Northern Sounds Vol. 3 21-22 Season

VOLUME 3

2021/2022 SEASON

Northern Sounds THE MAGAZINE OF THE DULUTH SUPERIOR SYMPHONY ORCHESTRA

Photos: Steven R. Mattson Zenith City Photgraphy

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DSSO 2021-22 SEASON

TABLE OF CONTENTS

08

WELCOME LETTER

12

MEET THE ORCHESTRA

16

MASTERWORKS 5: TO PERSEVERE

8 Music Director Dirk Meyer 11 Board of Directors 11 Staff and Administration

12-13 Meet the Orchestra

17 Geneva Lewis Biography 18-21 Masterworks 5 Program Notes

24

MASTERWORKS 6: TO FALL IN LOVE

25 Varshavski-Shapiro Biography 26-30 Masterworks 6 Program Notes

32

MASTERWORKS 7: TO SING

33 Richard Robbins Biography 35 DSSO Chorus 36-37 Masterworks 7 Program Notes

38

MUSICIAN PROFILE: RON KARI 60 YEARS

40

WAYS TO SUPPORT THE DSSO 40 How to Donate 41-46 DSSO Contributors

OUR MISSION Our mission is to enhance our community through the performance of symphonic music that engages and inspires.

OUR VISION

We envision a stronger community through the power of music and musicians’ artistry.

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7 DULUTH SUPERIOR SYMPHONY ORCHESTRA

MUSIC DIRECTOR

From the Minnesota premiere of our season opener Rush by American composer Jonathan Leshnoff to the final sounds of the season, celebrating our ability to sing together again, this season invites us all to find ourselves in music.

DIRK MEYER G E R M A N C O N D U C T O R D I R K M E Y E R IS M U S I C D I R E C T O R OF D U L U T H SUPERIOR SYMPHONY ORCHESTRA ( D S S O ) IN M I N N E S O T A A N D A U G U S T A S Y M P H O N Y IN G E O R G I A .

Welcome to the Symphony! It is good to see you!

This sentence never rang so true: It is good to see you!

After the turbulent events of the past year, we are finally ready to enjoy life, together, once more. What better way to do so, than to experience the power of orchestral music and share this experience – in person – with our friends and fellow music lovers here at Symphony Hall.

The DSSO’s 2021/22 season celebrates our return to togetherness. We celebrate our friendships and companionship. We celebrate the shared experience of music!

In doing so, our new season bursts with breathtaking compositions – from the classics to the unknown.

Each concert encompasses a wide range of emotions that let us celebrate, but also reflect, find peace, and learn something new.

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Our year begins with two Sinfoniettas that couldn’t be more different. Poulenc’s colorful music gives us a wonderful taste of French harmonies, while Astor Piazzolla leads us into the passionate realm of the Argentinian Tango.

Starting with the new year, we are finally able to continue the DSSO’s Beethoven Project: Symphony No.3 and No.5 are on the docket for this season, bringing our project close to its completion.

Concerto highlights of the season include Tchaikovsky’s iconic Piano Concerto No.1, featuring internationally renown pianist Marika Bournaki, as well as Brahms’ Violin Concerto with the up and coming superstar Geneva Lewis.

Geneva’s appearance is even more thrilling, as she will perform on the original Stradivarius violin on which this concerto was premiered in 1879.

I, personally, am very excited for the last two performances of the season: Bruckner’s absolutely amazing Symphony No.4 is on the program together with Poulenc’s wonderful Concerto for Two Pianos. And for our final concert of the season we created a real showstopper! Williams Dawson was one of the leading black American composers of the 20th century. His Negro Folk Symphony is based on spirituals and when you hear this incredible music, you truly hear the orchestra “sing” these emotional tunes. For the second half of the performance our beloved DSSO Chorus finally takes the stage again. And, because we haven’t been able to sing together for so long, we simply enjoy our reunification with some of the greatest chorus numbers ever written!

There is much to celebrate in our lives and there is much to celebrate in music. We invite you to be a part of it: Real experiences, real emotions, real friendship. Best enjoyed in person!

Dirk Meyer, Music Director Duluth Superior Symphony Orchestra

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BOARD AND STAFF

BOARD OF DIRECTORS 2021-2022:

STAFF AND ADMINISTRATION:

Mark Monson, Board President Christabel Grant, Vice Chair John Berchild, Past Chair Robert T. Bennett, Treasurer Sandra Barkley, Secretary

ADMINISTRATION

BOARD OF DIRECTORS

William Alexander Sandra Barkley Robert T. Bennett John Berchild Linda Boben Ruth Ann Eaton Beth Gilbert Christabel Grant Jeremy Hoglund Tina Koecher James McLeod Michael Mollerus Mark Monson William “Buzz” Palmer Branden Robinson Kathleen Sanders James Sebastian Nairi Stack Rajiv Vaidyanathan Christopher Virta Roberta Vose

Brandon VanWaeyenberghe, Executive Director Kelly Katzmarek, Marketing Director Jean Larson, Patron Service Manager Audrey Beyer, Development Assistant ARTISTIC STAFF

Dirk Meyer, The Charles A. & Carolyn M. Russell Music Director Andrew Kim, Assistant Conductor Heidi Lord, Director of Artistic Operations Maureen Breemeersch, Stage Manager Kristin Sande, Music Librarian CHORUS

Richard Robbins, Chorus Master Nikki Norland, Chorus Adminstrator Beth Sobczak, Chorus Accompanist YOUTH ORCHESTRAS

Melanie Sever, Administrative Director and Concert Orchestra Conductor Kristin Sande, DSSYO Administrative Assistant Andrew Kim, Youth Symphony Conductor Kevin Hoeschen, Sinfonia Coordinator Ronald Kari, Youth Orchestras Coordinator LAYOUT OF NORTHERN SOUNDS

HONORARY LIFE DIRECTORS

Karen Blais

Elaine Killen Dexter Larsen Elisabeth Mason Nancy Melander James Zastrow

PRINTING OF NORTHERN SOUNDS

MUSIC DIRECTORS Dirk Meyer (2012 – present) Markand Thakar (2001 – 2012) Yong-yan Hu (1995 – 2000) Taavo Virkhaus (1977-1994) Joseph Hawthorne (1967-1977) Hermann Herz (1950-1967) Joseph Wagner (1947-1950) Tauno Hannikainen (1942 – 1947) Paul Lemay (1932 – 1942)

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Arrowhead Printing, Inc NORTHERN SOUNDS PROGRAM NOTES

Vincent Osborn, Program Notes Writer Ronald Kari, Performance Historian, now in his 60th Season.

DULUTH SUPERIOR SYMPHONY ORCHESTRA

130 West Superior Street, LL2-120 Duluth, MN 55802 TICKETS

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

MEET THE ORCHESTRA COMING TO YOU FROM THE ALLETE STAGE

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 Mary Alice Hutton, Associate Concertmaster Angela Waterman-Hanson, Assistant Concertmaster Colin McGuire, Associate Concertmaster (On Leave 21-22) Sponsor: The Northern Mechanical/Plumbing Contractors Association Nicole Craycraft Sponsor: Glen Holt (On Leave 21-22) Kathleen Sanders Sponsor: Terry & Vicki Anderson Nairi Stack Sponsor: Stack Brothers Mechanical Contractors; Tom & Mimi Stender Joan Halquist Sponsor: James & Elizabeth Prest Amanda Wirta Sponsor: James & June Farkas Lindsey Bordner (On Leave 21-22) Sponsor: Joel & Catherine Koemptgen Daniel Radosevich Sponsor: Robert & Angelica Fryberger Steve Highland Sponsor: Thomas & Barbara Elliott

SECOND VIOLIN: Laurie Bastian, Principal Sponsor: Jacquie & James Sebastian Jean Leibfried, Assistant Principal Sponsor: Sandra Barkley; Marcia & Gary Doty Amy Eichers Sponsor: Thomas & Alice McCabe Michael Husby Sponsor: Brad Schmugge, CPA (On Leave 21-22) Olga Chernyshev Sponsor: Kay & Walt Gower Kina Ono Sponsor: Rose & Lester Drewes (On Leave 21-22) Michael Zellgert Sponsor: Vern & May Nordling (On Leave 21-22) Sarah Warner Sponsor: Kathy & James Sanders

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Kristen Anderson Sponsor: James Seitz & Diane Kolquist Mary Negus Sponsor: Anonymous Friend of the DSSO Stephen Baillie Sponsor: Henry & Terry Roberts (On Leave 21-22)

VIOLA: Kevin Hoeschen, Principal Sponsor: Ruth R. Johnson in memory of Dr. Ted Johnson Ronald Kari, Assistant Principal Sponsor: Stephen & Lauri Cushing; Ruth Ann Eaton Clare Chopp Sponsor: Martha Aas Jonathan Kresha Sponsor: Nancy Odden & Doug Britton Kevin Peterson Sponsor: Robert T. & Barbara K. Bennett; Linda & MarkBoben; Ruth Frederick Kirsti Petraborg (On Leave 21-22) Sponsor: Anonymous Friend of the DSSO Judy MacGibbon Sponsor: J. Clark & Jean A. Laundergan in memory of Warren & Viola Askeland J. David Arnott Sponsor: Sylvia Jamar

CELLO: Betsy Husby, Principal Sponsor: Christabel & James Grant Lucia Magney, Assistant Principal Sponsor: Ann Mars Julia Morehouse Sponsor: Nancy Melander; Nancy & Mark Melhus Eric Graf Sponsor: Dean Peterson and Deb Rausch Rebecca M. Peterson Sponsor: Robert T. & Barbara K. Bennett Darin Anderson Sponsor: Dr. Michael and Sharon Mollerus Jesse Nummelin Sponsor: Anonymous Friend of the DSSO Elena Denny (On Leave 21-22) Sponsor: Anonymous Friend of the DSSO Scott Lykins Sponsor: Anonymous Friend of the DSSO

MEET THE ORCHESTRA

DOUBLE BASS:

HORN:

Cassidy Morgan, Principal Vincent Osborn, Assistant Principal Sponsor: Lane Smith; Andrea Wahman & Lee Zimmerman Anthony Lischalk Sponsor: John Ivey Thomas & Mary Rees Thomas Family Fund James McLeod Sponsor: Branden Robinson Irving G. Steinberg Sponsor: Lurene Buhrmann Blake Bonde Sponsor: Carolyn Sundquist

James Pospisil, Principal Sponsor: James & Mary Zastrow Erika Hammerschmidt, Horn 2 Sponsor: Roger and Elaine Engle; Robert & Mary Evans Gwendolyn Hoberg, Horn 4 Sponsor: Susan Meyer

FLUTE: Claudia White, Principal Sponsor: Thomas & Janice Shuey (On Leave 21-22) Hannah Peterson, Piccolo/Flute 3 Sponsor: Anonymous Friend of the DSSO (On Leave 21-22)

OBOE:

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

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

Michael Dayton, Principal Sponsor: Gary Foley Darci Griffith Gamerl, Oboe 2 Sponsor: Dr. Dennis & Donna Soukup Sarah Carmack, English Horn/Oboe 3 Sponsor: Anonymous Friend of the DSSO

TUBA:

CLARINET:

Fred Morgan, Principal (On Leave 21-22) Sponsor: Ellen Marsden Henry Eichman, Acting Principal Sponsor: Happy Sleeper

Jennifer Gerth, Principal Sponsor: William & Saundra Palmer Kristine Peterson, Clarinet 2 Sponsor: Kay & William Slack Theodore Schoen, Bass Clarinet/Clarinet 3 Sponsor: Karl Diekman

BASSOON: Michael Roemhildt, Principal Sponsor: Janet Sklaris in memory of Frank Sklaris Jefferson Campbell, Contrabassoon/Bassoon 3 Sponsor: Timothy Sandor

SAXOPHONE: Gregory Kehl Moore, Principal Sponsor: Anonymous Friend of the DSSO

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Steve Grove, Principal Sponsor: Helena Jackson & Doug Dunham

TIMPANI:

PERCUSSION: Gene Koshinski, Principal Sponsor: Susan J. Relf

HARP: Janell Kokkonen Lemire, Principal Sponsor: Elaine Killen

KEYBOARD: Beth Gilbert, Principal (On Leave 21-22) Sponsor: John & Kathy Berchild

Proud to Support DSSO Shops

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Restaurants Fitger’s Brewhouse Mexico Lindo The Boat Club

Nightclubs The Barrel Room Rex Bar

Services

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MASTERWORKS 5

TO PERSEVERE SATURDAY, M A R C H 19, 2022 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR GENEVA LEWIS, VIOLIN

JOHANNES BRAHMS Violin Concerto in D Major, Op. 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace;

poco piu presto Geneva Lewis, violin

CONCERT SPONSOR:

39’

*Ms. Lewis will perform on the same Stradivarius violin used by Joseph Joachim for the 1879 premiere INTERMISSION 20’

34’

Jefferson Campnell, bassoon , Blatnik Bridge

LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 Allegro con brio Andante con moto Scherzo. Allegro Finale. Allegro-Presto

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MUSICIAN PROFILE

GENEVA LEWIS

DEEPLY PASSIONATE ABOUT COLLABORATION, GENEVA HAS HAD THE PLEASURE OF PERFORMING WITH SUCH PROMINENT MUSICIANS AS ATAR ARAD, EFE BALTACIGIL, GLENN DICTEROW, MIRIAM FRIED, ILYA KALER, MICHAEL KANNEN, KIM KASHKASHIAN, IDA KAVAFIAN, MARCY ROSEN, MITSUKO UCHIDA, AND THE BORROMEO STRING QUARTET, AMONG OTHERS.

New Zealand-born violinist Geneva Lewis has forged a reputation as a musician of consummate artistry whose performances speak from and to the heart. Lauded for the “remarkable mastery of her instrument” (CVNC) and hailed as “clearly one to watch” (Musical America), Geneva is the recipient of a 2021 Avery Fisher Career Grant and Grand Prize winner of the 2020 Concert Artists Guild Competition. Other recent accolades include Kronberg Academy’s Prince of Hesse Prize and being named a Finalist at the 2018 Naumburg Competition, a Performance Today Young Artist in Residence, and Musical America’s New Artist of the Month.

After her solo debut at age 11 with the Pasadena Symphony, Geneva has gone on to perform with orchestras around the world, including recent and forthcoming appearances with Orpheus Chamber Orchestra, Auckland Philharmonia, Sarasota Orchestra, Pensacola Symphony, Augusta Symphony, and Duluth Superior Symphony Orchestra. She has worked with a number of notable conductors, including Nic McGegan, Edwin Outwater, and Michael Feinstein, and looks forward to collaborations with Giordano Bellincampi, Sameer Patel, Peter Rubardt, and Dirk Meyer. In recital, recent and upcoming highlights include performances at Wigmore Hall, the Concertgebouw, Tippet Rise, Emory University, Purdue Convocations, Kravis Center, and Myra Hess, among others.

While Geneva’s claim to chamber music fame came early on as a member of the renowned Lewis Family Trio with her siblings Nathan (piano) and Rochelle (cello), she has since established the Callisto Trio, Artist-in-Residence at the Da Camera Society in Los Angeles. Callisto received the Bronze Medal at the Fischoff Competition as the youngest group to ever compete in the senior division finals. They were recently invited on the Masters on Tour series of the International Holland Music Sessions and performed at the celebrated Het Concertgebouw Amsterdam.

An advocate of community engagement and music education, Geneva was selected for the New England Conservatory’s Community Performances and Partnerships Program’s Ensemble Fellowship, through which her string quartet created interactive educational programs for audiences throughout Boston. Her quartet was also chosen for the Virginia Arts Festival Residency, during which they performed and presented masterclasses in elementary, middle, and high schools.

Geneva is currently in the Artist Diploma program as the recipient of the Charlotte F. Rabb Presidential Scholarship at the New England Conservatory studying with Miriam Fried. Past summers have taken her to the Marlboro Music Festival, Ravinia Steans Institute, Perlman Music Program’s Chamber Workshop, International Holland Music Sessions, Taos School of Music and the Heifetz International Music Institute.

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MASTERWORKS 5

Brahms’ only violin concerto is considered one of the greatest of all time. Indeed, according to the celebrated Hungarian violinist Joseph Joachim (1831-1907) the Germans have four violin concertos:

“The greatest, most uncompromising is Beethoven’s.

The one by Brahms vies with it in seriousness. The richest, most seductive, was written by Max Bruch. But the most inward, the heart’s jewel, is Mendelssohn’s.”

JOHANNES BRAHMS Violin Concerto in D major, Op. 77 JOHANNES BRAHMS: BORN: May 7, 1833, in Hamburg, Germany DIED: April 3, 1897, in Vienna, Austria WORK COMPOSED: 1878 WORLD PREMIERE: January 1, 1879, in Leipzig, Joseph Joachim was soloist with Brahms conducting the Gewandhaus Orchestra PERFORMANCE HISTORY: Tonight’s performance of this concerto is the tenth by the DSSO. It was also heard in the 1935 and 1943 (both times with Albert Spalding as soloist), 1949 (with Yehudi Menuhin), 1960 (with Szymon Goldberg), 1966 (Isaac Stern), 1969 (Henryk Szeryng), 1980 (Franco Gulli), 1994 (Kurt Nikkanen with DSSO Music Director candidate David Itkin conducting), and on March 9, 2013, (Madeline Adkins with Markand Thakar conducting).

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

DURATION: 39 minutes.

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Is there one person in your life who influenced or inspired you? How different would your life be if you had never met that person? Consider how different the music of Brahms would be if he never met Joachim. In late May 1853 the two young men met and began a lifelong friendship. Joachim was a child prodigy who became one of the greatest violinists of the 19th century. He made his London solo debut at the age of 12 performing Beethoven’s Violin Concerto under the direction of none other than Mendelssohn. The young soloist essentially revived this long-forgotten masterpiece and was renowned for playing with complete faithfulness to the score. A 14-year-old Brahms saw the 16-year-old Joachim perform Beethoven’s Violin Concerto in 1848, and much later he confessed to Joachim: “I reckoned the concerto to be your own… I was certainly your most enraptured listener.” In October 1853, with a letter of introduction by Joachim, Brahms met Robert and Clara Schumann.

In 1878 Brahms returned to the Austrian lakeside resort, Pörtschach, where the previous year he had composed his Second Symphony. Brahms claimed the place was overflowing with melodies and that he had to be careful not to step on any of them. In a letter to Joachim he announced that he was beginning a violin concerto.

The main work on the concerto was done that summer, collaborating with Joachim for advice on violin technique.

Joachim suggested revisions, for which Brahms thanked him, then ignored the advice. However, Brahms was intelligent enough to accept many of the suggestions and much of what one hears in the concerto is thanks to Joachim.

MASTERWORKS 5

For the New Year’s Day premiere in 1879 Joachim insisted on opening the concert with Beethoven’s Violin Concerto and ending with the Brahms. Although Brahms complained that “it was a lot of D major - and not much else on the program,” Joachim was presenting one established work and a new, difficult one by a composer who had a reputation for being difficult. The reaction to the new concerto was mixed: conductors Hans von Bülow and Joseph Hellmesberger, Sr. commented that the work was not so much for violin as “against the violin.” Hellmesberger conducted the Vienna premiere, which enjoyed an enormously enthusiastic reception. The work also had its detractors. Henryk Wieniawski called the work “unplayable”, and the virtuoso Pablo de Sarasate refused to play it and remarked, “I don’t deny that it’s fairly good music, but does anyone imagine […] that I’m going to stand on the rostrum, violin in hand and listen to the oboe playing the only tune in the adagio?”

The most commonly heard cadenza in Brahms’ Violin Concerto is the one written by Joachim, however many others have written cadenzas for this concerto, including: Leopold Auer, Eugène Ysaÿe, Georges Enescu, Fritz Kreisler, Jascha Heifetz, Joshua Bell and Nigel Kennedy. As I did the research for these notes, I discovered a recording from 1991 by Ruggiero Ricci which includes sixteen different cadenzas!

A word about cadenzas. Cadenzas in 18th century concertos provided opportunities for soloists to improvise something that might show off their skills. It became more common for composers to supply written-out cadenzas as the 19th century progressed. Usually the cadenza in the first movement would be an especially imposing one, as Brahms used in his two piano concertos from 1859 and 1881. In his Violin Concerto, Brahms returned to the older practice of leaving the cadenza to the soloist and writing only the concluding trill.

The famous Adagio begins with a great melody in the oboe accompanied by the wind section, forming the harmonies that create the serene atmosphere. The soloist enters with a variation of the melody that is just achingly beautiful. The finale is a tribute to Joachim’s Hungarian heritage with its Gypsy spirit. There is so much more to it than that; by the end of the work we can almost imagine Brahms sitting on a park bench, smoking a cigar and watching the world go by.

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JOHANNES BRAHMS & JOSEPH JOACHIM

Without a doubt Brahms’ Violin Concerto is one of the greatest works for the instrument.

MASTERWORKS 5

Who remembers the old show, Name That Tune? Your clue is: This tune is one of the best-known compositions in the classical music world, one of the most frequently performed and considered one of the cornerstones of western music. Almost everyone can name that tune in four notes: Ta-ta-ta-tum. Unfortunately, as music education in the public schools is waning, there may come a day when a large segment of society will not recognize Beethoven’s Fifth Symphony, or for that matter, any number of great works that form the infrastructure of western music.

LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Op. 67 LUDWIG VAN BEETHOVEN: BAPTIZED: December 17, 1770, in Bonn, Germany DIED: March 26, 1827, in Vienna, Austria WORK COMPOSED: 1804-08 (Dedicated to Prince von Lobkowitz and Count Razumovsky) WORLD PREMIERE: December 22, 1808, at Theater an der Wien, Vienna, Beethoven conducting PERFORMANCE HISTORY: There have been twelve previous DSSO Masterworks Series performance of this symphony: 1936 and 1941 (Paul Lemay conducting), 1946 (Tauno Hannikainen conducting), 1951, 1960 and 1965 (Hermann Herz), 1969 (Joseph Hawthorne), 1979 (Taavo Virkhaus), 1996 (Yong-yan Hu), 2002 (Markand Thakar), 2007 (with guest conductor George Hanson), and on March 1, 2014 with Dirk Meyer on a Masterworks-Discovery concert at Duluth East High School Auditorium, and repeated the next day in Silver Bay, MN. The last movement has been played on Young People’s Concerts, and on a series of three outdoor concerts in July, 2011 with Markand Thakar.

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

DURATION: 34 minutes.

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What makes greatness? Is it when something becomes such an ingrained part of our culture that we can hardly imagine it not being there? Consider the first ten words of Hamlet’s soliloquy, Mona Lisa’s smile, the opening sentences of the Declaration of Independence or Beethoven’s Fifth Symphony, which represents greatness in music. Can you imagine the non-existence of any of these? It is why we go to concerts and get caught up in riveting performances. “Beethoven’s Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man,” E. M. Forster writes in Howard’s End. Robert Schumann wrote, “Let us be silent about this work! No matter how frequently heard, whether at home or in the concert hall, this symphony invariably wields its power over people of every age like those great phenomena of nature that fill us with fear and admiration at all times, no matter how frequently we may experience them.”

“BEETHOVEN’S FIFTH SYMPHONY IS THE MOST SUBLIME NOISE THAT HAS EVER PENETRATED INTO THE EAR OF MAN,”

MASTERWORKS 5

The very meaning of this work is found in the move from minor to major, dark to light, conflict to resolution. The four movements of the Fifth progress in a logical path from the ominous first four notes to the glorious finale. Eighteen months after the premiere E. T. A. Hoffmann praised the “indescribably profound, magnificent symphony in C minor”: How this wonderful composition, in a climax that climbs on and on, leads the listener imperiously forward into the spirit world of the infinite!... No doubt the whole rushes like an ingenious rhapsody past many a man, but the soul of each thoughtful listener is assuredly stirred, deeply and intimately, by a feeling that is none other than that unutterable portentous longing, and until the final chord— indeed, even in the moments that follow it—he will be powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound…. … one of the most important works of the master whose stature as a first-rate instrumental composer probably no one will now dispute… the instrumental music of Beethoven open[s] the realm of the colossal and immeasurable for us.

Beethoven’s Fifth is groundbreaking in both its technical and emotional impact and has influenced the works of Brahms, Tchaikovsky, Bruckner, Mahler and Berlioz. Its first movement is on the phonograph record that was sent into outer space on the Voyager probe. During the Second World War the Allies used the phrase “V for Victory” and Beethoven’s Fifth became known as the Victory Symphony. The BBC prefaced its broadcasts to Europe with the first four notes played on drums and coincidentally, or not, the letter ‘V’ in Morse code is ‘dit dit dit dah’.

Beethoven admitted to his hearing loss and thoughts of suicide in his Heiligenstadt Testament written during some of the worst moments of his life. The Fifth Symphony conceivably represents Beethoven’s struggle to overcome this physical ailment. Beethoven wrote in a student’s notebook,

“ M A N Y A S S E R T T H AT E V E R Y M I N O R [ T O N A L I T Y ] P I E C E M U S T E N D I N T H E M I N O R . N E G O ! [ I S A Y N O ] O N T H E C O N T R A R Y, I F I N D T H AT …

THE MAJOR [TONALITY] HAS A GLORIOUS EFFECT. JOY FOLLOWS SORROW, SUNSHINE - RAIN. IT AFFECTS ME AS IF I WERE LOOKING T O T H E S I LV E R Y G L I S T E N I N G O F T H E EVENING STAR.”

(Three Lions/Getty Images)

Ludwig Van Beethoven

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@duluthsuperiorsymphonyorchestra @dssomn

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For more information visit dsso.com/youth

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TO FALL IN LOVE SATURDAY, APRIL 9, 2022 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR DIANA SHAPIRO & STANISLAVA VARSHAVSKI, PIANO

FANNY MENDELSSOHN-HENSEL Overture in C Major

CONCERT SPONSOR:

11’

FRANCIS POULENC Concerto for Two Pianos in D Minor 20’ Allegro ma non troppo Larghetto Allegro molto Diana Shapiro & Stanislava Varshavski, Pianos INTERMISSION 20’ 70’

Concerto for Two Pianos in D minor by Francis Poulenc is published by Salabert and distributed by Boosey & Hawkes.

Overture in C Major by Fanny Mendelssohn-Hensel is provided courtesy of Carl Fischer, LLC.

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Laurie Bastian, violin , Superior Hiking Trail

ANTON BRUCKNER Symphony No. 4 in E-flat Major, “Romantic” Bewegt, nicht zu schnell Andante quasi Allegretto Scherzo. Bewegt; Trio. Nicht zu schnell.

Keinesfalls schleppend Finale. Bewegt, doch nicht zu schnell

MUSICIAN PROFILE

A PIANO DUO THAT CAN CHARM EVEN THE MOST VERSED MUSIC LOVERS! (Gazeta Krakowska, Poland), the Varshavski-Shapiro Piano Duo is comprised of pianists Stanislava Varshavski and Diana Shapiro, who began playing together in 1998.

Since then, they have gone on to capture the top prizes at numerous competitions, including the most prestigious competition for piano duos – the Murray Dranoff International Piano Competition in Miami. A winner of the Astral Artists’ 2012 National Auditions, the Varshavski-Shapiro Piano Duo also won first prizes at the Italy’s XV Piano Competition “Rome 2004,” the Jerusalem’s Kol HaMusica Young Artists Competition, the Israel Chamber Music Competition, the XIII Schubert Competition in the Czech Republic, and the First International Piano Duo Competition in Bialystok, Poland.

DIANA SHAPIRO

& STANISLAVA VARSHAVSKI VARSHAVSKI AND SHAPIRO FREQUENTLY PRESENT LECTURES AND MASTER CLASSES ACROSS THE UNITED STATES. IN 2016, THEY WERE INVITED TO SHOWCASE AT THE NATIONAL CONFERENCE OF THE CHAMBER MUSIC AMERICA AND SERVED AS JUDGES AT THE CHICAGO INTERNATIONAL COMPETITION FOR PIANO DUOS.

The Varshavski-Shapiro Piano Duo has performed in such distinguished venues as the HKAPA Concert Hall in Hong Kong, Henry Crown Symphony Hall in Jerusalem, Teatro Valle in Rome, and Lincoln Theater in Miami. They have appeared with the Radio Orchestra in Munich, the Israel Chamber Orchestra, the Jerusalem Symphony Orchestra, the Warsaw Philharmonic Orchestra, and Miami’s New World Symphony. Outside of their current home base in Wisconsin and Minnesota, the duo has recently given concerts in Georgia, Missouri, Pennsylvania, Vermont, and Texas.

The Duo has recorded for Bavarian Radio, the Radio 4 of Hong Kong, the Israeli National Radio and TV, and New York’s WQXR. They have recently produced a CD in collaboration with Wisconsin Public Radio. The performances were also broadcast live on WPR and recorded for a documentary film, presented on Wisconsin television.

Both Ms. Varshavski and Ms. Shapiro hold Bachelor’s and Master’s degrees from the Jerusalem Academy of Music and Dance, where they studied with a legendary Israeli duo Alexander Tamir–Bracha Eden. They continued their education under renowned American pianist Victor Rosenbaum, and in 2011 both pianists completed Doctoral degree studies at the University of Wisconsin-Madison. Ms. Shapiro is an Assistant Professor of Piano at the University of Minnesota -Duluth and Ms. Varshavski is a Director of Education at the Holy Family Conservatory of Music.

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Due to the social expectations related to her highclass status, she struggled her entire life with claiming authorship of her music and only one year before her death she decided to publish her music. Part of her hesitation was a result of her dutiful attitude towards her father, her intense relationship with her brother, and her awareness of the societal views of a women’s place in the public milieu. Her brother’s success overshadowed Fanny throughout her life, and only lately have her compositions (over 450 completed compositions and drafts) became known and appreciated.

FANNY MENDELSSOHN-HENSEL Overture in C (ed. JoAnn Falletta) FANNY MENDELSSOHN-HENSEL: BORN: November 14, 1805, in Hamburg, Germany DIED: May 14, 1847, in Berlin WORK COMPOSED: 1832 WORLD PREMIERE: 1834 in her home; publicly in Berlin on June 15, 1834, with the composer conducting the Königstadt Theatre Orchestra PERFORMANCE HISTORY: Tonight marks the first DSSO performance of any music by Fanny Mendelssohn.

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

DURATION: 11 minutes.

Fanny Hensel née Mendelssohn Bartholdy was one of the most prolific female composers of the 19th century, among the first women to compose a string quartet. She was a life-long proponent of the music of Johann Sebastian Bach, Ludwig van Beethoven, and her brother, Felix Mendelssohn.

She was a very talented pianist and her impressive memory amazed private audiences at her concert series in her Berlin home.

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Fanny was born into a family that was full of highly educated and musical women. She followed in that vein and received education in humanities and music, excelling in both. At the age of 13, Fanny performed 24 of Bach’s Preludes from the Well-Tempered Clavier from memory.

This was most likely for her father’s birthday and was enjoyed privately by the family, not violating her approved role in society. However, at her young age she most likely experienced difficulty in understanding why she could not follow her ambitions like her equally talented brother. In the summer of 1820, in a response to a letter from Fanny, her father wrote: What you wrote to me about your musical occupations with reference to and in comparison with Felix was both rightly thought and expressed. Music will perhaps become his profession, whilst for you it can and must only be an ornament, never the root of your being and doing. We may therefore pardon him some ambition and desire to be acknowledged in a pursuit which appears very important to him, because he feels a vocation for it, whilst it does you credit that you have always shown yourself good and sensible in these matters; and your very joy at the praise he earns proves that you might, in his place, have merited equal approval.

Remain true to these sentiments and to this line of conduct; they are feminine, and only what is truly feminine is an ornament to your sex.

It is indeed sad that, while acknowledging his daughter’s talents, her father extinguished Fanny’s professional hopes and dreams. The awareness of her abilities versus society’s restrictions resulted in Fanny’s eternal struggle.

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On October 3, 1829, Fanny married artist Wilhelm Hensel (1794-1861), whom she had met in 1821 when she was sixteen and Hensel was twenty-seven. When he left in 1823 for a five-year trip to Italy, Fanny’s mother Lea forbade any correspondence between them, partly due to their age difference and also because she feared that he might return from Italy a Catholic. By the time of their marriage, Fanny had completed over half of what would be her surviving oeuvre. Because of all the reservations of the family and social conventions, a number of her works were published under Felix’s name in his Opus 8 and 9 collections. In 1830 the Hensel’s had their only child, Sebastian.

Fanny began her Overture in C in late March 1832 and completed it by late April or early May. It is her only known work for orchestra. After a premiere in her home in 1834 (possibly as a piano solo), she programmed it for a concert that same year on June 15 with the Königstadt Theatre Orchestra. The conductor, Julius Amadeus Lecerf, invited Fanny to the podium and insisted she conduct her composition. She wrote to Felix of the evening: Mother has certainly told you about the Königstadt Orchestra on Saturday and how I stood up there with a baton in my hand.

Had I not been so shy, and embarrassed with every stroke, I would’ve been able to conduct reasonably well. It was great fun to hear the piece for the first time in two years and find everything the way I remembered. People seemed to like it - they were very kind, praised me, criticized a few impractical passages, and will return next Saturday. Thus I took part in anunexpected pleasure.

The Overture in C never went beyond a few, if any, subsequent performances and was relegated to collect dust. Judith Rosen, a board member of the nowdefunct Women’s Philharmonic of San Francisco, obtained permission to make copies of the score from a library in Germany. Conductor JoAnn Falletta edited the music and in 1992 it was recorded for the first time.

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Music historian Richard Taruskin wrote that “the life of Fanny Mendelssohn Hensel is compelling proof that women’s failure to ‘compete’ with men on the compositional playing-field has been the result of social prejudice and patriarchal conventions (which in the nineteenth century granted only men the right to make the decisions in bourgeois households).”

Although Felix was privately supportive of his sister, he was cautious for her to publish works under her own name. He wrote to their mother: From my knowledge of Fanny I should say that she has neither inclination nor vocation for authorship. She is too much all that a woman ought to be for this. She regulates her house, and neither thinks of the public nor of the musical world, nor even of music at all, until her first duties are fulfilled. Publishing would only disturb her in these, and I cannot say that I approve of it.

Fanny Hensel passed away on May 14, 1847, after experiencing a series of strokes. She felt the first loss of sensations when she was in the middle of a rehearsal of Felix’s Die erste Walpurgisnacht for her concerts she presented in her home. She tried to return to the rehearsal but suffered another stroke shortly thereafter and lost consciousness. She died as she had wished; with no lasting illness, happy in her home and surrounded by family, friends and music.

She was buried the next day before her brother even knew of her passing. Upon receiving the news of her death, Felix screamed, fainted and hit his head on the floor. He passed away from a series of strokes about five months later on November 4, 1847. We can only imagine how her life would have been had she lived today.

MASTERWORKS 6 Edmond de Polignac (1865-1943), heir to the Singer sewing machine fortune. Her Paris salon was a gathering place for the musical avant-garde and a number of early-20th century works were dedicated to her, including Stravinsky’s Renard, Ravel’s Pavane pour une infante défunte, Kurt Weill’s Second Symphony, and Satie’s Socrate.

FRANCIS POULENC Concerto for Two Pianos in D minor, FP 61 FRANCIS POULENC: BORN: January 7, 1899, in Paris, France DIED: : January 30, 1963, in Paris WORK COMPOSED: 1932 WORLD PREMIERE: : September 5, 1932, at the International Society for Contemporary Music, in Venice, Italy; Poulenc and Jacques Février, pianos, with the La Scala Orchestra, Désiré Defauw conducting PERFORMANCE HISTORY: The Orchestra performs this concert for the fourth time this evening. It was also heard on: October 20, 1950 with duo-pianists Arthur Whittemore and Jack Lowe (on the opening concert of the seventeen-season tenure of Music Director Hermann Herz); October 23, 1970 with Arthur Gold and Robert Fizdale (Joseph Hawthorne conducting); and on September 21, 1996, with twin sisters Julia and Irina Elkina (Yong-yan Hu conducting). Each occasion was the opening concert of the season.

INSTRUMENTATION: Flute and piccolo, two oboes (one doubling English horn), two clarinets, two bassoons, two horns, two trumpets, two trombones, tuba, percussion (shallow snare drum, snare drum, military drum, bass drum, tambourine, castanets, triangle, suspended cymbal) and strings and two pianos.

DURATION: 20 minutes.

Poulenc’s Concerto for Two Pianos is often described as the climax of his early period. He wrote to Belgian musicologist Paul Collaer, “You will see for yourself what an enormous step forward it is from my previous work and that I am really entering my great period.”

The Concerto was commissioned by and dedicated to the American-born arts patron Winnaretta Singer, Princesse 28 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

The 1931 Exposition Coloniale de Paris included an exhibit with a Balinese gamelan. The gamelan is the traditional ensemble music of the Javanese, Sundanese and Balinese peoples of Indonesia.

Made up of predominantly percussive instruments, the most commonly used are metallophones (tuned metal bars) played by mallets, and a set of twoheaded hand drums called kendhang, which register the beat. The Concerto for Two Pianos is clearly inspired by Poulenc’s encounter with this ensemble.

In January 1932, Ravel’s G major Piano Concerto premiered in Paris and its instrumentation and ‘jazziness’ also influenced Poulenc. The Larghetto is reminiscent of the Andante of Mozart’s Piano Concerto No. 20, K. 466. Poulenc admitted that he chose for the opening theme to go back to Mozart, “I have a veneration for the melodic line and because I prefer Mozart to all other composers.”

The Concerto is in three movements and forgoes the conventional orchestral introduction. From the very first notes the action begins in a furious moto perpetuo that features, at times, a ‘call and response’ between the orchestra and pianos. The first movement’s furious opening dissolves into a calm solo with light accompaniment from sections of the orchestra. A cymbal crash introduces the return to the frantic moments of the opening. Towards the end of the first movement we are treated to an ethereal atmosphere that confirms the influence of the gamelan. Poulenc introduces the second movement with a complete Mozartean style that shortly develops into some of his most sublime writing. I enjoy how Poulenc treats this simple melody; his modern touches do not detract a bit from its beauty. The Finale is a synergetic Rondo that has the sonorities of a gamelan ensemble.

Poulenc, like Mozart, introduces new themes with nearly each section and the energetic rhythms and patter produce a vivacious effect.

The Concerto for Two Pianos demands more ensemble skills than technique from its soloists; the pianists play nearly continuously throughout the piece, predominantly in conversational interludes.

Poulenc creates a charming work that has moments of heartfelt sensitivity interspersed with wild antics that whisk the listener away on a roller coaster ride.

MASTERWORKS 6 However, the last notes confirm that this game of his is not to be taken seriously at all. After the premiere in Venice Poulenc wrote, “I must testify without any modesty at all that the first performance was flawless…

It was a smashing success, for the work is gay and uncomplicated.”

ANTON BRUCKNER Symphony No. 4 (1878/80 version) in E-flat major, “Romantic” 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: 1874 and revised several times through 1888 WORLD PREMIERE: February 20, 1881, in Vienna, Vienna Philharmonic, Hans Richter conducting PERFORMANCE HISTORY: This is only the second DSSO performance of this work. Markand Thakar led the first performance on March 1, 2003.

INSTRUMENTATION: Two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani and strings DURATION: 70 minutes

Josef Anton Bruckner was a composer, organist and music theorist who is best known for his symphonies, masses, Te Deum and motets. The rich harmonic language, strong polyphonic character and considerable length of his symphonies are representative of the final stage of Austro-German Romanticism.

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With his works, he helped to define contemporary musical radicalism with its dissonances and sudden modulations. Bruckner was a humble man who was very critical of his own works, so much so that there are several versions of many of his works. The conductor Hans von Bülow described him as “half genius, half simpleton.” He had many detractors, notably the influential critic Eduard Hanslick and other supporters of Johannes Brahms. However, he was also greatly admired by many later composers, including his friend Gustav Mahler.

Bruckner’s ancestral family of farmers and craftsmen can be traced back to the 16th century. His grandfather was schoolmaster in Ansfelden in 1776, succeeded by his son, Anton’s father, in 1823. The position of schoolmaster also included the responsibilities of organist and music director for the village church; he also supplemented his income by playing music at local taverns. Anton Bruckner, Sr. married Therese Helm and they had eleven children. Anton, Jr., the eldest, was born in 1824. Bruckner’s father was his first music teacher and he was taught to play the organ very early.

He was so dedicated to the instrument that he would often practice twelve hours a day. Bruckner entered school at the age of six and was promoted to the upper class early due to his hard work as a student. While studying, he would help his father in teaching the other children. His father sent him to another school in 1833 where the schoolmaster, Johann Baptist Weiß, was a music enthusiast and respected organist. It was at this school in Hörsching where Bruckner refined his skills on the organ. Anton prematurely ended his studies when his father became ill in the autumn of 1836 and he had to return home to help in the school, church and tavern. His father died on June 7, 1837, when Anton was just thirteen years old. After Anton’s mother approached the Augustinian monastery in St. Florian, he was accepted as a choirboy and to the school. While at the monastery Bruckner studied violin with Franz Gruber (1787-1863), the composer of Stille Nacht (Silent Night).

By the autumn of 1840, when it was time for Bruckner to leave the monastery, his mentors decided that he should follow his father’s profession. After spending the academic year 1840-41 in Linz taking teacher training courses, he embarked on his new career as a school teacher. After a couple of appointments, Bruckner found himself back at St. Florian in September 1845 as assistant schoolteacher. He remained at the monastery for ten years until he was appointed a permanent position on January 25, 1856, as organist at the cathedral in Linz. Bruckner did not start seriously composing music until 1861, at age 37. Prior to that he was largely self-taught.

MASTERWORKS 6 He began studies with Otto Kitzler, who introduced him to the music of Richard Wagner, which Bruckner studied extensively from 1863 onward. He considered his earliest orchestral works mere school exercises.

He was a renowned organist, impressing audiences in France (1869) and England (1871), where he gave six recitals on the new organ at Royal Albert Hall in London and five more at the Crystal Palace. However, he did not enjoy fame or acceptance as a composer until he was over 60 and after the premiere of his Seventh Symphony in 1884.

Bruckner himself gave his Symphony No. 4 the descriptive subtitle, Romantic, the only one of his symphonies to have a title. Composed at the height of Teutonic Romanticism, it reflects sentimentalities found in works such as Wagner’s Lohengrin and Siegfried. His spotlighting the French horns, which are most associated with the hunt, evokes the atmosphere of the period. On an interesting side note: the Fourth Symphony was performed before the fall of Berlin in a concert on April 12, 1945. Albert Speer, German architect and a close ally of Hitler, chose the symphony as a signal that the Nazis were about to lose the war.

Bruckner’s letter to conductor Hermann Levi on December 8, 1884, gives a sense of what he had in mind for the Romantic Symphony: “In the first movement after a full night’s sleep the day is announced by the horn, 2nd movement song, 3rd movement hunting trio, musical entertainment of the hunters in the wood.” Another letter, from December 22, 1890, to Paul Heyse provides even more insights: “In the first movement of the Romantic Fourth Symphony the intention is to depict the horn that proclaims the day from the town hall! Then life goes on; in the Gesangsperiode [the second subject] the theme is the song of the great tit [a bird] Zizipe. 2nd movement: song, prayer, serenade. 3rd: hunt and in the Trio how a barrel-organ plays during the midday meal in the forest.” Others have attempted to give the Fourth Symphony a descriptive program, however the best scenario is left to the individual listener.

The first movement is similar to an extended form, but far removed from the tightness of Haydn, Mozart and Beethoven. Indeed, it is rather unorthodox in its development of themes and harmonic structure.

As a predecessor to composers such as Mahler and Sibelius, Bruckner is in no hurry to announce his opening theme, as if he needs to first completely create an appropriate atmosphere.Bruckner called the second movement a “rustic love-scene” in which “a peasant boy woos his sweetheart, but she scorns him” (echoing Bruckner’s personal life).

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There are glimpses of Schubert in the ‘walking rhythm’ that exists in so many of Schubert’s introspective songs and recalls a wistful nostalgic mood. The Scherzo is a replacement for the original third movement composed in 1874 for this symphony.

Bruckner did more revisions on the Fourth Symphony than any of his other symphonies. The result, for this movement, is much tighter and more dramatic.

Bruckner calls the opening melody of the horns in the score a Jagdthema (Hunting Theme) and as it grows in volume, imagine a huge hunting party. In complete, relaxed contrast the Trio evokes a charming Ländler.

Bruckner called his Scherzo The Hunting of the Hare and the Trio Dance Melody During the Huntsmen’s Meal.

One can imagine the composer at the organ during the opening of the Finale, which can only be completely enjoyed at full volume when one can thoroughly feel the music. Bruckner identified this movement as the Folk Festival, without any further elaboration. The second theme of the Finale is informed by the Ländler quality from the third movement’s Trio. Although there exists a sense of lightness, the predominant mood of the Finale is dark. Rising out of nothingness, the music builds into a powerful, exciting climax.

Bruckner has been characterized as a ‘simple’ provincial man. One biographer, Karl Grebe, said: “His life doesn’t tell anything about his work, and his work doesn’t tell anything about his life.” Bruckner was a lifelong bachelor who made numerous unsuccessful marriage proposals to teenage girls. His interest in teenage girls seems to have been motivated by his overwhelming fear of sin; unlike older women, he believed that he could be certain he was marrying a virgin. He continued in this pursuit past his 70th birthday. Bruckner also suffered from bouts of depression and his failed attempts at finding a wife only exacerbated his unhappiness.

After a rehearsal of the Fourth for the premiere, the conductor, Hans Richter, told of this event: “Bruckner came to me, his face beaming with enthusiasm and joy. I felt him press a coin into my hand. ‘Take this’ he said, ‘and drink a glass of beer to my health.’” Richter accepted the coin and wore it on his watch-chain ever after.

The premiere of the Fourth Symphony was the first premiere of his works that Bruckner did not conduct.

It was also his first total success; after years of enduring insults and hisses, Bruckner finally heard real applause and he basked in it. He was called out for a bow after each movement.

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MASTERWORKS 7 MASTERWORKS 7

TO SING

CONCERT SPONSOR:

SATURDAY, APRIL 30, 2022 7 PM DECC SYMPHONY HALL, ALLETE STAGE DIRK MEYER, CONDUCTOR RICHARD ROBBINS, CHORUS MASTER DSSO CHORUS WILLIAM DAWSON Negro Folk Symphony 35’ The Bond of Africa Hope in the Night O, Le’ Me Shine, Shine Like a Morning Star!

GEORGE FRIDERIC HANDEL Hallelujah Chorus from Messiah, K572 JOHANN SEBASTIAN BACH Dona Nobis Pacem from Mass in B minor, BWV 232 WOLFGANG AMADEUS MOZART Ave verum corpus, K618 GEORGE FRIDERIC HANDEL Zadok the Priest, HMV 258 RICHARD WAGNER Prelude to Die Meistersinger von Nürnberg, WWV 96 RICHARD WAGNER Pilgrim’s Chorus from Tannhäuser, WWV 70 GABRIEL FAURE Pavane, Op. 50 GIUSEPPE VERDI Anvil Chorus from Il Trovatore CARL ORFF O Fortuna from Carmina Burana Negro Folk Symphony by William Dawson presented under license from G. Schirmer Inc. and Associated Music Publishers, copyright owners.

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Thomas Pfotenhauer, trumpet, Lake Superior Bay

INTERMISSION 20’

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RICHARD ROBBINS

THE DSSO SYMPHONY CHORUS HAS A LONG AND DISTINGUISHED HISTORY OF PERFORMANCES, STRETCHING BACK TO ITS FOUNDING IN 1959.

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

EVENTS | SENIOR GRADUATION | WEDDINGS | FAMILY PORTRAITS 34 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

PHONE: 218-213-8618

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DSSO CHORUS

Chorus Master: Richard Robbins Rehearsal Pianist: Beth Sobczak Chorus Administrator: Nikki Norland Edward Anderson Robert Asleson Linda Backman Josephine Barstad* Velda Bell Laura Berdahl Audrey Beyer Anne Bier Nathan Borka Becky Brookman Lea Carr Cathy Ameel Terry Chialastri Mark Danielson Laura Donovan Jim Donovan Maude Dornfeld Bonnie Lou Dunphy Marge Fisher

Louise Foss Pamela Fritch-Hieb Maureen Gamradt Jill Geyer Anita Gille Jane Gilley Jillian Godfrey Les Hazelton David Helf Sara Henriksen Bob Hjort Mary Holm-Lund Susan Hough Janet Johnson Jim Johnson Cot LaFond Lisa Larson Kimberly Lewis Sarah Libbon

Mike Lyons Kelli Marlow Cathy Martin Brady McDonough Rosanne Mellesmoen Grace Monson Mark Monson Amy Morse Alesha Murphy Emily Nygren Chris Nylander Barbara Olson Tammy Ostrander Dennis Paulson Pete Pellinen Luther Qson Michelle Rice Rufina Robbins* Martin Russo

Sharon Sandvik Debra Schroeder James Schulzetenberg Wesley Sisson Tom Sjoberg Sandy Skrien Tomina Slevin RitaRae Stadler-Sager Billie Jo Steen Kathy Stinnett Brianna Stolan Megan Taves Shelby Trost Ingrid Vendela Tina Weber Peter Wodrich Kirby Wood Wendy Wright Brandon Wruck*

*Section Leader

PERFORMANCE HISTORY : Handel: Messiah The DSSO has given 25 performances of the oratorio Messiah beginning in 1938 and most recently in 2015 (including 1983 through 1987 and many in the 1990’s and early 2000’s). Most performances have been in December, many Sunday afternoons, some subscription performances by mostly extra events. Some presentations have used Mozart’s orchestration, and in the earlier years even fuller instrumentations, but in more recent decades Handel’s original scoring has been heard most often.

Bach: Mass in B minor Surprisingly, the complete Mass has only been performed twice by the Orchestra. In 1960 Hermann Herz led a Masterworks Series performance and in 1977 Joseph Hawthorne conducted a non-subscription presentation.

Wagner: Prelude to Die Meistersinger Guest conductor James Paul led the most recent DSSO Masterworks performance of this work on September 23, 2000. This prelude was the first piece performed in the DECC’s Symphony Hall, following the National Anthem. The occasion was a gala opening concert of the new Duluth Auditorium on August 6, 1966. Hermann Herz conducted and the soloist was Metropolitan Opera baritone Robert Merrill.

Verdi: Il Trovatore The DSSO presented 26 fully-staged operas (two performances each) each year in the late summer prior to the start of the Symphony season from 1959 to 1984. The first seven were given at Duluth Denfeld High School Auditorium and then at the DECC. In 1967 Hermann Herz conducted his final performances with the Orchestra in Il Trovatore.

Orff: Carmina Burana Always a favorite with DSSO audiences and the DSSO Chorus since our first performance of this cantata in 1959, the Orchestra has given seven subsequent performances. The 1959 presentation marked the re-forming of the Chorus which continues to the present. There was a symphony chorus in the 1930’s, but in the 1940’s and 50’s choral works were sung by various combinations of university and church choirs.

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Negro Folk Symphony WILLIAM DAWSON BORN: September 26, 1899, in Anniston, Alabama DIED: May 2, 1990, in Montgomery WORK COMPOSED: 1934 WORLD PREMIERE: November 20, 1934, at Carnegie Hall in New York City, Philadelphia Orchestra, Leopold Stokowski conducting PERFORMANCE HISTORY: Tonight’s is the first DSSO performance of any music by William Dawson.

INSTRUMENTATION: : Two flutes and piccolo, two oboes and English horn, 2 clarinets and E-flat clarinet and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (gong, chimes, triangle, tenor drum, snare drum, xylophone, cymbals, bass drum, steel plate), harp and strings DURATION: 35 minutes William Levi Dawson was an American composer, professor, musicologist and choir director. In 1912, at the age of thirteen, he ran away from home to study music full-time as a pre-college student at the Tuskegee Institute (now University) under Booker T. Washington, the school president. Dawson paid his tuition by working as a music librarian and manual laborer in the school’s Agricultural Division.

He participated as a member of Tuskegee’s choir, band and orchestra, composing and traveling with the Tuskegee Singers for five years; by the time he completed his studies in 1921 he had learned to play most of the instruments. Dawson earned his Bachelor of Music from the Horner Institute of Fine Arts, studying later at the Chicago Musical College with Felix Borowski, and then received his Master of Music from the American Conservatory of Music. He was a trombonist in the Redpath Chautauqua and the Civic Orchestra of Chicago from 1927-30, followed by teaching in the Kansas City public school system and subsequently a tenure with the Tuskegee Institute from 1931-56. His best-known works are arrangements of and variations on spirituals, however he is also known for his contributions to chamber, orchestral and choral literature.

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WILLIAM DAWSON National Public Radio, in announcing a new recording of the Negro Folk Symphony reported that: “On November 20, 1934, a brand new symphony brought a Carnegie Hall audience to its feet.

The concert featured the Philadelphia Orchestra, led by its star conductor Leopold Stokowski. The music was the Negro Folk Symphony, by the 35-year-old African American composer William Dawson.” The composer was called back several times to take bows. Stokowski conducted four back-to-back performances of the piece and one was nationally broadcast by CBS radio.

One New York critic called it “the most distinctive and promising American symphonic proclamation which has so far been achieved.” Olin Downes reviewed the work for The New York Times, “This music has dramatic feeling, a racial sensuousness and directness of melodic speech.” One critic observed, “It is no wonder Stokowski put his Negro Symphony [sic] last on the program, and no wonder the audience heralded the end of each movement with spontaneous applause and stood to cheer the young composer.”

Unfortunately, after its immediate success there were only just a handful of performances over the next eighteen months and then the symphony inexplicably disappeared. Dawson never wrote another symphony.

Gwynne Kubner Brown, professor of Music History and Music Theory at the University of Puget Sound, wrote that Dawson didn’t simply build his symphony by

MASTERWORKS 7

quoting melodies from spirituals.

“The themes are handled with such virtuosic flexibility of rhythm and timbre that each movement seems to evolve organically.” Brown added that Dawson presents a “persuasive musical bridge between the ‘Negro Folk [Music]’ and the ‘Symphony’.”

In 1952 Dawson visited seven countries in West Africa to study indigenous African music, after which he revised his Negro Folk Symphony infusing a more rhythmic foundation inspired by his travels. He said he wasn’t out to imitate Beethoven or Brahms, but wanted those who heard it to know it was “unmistakably not the work of a white man.” His inspiration was from traditional spirituals that he preferred calling “Negro folk-music.”

Dawson’s Negro Folk Symphony has three movements: The Bond of Africa, Hope in the Night, and O, Le’ Me Shine, Shine Like a Morning Star! The opening seconds of the first movement have the solo French horn in a soaring blues gesture that quickly morphs into the woodwinds and trombones evoking a moody Cotton Club-era Ellington ballad, fusing with Dvořák’s New World Symphony. Within the first minutes we are treated to music that is reminiscent of a Hollywood film score, developing into an operatic overture-like structure such as Smetana’s Bartered Bride.

The second movement, Hope in the Night, is the gem of the symphony. It opens with three strokes on the gong, intended by Dawson to represent the Trinity “that guides the destiny of man.” The lush and sophisticated opening is reminiscent of Dvořák’s famous Largo movement in his New World Symphony or Gershwin’s Summertime. Dawson described the opening segment of the movement as an “atmosphere of the humdrum life of a people whose bodies were baked by the sun and lashed with the whip for two hundred and fifty years; whose lives were proscribed before they were born.” The second section of the movement symbolizes “the merry play of children yet unaware of the hopelessness beclouding their future.” When the opening section returns there is a heaviness marked by timpani and chimes, followed by the opening theme.

The movement ends with sustained tremolo strings growing from pianississimo to fortississimo and back again over a fatalistic drumbeat.

The final movement takes its name from the first of the two spiritual tunes that make up its themes: O, Le’ Me Shine, Shine Like a Morning Star! The second theme is based on Hallelujah, Lord, I Been Down Into

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

the Sea. It must be stated that the authentic melodies Dawson uses are not well-known tunes and they are used in such a fragmented way that they are mostly unrecognizable.

In the first movement and in the development of the finale the composer uses rhythmic references to the Juba dance that was brought by slaves from the Kingdom of Kongo to the plantations of South Carolina. The dance style involves stomping as well as slapping the arms, legs, chest and cheeks, which provided the percussive rhythms because the slaves were not allowed rhythm instruments for fear that there might be secret codes hidden in the drumming.

Dawson’s Negro Folk Symphony is a beautiful work that deserves repeated performances. His use of folk songs is genius. He writes, “These are folk songs and we have got to know and treat them as folk songs because they contain the best that’s in us.”

Dawson describes the “march like” beat in his central movment “Hope in the Night” as,

ATMOSPHERE OF THE HUMDRUM LIFE OF A PEOPLE WHOSE BODIES WERE BAKED BY THE SUN AND LASHED WITH THE WHIP FOR TWO HUNDRED AND FIFTY YEARS; WHOSE LIVES WERE PROSCRIBED BEFORE THEY WERE BORN.

MUSICIAN PROFILE

It was remarkable that Ron joined the DSSO Junior Symphony as a 9th grader.”

Ron later switched to playing the viola and he and Pettigrew ended up playing in the DSSO viola section together for many years.

Like many musicians, Kari says he has made music his career by putting together a “jigsaw puzzle” of freelance jobs including playing in string quartets and other musical groups for weddings, funerals, parties and in a variety of orchestras.

“I have loved playing with many wonderful conductors over the years, and I have learned something from them all,” he noted. “I have also enjoyed playing with so many wonderful guest artists including Van Cliburn, Itzhak Perlman, Issac Stern, Robert Merrill and Beverly Sills.

RON KARI LEGENDARY MEMBER OF THE DSSO BY: SHERYL JENSEN

Kari said he has so many favorite pieces of music, too many to select just one. When asked to name a few, he included Edward Elgar’s Serenade for Strings, Jean Sibelius’s Symphony #3, Gustav Mahler’s Symphony #3, and Anton Bruckner’s “Symphony #4.

Enjoying all the fine arts, Ron, from a young age, has had a special passion for opera. He loves all the arts, with Shakespeare as his favorite for theater.

Since 1962, Ron Kari has proudly taken his seat in the DSSO, doing what he loves best, making beautiful music with his fellow musicians.

“I have played in every DSSO Masterworks concert and most of the Pops concerts since I was 17 years old,” Kari said.

He appreciates the human voice as his “favorite instrument,” making some of his favorite concerts to play those with the DSSO Symphony Chorus.

A life-long Duluthian, Kari lived across from Denfeld High School when he was young, and recalls listening to their marching band practicing. “I loved the bass drum, and I thought I might grow up to be a percussionist.”

Dirk Meyer, DSSO Music Director, said, “Ron is one of the most fascinating musicians you’ll ever meet. He knows all the repertoire, from symphonic to operatic. It’s just incredible! And, of course, he can tell you the entire DSSO performance history of any given piece - from memory.”

Instead, Ron began by playing the violin. He acknowledges the wonderful teachers he had along the way who inspired him to make music his life’s work. One of his violin teachers, Beryl Pettigrew, was particularly important to him. Ron has remained good friends with Pettigrew to this day.

Pettigrew was Ron’s orchestra teacher at West Junior High School beginning in 1957 when Ron was a 7th grader. “I could tell that Ron was passionate about music even then and made a point to take him and other students to the DSSO and other concerts.

38 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

Meyer added, ‘I always very much enjoy my work with Ron, be it on the stage of Symphony Hall, or talking to him backstage and in the office. It is rare these days to find someone who is as committed and as knowledgeable about anything, as Ron is about the DSSO.”

MUSICIAN PROFILE

In addition to playing with the Orchestra, Ron has worn many hats with the DSSO including contract negotiator, union steward, proofreader, protector of the archives, keeper of the scrapbooks of old clippings and programs, historian, and coordinator for the Youth Orchestras Program. He has also served on many Boards for a variety of other musical organizations.

“He has helped out with the Youth Orchestras Program ever since I can remember. I grew up in that program and have known him as “Mr. Kari” since I was about 11 years old,” said Kristin Sande, Music Librarian and DSSYO Administrative Assistant.

“I especially enjoy getting to know the students in the Youth Orchestras,” Kari said. He has given private lessons and acknowledges the importance of the upcoming generation of musicians. His advice for them is “keep practicing. Don’t ever give up.”

Laurie Bastian, DSSO’s violin 2 principal, said, “Ron and I shared the same violin teacher, Ed Skwierawski the Denfeld Orchestra Director. I have enjoyed playing with Ron in a number of musical groups in the area, including the Highland String Quartet, Lake Superior Chamber Orchestra, for the LOON opera company, church groups, and now in the DSSO. We have been close friends for many years and love talking about anything and everything.”

Kevin Hoeschen, DSSO’s principal viola, is music stand partners with Ron, who is the assistant principal violist. “Besides playing together in the DSSO, we have also played in the Itasca Symphony, with the Arrowhead Chorale, and for many years for the annual “Nutcracker” with the Minnesota Ballet, among other groups.”

Hoeschen added, “Ron has also long been like another member of my family, often having dinner with us. I always enjoy the talks we have had riding together to rehearsals or concerts.”

“Ron has an incredible memory. He can remember even pieces that the DSSO played in specific concerts years ago. It is amazing!” Hoeschen said.

“Kevin has always been so supportive of me. I really enjoy sitting by him and playing with him in the viola section,” Ron said.

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

Ron has many memories of humorous things happening during rehearsals and concerts including a spider coming down over some orchestra members’ heads, water dripping from a leaky ceiling on his head, and an errant orchestra pit lift that kept going up and down, causing laughter in the audience.

Entering his seventh decade with the DSSO, Ron said with a laugh, “I have no interest in retiring. I will keep playing as long as they want me.”

Ron was honored to receive the Depot Foundation’s Circle of Friends 2016 Arts and Culture Lifetime Artist Award, but modestly said he was surprised because “there are so many other people who deserved it more.”

The Depot event’s program note describing Ron read, “The region couldn’t ask for a more passionate mentor to a new generation of musicians.”

Bastian added,

“Ron’s commitment to the DSSO and his musical expertise have made him a living legend.”

HOW TO DONATE

WAYS TO SUPPORT THE DULUTH SUPERIOR SYMPHONY ORCHESRA

Just as it takes an ensemble to perform the great works of Beethoven, so it takes a collection of individuals to support the work of the Duluth Superior Symphony Orchestra. When you give to the DSSO, you are supporting an organization that is a cultural cornerstone of the Twin Ports region, bringing together the best of our local musicians to entertain, educate and enrich the lives of more than 20,000 individuals each year.

Your ticket purchase tonight was important - but it only covers a quarter of our annual operating expenses.

Individual donors play an important part in helping the Symphony bridge that gap. Each season, gifts from individuals provide more than 60% of our contributed income. That means donations of any size make a big difference and support our efforts to share great music with everyone in the community.

MOST COMMON WAYS TO MAKE A GIFT TO DULUTH SUPERIOR SYMPHONY ORCHESTRA In Person - Come say hello to us at the tables in the lobby. We want to hear your stories about concerts you have enjoyed over the years Call the Office - We are happy to process your donation over the phone and love it when people call.

Donate Online - Give securely by visiting www.DSSO.com/give Mail Us a Check - We know it can be old-fashioned, but our office loves getting mail.

130 W. Superior St Suite LL2 - 120 Duluth, MN 55802

38 DULUTH SUPERIOR SYMPHONY ORCHESTRA 40 D U L U T H S U P E R I O R S Y M P H O N Y O R C H E S T R A

ADDITIONAL WAYS TO MAKE A GIFT: Monthly Giving- Sign up for a monthly donation that can be automatically deducted from your credit card or checking account.

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

IRA Distribution- Make a distribution directly from your IRA to the DSSO.

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

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

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

BUSINESS SUPPORT: The Duluth Superior Symphony Orchestra (DSSO) is proud to be a part of the Twin Ports business community.

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

DSSO CONTRIBUTORS

THANK YOU TO THE FOLLOWING CORPORATE AND INDIVIDUAL CONTRIBUTORS WHO HAVE GIVEN IN SUPPORT OF THE DSSO JANUARY 1, 2020 THROUGH FEBRUARY 1, 2022

MAESTRO ($25,000 and up) The Depot Foundation Jeremy Fryberger Margaret Ames Memorial Fund McKnight Foundation Joseph & Cheryl Meese Minnesota State Arts Board Muriel Whiteside Charitable Trust

PRINCIPAL ($10,000 to $24,999) Charles & Carolyn Russell Foundation Essentia Health Gary & Jacqueline Foley Helena Jackson Lloyd K. Johnson Foundation National Bank of Commerce North Shore Bank of Commerce Pachel Foundation William & Saundra Palmer Arend J. & Verna Sandbulte Janet R. Sklaris St. Luke’s Medical Center Wildey H. Mitchell Family Foundation

GUEST ARTIST ($6,000 to $9,999) Martha Aas Adelaide M. Cline Karl Diekman DSSO Young Composers Fund Duluth-Superior Area Community Foundation

Thomas & Barbara Elliott Michael & Sharon Mollerus Henry & Terry Roberts Robert & Sharon Wahman

FULL CHAIR ($4,500 to $5,999) John Berchild and Kathy The Depot United Campaign Christabel & James Grant Pamella Jacobson Sylvia Jamar Minnesota Power An ALLETE Company James & Kathleen Sanders Brad Schmugge, CPA Dr. James Sebastian

HALF CHAIR ($2,500 to $4,499) Robert & Barbara Bennett Honorable Judge David & Gloria Bouschor Lurene Buhrmann City of Duluth Stephen Cushing Mark Danielson Ruth Ann Eaton Roger & Elaine Engle Harold A. Frederick Beth Gilbert Ruth Johnson Robert Knighton Mark & Grace Monson Vern & Mary Nordling William & Nairi Stack Stack Bros.

Mechanical Contractors Carolyn H. Sundquist

41 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

QUARTER CHAIR ($1,200 to $2,499) Anonymous Bill Anderson Terry & Dr. Vicki Anderson Sandra Barkley Mark & Linda Boben Jeffrey Cadwell Alison Clarke Lester Drewes Margaret Foss Kay & Walter Gower Kay Gustafson Happy Sleeper Mattress Thomas & Joan Hedin Jeremy Hoglund Wayne Holmberg Dr. Glen Holt John Ivey Thomas & Mary Rees Thomas Family Foundation Fund Margaret Joynes Gale & Jeri Kerns Elaine Killen Catherine & Joel Koemptgen Diane M. Kolquist Dennis Lamkin Andre Lamourea Jean & Clark Laundergan Pat Mast Nancy Melander Susan B. Meyer Grace & Mark Monson Tammy Ostrander Gerald & Mary Ann Ostroski Elizabeth Prest Father Andrew Ricci Roberta Vose

CONTRIBUTORS

ACCELERANDO ($600 to $1,199)

ADAGIO ($200 to $599)

John Alexander Judith Bailey Mary Ann Bernard Anne Bier Dawn Boman Angie Bomier Jan Carey Tim Craig Karen Crowell John & Judy Dahl Daniel & Catherine Mundt Charitable Fund Kate Dean R. Craft Dryer Dennis Falk Hilary Godard Mary & Joe Gummerson Mary Holm-Lund Mary Ann & Oliver Houx Linda Jorgenson Carol & Robert Kelley John Kemp Carol & Paul Knuti James Lampi John Magdsick Elisabeth C. Mason Thomas McCabe Lloyd McCormick Janet Murphy Heather A. Muster Judith A. Newman David J. Ouse Dean Peterson & Deborah Rausch Susan Relf M.D. Kathleen Risku Branden Robinson Gerald & Karen Ruona Tobin Sobaski Dr. Jon Stephenson James H. Stewart Tim Stratton Anita Swanson Rajiv Vaidyanathan Gudrun & Geoffery Witrak Geiger & David Yount

Jerry Ackerman Janet Akervik John Ameel Evelyn M. Anderson Paul Anderson Richard Anderson Allen Anway In Memory of Dorothy Anway Beth Arnson Bianca Aspin Linda Backman Leonore Baeumler Lee Ball Connie Barnabee Thomas Barratt Anthony Barrett Susan Bathory Lois Bauer Daniel Bergeland Gary & Sue Berggren Loren Bergstedt Jan Biga Kay Biga Samuel & Kathy Black Diane Boris Wendy & John Buczynski Maryjane Burdge Audrey Butts Ronald Caple Jean & Sharon Captain Jay Carlsgaard David Carroll Nancy Carroll Citon John Congdon Rodger & Penny Cragun Jerry Curnow Cheryl Dartanyan Laura Davis Kathleen Desanto Carol & Michael Donahue Paul Eckhardt Dr. Philip & Julie Eckman Paul Enenbach Gerald & Barbara Erickson Rondi Erickson

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

Margaret Fawcett Martha Firling Flint Group In Memory of Donn Larson Claudia French Patricia Gannon Gregory R. Garmer Geoffrey Gates Mary Gdula Debra Gergen Jane Gilley Tom Goar Mary Godfrey Robert & Susan Goodin Karen Gran Christabel & James Grant In Memory of Laura Budd Carlton Gustafson Mary K. Hagen Edwin & Sherry Hall Kathleen Haney Hope Heikkinen Lois & Bob Heller Shirley Herman Joyce Hickman Bob Hjort Jill Hoag Ann Hockman Timothy Horyza Mamie Hughes Kenneth Jackson Dan Jaeckel In Memory of Mae Peterson Sylvia Jamar In Memory of Charlotte Moyer James Jarocki Julie & Clyde Johnson Ronald Kari In Memory of Mary Donahue, LeAnn House & Jean Klun Danette Kealey Beth Kelly Pat Kruschke Katherine A. Kuettel Sharon Layon

CONTRIBUTORS

Charlie & Jean Leibfried In Honor of Thomas Donahue & in Memory of Mary Donahue Gary Loberg Paul Lokken Ann Mars Dean McCall Gary and Darla Meier Betty Melde Mark Melhus Dirk & Paula Meyer Julie Michels Norma Miles William & Stephanie Miller Wende Morrell Katherine Munck Susan Nelson Barbara L. Olson Ione Olson Terry Olson Margaret Oman Bonnie Pass James Pavlek Barb & Noel Pearman Judy G. Pearson Mary Planten-Krell Deborah J. Rasmussen Kenneth Rausch Suzanne Rauvola Mary Pat Renaud Paul Rigstad Mardy Rodman Michael & Betsy Rosenzweig Rebekah Rud Terri L Sabby Karen Sande Nichole & Jeffrey Schaefer John Schilling Laurie Severson Dr. Tom Shuey Kay Slack Cindy S. Spillers Nadine Srdar St. Scholastica Monastery Paul Stein Thom & Cindy Storm Kay Suffron Richard Swenson In Memory of Bill Moser

Kathleen Thibault Andrew Thompson Thrivent Financial Sharon L. Torrison In Memory of David Vose & Don Niemi Lucas Trea Tiss Underdahl Mary Wagner Zbaracki Sheldon & Susan Watts Pat Wellberg Claudia Welty Elaine Wickstrom Julia Williams Cathy & Kirby Wood Jessica Woodward Lavan Helyn & Jay Woolf

TEMPO (up to $199) Richard Abel Erin Abramson Patricia M. Anderson In Memory of Ralph Andres Gina Ademino Monica Ademino Pete Ademino Anonymous In Honor of Char & Bernie Nem John J. Agacki Andrea Agar Cigale Ahlquist William Alexander Brad Alm Gwendolyn Anderson Kathleen Antilla Judith Arnold Thomas Barthell Carla Bayerl Benevity Fund Roy & Nadine Berg William Berglund In Memory of Ralph Andres Cynthia Betzler Damita Beyer David & Karen Bjorkman

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

Ronald Blaisdell William Blank Charles Block Gary Boelhower Kathy Bomey Amity Borden In Memory of Beverly Wipson Kathleen Bray John Bredeson Paula Buchanan Mary Ann Campbell Craig S. Carlson Joann Carmack In Memory of Mae Peterson Lea Carr In Memory of Martin Lee Center for Muscle & Joint Therapy Mary Ann Churchill Roger Congdon Natalie Constance Kathy Coughlin Ruth Cox In Memory of Ralph Andres William & Kathy Croke Catherine Dahlberg Coralee J. Danielson Alan & Cheryl Dartanyan Dorothy Dayton Diane Desotelle Karen L. Dingle Tom Donahue In Memory of Anne & Daryl Leibfried Jeanne Doty Mary Dragich Jacob Dunlap David Eichman Ronald A. Ellefson Jeff Elliott In Memory of Laura Budd Paul Engebretson Claudia Engelmeier In Memory of Martin Lee

CONTRIBUTORS

Geraldine Erickson In Memory of Ralph Andres Jeanne Erickson Russell Erickson Heather Fails Marie Fegley Connor Filipi Marjorie Fisher David Flemming Julie A. Ford Ernie Forgach Tammy Francois Diane Dinndorf Friebe Donald & LouAnne Gaalaas Michael Galeski Gary Gange Eileen Gannon In Memory of Ralph Andres Sandra Gazdus John Gibbs Kay & Walt Gower In Memory of Mae Peterson, Charlotte Moyer & Laura Budd Della K. Graham In Memory of Roger Richards Richard Gran Betty Green Sarah Greer Sarah Grosshuesch Diane Hadrich In Memory of Martin Lee Jean & Larry Hammargren Keith Hamre Martha Han Lynne Harrington Hall Roger Hartley & Sandra Lumen In Memory of Martin Lee Mark Harvey In Memory of Lucille Harvey David Helf Kathy Heltzer Robert Hendrickson

Melissa Hendrickson In Memory of Ralph Andres Thomas Henning Christine Hensolt Jill Hilliard Gwen Hoberg Mary Hoberg Lisa Hoch Karen Hoeschen Kevin & Carol Hoeschen Sister Kathleen Hofer Karen B. Holden Sara Hollingsworth Katherine Houglum Laura Howland Patrick Hughes Rita Hughes Lisa Hultstrom Patrick Hunt Elizabeth Jacobson Debra Jensen Mary & Donald John Reverend Mark R. Johnson Matthew Johnson Otto Johnson Barbara Johnson-Kim Marissa Kari Karen Keenan Lori Kersey-Dukat Robert Kidd Jane Killough In Memory of Mae Peterson Andrew Kim Richard Kivela Milka Kleiner Rachel Krajewski Dr. James Krook Damien Kujawa Dr. Jerome Kwako Cot Lafond Barb Lamaster Catharine Larsen Catherine A. Larson Jean Larson Thomas Ledin Jessica Leibfried Melissa Lentz Deann Letourneau

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

Beth Liljeblad Michael Lillo Michael Lucas Joanne Ludwig Joyce Lund Charlie Lydon Karen Maack Younggren Judy MacGibbon Ruth MacNutt Hannah Maki Cindy Martinson Rachel Z. Mason Monica Mattila In Memory of Mae Peterson Susan McKim Karen McManus Nancy McParlan Nancy Melander In Memory of Laura Budd Carol Michealson Alice Michels Patricia Miller Karen Morehouse Tom Morehouse Tom Morgan Nora Moss Kelly Mraz Brittany Muhlenkort Karen Munnelly Bob Myers Molly Negus David Neustel Benjamin Nilles Vern Nordling In Memory of Ralph Andres Emily Nygren George H. Nylander Nancy Odden In Memory of Mae Peterson William & Sa Palmer In Memory of Saundra Susan Poupore & Carl Victor Peterson Gretchen A. Patten In Memory of William Moser

CONTRIBUTORS

Kristina Pederson Ann Pellman Linda Peplinski Kenrea Perell In Memory of Lori Skog-Gourley Marylou Perham Louann Petersen-Noltner Glenn & Erna Peterson Jack Place Ron Prasek Carol Prohaska Kim Quinones Kurt Ramlo Lance Reasor Elaine Robar Sheryl Robins Delores Rogers Patty Salo Downs Eileen Sandahl Timothy Sandor Dean Sandstrom Steve Savageau Paul Scaringi Jacalyn Schlies Paul R. Schmitz Theodore A. Schoen Dr. Penny Schwarze Laila Seidakhmetova Jack Seiler Helen Sever Coleman S.H. Reier Sjomeling Richard & Barb Skogg Lane Smith Phyllis Smith Beth Sobczak Carrie Slordal In Memory of Ralph Andres Lawrence Spears Christina St. Germaine Harlan W. Stech In Memory of Victoria Luepke Craig & Sandy R. Sterle Steve Sternberg Katie Stevenson

Thom Storm Clifford Storr Scott Sueker Mary Tennis Ruth Thorpe In Honor of Vincent Osborn, In Memory of Barbara Rae Amlotte Steve Tomhave Shelby Trost Brenda Uecker In Memory of Ralph Andres Uniprise / UnitedHealth Group University UMC Jeff Urbaniak Brandon VanWaeyenberghe Leanne Ventrella Roberta Vose In Memory of Laura Budd, Dorothy Anway & Thomas Stolee Jennifer Wabrowetz Dr. Margaret Waisman Jori Walt Sarah Warner Carol & Mark Weitz Western National Bank, Stephen Lewis In Memory of Laura Budd, Dorothy Anway & Thomas Stolee James Westman Linda Wick Margaret Wilson In Memory of Mae Peterson Ruth Winters In Honor of Kathleen Winters Amity Wipson In Memory of Beverly Wipson Susan Wittkopf Marcia Wolter Britton In Memory of Mae Peterson

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

Yasuyo Yamazaki Paul Zahorosky James & Mary Zastrow In Memory of Laura Budd Marion R. Zbaracki In Memory of Mae Peterson

IN MEMORY Our hearts go out to the family and friends of the following DSSO patrons and musicians who passed in 2020/2021. *This list represents those we have been made aware of through Memorial Gifts.

Ralph Anderson John Hussey LeAnn House Jean (Kelly) Klun Martin Lee William Moser Terrence Rust Janet (McEldowney) Smith Taavo Virkhaus Barbara (Amlotte) Ziehl

DSSYO CONTRIBUTORS

DSSYO CAMPAIGN Thank you to the generosity of those who gave in support of the youth musicians of the Duluth Superior Symphony Youth Ensembles.

Anonymous Martha Aas Janet Akervik John Alexander Jody Anderson Mary Anderson Allen Anway Allan Apter Leonore Baeumler Lee Ball Connie Barnabee Thomas Barthell John Berchild Jr. Damita Beyer Jan Biga David & Karen Bjorkman Jill Blazevic Mr. David Blomberg Linda Boben Angie Bomier Kathleen Bray Jean Brozic Lurene Buhrmann Jeffrey Cadwell Ronald Caple Jay Carlsgaard Craig S. Carlson Lea Carr Jeanne Carroll Cathy Casper Cecilians Society Terrence Clark John Congdon Gwyn Curran Stephen Cushing Martyn Dahl Thomas Dahlberg Kate Dean Mary Donahue Michael Donahue Jeanne Doty R. Craft Dryer Nancy Eaton Paul Enenbach Sue Fena Peg Ferguson Kayla Foley Donald Gaalaas Elizabeth Gaalaas Michael Galeski John Gibbs Beth Gilbert

Neil Glazman Mary Godfrey Steve Grove Ann Gumpper Linda Haagensen Mary K. Hagen Elizabeth Hall Martha Han Lynne Harrington Hall Ellen Hedin Rose Heldt Barbara G. Hemenway Joyce Hickman Jill Hilliard Bob Hjort Jill Hoag Mary Hoberg Lisa Hoch Karen Hoeschen Kevin Hoeschen Sheryl Homan Robert D. Howe Inter City Oil Co., Inc. James Jarocki Jenny Jensen Charles Johns Ellis Johns Mary A. Johnson Patricia Johnson Barbara Johnson-Kim Scott B. Kellett Carol & Robert Kelley John Kemp Gale & Jeri Kerns Elaine Killen Robert Knighton Dorothy Knudsen Diane M. Kolquist Carol Kondrath Pat Kruschke Katherine A. Kuettel Andre Lamourea J. Clark Laundergan Sharon Layon Thomas Ledin Paul Lee Jean Leibfried Michael Lillo Bonnie Lloyd Gary Loberg Paul Lokken Jean Loushin

46 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

Lai La Lunde Charlie Lydon John Magdsick Lisa Mandelin Ann Mars Ellen P. Marsden Cindy Martinson Rachel Z. Mason Clinton Mattson Dean McCall Nancy McParlan Nancy Melander Dirk & Paula Meyer Norma Miles Pam Moore Wende Morrell William Moser Nora Moss Sally Munger Joann M. Narhi Kathleen Nelson Judith A. Newman North Shore Bank of Commerce Nancy Odden Alan Onken Vincent Osborn Korrie Osthus Mark Ostrov Laurie Ostrowski David J. Ouse Gerald Patten Ann Pellman Marylou Perham Louann Petersen-Noltner Janet Peterson Sharon Picconatto Mary Planten-Krell Therese Presley Elizabeth Prest Daniel Radosevich Lance Reasor Mary Pat Renaud Jack Renick Delores Rogers David Rossetter Gerald & Karen Ruona Karen Sande Richard Sandeen Carol Saranpaa Nichole Schaefer Carrie Scherer

Theodore A. Schoen John Schrock Deb Schroeder Doug Scott Jack Seiler Judy Seliga-Punyko Helen Sever Dr. Tom Shuey Sheila Shusterich Mark T. Signorelli Daniel N. Skorich William Slack Amelia Smith Phyllis Smith Nairi Stack Irving Steinberg David Steininger Craig & Sandy R. Sterle Rebecca Strand Tim Stratton Carolyn H Sundquist D.V.M. Superior Animal Hospital & Boarding Suites, LLC Nick Susi Claryce Swenson Mary Tennis Kathleen Thibault Adrienne Thureen Sharon L. Torrison Lucas Trea Shelby Trost Donna Trostad UMD Dept of Music University of Wisconsin-Superior Jeff Urbaniak Therese Vaughn Roberta Vose Mary Voss Jennifer Wabrowetz Sheldon Watts Claudia Welty Stan & Mona Wold Georgette Wondolkowski Cathy Wood Suzanne Zallar James & Mary Zastrow Lee Zimmerman

TAKE A BOW, SPONSORS

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

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

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 47 DULUTH SUPERIOR SYMPHONY ORCHESTRA

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RETURN TO HARMONY 2021-2022 Season

A JOYOUS NOISE

October 23, Ely & October 24, Virginia

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A JOYOUS NOISE

AAprilMUSICAL JUBILEE 23, Virginia & April 24, Moose Lake 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

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See the whole picture Weis Eye Center is the only Practice in the Northland to offer blade-free z-Lasik surgery.

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Hardworking.

Sensible.

Risk-averse.

Like founder. Like fund.

Curt Teberg is a no-frills type. He scours for deals, drinks his coffee black and thinks before he acts. The same goes for his fund. Instead of jumping from trend to trend, The Teberg Fund is navigated by Curt and his 30 years of experience in studying mutual funds and market patterns.

Don’t invest in just anything. Invest in life.

For information about the Fund, contact Curt Teberg at 218-722-8248 or visit TebergFund.com.

5161 Miller Trunk Highway, Duluth, MN 55811 TEBRX on the Nasdaq

The Fund’s investment objectives, risks, charges and expenses must be considered carefully before investing. The prospectus contains this and other important information and may be obtained by calling 866-209-1964 or visiting www.tebergfund.com. Read it carefully before investing. Mutual fund investing involves risk; principal loss is possible.

The Teberg Fund is distributed by Northern Lights Distributors, LLC, member FINRA/SIPC. 3625-NLD-8/21/2017

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