n g

L i f e a s i t s h o u l d b e

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