An die Musik Oct 1 - Nov 10, 2023

The Arts Partnership is a strategic alliance between the four organizations that regularly perform on the Ordway stages. Together, the Arts Partners manage the Ordway facility, collaborate on joint programming and share resources to provide a world-class venue and exceptional artistic

programming for approximately 300,000 people annually. The work of the Arts Partnership is supported by donors to the Arts Partnership Annual Fund. We extend a sincere thank you to the following contributors to this fund for the 2022–2023 fiscal year.

Doug Affinito

Hugh J. Andersen Foundation

Mark Anema and Kate Ritger

Anonymous

Nina Archabal

Karen Bachman

Jo and Gordon Bailey

Lynne and Bruce Beck

Kay and Rick Bendel

John and Inez Bergquist

Stephen and Margaret Blake

Susan Boren King

Boss Foundation

Dr. Arnold and Judith Brier

Amanda and Michael Brinkman

Ronnie and Roger Brooks

Christopher Brown

Keith Bryan and Lisa Becchetti

Anne L. Cheney and W. Stuart Mitchell, Jr.

Becky and Brian Cline

Annette Conklin

Benjamin and Laura Cooper

Joanna and Richard Cortright

Ellie Crosby - Longview Foundation

Kent and Dee Ann Crossley

Mary Cunningham

Erin Dady

Sheldon Damberg

Jay and Becky Debertin

Dellwood Foundation

John and Karen Diehl

Mike and Leah Dixon

Rick and Murph Dow

Patricia Durst

Ecolab

Vicki and Chip Emery

Anna Marie Ettel *

Richard and Adele Evidon

FEG Advisors

Doug and Karen Flink

Catherine Furry and John Seltz

Clea Galhano

Patrick Garay-Heelan and Erin Heelan

Judith Garcia Galiana and Alberto Castillo

Bonnie Grzeskowiak and Terry Wade

Dorothy J. Horns and James P. Richardson

Ruth and John Huss *

Phyllis Rawls Goff

Mark and Diane Gorder

Mark Gordon and Anne Zweibel

Kathy Gremillion

Laura E. Halferty *

Hardenbergh Foundation

Christopher Harrington and Shariska Petersen

Mr. Rickie Harris and Dr. Donna Harris

Paul Harris

HGA

Amy Hoffman

Brian Horrigan and Amy Levine

Anne Hunter

Ann Huntrods

Eric and Elizabeth Jolly

Lucy R. Jones and James E. Johnson

Ann Juergens and Jay Weiner

The Art and Martha Kaemmer Fund of HRK Foundation

Erwin Kelen

Barry and Cheryl Kempton

Kyle Kossol and Tom Becker

Bob Kriel and Linda Krach

Randall and Rachel Kroll

Anne Kruger

David and Laurel Kuplic

Gregory and Darla Landmark *

John and Karen Larsen

Mary and Barry Lazarus

Robert L. Lee and Mary Schaffner

Seth Levin and Mia Nosanow

Jon and Patty Limbacher

Jeff Lin and Sarah Bronson *

Eric and Mary Lind

Pete and Bebe Magee

Mairs & Power, Inc.

Matt Majka

Michael and Cynthia Manns

Franck and Amy Marret

Laura McCarten

Jeninne McGee

Patricia Mitchell

Alfred P. and Ann M. Moore

David and Leni Moore

Elizabeth Myers †

Peter and Karla Myers

Mary Nease

Richard and Nancy Nicholson *

Diane Nixa and Kurt Hochfeld

John Nuechterlein

Gayle and Tim Ober

Patricia O’Gorman

Robert M. Olafson

John and Marla Ordway *

Ordway Garden Gala - Forever Neverland

Nancy C. Orr

Deborah Palmer and Kenneth Rich

Jonathan Palmer

Bill and Anne Parker

Dan Pennie and Anne Carayon

David and Diane Lilly

- Peravid Foundation *

Jose A. Peris and Diana Gulden

Janet Peterson

Jason and Kate Piehl

Nic Pifer and Amy McNally

Barton and Kimberly Reed

Karl Reichert and Reynaldo Diaz

Carleen Rhodes and Byron Gilman

Barbara and John Rice

John Riehle and Peg Lindlof

David and Linda Rosedahl

Jack and Marty Rossmann

Kennon Rothchild

Christine Sagstetter

Bill and Susan Sands

Schnieders Family Foundation

Christian and Mary Schrock

Securian Financial

Kim Severson and Philip Jemielita

Laura Sewell and Peter Freeman on behalf of The Sewell Family Foundation

Nadege Souvenir and Joshua Dororthy

Missy Staples Thompson and Gar Hargens

Ed and Virginia Stringer

Carley and Bill Stuber

Andrew Sun

Kay Savik and Joe Tashjian

Ryan Taylor

Anthony Thein

Jill and John Thompson *

Beth Toso and Eric Freeburg

Travelers

Paul and Amy Vargo

Natalie Volin Lehr

Carlton Voss

Michael Walsh and Maureen A. Kucera-Walsh

Dobson and Jane West

Nancy and Ted † Weyerhaeuser

Tim Wicker and Carolyn Deters

Lani Willis and Joel Spoonheim

John W. Windhorst, Jr.

Justin Windschitl and Dustin Schmidt

Eric Won

Brad and Colleen Wood *

Margaret Wurtele

† In remembrance

*The Arts Partnership Fund is also supported by a portion of the proceeds from the Ordway Garden Gala. Deepest thanks to these donors for their additional major support of the 2023 Gala Fund-a-Need.

An die Musik

October 1 – November 10, 2023

TABLE OF CONTENTS

Artistic & Executive Director and President's Welcome

Ariel Quartet with Orion Weiss, piano

All Concerts FREE for Kids and Students

Jean-Yves Thibaudet, piano Lisa Batiashvili, violin Gautier Capuçon, cello

Announcing the 23–24 Courtroom Concert Season

Accordo • October 23, 2023

Schubert Club Annual Contributors: Thank you for your generosity and support

Schubert Club Officers, Board, Staff, and Advisory Circle

Schubert Club Ticket Office: 651.292.3268 • schubert.org

Schubert Club 75 West 5th Street, Suite 302 Saint Paul, Minnesota 55102 schubert.org

Cover Image:

Jean-Yves Thibaudet © Elisabeth Caren

Lisa Batiashvili © Chris Singer

Gautier Capuçon © Anoush Abrar

Schubert Club, a member of the Arts Partnership, is committed to creating a welcoming, safe and inclusive environment at all performances and programs for people from all backgrounds and life experiences.

Thank you for treating one another with respect, dignity and kindness.

You are welcome here.

For more details, as well as upcoming events throughout the season, please visit schubert.org

Welcome to the new Schubert Club season!

We are delighted to have the opportunity to experience glorious music and outstanding artistry with you this Fall. In the month of October alone, we are excited to welcome extraordinary guest artists like pianist Jean-Yves Thibaudet who returns to the Ordway stage with Lisa Batiashvili and Gautier Capuçon with a program of piano trios by Haydn, Ravel and Mendelssohn. The Ariel Quartet opens Music in the Park Series, with Orion Weiss joining them to play the Shostakovich Piano Quintet; the ever-popular ensemble Accordo play string quartets by Dvorak and Shostakovich together with a Bach Sonata for Keyboard and Violin; and we welcome British a cappella choir Stile Antico to perform a program of music by William Byrd at Landmark Center to open the 23–24 Schubert Club Mix series.

If you didn’t hear our news already, students and young people ages 6-17 may attend any Schubert Club concert free this year. If you know students or parents or grandparents who might be interested, please help spread the word! In addition, we are launching a new club specifically for students, Connections. Connections will offer opportunities for students to gather with peers, and to discover and celebrate music together. There’s a sign-up page on our website.

One other change for this season. Following David Evan Thomas’s retirement from giving live pre-concert talks in the Ordway prior to International Artist Series performances, we are introducing “IAS Concert Insights,” short pre-recorded video presentations sharing program insights compiled by our friend Mark Bilyeu. These will be available to watch online one week before each International Artist Series performance. Note that pre-concert conversations at Music in the Park Series concerts hosted by Barry Kempton, remain live events at 3:00pm on concert days.

Barry Kempton Artistic & Executive Director

Laura McCarten President

NEW THIS SEASON

International Artist Series

Concert Insights

Hosted by Mark Bilyeu

Pre-concert informational videos, available one-week prior to all International Artist Series concerts watch at schubert.org/ias

Jean-Yves Thibaudet, piano

Lisa Batiashvili, violin

Gautier Capuçon, cello

Tue, Oct 17, 2023 • 7:30 PM

Music Theater

Miloš, guitar

Sat, Nov 18, 2023 • 7:30 PM

Sun, Nov 19, 2023 • 3:00 PM

Concert Hall

Víkingur Ólafsson, piano

Tue, Jan 30, 2024 • 7:30 PM

Wed, Jan 31, 2024 • 10:30 AM

Concert Hall

Golda Schultz, soprano

Jonathan Ware, piano

Wed, Apr 10, 2024 • 7:30 PM

Music Theater

Daniel Hope, violin

Simon Crawford-Phillips, piano

Thu, Apr 25, 2024 • 7:30 PM

Fri, Apr 26, 2024 • 10:30 AM

Concert Hall

Sunday, October 1, 2023, 4:00 PM

Saint Anthony Park United Church of Christ

Pre-concert conversation one hour before the performance

ARIEL QUARTET WITH ORION WEISS, PIANO

Gershon Gerchikov, violin Jan Grüning, viola Alexandra Kazovsky, violin Amit Even-Tov, cello • •

American Dream: Unannounced works and movements by Walker, Porat, Bartók, Price and others

“We chose to leave the first half of the program unannounced as a metaphor for how we aspire to see others and be seen – freed from prior judgment and labels, simply experienced for who we are and what we can share with others.”

- Ariel Quartet

Intermission

Piano Quintet in G Minor, Op. 57 (1940) Dmitri Shostakovich (1906–1975)

Prelude: Lento

Fugue: Adagio

Scherzo: Allegretto

Intermezzo: Lento

Finale: Allegretto

PLEASE SILENCE ALL ELECTRONIC DEVICES

American Dream

“Our journey in the USA is now spanning more than two decades. We came from Israel and Germany, with roots in Russia and Eastern and Western Europe, and our path in this country was transformative. Arriving here as students we recently completed the long-awaited transition from being Aliens to becoming Residents.”

“The question of identity is often at the heart of the immigrant’s experience, and so was the case for generations of artists, creators, and composers who settled in this country. Their work and our connection to it have become a central point of interest to us in the last few years, and especially during and following the difficult years of the pandemic. The disproportionate devastation COVID-19 brought upon vulnerable communities, the wave of police killings of members of the Black community, the violence towards the Asian community, all made us question our openness as a society and confront our own biases and cultural blind spots.”

“This program is a result of our exploration into the musical voices that evolved as a consequence of the composers’ experiences in the United States. We’ll journey into works by Americans, visitors, and immigrants, representing different cultures and backgrounds, from various parts of the world. What they share is the pursuit of their unique version of an American Dream. It is the musical wonders we picked up on this journey that we want to share with you this evening.”

“We chose to leave the first half of the program unannounced as a metaphor for how we aspire to see others and be seen – freed from prior judgment and labels, simply experienced for who we are and what we can share with others.”

- Ariel Quartet

From left: Matan Porat, Florence Price, Béla Bartók, George Walker

Piano Quintet in G Minor, Op. 57 (1940)

Dmitri Shostakovich

(b. Saint Petersburg, 1906; d. Moscow, 1975)

When Shostakovich wrote his Piano Quintet in 1940, Nazi Germany was marching eastward through Poland and war with the Soviet Union seemed inevitable. On a personal level, Shostakovich had been denounced four years earlier, by Stalin himself over his opera Lady Macbeth, so the immediate success of the Piano Quintet was a great relief to him. This was reinforced a year later when the piano quintet was awarded the inaugural Stalin Prize for Composition, accompanied by a 100,000 ruble prize. This is often cited as the largest sum ever awarded for a chamber music work, yet Shostakovich promptly handed over the money for the benefit of his fellow Muscovites during the war.

As an emerging composer, Shostakovich had been hyped as the great musical hope of the young Soviet Union, the first composer trained entirely under the new Soviet system. But after the Lady Macbeth incident, his relationship with the government officials of the Association of Composers was often rocky. Following Stalin’s denouncement and his public humiliation, Shostakovich obsessed over getting the dreaded knock on the door in the middle of the night, followed by a generous “sabbatical” at a Siberian gulag, never to be seen again. This happened to quite a few of his friends, relatives, fellow composers, and writers. As a result, he always carried a toothbrush and a bar of soap in case he was hauled off unexpectedly by the secret police.

As such, Shostakovich spent his entire professional life walking a tightrope over the sharkfilled waters of the Soviet cultural authorities who were always on guard for artists who displayed “western, formalist, elitist tendencies” (whatever that means). This constant (and very real) threat exacted a terrible toll on Shostakovich, who was chronically depressed, anxious and in ill health. He spoke in a nervous and shaky voice. He slept poorly. Polio struck him as an adult and crippled his right hand, ending his days as a performing pianist.

To survive artistically, Shostakovich maintained a clever balancing act, writing earthy, populist music that could appeal to the less sophisticated listener, while hidden on the inside—at great risk to himself and his family—were statements of harsh dissent, cleverly camouflaged to fool the government censors. It only became clear after his death how much he despised the oppression of the Soviet system and the people who ran it. Shostakovich spent his entire life trying to serve two masters, without entirely selling his soul.

The Piano Quintet though, does not harbor hidden messages, but is instead refreshingly direct, and unpretentious, providing easy access for the listener. A glance at the movement titles reveals that he was experimenting with older styles, in this case the baroque era and the composer he admired most, J.S. Bach, and his keyboard preludes and fugues.

The piano opens with a proud, exclamatory theme that invites a full-throated response from the strings, ending quite unexpectedly in a glorious G major cadence. After dispensing with the solemn introductions, Shostakovich begins the Prelude proper, now in a simpler, more intimate voice.

The Fugue that follows is not the fast, virtuosic fugue one might expect, but rather, one in slow motion, as if time stands still. The entry of each new voice is like another brick in a slowly-building wall of sound, a process that generates enormous musical tension. Just as gradually, the intensity dies away, before fading away on the breeze.

The Scherzo changes moods completely, depicting a raucous village fair, with a demonic, driven energy, a movement that is often reprised as an encore. The Intermezzo functions as the work’s slow movement, a poignant, often mournful tale that concludes optimistically, a perfect segue (without a pause) to the finale, that is lighthearted, even humorous at turns. Shostakovich clearly wanted to leave a smile on everyone’s face.

Program note © 2023 by Michael Adams

ARIEL QUARTET

Distinguished by its virtuosity, probing musical insight, and impassioned, fiery performances, the Ariel Quartet has garnered critical praise worldwide for more than twenty years. Formed when the members were just teenagers studying at the Jerusalem Academy Middle School of Music and Dance in Israel, the Ariel was named a recipient of the prestigious Cleveland Quartet Award, granted by Chamber Music America in recognition of artistic achievement and career support. The Quartet serves as the Faculty Quartet-in-Residence at the University of Cincinnati’s College-Conservatory of Music, where they direct the chamber music program and present a concert series in addition to maintaining a busy touring schedule in the United States and abroad.

Recent highlights include the Ariel Quartet’s Carnegie Hall debut, a series of performances at Lincoln Center together with pianist Inon Barnatan and the Mark Morris Dance Group, as well as the release of a Brahms and Bartók album for Avie Records. In 2020, the Ariel gave the U.S. premiere of the Quintet for Piano and Strings by Daniil Trifonov, with the composer as pianist for the Linton Chamber Music Series in Cincinnati.

In their 2023-24 season, the Ariel Quartet presents performances of an anniversary commission by Matan Porat. A longstanding friend of the Ariel Quartet, Matan Porat’s new work is a universally relatable journey about the complexities of string-quartet-life over the years. Upcoming performances include ones for the Aspect Chamber Music Series, Perlman Music Program, Amelia Island Chamber Music Festival, Charleston Chamber Music Society, and the Chamber Music Society of Central Kentucky.

The Quartet has dedicated much of its artistic energy and musical prowess to the groundbreaking Beethoven quartets and has performed the complete Beethoven cycle on five occasions throughout the United States and Europe. The Ariel Quartet regularly collaborates with today’s eminent and rising young musicians and ensembles, including pianist Orion Weiss, cellist Paul Katz, and the American, Pacifica, and Jerusalem String Quartets. The Quartet has toured with cellist Alisa Weilerstein and performed frequently with pianists Jeremy Denk and Menahem Pressler. In addition, the Ariel served as Quartet-inResidence for the Steans Music Institute at the Ravinia Festival, the Yellow Barn Music Festival, and the Perlman Music Program, as well as the Ernst Stiefel String Quartet-in-Residence at the Caramoor Festival.

Formerly the resident ensemble of the Professional String Quartet Training Program at the New England Conservatory, from which the players obtained their undergraduate and graduate degrees, the Ariel was mentored extensively by acclaimed string quartet giants Walter Levin and Paul Katz. It has won numerous international prizes in addition to the Cleveland Quartet Award: Grand Prize at the 2006 Fischoff National Chamber Music Competition and the Székely Prize for the performance of Bartók’s String Quartet No. 4, and Third Prize at the Banff International String Quartet Competition. About its performances at the Banff competition, the American Record Guide described the group as “a consummate ensemble gifted with utter musicality and remarkable interpretive power” and noted, in particular, their playing of Beethoven’s monumental Quartet in A Minor, Op. 132, as “the pinnacle of the competition.”

The Ariel Quartet has received significant support for its studies in the United States from the American-Israel Cultural Foundation, Dov and Rachel Gottesman, and the Legacy Heritage Fund.

Most recently, they were awarded a grant from the A.N. and Pearl G. Barnett Family Foundation.

For further information visit www.arielquartet.com

Ariel Quartet © Marco Borggreve

ORION WEISS

One of the most sought-after soloists and chamber music collaborators of his generation, Orion Weiss is widely regarded as a “brilliant pianist” (The New York Times) with “powerful technique and exceptional insight” (The Washington Post). With a warmth to his playing that reflects his engaging personality, Weiss has dazzled audiences with his passionate, lush sound and performed with dozens of orchestras in North America including the Chicago Symphony, Boston Symphony, Los Angeles Philharmonic, and New York Philharmonic.

Recent seasons have seen Weiss in performances for the Lucerne Festival, the Denver Friends of Chamber Music, the Chamber Music Society of Lincoln Center, the Kennedy Center’s Fortas Series, and the 92nd Street Y, and at the Aspen, Bard, Ravinia, Seattle, and Grand Teton summer festivals, among others. Highlights also include his third performance with the Chicago Symphony Orchestra, a live-stream with the Minnesota Orchestra, a performance of Beethoven’s Triple Concerto with the Saint Paul Chamber Orchestra, the release of his recording of Christopher Rouse’s Seeing, and recordings of Gershwin’s complete works for piano and orchestra with the Buffalo Philharmonic Orchestra and JoAnn Falletta.

Known for his affinity for chamber music, Weiss performs regularly with violinists Augustin Hadelich, William Hagen, Benjamin Beilman, and James Ehnes; pianists Michael Brown and Shai Wosner; cellist Julie Albers; and the Ariel, Parker, and Pacifica Quartets. As a recitalist and chamber musician, he has appeared across the United States at venues and festivals including Sheldon Concert Hall, the Broad Stage, Seattle Chamber Music Festival, La Jolla Music Society SummerFest, the Schubert Club, Chamber Music Northwest, Bridgehampton Chamber Music Festival, and Spivey Hall.

Weiss can be heard on the Naxos, Telos, Bridge, First Hand, Yarlung, and Artek labels in recordings such as The Piano Protagonists with The Orchestra Now led by Leon Botstein; Scarlatti’s Complete Keyboard Sonatas; a disc of Bartók, Dvorák, and Prokofiev; Brahms Sonatas with violinist Arnaud Sussmann; a solo album of J.S. Bach, Scriabin, Mozart, and Carter; and a recital disc of Rachmaninoff, Beethoven, Schumann, Massenet, and Piatigorsky with cellist Julie Albers.

His career honors include the Classical Recording Foundation’s Young Artist of the Year, Gilmore Young Artist Award, an Avery Fisher Career Grant, the Gina Bachauer Scholarship at The Juilliard School, and the Mieczyslaw Munz Scholarship.

A native of Ohio, Weiss attended the Cleveland Institute of Music and made his Cleveland Orchestra debut performing Liszt’s Piano Concerto No. 1 in 1999. The next month, with less than 24 hours’ notice, Weiss stepped in to replace André Watts for a performance of Shostakovich’s Piano Concerto No. 2 with the Baltimore Symphony Orchestra and was immediately invited to return later that year. In 2004, he graduated from the Juilliard School, where he studied with Emanuel Ax. In 2005, he toured Israel with the Israel Philharmonic Orchestra conducted by Itzhak Perlman. That same year, he made his New York recital debut at Alice Tully Hall, and his European debut in a recital at the Musée du Louvre in Paris.

Learn more www.orionweiss.com

Orion Weiss © Lisa-Marie Mazzucco

NEW THIS SEASON!

All Concerts Free For Kids & Students!

Starting in the 2023-2024 season, kids ages 6–17, as well as students of any age with a valid student ID, can attend any Schubert Club concert free of charge! Adult ticket holders may purchase up to 4 free kids tickets per paid adult ticket. Students may reserve up to 4 free student tickets per order.

Schubert Club is dedicated to cultivating a passion and appreciation for music in our community. We believe that the joy and beauty of music can enrich and transform the lives of all people and be a vehicle for strong fellowship, service, and partnership with the communities in which we live. With this new initiative, we hope to expand access to the arts for young audiences, building on our commitment to making everything we do accessible to young people and families.

In addition, we are excited to announce the launch of Schubert Club Student Connections, a new free club for students to deepen their connection with Schubert Club beyond the concert experience. Student Connections will offer opportunities to gather with peers, and to discover and celebrate music. Students are eligible to join starting in 7th grade, up to any age as long as the participant has a current and valid student ID.

For information about how to reserve free student tickets, and how to join Schubert Club Student Connections please visit schubert.org/kids-and-student-tickets

Tuesday, October 17, 2023 • 7:30 PM

Ordway Music Theater

JEAN-YVES THIBAUDET, PIANO

LISA BATIASHVILI, VIOLIN

GAUTIER CAPUÇON, CELLO

This concert is dedicated to the memory of Reine H. Myers by her family

Piano Trio No. 44 in E Major Hob. XV/28 (1797)

Allegro moderato

Allegretto

Finale: Allegro

Piano Trio in A Minor (1914)

Modéré

Pantoum: Assez vif

Passacaille: Très large

Final: Animé Intermission

Piano Trio No. 2 in C Minor, Op. 66 (1845)

Allegro energico e con fuoco

Andante espressivo

Scherzo: Molto allegro quasi presto

Finale: Allegro appassionato

Franz Joseph Haydn (1732–1809)

Maurice Ravel (1875–1937)

Felix Mendelssohn (1809–1847)

Piano Trio No. 44 in E Major Hob. XV/28 (1797)

Franz Joseph Haydn (b. Austria, 1732; d. Vienna, 1809)

Various paternity charges have been leveled against Franz Joseph Haydn over the years: the Father of the String Quartet, Father of the Symphony, even the Father of Sonata Form for perfecting the template for organizing larger movements in the classical period. One could also argue that he was the Father of the Piano Trio genre as well, as he was the first major composer to advance this form to prominence.

Haydn wrote 43 piano trios in his lifetime, which can be neatly divided into two categories, defined by the emergence of the newfangled “pianoforte” and its many advantages over the harpsichord. Haydn first acquired a pianoforte around the age of 50, inspiring him to write keyboard works with greater dynamic gradations and expressive content than were possible on the harpsichord.

The Piano Trio No. 44 in E Major comes from this second period, when Haydn would have been in his early 60s, composed during one of his trips to London, where he was welcomed as a celebrity. The virtuosic keyboard writing was meant to show off the skills of the eminent English pianist Therese Jansen Bartolozzi, the dedicatee of this and two other trios by Haydn.

Even at this age, Haydn was seemingly incapable of writing uninteresting music, as the Piano Trio No. 44 is extraordinary for its creativity and fresh ideas. For example, the first movement’s opening theme is presented pizzicato in both strings, while the piano plays an ornamented version of the same tune. The effect is that of a delicately strummed harp or guitar. This is answered by the piano alone in unusually

chromatic language, before all three instruments share in the cheerful, good-humored music that defines this entire movement.

In the second movement, in the more somber key of E minor, Haydn’s originality surfaces again, with his use of an old Baroque variation form, the passacaglia. A “creepy-crawly” bass line is introduced by all three voices in unison, a pattern that repeats while melodic variations are introduced. The piano is first among equals here, which soon gets preoccupied with a dotted-rhythm figure. Throughout, the walking bass line remains in the foreground, even when Haydn reverses the voicing and hands the bass line up to the violin before a series of delicate piano flourishes ends the movement.

Haydn chose the Rondo form for the finale–classical period last movements are most often rondos—which is a recurring theme that is alternated with episodes of new material (ABACADA etc.). Here the Rondo theme is a bit quirky though, in that it sometimes extends itself beyond the conventional eight bars in length, and it occasionally lingers around distractions and eccentric pauses. Once again, Haydn’s originality comes through, as around every new corner, there comes an unexpected surprise, such as the stormy middle section where the violin sets off in the unlikely key of E-flat minor. The quirky opening theme returns at the end, twice interrupted by chromatic moments of suspense before two chords bring the work emphatically to a close.

Maud Moon Weyerhaeuser

Sanborn (1876-1965) was born in Rochester, Minnesota. She married Charles Weyerhaeuser in 1898 and lived most of her life in Saint Paul. A talented singer always active in the musical community, she supported Schubert Club and the Minneapolis Symphony. She had a special affection for Salzburg and Tanglewood where she spent summers. She developed close friendships with important musicians of her day such as Dmitri Mitropoulos and Serge Koussevitsky. The International Artist Series is dedicated to her memory by her grandchildren.

Maud Moon Weyerhaeuser Sanborn International Artist Series

Portrait of Franz Joseph Haydn by Thomas Hardy (1791)

Piano Trio in A Minor (1914)

Maurice Ravel (b. France, 1875; d. Paris, 1937)

Igor Stravinsky’s description of Maurice Ravel as “the Swiss watchmaker of composers” is welldeserved. He was a slow and painstaking worker who composed fewer pieces than many of his contemporaries, and his scores are distinguished by their obsessive attention to details large and small. In large scores for example, Ravel fastidiously indicates the precise dynamics and articulations that are unique to every instrument. He indicates tempo and rubato with precise metronome marks. And his genius for finding new sound colors for strings came with meticulous instructions on when to play with the bow against the bridge (“ponticello”), or conversely, away from the bridge (“sul tasto”) along with other effects.

While this gives the listener much to enjoy in the sound world of Ravel, performers find the complexity of his scores a constant challenge to execute exactly as notated. This may be a longwinded way of saying that the success of Ravel’s music is never an accident, but a carefully crafted effort meant to ensure that his intentions are followed to the letter.

Ravel had been planning to write a piano trio for at least six years before beginning the piece in earnest in 1914. Near the outset, Ravel remarked to his student Maurice Delage, “I’ve written my trio. Now all I need are the themes.” He was certainly jesting, but Ravel tended to rough out pieces in his head in great detail beforehand. For his Piano Trio, he had already decided on the precise instrumental language he was aiming for, and he even knew the formal structure. All that was missing was actual melodies.

The motivation to finish it came in the form of World War One. It drove Ravel into a frenzy to finish the work so that he could enlist in the army. After finishing the Piano Trio, he wrote to a friend “I think that at any moment I shall go mad or lose my mind. I have never worked so hard, and with such heroic rage.” Soon after, he was accepted as a nurse’s aide by the Army, and he became a volunteer ambulance driver for the 13th Artillery Regiment.

Surprisingly, the Trio makes no reference to extra-musical events such as the war. As was his

custom, Ravel kept his personal feelings to himself in his works, yet he was able to craft this intense, expressive piece, his most ambitious chamber work to date, that is far removed from politics and war. The Trio conjures a sensuous dreamscape, with shimmering sound colors, hints of exoticism, with an underlying sense of lament.

In the first movement, Ravel derives the rhythm of the main theme from a Basque folk dance with an underlying 3+2+3 rhythm, the asymmetrical pulse of the zortziko that originated in the Basque region of France and Spain. There are passages where the violin and cello are set in widely spaced octaves with the piano floating in between. Listen for allusions to American jazz and the exotic sounds of the Indonesian Gamelan.

The second movement’s title—Pantoum— refers to a Malaysian verse form which was popular with French nineteenth century poets. In a Pantoum, the first verse’s second and fourth lines repeat as the second verse’s first and third lines. Ravel’s buildup of musical lines suggests a similar type of construction.

Some of the most intense music of the entire piece shows up in the third movement. Ravel casts it in the form of a passacaglia (just as Haydn did in tonight’s opening work), an old baroque dance form in which variations play out above a repeating bass line. In this case, Ravel’s bass line is built on the first theme of the previous movement. The music reaches a wrenching climax after which the piano drops out and we are left with a poignant duet between the cello and violin.

The Finale breaks the solemn mood of the third movement, opening with its glistening, fairytale charm.

It is a virtuosic romp filled with exuberant splashes of color and shifts between irregular time signatures (5/4 and 7/4) that leave one feeling off-balance, even lurching about in midair. The coda soars to a heroic and wildly euphoric climax, appropriate perhaps, for a composer consumed with “heroic rage.”

Piano

Trio No. 2 in C Minor, Op. 66 (1845)

The world was denied so much unwritten music when Felix Mendelssohn died prematurely of a stroke at age 38. If his last works are an indication, Mendelssohn was beginning to grow in interesting new directions. The musicologist Charles Rosen called his relatively late Violin Concerto “the most successful synthesis of the Classical concerto tradition and the Romantic virtuoso form.” Robert Schumann summarized this unique synthesis when he called Mendelssohn “the Mozart of the 19th century, the most illuminating of musicians, who sees more clearly than others through the contradictions of our era and is the first to reconcile them.”

Mendelssohn’s Piano Trio no. 2 was written just two years before he died, when he was 36, and presented to his sister Fanny as a birthday gift. While not performed as frequently as his ever-popular Piano Trio no. 1 in D Minor, some connoisseurs suggest that Mendelssohn’s Piano Trio no. 2 contains even more brilliance and expression. Regardless, both seem to fulfill Mendelssohn’s youthful wish, stated in a letter to his sister Fanny at age 23: “I should like to compose a couple of good trios,” a goal that ended up being a historic understatement given what he achieved.

A note here about Mendelssohn’s choice of key—C minor—which would have had a particular resonance with musicians of his generation. Both Mozart and Beethoven wrote some of their most groundbreaking works in this key, one associated with storminess and a seriousness of purpose. Mendelssohn would not have chosen it lightly.

The first movement opens turbulent and stormy, with the attributes of C minor on full display. Mendelssohn

organizes it in classic Sonata form (once again, as perfected by Haydn) with three main thematic ideas. The first is a fiery piano figure that is quickly passed to the strings which will reoccur frequently. The second main idea is a sorrowful theme for violin in the minor key that is passed off immediately to the cello. Then comes the third melodic idea, lyrical and warm in a major key that is the equivalent of sunshine when it takes the stage. The relative ease with which Mendelssohn moves between all three themes—between major and minor keys, and with effortless counterpoint—ensures that there is not a dry patch in the entire movement, as it sustains a powerful and dramatic narrative arc, ending with a decisive conclusion.

The second movement begins as a gentle lullaby in the piano, reminiscent of one of his earlier “Songs Without Words,” featuring notably lovely duets between the violin and cello. The Scherzo is a trademark Mendelssohn creation, elfin and fleet-footed in the manner of the Scherzo from A Midsummer Nights’ Dream. Mendelssohn confessed that this movement was “a trifle nasty to play”.

The Finale is notable for its unique melodic leap in the opening tune, a soaring interval of an ascending ninth. In a nod to his musical ancestors, Mendelssohn quotes an old chorale tune “Herr Gott, dich loben alle wir” (known in English as “Old Hundredth”), which was also used by Bach in his cantata of that name (BWV 130), showing how even Mendelssohn didn’t hesitate to recycle a good tune.

DID YOU KNOW?

The Schubert Club Music Museum has a Kisting grand piano (Berlin, 1830) that was played by Mendelssohn, Brahms, Robert and Clara Schumann

Felix Mendelssohn (b. Hamburg, 1809; d. Leipzig, 1847)

Program notes ©2023 by Michael Adams

Portrait of Felix Mendelssohn, by Eduard Magnus (1846)

JEAN-YVES THIBAUDET

Through elegant musicality and an insightful approach to both contemporary and established repertoire, Jean-Yves Thibaudet has earned a reputation as one of the world’s finest pianists. He is especially known for his diverse interests beyond the classical world; in addition to his many forays into jazz and opera—including works which he transcribed himself for the piano—Thibaudet has forged profound friendships around the globe, leading to fruitful collaborations in film, fashion, and visual art. A recording powerhouse, Thibaudet appears on more than 70 albums and six film scores. He is a devoted educator and is the firstever Artist-in-Residence at the Colburn School, which awards several scholarships in his name.

Thibaudet begins the season with a tour of Europe with Boston Symphony Orchestra, performing two of his signature works: Gershwin’s Concerto in F and Saint-Saëns’s Piano Concerto No. 5. He goes on to play the Gershwin concerto in season-opening engagements with Toronto and Baltimore symphony orchestras, as well as concerts with Nashville and Indianapolis symphony orchestras; further performances of the Saint-Saëns concerto include dates with North Carolina Symphony, and Pittsburgh and Chicago symphony orchestras.

Thibaudet joins Gustavo Dudamel and Los Angeles Philharmonic for Khachaturian’s Piano Concerto in November, which will be recorded for future release on Decca. He then performs Ravel’s Concerto in G with Houston Symphony, Orchestre Philharmonique de Radio France, Bern Symphony Orchestra, New World Symphony, and San Diego Symphony. A renowned interpreter of Messiaen’s Turangalîla-Symphonie, Thibaudet performs the piece with Montreal Symphony Orchestra in December. Thibaudet joins Esa-Pekka Salonen and the Orchestre de Paris in Debussy’s Fantaisie; he and Salonen reunite in San Francisco for

a synesthetic performance of Scriabin’s Prometheus: The Poem of Fire —a piece he also performs with Helsinki Philharmonic Orchestra.

In addition to his orchestral dates, Thibaudet embarks on a trio tour of the United States with longtime collaborators Gautier Capuçon and Lisa Batiashvili, featuring works by Haydn, Ravel, and Mendelssohn. He also continues his multi-season focus on Debussy’s Préludes, performing both books in their entirety at recitals in Europe; these performances will be accompanied by a reissue of his seminal 1996 recording of the Préludes on limited-edition vinyl. Thibaudet and Michael Feinstein will also continue their acclaimed program Two Pianos: Who Could Ask for Anything More?, presenting works by Gershwin, Rodgers, and others in new arrangements for piano, voice, and orchestra.

Thibaudet records exclusively for Decca; his extensive catalogue has received two Grammy nominations, two ECHO Awards, the Preis der Deutschen Schallplattenkritik, Diapason d’Or, Choc du Monde de la Musique, Edison Prize, and Gramophone awards. His most recent solo album, 2021’s Carte Blanche, features a collection of deeply personal solo piano pieces never before recorded by the pianist. Other highlights from Thibaudet’s catalog include a 2017 recording of Bernstein’s “Age of Anxiety” with Baltimore Symphony Orchestra and Marin

Jean-Yves Thibaudet © Elisabeth Caren

Alsop; recordings of the complete solo piano music of Debussy and Satie; Grammy-nominated recordings of Ravel’s complete solo piano works and Saint-Saëns’s Piano Concerti Nos. 2&5; the jazz albums Reflections on Duke and Conversations With Bill Evans; and Aria–Opera Without Words, which features arias transcribed for solo piano by Thibaudet himself.

Thibaudet has also had an impact on the worlds of fashion, film, and philanthropy. He was soloist on Aaron Zigman’s score for Wakefield; this was the first time that the composer had allowed a pianist other than himself to perform his film work. He was also soloist in Dario Marianelli’s award-winning scores for the films Atonement (which won an Oscar for Best Original Score) and Pride and Prejudice, as well as Alexandre Desplat’s soundtracks for the 2012 film Extremely Loud & Incredibly Close and Wes Anderson’s The French Dispatch. He had a cameo in Bruce Beresford’s film on Alma Mahler, Bride of the Wind, and his playing is showcased throughout. In 2004 he served as president of the prestigious charity auction at the Hospices de Beaune. His concert wardrobe is designed by Dame Vivienne Westwood.

Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at age seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. At age fifteen, he won the Premier Prix du Conservatoire and, three years later, the Young Concert Artists Auditions in New York City. Among his numerous commendations is the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. In 2010 the Hollywood Bowl honored Thibaudet for his musical achievements by inducting him into its Hall of Fame. Previously a Chevalier of the Ordre des Arts et des Lettres, Thibaudet was awarded the title Officier by the French Ministry of Culture in 2012. In 2020, he was named Special Representative for the promotion of French Creative and Cultural Industries in Romania. He is co-artistic advisor, with Gautier Capuçon, of the Festival Musique & Vin au Clos Vougeot.

LISA BATIASHVILI

Lisa Batiashvili, the Georgian-born German violinist, is praised by audiences and fellow musicians for her virtuosity. An award-winning artist, she has developed long-standing relationships with the world’s leading orchestras, conductors and musicians. In 2021 Batiashvili formed and continues to lead the Lisa Batiashvili Foundation, which serves her lifelong dream and commitment in supporting young, highly talented Georgian musicians to thrive in their musical careers.

In 2023–24, Batiashvili takes up her residency with Berliner Philharmoniker performing across the season at home and on tour with Kirill Petrenko and Daniel Barenboim. She also performs chamber concerts with Emmanuel Pahud and musicians from Wiener Philharmoniker as well as with Jörg Widmann, Denis Kozhukhin and Tsotne Zedginidze, a talented young Georgian pianist and composer supported by her foundation. Another part of the residency features Lisa as soloist with Berliner Philharmoniker Academy. Following their most recent tour of Europe, Lisa returns to the stage with pianist Jean-Yves Thibaudet and cellist Gautier Capuçon, giving recitals and masterclasses across the USA, culminating in a performance at Carnegie Hall. Lisa also performs a number of recitals this season with Giorgi Gigashvili. The season will also see her performing with Münchner Philharmoniker, San Francisco Symphony and Netherlands Philharmonic Orchestra. In 2022–23 Batiashvili returned to New York Philharmonic, The Cleveland Orchestra, Philharmonia Orchestra, Chamber Orchestra of Europe, London Symphony Orchestra, Royal Concertgebouw Orchestra as well as Wiener Philharmoniker as a featured artist at the Wiener Konzerthaus.

Lisa Batiashvili © Chris Singer

Recording exclusively for Deutsche Grammophon, Batiashvili’s latest album Secret Love Letters was released in August 2022, with Yannick Nézet-Séguin and The Philadelphia Orchestra, as well as Franck Sonata with Giorgi Gigashvili.

Her previous 2020 recording,  City Lights, marks a musical journey that takes listeners around the world to eleven cities with an autobiographical connection with music ranging from Bach to Morricone, and Dvořák to Charlie Chaplin. A twelfth city was added in 2022 with the release of her single  Desafinado, celebrating Rio de Janeiro. At the renowned Concert de Paris on Bastille Day in 2020 she performed the title track  City Memories which was broadcast internationally.

An impressive discography also includes Visions of Prokofiev (Chamber Orchestra of Europe/ Yannick Nézet-Séguin) which won an Opus Klassik Award and was shortlisted for the 2018 Gramophone Awards. Earlier recordings include the concertos of Tchaikovsky and Sibelius (Staatskapelle Berlin/ Daniel Barenboim), Brahms (Staatskapelle Dresden/Christian Thielemann), and Shostakovich (Symphonieorchester des Bayerischen Rundfunks/Esa-Pekka Salonen).

Bastiashvili has had DVD releases of live performances with Berliner Philharmoniker/ Yannick Nézet-Séguin (Bartók’s Violin Concerto No.1) and with Gautier Capuçon, Sächsische Staatskapelle Dresden and Christian Thielemann (Brahms’ Concerto for Violin and Cello).

She has won a number of awards: the MIDEM Classical Award, Choc de l’année, Accademia Musicale Chigiana International Prize, Schleswig-Holstein Music Festival’s Leonard Bernstein Award and Beethoven-Ring. Batiashvili was named  Musical America’s  Instrumentalist of the Year in 2015, was nominated as Gramophone’s Artist of the Year in 2017, and in 2018 was awarded an Honorary Doctorate from the Sibelius Academy (University of Arts, Helsinki).

Lisa was also Artistic Director of Audi Sommerkonzerte Ingolstadt for four years between 2019 and 2022.

Lisa lives in Munich and plays a Joseph Guarneri  “del Gesu” from 1739, generously loaned by a private collector.

GAUTIER CAPUÇON

Gautier Capuçon is a true 21st century ambassador for the cello. Performing internationally with many of the world’s foremost conductors and instrumentalists, he is also deeply committed to education and support for young musicians from every background. In summer 2020 Capuçon brought music directly into the lives of families across the length and breadth of France during his musical odyssey ‘Un été en France’. The fifth edition of the project, featuring young musicians and dancers, takes place in July 2024. In January 2022 Gautier Capuçon launched his own Foundation to support young and talented musicians at the beginning of their career. Capucon is also a passionate ambassador for the Orchestre à l’École Association which brings classical music to more than 42,000 school children across France.

A multiple award winner, Capucon is acclaimed for his expressive musicianship, exuberant virtuosity, and for the deep sonority of his 1701 Matteo Goffriller cello “L’Ambassadeur”. He performs with world leading orchestras each season, working with conductors such as Semyon Bychkov, Gustavo Dudamel, Charles Dutoit, Christoph Eschenbach, Andrès OrozcoEstrada, Pablo Heras-Casado, Paavo Jarvi, Klaus Mäkelä, Andris Nelsons, and Christian Thielemann. Collaborations with contemporary composers include Lera Auerbach, Karol Beffa,

Gautier Capuçon © Anoush Abrar

Esteban Benzecry, Nicola Campogrande, Qigang Chen, Guillaume Connesson, Bryce Dessner, Richard Dubugnon, Henry Dutilleux, Danny Elfman, Thierry Escaich, Philippe Manoury, Bruno Mantovani, Krzysztof Penderecki, Wolfgang Rihm, and Jörg Widmann.

Highlights of the 2023–24 season include return visits as soloist with Los Angeles Philharmonic/ Young, Münchner Philharmoniker/Mehta, Orchestre Nationale de France/Macelaru and Wiener Philharmoniker/Nelsons. He is soloist on tour through Europe with Wiener Symphoniker/Popelka; and he is Artist in Residence with Dresden Philharmonic and with Shanghai Symphony Orchestra. In October 2023 he re-joins long time musical partners Lisa Batiashvili and Jean-Yves Thibaudet to make a piano trio tour crossing the USA – from Walt Disney Hall, Los Angeles to Carnegie Hall, New York. 2023–24 also sees a European tour with pianist Daniil Trifonov including concerts in Berlin, Brussels, Paris, Dresden, and Vienna.

Other regular chamber music partners include Frank Braley, Jérôme Ducros, Nikolai Lugansky, Gabriela Montero, as well as Martha Argerich, Daniel Barenboim, Renaud Capuçon, Leonidas Kavakos, Andreas Ottensamer, Yuja Wang, the Labèque sisters and the Ébène, Hagen and Modigliani quartets. Capuçon regularly plays at festivals worldwide including Edinburgh, Salzburg, Grafenegg and Verbier. The 2022–23 season saw the debut tour of Capucon’s cello ensemble created with his former students – Capucelli –performing in prestigious venues across Europe including Paris, Vienna and Geneva.

Recording exclusively for Erato (Warner Classics), Capuçon has won multiple awards and holds an extensive discography featuring major concerto and chamber music literature. His album Destination Paris, released in November 2023, celebrates French music from classical repertoire to film scores. 2020’s Warner Classics album Emotions features music from composers such as Debussy, Schubert, and Elgar and has

achieved gold status in France. Further albums exploring short, popular pieces from a range of different genres - including Sensations (released in Autumn 2022) – have generated tens of millions of streams. Highlights of his back catalogue include the complete Beethoven Sonatas with Frank Braley; an album of Schumann works recorded live with Martha Argerich, Renaud Capuçon and Chamber Orchestra of Europe/ Bernard Haitink; Chopin and Franck sonatas with Yuja Wang; and a solo album featuring Bach, Dutilleux, and Kodaly to mark his 40th birthday.

Capuçon has also been featured on DVD in live performances with Wiener Philharmoniker/Andris Nelsons (Saint-Saens’ Cello Concerto No. 1) Berliner Philharmoniker/Gustavo Dudamel (Haydn’s Cello Concerto No. 1) and with Lisa Batiashvili, Sächsische Staatskapelle Dresden and Christian Thielemann (Brahms’ Concerto for Violin and Cello).

Born in Chambéry, Capuçon began playing the cello at the age of five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. Now a household name in his native France, Capucon appears on screen and online in shows such as Prodiges, Now Hear This, Symphony Pour La Vie, and The Artist Academy, and is a guest presenter on Radio Classique in the show Les Carnets de Gautier Capuçon.

Courtroom Concert Series

October 2023–April 2024

One Hour Concerts at Noon • Landmark Center FREE CONCERTS

Clara Osowski, mezzo soprano

Ahmed Anzaldúa, piano

October 12, 2023

MN Opera Resident Artists

October 19, 2023

Choro Borealis

October 26, 2023

Irina and Julia Elkina, duo piano

November 9, 2023

Cléa Galhano, recorder

Jacques Ogg, harpsichord

November 16, 2023

Songs of the Season

Carols from MN Composers

12 PM & 6 PM at Landmark Center Cortile

December 14, 2023

Artaria String Quartet, Bartók String Quartet Cycle

January 4, 2024

Artaria String Quartet, Bartók String Quartet Cycle

January 11, 2024

Artaria String Quartet, Bartók String Quartet Cycle

January 18, 2024

Isles Ensemble

February 8, 2024

Gao Hong and friends

February 15, 2024

ANCIA Saxophone Quartet

February 22, 2024

Third Coast Percussion

February 29, 2024

Osip Nikiforov, piano

March 7, 2024

Maria Jette, soprano

Stephanie Arado, violin

Sonja Thompson, piano

March 21, 2024

Rod Kelly Hines, baritone

Celeste Marie Johnson, piano

April 4, 2024

Ninebark Ensemble

April 11, 2024

Alex Rodriguez, piano

Gail Daniel, piano

April 18, 2024

Selby Brass Band

Thomasina Petrus, jazz vocalist

April 25, 2024

Thursday, October 12, Noon Landmark Center, Courtroom 317

Clara Osowski, mezzo soprano • Ahmed Anzaldúa, piano

Duérmete, niño lindo (Trad.)

Mari Esabel Valverdi

Flight (Marg Walker)

Catherine Dalton

Combat del Somni (Josep Janés)

Frederic Mompou

Rabbits Among Us (Patricia Kirkpatrick)

Janika Vandervelde

World premiere

Three songs

Johannes Brahms

Since we loved (Robert Bridges)

Gerald Finzi

Thursday, October 19, Noon Landmark Center Cortile

MN Opera Resident Artists

Featuring songs from Paolo Tosti, H. Leslie Adams, Richard Strauss, and Maurice Ravel

Detailed program available at the concert

Thursday, October 26, Noon Landmark Center Cortile

Choro Borealis

Robert Everest, guitar, vocals • Pat O’Keefe, clarinet • John Croarkin, flute Dave Burke, cavaquinho • Tim O’Keefe, percussion, mandolin

The program will be selected from these pieces:

Okik Ryas, by Avena de Castro

Noites Cariocas, by Jacob do Bandolim

Janelas Abertas, by Robert Everest

Brejeiro, by Ernesto Nazaré

Odeon, by Ernesto Nazaré

Santa Morena, by Jacob do Bandolim

Pro Paulo, by Chico Chagas

Thursday, November 9, Noon Landmark Center Cortile

Irina and Julia Elkina, duo piano

Sonata in E flat Major for Four Hands, Op. 14

M. Clementi

I. Allegro

II. Adagio

III. Rondo. Allegro

Sonata in C Major for Four Hands, Op. 521

W. A. Mozart

I. Allegro

II. Andante

III. Allegretto

Ainda me Recordo, by Pixinguinha & Benedito Lacerda

Tico Tico no Fuba, by Zequinha Abreu

Coisa Feita, by João Bosco

Vista do Nono Andar, by Robert Everest

O’Koco, by Tim O’Keefe

Carinhoso, by Pixinguinha & João de Barro

Jamais…e Mais, by Pat O’Keefe

Um a Zero, by Pixinguinha & Benedito Lacerda

Two Pieces from the Suite No. 1, Op. 5

“Fantasy” for Two Pianos

S. Rachmaninoff

I. Barcarolle

III. Tears

Fantasy for Two Pianos

A. Scriabin

Jeremiah Sanders, baritone • Erica Guo, piano

Monday, October 23, 2023 • 7:30 PM

Westminster Hall at Westminster Presbyterian Church

ACCORDO

Steven Copes, violin

Maiya Papach, viola

Ieva Jokubaviciute, piano

Susie Park, violin

Julie Albers, cello • • •

Sonata for Keyboard & Violin No. 4 in C Minor, J.S. Bach (1685–1750) BWV 1017 (1717-23)

Largo

Allegro

Adagio

Allegro

Jokubaviciute, Copes

String Quartet No. 10 in A-flat Major, Op. 118 (1964) Dmitri Shostakovich (1906–1975)

Andante

Allegretto furioso

Adagio

Allegretto – Andante

Copes, Park, Papach, Albers

Intermission

Piano Quartet in E-flat Major, Op. 87 (1889) Antonín Dvořák (1841–1904)

Allegro con fuoco

Lento

Allegro moderato, grazioso

Finale. Allegro ma non troppo

Jokubaviciute, Park, Papach, Albers

Sonata for Keyboard & Violin No. 4 in C Minor, BWV 1017 (1717–23)

J.S. Bach (b. Germany, 1685; d. Leipzig, 1750)

This sonata comes from a particularly fruitful, happy time in Bach’s life. His relationship with his employer was good (for once), as he respected Bach’s talents, paid him generously and gave him considerable latitude in composing and performing. Prince Leopold of Köthen—his boss—was a Calvinist, whose plain worship services didn’t require elaborate music, freeing Bach to write secular instrumental works.

This fertile period produced the Orchestral Suites, the Suites for Solo Cello, the Sonatas and Partitas for Solo Violin, the Brandenburg Concertos, and the Six Sonatas for Violin and Harpsichord obbligato (BWV 1014–1019). Bach’s son, Carl Philipp Emanuel, describes the Sonatas for Violin and Harpsichord as among the finest his father composed. They are especially notable for the evolution of the keyboard’s role, from its prior function as perfunctory accompaniment, into an equal partnership with the violin.

Clearly, Bach was thriving under the employment of Prince Leopold, but prior to this posting, Bach struggled with job security. Known as one not to suffer fools, he famously butted heads with both musicians and employers that would often result in a necessary “change of circumstances” for Bach, who would have to find a new post in another city.

Title page from 1725 manuscript of BWV 1014–1019. It reads “Sounate â Cembalo [con]certato è Violino Solo, col Basso per Viola da Gamba accompagnato se piace. Composte da Giov: Sebast: Bach”

In his first professional job for example, he got into a nasty street brawl by insulting an incompetent musician, calling him a “nanny goat bassoonist.” At his next position, the conservative congregation pleaded with him to write simpler, less ornate, music. Realizing his days were numbered there, Bach moved on, this time to a boss who was a sophisticated music lover: The Duke of Weimar. Bach composed an enormous amount of music during this period, but their relationship eventually imploded too. When Bach tried to accept a new job elsewhere, the Duke—unwilling to release him from his post—had Bach arrested and jailed for a month before being “unfavorably dismissed.” Music lovers can be forever thankful that Bach landed a plum position next, as Kapellmeister to Prince Leopold, who knew enough to leave Bach alone!

The Sonata in C minor (BWV 1017) is the fourth in the set of six. The four-movement structure follows that of the Italian sonata da chiesa, (church sonata), set in a slow-fast-slow-fast arrangement. The elegant first movement is a siciliano, a graceful Italian folk dance set in 6/8 time. The second movement is an extended fugue, in which the violin and keyboard trade material back and forth in buoyant counterpoint. The third movement, in a major key and a 9/8 meter, sets the keyboard’s flowing triplets against the violin’s simple melody. It serves as a prelude to the impressive finale: a spirited fugue.

String Quartet No. 10 in A-flat Major, Op. 118 (1964)

Dmitri Shostakovich

(b. Saint Petersburg, 1906; d. Moscow, 1975)

Dmitri Shostakovich’s fifteen string quartets chronicle his development as an artist and contain some of his innermost thoughts and feelings. Not since Beethoven had anyone devoted themselves to the art form as much as Shostakovich, and today his string quartets are considered by many to be among the greatest accomplishments in all of 20th century music.

By the time he wrote his String Quartet No. 10 in 1964, Shostakovich had just completed his Symphony No. 13, which recounted the tragic Nazi slaughter of over 33,00 Jews in a ravine in Kyiv, Ukraine, during the German occupation of World War Two. Following this string quartet, he composed a symphonic poem about a famous 17th century Cossack war hero. As both works are highly programmatic and deal with historical events, it was a great surprise to Shostakovich watchers that his 10th quartet turned out to be a work of purely abstract music (“non-representational”) that has a mostly gentle, optimistic sensibility.

Shostakovich dedicated the quartet to his friend, composer Mieczyslaw Vainberg (1919-1996). (Vainberg returned the gesture and dedicated his 12th symphony to Shostakovich!)

Sidebar: Almost unknown today, Mieczyslaw Vainberg was hugely prolific. He wrote 26 symphonies, seven concerti; 17 string quartets; 28 instrumental sonatas, seven operas, several ballets scores, a Requiem Mass and incidental music for 65 films, yet he is largely unknown outside of Russia and the former states of the USSR!

The piece opens with a taut, etched melody in the violin that is softly understated. In fact, the entire first movement is conducted sotto voce, which adds to a sense of expectancy and mystery. Consider this the calm preludebefore-the-storm, as the second movement wastes no

time in grabbing you by the lapels and insisting on your attention. This is highly charged music that is ferocious, aggressive, and doggedly insistent. Something about this movement was meant to make us feel uncomfortable, for reasons only known to the composer.

The opening of the Adagio burns with an intensity that one would expect from one of Shostakovich’s sublime and heartbreaking passacaglias, a form he turned to often when expressing powerful emotions.

Sidebar: The passacaglia is an old Baroque variation form where a repeating bass line allows for continuous variations—not unlike some styles of jazz, where the rhythm section lays down a repeating “groove” that allows for improvisation in the melody instruments, like trumpet or saxophone.

The nine bar passacaglia theme is introduced in the cello and is then subjected to eight subtle variations. Shostakovich subjects the theme to some wildly creative harmonies, yet the passacaglia theme retains its sense of nobility, grace, and calm beneath the fray. We are soon transported to the final movement—without pause— by a carefree, sprightly tune in the viola that is quickly passed off to the second violin. New material enters that suggests we’re about to hear a conventional rondo style finale, before Shostakovich does a remarkable thing: he thematically retraces our steps through each preceding movement in succession, assimilating each into the total fabric of the “rondo” music. Listen especially for the sudden reappearance of the passacaglia theme that Shostakovich integrates perfectly into the seething texture. It is a brilliant conceit—revisiting every movement thematically—that is executed deftly here by a very skilled craftsman. The quartet ends in a gentle whisper, as the opening theme from the first movement is the last thing we hear before the curtain comes down.

Dmitri Shostakovich photo: Michael Ozersky (c. 1955)

Piano Quartet in E-flat Major, Op. 87 (1889)

Antonín Dvořák (b. Czechia, 1841; d. Prague, 1904)

Antonín Dvořák was by all accounts a genial, affable fellow with simple tastes: he loved raising pigeons, watching locomotives, playing chamber music, and getting silly drunk with his friends (no judgement). In fact, by classical music standards, Dvořák was remarkably normal. He wasn’t eccentric, neurotic, disturbed, or tormented, as were some of his composer brethren. And perhaps as a karmic reward, Dvořák became a successful and famous composer without having to die first.

These days, many biographers rosily depict him as “The Czech Brahms” who was in fact discovered by the great man himself! After all, it was Brahms’ recommendation to his publisher that was the gamechanger: Dvořák’s Slavonic Dances for piano fourhands went essentially “double-platinum,” becoming so popular that it made his publisher (Simrock) no small amount of money. At this point, it was said that Dvořák “was the idol of Prague with all of Europe waiting expectantly for his next work.”

But a more nuanced view of Antonin Leopold Dvořák would include that he was from a small rural hamlet, the son of poor peasant stock, apprenticed to be a butcher, not widely read (in fact barely more than literate some say), who as a kid played fiddle in the village band led by his father. From these rustic roots came the music he later became famous for: Czech peasant dances and folk music from the Bohemian backcountry. This included earthy polkas, soulful laments like the Dumka and wild dances like the Furiant . I would even posit that Dvořák might be the ideal composer for public radio: his music is tuneful and earthy, it’s intellectually accessible, and his melodies linger easily in your head.

These qualities occur in abundance in the Piano Quartet in E-flat Major whose genesis again can be traced back to Simrock, Dvořák’s publisher. Following the success of his earlier Piano Quintet, Simrock requested another work from Dvořák that would again prove popular among amateur musicians, a quite profitable market. Inspiration hit Dvořák quickly, and the work was finished in only a few months. His enthusiasm for the piece is nearly palpable in a letter to a friend:

“Now I have already three movements of a new quartet with piano completely ready and the finale

will be finished in several days. It’s going unexpectedly easily and melodies are coming to me in droves. Thanks be to God!”

The piece opens with a bold declaration from the strings in unison, that contains a notable curiosity. Listen for the “wrong” note that occurs on the fourth note of the piece. Wrong, in that in the key of E-flat major, you don’t expect to hear a B natural, which is not in the E-flat scale. This “error” is promptly corrected in the next bar, but it gives the opening statement an angular, peasant quality that is Dvořák at his most Bohemian. Another point of interest comes moments before this movement ends, when the violin and viola alternate the theme in tremolo (short, rapid bow strokes), to the pizzicato accompaniment of the cello.

The slow movement (Lento)—the longest of the four— is an atypical construction in that five distinct themes are introduced, each with its own character. Dvořák was apparently pleased enough with the material that he repeats it all again, nearly verbatim. The form of the movement could be diagrammed by A-B-C-D-E; A’-B’C’-D’-E’. [Fun Fact: It starts and ends in G-flat major, a key with six flats (a particularly unresonant, unwieldly key for string instruments). For whatever reason, Dvořák is often at his most expressive in keys with many flats or sharps.]

A scherzo follows, but it too is not quite typical. In threepart form (ABA), the first section mimics a gentle ländler, (the drunken, country cousin of the waltz), contrasted by a much livelier middle section, closing with a repeat of the slower ländler music once again. This slow-fast-slow arrangement is what’s atypical—inverted if you will— from the more usual fast-slow-fast scheme favored by composers in both scherzo and minuet forms.

The high-energy Finale reveals Dvořák’s seemingly endless inventiveness and counterpoint skills. Set in E-flat minor (six flats!), it opens with a decisive proclamation in unison before handing off the principal theme to the viola, Dvořák’s favorite instrument in chamber music. There is an exuberant, Romani flavor to the finale that soon gives way to a jaunty, more jovial second theme. This battle of moods continues throughout the movement, a particularly challenging one for performers, because it requires an energy and intensity that almost screams out for the larger resources of an orchestra.

Program notes ©2023 by Michael Adams

Schubert Club Annual Contributors

Thank you for your generosity and support

AMBASSADOR

$20,000 AND ABOVE

Mary A. Arneson

Patrick and Aimee Butler

Family Foundation

Joy Lee Belknap Davis †

Mary Ann Feldman †

Richard Geyerman †

Rosemary and David Good Family Foundation

Elizabeth J. Indihar Trust

Anna M. Heilmaier

Charitable Foundation

Ruth and John Huss

Lucy R. Jones and James E. Johnson

Art and Martha Kaemmer Fund of HRK Foundation

Alan Douglas Lilly

Minnesota State Arts Board

National Endowment for the Arts

Gilman † and Marge Ordway

Terry and Chris Schopfer

Dennis Stanton

Target Foundation

SCHUBERT CIRCLE

$10,000–$19,999

City of Saint Paul

Cultural STAR Program

Dorothy J. Horns, M.D. and James P. Richardson

MAHADH Fund of HRK Foundation

John Michel and Barbara Brown

Paddock Foundation

Trillium Family Foundation

Margaret V.B. Wurtele

PATRON

$5,000–$9,999

Allianz in honor of Nathan Pommeranz

Anonymous

Nina Archabal

Paul Aslanian

Arts Midwest Touring Fund

Lynne and Bruce Beck

Best Buy Foundation

Boss Foundation

Cecil and Penny Chally

Rebecca and Jay Debertin

Terry Devitt † and Michael Hoffman Family Fund

Fleetwood Foundation

Hilde and John Flynn

Diane and Mark Gorder

Hardenbergh Foundation

Phyllis Kahn

Barry and Cheryl Kempton

Marjorie and Ted Kolderie

DeeDee Lee

Alfred P. and Ann M. Moore

Elizabeth B. Myers †

Gayle and Tim Ober

Robert M. Olafson

James P. O’Shaughnessy

Securian Financial

Kim Severson and Philip Jemielita

Katherine and Douglas Skor

William and Marcelyn Smale

Kay Savik and Joe Tashjian

Nancy and Ted Weyerhaeuser

BENEFACTOR

$2,500–$4,999

Suzanne Ammerman

James and Karen Ashe

Eileen M. Baumgartner

Charles Burnham

David and Catherine Cooper

Dee Ann and Kent Crossley

Marybeth Dorn

Joan R. Duddingston

Doug and Karen Flink

Guardian

Foster Klima & Co. Inc.

Michael and Dawn Georgieff

Anne and Stephen † Hunter

Jonathan and Amy Jensen Family Foundation

William and Nancy Jones

Lyndel and Blaine King

Kyle Kossol and Tom Becker

Marion and Chris Levy

Robert G. Mairs

James and Jane Matson

Roy † and Dorothy Ode Mayeske

Laura McCarten

Peter and Karla Myers

Ford and Catherine Nicholson

Nancy and Richard Nicholson

Alice M. O’Brien Foundation

Nancy C. Orr

Barbara and John Rice

John and Lois Rogers

Michael and Shirley Santoro

Fred and Gloria Sewell

Shattuck-St. Mary’s Pre-Conservatory Program

Jill and John Thompson

Travelers Foundation

Xcel Energy Foundation

GUARANTOR

$1,000–$2,499

Richard C. Allendorf and Paul W. Markwardt

The Estate of Dorothy Alshouse

Kurt and Susan Bjorklund

Suzanna and Bryan Altman

Mark Anema and Kate Ritger

Anonymous

Suzanne Asher and Thomas Ducker

Mary and Bill Bakeman

Jeanne B. Baldy

Bank of America

Thomas and Jill Barland

Eileen M. Baumgartner

Fred and Sylvia Berndt

Cheryl Brown

Richard Brownlee

Jeffrey Busch

James Callahan

Gretchen Carlson

The Alice Greene McKinney and E. Kirk McKinney, Jr. Fund, a fund of Central Indiana Community Foundation

John and Birgitte Christianson

Carolyn and Andrew Collins

John and Marilyn Dan

Paula and Cy DeCosse

Dellwood Foundation

John and Maureen Drewitz

Anna Marie Ettel

Contributors as of September 12, 2023

Please inform us of any errors or omissions so we can make corrections in subsequent listings.

Richard and Adele Evidon

Joan and William Gacki

Judith Garcia Galiana and Alberto Castillo

Gayle Gaskill

General Mills Foundation

Greystone Foundation and Walt McCarthy and Clara Ueland

Braxton and Dianne Haulcy

Julie and Anders Himmelstrup

Barbara Hoese

Andy and Natalie Hunter

IBM Matching Gifts Program

Elizabeth J. Indihar †

Ray Jacobsen

Richard King

William Klein and Hildy Bowbeer

Robert and Barbara Kueppers

Jane Lanctot

Frederick Langendorf and Marian Rubenfeld

Libby Larsen and Jim Reece

Ingrid Liepens and Cynthia Frost

Eric and Mary Lind

Michael Litman

Mark and Becky Lystig

Michael and Cynthia Manns

Lisa McLean and Michael Dennis Browne

The McMillan Family Endowment Fund

Medtronic Foundation

Microsoft

Fayneese Miller

David and Leni Moore Family Foundation

Thomas Murtha and Stefanie Ann Lenway

Sarah Lutman and Rob Rudolph

The Philip and Katherine Nason Fund of The Saint Paul Foundation

The Nash Foundation

Nicholas Nash and Karen Lundholm

John Nuechterlein

Patricia O’Gorman

Amaria and Patrick O’Leary

Vaughn Ormseth

Kay Phillips and Jill Mortensen Fund of The Minneapolis Foundation

Walter Pickhardt and Sandra Resnick

The William and Nancy Podas aRt&D Fund

Christine Podas-Larson and Kent Larson

Elizabeth Post

August Rivera, Jr.

Ken Rothchild

Chris Sagstetter

Saint Anthony Park Community Foundation

Saint Olaf College

Linda Schloff

Estelle Sell

John Seltz and Catherine Furry

Dr. Gary and Jan Septon

Laura Sewell and Peter Freeman of the Sewell Family Foundation

Dan and Emily Shapiro

Conrad Soderholm and Mary Tingerthal

Arturo Steely

Jerry Swenson

Anthony Thein

Tim Thorson

Thrivent Financial

Charles Ullery and Elsa Nilsson

Union Bank & Trust

Kathleen van Bergen

Carl Voss

Maureen Kucera-Walsh and Mike Walsh

David L. Ward

Timothy Wicker and Carolyn Deters

Eric Won

Michael and Catherine Wright Family Fund of the Yamba Valley Community Foundation

SPONSOR $500–$999

Susan L. Adamek

Scott Appelwick and Edward Sootsman

Mary A. Arneson and Dale E. Hammerschmidt †

J. Michael Barone and Lise Schmidt

Tom Baxter and Aimee Richcreek Baxter

Carline Bengtsson

Linda L. Boss

Susan Brewster and Edwin McCarthy

Ellen and Philip Bruner

Deanna L. Carlson

Janet and James Carlson

David Christensen

Sheldon Damberg

Dorsey & Whitney Foundation

Jeffrey Dzick

Catherine Fischer

John Flynn and Deborah Pile

Katherine Goodrich

Richard and Marsha Gould

Jonathan Guyton

Lorraine Hart

Beverly L. Hlavac

Brian Horrigan and Amy Levine

Ginny Housum

Louis and Ida Lee Hurvitz

Bruce Jacobson and Ann Morrissey

Nancy P. Jones

Manuel Kaplan

Ed and Martha Karels

Robert Kieft

Anthony Kiorpes and Farrel Rich

Anne Kruger

James and Gail LaFave

Alan and Kirsten Langohr

Mary E. Schaffner and Robert L. Lee

Lehmann Family Fund of The Saint Paul & Minnesota Foundation

Seth Levin and Mia Nosanow

Jon and Lisa Lewis

Rebecca Lindholm

Susanna and Tim Lodge

Doug and Mary Logeland

Rhoda and Don Mains

Helen and Bob Mairs

Dorothy McClung

David McClung and Chris Zickrick

Margot McKinney

Deborah McKnight and James Alt

Mary Trina McNeely and Garth Morrisette

Gerald A. Meigs

David Miller and Mary Dew

Bradley H. Momsen

Lowell and Sonja Noteboom

Bridget O’Brien

Scott and Judy Olsen

Heather J. Palmer

Mary and Terry Patton

William and Suzanne Payne

Decima and Sidney † Phillips

Kim, Serge and Luke Phillips

Chris and Maria Troje Poitras

Rod and Debra Presser

Thomas Rassmusson

Sara Reed

Tom and Jill Reister

Juliana Rupert

Georgiana Ruzich

Jana Sackmeister

Mort Schlesinger and Joan Oliver Goldsmith

Ann and Paul Schulte

Sylvia Schwendiman

Bill and Susan Scott

Gary Seim and Lee Pfannmuller

Althea M. Sell

Renate Sharp

Daryl Skobba and Kathleen McLaughlin

Ron Spiegel

Jon and Lea Theobald

Jean Thomson

DoraLee Delzell Throckmorton †

Stephanie Van D’Elden

Daniel Vogel

Mary K. Volk

Sarah Wanderschneider

Wells Fargo Foundation Minnesota

Katherine Wells and Stephen Willging

Dr. Deborah Wexler and Michael Mann

Ann White

Melissa Wright and Robert Alfano

Dennis Wu and Jeff Anderson

PARTNER $250–$499

Craig and Elizabeth Aase

Saint Paul Branch AAUW in honor of Kate Cooper

Anita Anderson

Kathy and Jim Andrews Anonymous

Association of Professional

Piano Instructors

Julie Ayer and Carl Nashan

Adrienne Banks

Paul Benn

John and Inez Bergquist

Kit Bingham

Lisa and Rolf Bjornson

Ken Bonneville

Daniel Bonilla

Ted Bowman

Tom and Janine Braman

Carol and Michael Bromer

Carl Brookins

Barbara Ann Brown

Cheryl Brown

Mark Bunker

Elizabeth Buschor

Ruth and Alan † Carp

Peter Eisenberg and Mary Cajacob

David and Michelle Christianson

Roger and Wallys Conhaim

Gisela Corbett and Peter Hyman

Joanna and Richard Cortright

Maureen Curran

Nancy Mairs Daly

Viola D’Ambrosio

Virginia Dudley and William Myers

Patricia Durst

George Ehrenberg

Melinda Elledge

Maryse and David Fan

Sara and Karl Fiegenschuh

Gerald Foley

Clare Fossum

Brigitte and Richard Frase

Jane Frazee

Patricia Freeburg

Patricia Gaarder

Nancy and Jack Garland

Timothy Grady and Catherine Allan

Diane Griliches

Jennifer Gross

Melissa Harl

Donald and Hannah Harper

Family Fund of the Saint Paul and Minnesota Foundation

George and Christina Hart

Lonnie and Stefan Helgeson

Mary Beth Henderson

Mary Kay Hicks

Richard and Candace Hill

Jack † and Linda Hoeschler

Elizabeth Holden

Nancy Huart

David W. Hunter

Maria Jette

Isabelle and Daniel Johnson

Mary A. Jones

Ann Juergens and Jay Weiner

Marek Kokoszka

David and Jane Kostik

Sara Stephens Kotrba

Chris and Joanne Kudrna

Fund of Central Minnesota Community Foundation

Bill Larson

William Larson

Rex Levang

Jeffrey H. Lin and Sarah Bronson

Mark and Becky Lystig

Holly MacDonald and John Orbison

Roderick and Susan MacPherson

Robert Madoff and Jane Korn

Kathryn Madson

Timothy Malooly

Franck and Amy Marret

Bonnie Marron and Bert Hollinshead

Patricia Martinson

Sylvia McCallister

James McCarthy and Gloria Peterson

Bonnie and Donn McLellan

Dorothy McClung

Christopher and Cheryl McHugh

James Miner and John Easton

Amy and Marek Mino

James and Carol Moller

Michael Nation and Janet Sauers

Alan and Dena Naylor

Ingrid Nelson

Tuyet Nguyen

John B. Noyd

Paul D. Olson and Mark L. Baumgartner

Sook Jin Ong and John Mathews

Sally O’Reilly

Elizabeth Parker

Lyudmila and Mikhail Pekurovsky

Rick and Suzanne Pepin

Janet V. Peterson

James and Kirsten Peterson

Denise Rahne

Kristin Rasmussen

Mindy Ratner

Karl Reichert and Reynaldo Diaz

Gladys and Roger Reiling

Michael and Tamara Root

Olaf and Jane Runquist

Mary E. Savina

Sylvia J. Schwendiman

Nan C. Shepard

J. Shipley and Helen Newlin

Richard Schmitter

Paul L. Schroeder

Rebecca and John Shockley

Darryl Smith

Harvey Smith

Tom Swain

Anthony and Linda Thompson

Mike and Linda Thompson

Karen and David Trudeau

3M Corporation

Osmo Vänskä

Paul and Amy Vargo

Dorothy Vawter

Elizabeth Villaume

Voya Financial

Jane and Dobson West

Beverly and David Wickstrom

C. Neil and Julie M. Williams

Christopher and Julie Williams

Douglas Winn and Susan Moore

Max and Debbie Zarling

Nancy Wiggers and Frank Zebot

Ron Zweber and Peter Scott

CONTRIBUTOR $100–$249

Mary Adams

Advantage Solutions

Janet Albers

Douglas Allchin

Arlene G. Alm

Joy Amel

Ameriprise

Beverly S. Anderson

David and Gretchen Anderson

Norman and Marcia Anderson

Renner and Martha Anderson

Anonymous (3)

David Arnott

Kay and Ron Bach

Karen Bachman

Baird Foundation

Megen Balda and Jon Kjarum

Charles Ballentine

Benjamin and Mary Jane Barnard

Carol E. Barnett

Charles Baxter

Donald and Keri Beck

Paul and Barbara Benn

Elisabeth Bennett

Jerry and Caroline Benser

Stacey Berkheimer

Alice and Charles Berquist

Emily and John Betinis

Frank Bevsek

The Bjornson Ohana

Charitable Fund

Robert Bowman

James and Jean Bromley

David Brookbank

Philip and Carolyn Brunelle

Chris and Clare Buntrock

Ann Buran

Roger F. Burg

Nicholas Canellakis

James Carder

Dr. F. Mark Carter

Mark and Denise Carter

CGDS Family Foundation

Carol Chomsky

Joann Cierniak

Barbara Cohen

Denise Collins

Annette Conklin

Steven Copes

Richard and Dixie Cornell

Joann Cierniak

Classica Chamber Players

Roger and Wallys Conhaim

Cynthia Crist

Valerie and Donn Cunningham

William † and Mary Cunningham

Donald † and Inger Dahlin

John and Cheryl Davenport

Margaret Dean

Gary DeKrey

Pamela Desnick

Karyn and John Diehl

Janet and Kevin Duggins

Jayne and James Early

Andrea Een

Claudia and Tony Ernst

Thomas and Nancy Feinthel

Tim and Renee Farley

Judie Flahavan

John Floberg and Martha Hickner

Gerald Foley

Janet Folsom

Mark and Sarah Foster

Craig Fowler

Michael and MaryFaith Fox

Salvatore Silvestri Franco

Jayne Funk and Roger Battreall

Cléa Galhano

Emily Galusha and Don McNeil

Leland and Beverly Gehrke

LeAnn Gfrerer

Cynthia Gillet and Daniel Sadoff

Mark and Jane Gjevre

Sharon Giorgini

John Glasenapp and Ann Cohen

Phyllis Goff

Graciela Gonzalez

Frederica Gorman

Anne and George Green

Kathyrn Greenbank

Amy Grinsteiner

Jonathan R. Gross

Laurie Hacking

Neal Hagberg

Sandra and Richard Haines

Betsy and Mike Halvorson

Daniel and Kay Halvorsen

David and Karen Haugen

Melissa Harl

George and Christina Hart

Bob Cattanach and Allyson Hartle

Peter Mansfield and Naomi Haugen

William Hauser

Lauren Heffernan

The Hegman Family Foundation

Timothy and Julia Heidmann

Alan J. Heider

Dorothy Heinz

Lonnie and Stefan Helgeson

Geoffrey Hellman

Daniel Hellrung

Joan Hershbell and Gary Johnson

Frank Hester

Hewlett Packard Foundation

Ruth Hiland

Richard Hill

Curt and Helen Hillstrom

Mary Abbe Hintz

Elfrieda Hintze

Elizabeth Hinz

David Griffin and Margie Hogan

Lynne Holt

Kathleen and Steve Holt

Charles Homer

Esther Hope and John Clark

John and Patty Hren-Rowan

Stephan Hubig

Kate Hunt and Howard Miller

Ideagroup Mailing Service and Steve Butler

Pam Isaacson

Ora Itkin

Veronica Ivans

Bernard Jacob

Paul Jansen and Janet Hopper

Paul and Diane Jacobson

Fritz Jean-Noel

Carol A. Johnson

William and Dana Kaye Johnston

Kristine and John Kaplan

Richard Kain and Katherine Frank

Judy Karon

Naomi Karstad

Suzanne Kennedy

Cheryl Kern-Simrenko

Charlyn Kerr

Sang Yoon Kim

Robin and Gwenn Kirby

Dr. Ken Klein

Richard Knuth and Susan Albright

Karen Koepp

Dave and Linnea Krahn

Judy and Brian Krasnow

Gloria Kumagai and Dr. Steven Savitt

Dawn Kuzma

Alvin Kvaal

Kenyon S. Latham, Jr.

Alan and Peggy Lathrop

Elizabeth Lamin

Larkin, Hoffman Daly and Lindgren Foundation

Karla Larsen

Bill Larson

Dave Larson

David Larson

Linda J. Lee

Scott LeGere

Edith Leyasmeyer

Katy Lindblad

Timothy Lovelace

Sharon Lovo

Kathrine and Bill Lund

Karen Lundholm

King and Nancy Ma

Suzanne Mahmoodi

Thomas and Marsha Mann

Stephen Manuszak

Jeff Masco

Ron and Mary Mattson

Corrine McCarthy

Sue and Tom McCarthy

Tamara McConkey

Katherine McGill

Nancy McKinley

Anne McKinsey

James and Sally McLaughlin

Steven Meacham

Carole Megarry

Jane Mercier and Mark Taylor

Lawrence and Linda Merwin

Alexandra Meyer

Charles and Carolyn Meyer

John Miller

Kay Miller

Laurie Miller

Elizabeth Mills

Patricia Mitchell

Steven Mittelholtz

Susan Moore

Jack and Jane Moran

Martha and Jonathan Morgan

David Morrison

Elizabeth A. Murray

David and Judy Myers

Sarah Nagle

Janis and Michael A. Nash

Rosanne Nathanson

Stephen Nelson

Eva Neubeck

Kathleen Newell

Diane Nixa and Kurt Hochfeld

Sarah Nordstrom

Steven Norquist

Steve and Mary Oakley

Kristine Oberg

Julia O’Brien

Polly O’Brien

Tom O’Connell

Margaret Olson

Martha L. Olson

Joanne Opgenorth

Vivian Orey

Barbara Osadcky

Eileen O’Shaughnessy

Joseph Osowski

Melanie Ounsworth

Jonathan Palmer

Jean Parilla

Maiya Papach

Kathy and Don Park

Lois and Stephen Parker

Donald Pastor

Barbara Merrill and Patti Hague

Patricia Penovich and Gerald Moriarty

James† and Donna Peter

Phillip Peterson

Joan Piorkowski

Ann Piotrowski

Clara Presser

Paul and Betty Quie

Jerome Quinn

Marcia Raley

David and Judy Ranheim

Tanya Remenikova and Alex Braginsky

Ann Richter

Philip and Edith Rickey

Karen Robinson

Drs. W.P. and Nancy W. Rodman

Marilyn Rose

Mary and Richard Rogers

Kathy and David Rootham

Vanessa Rose

Jane Rosemarin

Lee and Roberta Rosenberg

Diane Rosenwald

Barbara Roy

Steven Savre

Saint Anthony Park Home

Thomas Scott

Larry and Rozlynn Schack

Robert Schauinger and Linda King

Mary Schommer

Raymond and Leola Schreurs

Mariana and Craig Shulstad

Christine Schwab and Mike Klevay

A. Truman and Beverly Schwartz

Miriam Seim

Linda Sellars

Marguerite and Edward Senninger

Patrick Sexton and Jane Stern

Elizabeth Sharpe

Gale Sharpe

Shirley Shimota

G. Phillip Shoultz III

Nancy and Ray Shows

Brian and Stella Sick

Mary and Mark Sigmond

Elaine Sime

Robert Simonds

Teresa Simonson

SK Giving Fund

Marie and Darroll Skilling

Nance Skoglund

Darryl L. Smith

Michael Somermeyer and Jan Painter

Sons of Norway St. Paul Synnove-Nordkap Lodge #8

Robyn Kaiser and Greg Sparber

Mary Steinbicker

Donna Stephenson

Tom and Liba Stillman

William Stout

Cynthia Stokes

Dameun Strange and Corina Serrano

Monika Stumpf

Suzuki Piano Teachers Guild of The Twin Cities

John and Dru Sweetser

Lillian Tan

Yoshiyuki Tanaka

Bruce and Judith Tennebaum

Bruce and Marilyn Thompson

Susan Travis

Mimi Tung

Hendrika Umbanhowar

UnitedHealth Group

Sarah and Thomas Voigt

Jennifer Vaupel

John Vilandre

Louise Viste-Ross

Hollis Waalen

Karla Wagner

Michael Wagner

Timothy and Carol Wahl

William K. Wangensteen

Susan and Robert Warde

Leslie Watkins and Douglas Larson

Betsy Wattenberg and John Wike

Nancy Wellington

John and Corrine Whalen

David Wheaton and Michele Moylan

Lani Willis and Joel Spoonheim

Alex and Marguerite Wilson

Larry Wilson

Holly Windle

Janet and Lee Woolman

Ann Wynia

Alison Young and Richard Rasch

FRIENDS

$1–$99

Anonymous

James Adams

Mary Adair

Cigale Ahlquist

Jay Amundson

Barbara Amram

Amazon Smile

David Anderson

Marie Anderson

Kathryn Andrews

Mary Allen

Anonymous (5)

Joel Aronson

Annette Atkins

Rev. Mark and Janis Aune

Joanne Backer

Leda Barnes

Reed and Kimberly Barton

Peter Beckman

Craig Beddow

Glynn Behem

Angela Benson

Marilyn Benson and Thomas Wulling

Roger Berg

John Bergford

Stacey Berkheimer

John Berkner

Renee Betzelos

Rhiannon Bigalke

David Bjork

Michelle Blaeser

Lynn Blewett and Christian Franken

Dorothy Boen

Roger Bolz

Boston Scientific

Jeff Bowar

Ted and Susan Bowcock

Carolyn Bremner

Nancy Brierley

Robert Brokopp

Christopher Brooks

Peter and Ellen Brown

Richard Buchholz

Patricia Buhl

Sherilyn and Andrew Burgdorf

Mary Lou Burket

Jacqueline Turcotte Burkey

Frank and Ruth Bures

Brady Carlson

Bruce Carlson

Curtis Carlson

Joan and Allen Carrier

Denise and Mark Carter

Josephine Chervenak

George Chu

Chris Cinque

Marcia Citron

Elly and Ray Clark

Susan Cobin

Douglas Cole and Judith Eisner

Linda Comstock

Marc and Anne Kelley Conklin

Phyllis Conlin

Ben and Laura Cooper

Margaret H. Cords Lammers

Barbara Cracraft

Jon and Katherine Cranney

Peggy J. Crosby

Edwin Culbert

Megan Dahlberg

Brad Dalager

Rexford Dale

Fern Davidson

Elizabeth Davydov

Kay Dawson

Mary DeMaine

Alice Dickinson

Dennis Dillon

Rita and David† Docter

Linda Donaldson

Charles Draper

Karen and David Dudley

Judith Durfey

Michael Dwyer

Katherine and Kent Eklund

Tracy Elftmann

Bradley Ellingboe

David and Barbara Elton

Nate Ertl

Patricia Etten

Richard Fiddler

Georgia Finnegan-Saultis

Julianna Finzen

Elizabeth Flavell

John and Barbara Foss

Dana Fox

Shirley Frank

Kathleen Franzen

Linda Kramer Freeman

Michael G. Freer

Charles J. Frisch

Amelia Furman

Barbara Furstenberg

John and Peggy Ganey

Brian and Joan Gardner-Goodno

Robert Medin and Shirley Geib

Robert and Rosemary Geist

John Gesme

Sue Gibson and Neill Merck

Peg and Liz Glynn

Elly Grace

Karen Greene

Jessica Greenstein

Gay Greiter

Bonnie Gretz

Linda Grothe

Peg Guilfoyle

Michelle Hackett

Indra Halvorsone

Bonita Hammel

Rita and Mike Hample

Bob and Janet Lunder Hanafin

Katherine Hanson

Rebecca Hanson

Anthony and Allison Harder

Cathryn Harrison

Jean Haskell

Joyce Haselmann

Jonathan Hatch

Elisabeth Heefner

Patrick Garay Heelan and Erin Heelan

Katherine Heilman

Deborah Hendricks

Deborah Hennrikus

Dave and Carolyn Hellerich

Molly Henke

Don and Sandy Henry

Anne Hesselroth

Al Hester

Marian Ruth Hoffman

Harry and Kathleen Hohman

Stuart Holland

Daniel and Phyllis Hollihan

Janet Horvath

John Hovren

Gladys Howell

Mia Hoyer

Pegatha Hughes

Michael Hull

Mary Hunt

Jay and Gloria Hutchinson

Daniel and Marie Iverson

Mary Ann Jackson

Sharon Jackson

Kathleen Jesme

Mary and Max Jodeit

Carol A. Johnson

Jack and Judith Johnson

Stephen R. Johnson and Bonnie Johnson

Stephen and Tracy Johnson

Paulette Jones

Thomas and Susan Kafka

Meredith Kahrl

Shirley Kaplan

Douglas Kapple

Irene and Arthur Kato

Matthew Karl

Gerald and Marge Kazmierczak

Alaina Kelley

Timothy Kessler

Dwayne King

Catherine Ann King

Catherine Kirkpatrick

Mark and Mary Jo Kirschbaum

Jill Kitowski

Kathryn Kloster

Douglas Koons

Dieter Knecht

Sandra Krebsbach

Kurt Krueger

Marit Lee Kucera

Lingfen Kung

Mark and Maggie Lammers

Janice Lane

Lois Elizabeth Langholz

Ruth Lauritzen

Richard Laybourn

Joel and Andrea Leafblad

Lisa Lee

Leslie Leik

Carol Lichterman

Gary Lidster

Daniel Liljedahl and Lisa Himmelstrup

Nancie Litin

Sarah and Travis Lockwood

Philip Low

Elizabeth Lukanen

Mary and David Lundberg-Johnson

Carol Lundquist

Robert Lyman

Kimberley MacLennan

Michael and Marcia Madden

John Madura

Beatrice and Paul Magee

Finette Magnuson

Lawrence and Bridget Maiorana

Kate Maple

Judy Marcouiller

Kathleen and Jorge Marin

Suzanne Mauer

David Mayo

Susan McCarthy

Polly McCormack

Lorene McGrane

Lori McIntyre

Ralph and Barbara Menk

John Michel and Berit Midelfort

Dina and Igor Mikhailenko

Donna and Stephen Millen

John W. Miller, Jr.

Rockford Mjos

Patricia Moe

Val Moeller

Patricia Moen

Marjorie Moody and Michael Zaccardi

Barb and Jim Moorhead

Jim and Joon Mornes

Linda Morey

James Mork

Pamela Mowery

Cynthia Mueller

Monica Murray

Carolyn and James Nestingen

Lucia Newell

James Niland

Mary Jo Nissen

Judy Nobles

Richard and Raymonde Noer

Gerald Nolte

Harry Nordstrom

Krystal Kohler Norris

Alvina O’Brien

Inga Oelschlager

Christina Ogata

Robert O’Hara

Priscilla Older

Rodney Olsen

Julia Olson

Kristen Olsrud

Alan Onberg

Heather O’Neill

Alan Oppenheimer

Barb and Dan Opitz

Debbie and John Orenstein

Clara Osowski

Dru Osterud

Elisabeth S. Paper

Carl Passal

Becky Patton

Kathryn Pepple

Timothy H. Perry

Mary, Erik, and Andrew Pesta

Stuart and Margie Pihlstrom

Joan Piorkowski

Nora Plesofsky

Michael Polad

Nathan Pommeranz and Aaron Brown

Dennis Price and Jane Schneider

Dawn Prior

Kathleen Quinn

Tom Quinn and Susan Lamoureux

Terri Rea

Rhoda and Paul Redleaf

Katie Rein

Sarah Renner

Tessa Retterath Jones and Ryan Jones

Susan Reynolds

Roger and Elizabeth Ricketts

Bruce Robbins

Dianne and Greg Robinson

Julia Robinson

Karen Roehl

Peter Romig

Pat Rosaves

Vanessa Rose

Steven Rosenberg

Martha Rosen and Kenneth Stewart

Stewart Rosoff

Kenneth Rubin

John Rupp

Kurt and Lesley Ann Rusterholz

Denis Ryono

Mitra Sadeghpour

Saint Paul Community Education

Dean Salita

Henry Sand

Nancy Scanlan

Margaret Schally

Richard Schneider

Robert Stanich and Jeanne Schleh

Cathy Schubliske

Jon Schumacher and Mary Briggs

Millie and Howard Segal

John Sell

Marge and Ed Senninger

Kathryn and Jay Severance

Leslie Shank

Gail Shea

Ker Yen Shei

Noam Sienna

Kathleen Silvestein

Judy Simmons

Carrie Siegel

Barbara Silberg

Dr. Brian Singletary

John Sipe

Bill Slobotski and Celeste Mazur

Liv Smith

Susannah Smith

Robert Solotaroff

Rosemary W. Soltis

Arne and Patricia Sorenson

Marie Beata Sorenson

Peter Soulen

Eileen V. Stack

John and Michele Stangl

Sandee Stenzel

Guy Still

Barry Stoodley

Linda Stratton

Evy Sussman

Ross Sutter and Maria Lofgren

Craig and Janet Swan

Judy Sweeney

Dale and Yvonne Swenson

Steven and Mary Swenson

Jeanne and Steve Tanamachi

Ryan Taylor

David Evan Thomas

Douglas Thomson

Keith and Mary Thompson

Sonja Thompson

Karen Titrud

Anna Lisa Tooker

John and Hilary Toren

Dan and Kris Tjornehoj

Tyson Foods Inc

William Upham

Karin Ursin

Gilberto Vazquez Valle

Pieter Visscher

Karen L. Volk

Alexander Voronov

Suzanne Walczak

Catherine Ward

Clifton and Bettye Ware

Cecilia Warner

Kathleen Watson

Tammie Weinfurtner

John Welckle

Karen Welle

Hope Wellner

Heidi Westby

Peter and Eva Weyandt

Kurtis and Vicki Wheeler

Susan Wick

Lowell Prescott and Victoria Wilgocki

Patricia Willenbring

Robert Williams

Sue Wiltgen

John Woell

Paul and Judy Woodward

Barbara Woshinsky

Bradley Wronski

Yea-Huey Wu

Xcel Energy Foundation

Zhiyou Yang

Elizabeth York

Becky Yust

Ute Zahn

IN KIND

Phyllis Goff

Sarah Lehmann

Nancy Nelson

Joanna and Richard Cortright

† in remembrance

Memorials and Tributes

In honor of Abbie Betinis

Anonymous

In honor of Max Carlson

Clara Osowski

In honor of Tien Cung

Christine Podas-Larson and Kent Larson

In honor of Kate Cooper

Lyndel and Blaine King

In honor of Gayle Gaskill

Jonathan R. Gross

In honor of Julie Himmelstrup

Charles Ullery and Elsa Nilsson

In honor of Barry Kempton

Phyllis Goff

David and Judy Myers

Paul D. Olson and Mark L. Baumgartner

Arturo Steely

In honor of Richard King

Catherine Ann King

In honor of Nancy Orr Board Service

Anonymous

In honor of Clara Osowski

Steven and Mary Swenson

Kathleen Silverstein

In honor of Clara Osowski and Casey Rafn

Arturo Steely

In honor of Jean Strandess

Timothy and Susanna Lodge

In honor of Murray Thomas and Stephen Davis

Julia O’Brien

In honor of Nancy Weyerhaeuser

Timothy and Julia Heidmann

In memory of Richard and Beverly Anderson

Dennis Wu and Jeff Anderson

In memory of Donald Betts

Rebecca and John Shockley

In memory of Ann-Marie and Robert (Bjorn) Bjornson

Julie and Anders Himmelstrup

In memory of Jean Brookins

Julie and Anders Himmelstrup

Carl Brookins

In memory of David J. Buran

Ann Buran

In memory of Brett Busch

Jeffrey Busch

In memory of Alan Carp

Julie and Anders Himmelstrup

Ruth Carp

In memory of Dr. John B. Davis

August Rivera, Jr.

In memory of Joy Lee Davis

Barbara and John Rice

In memory of Doug Demarest

Charles Ballentine

In memory of Jean Engle Dimich, mother of Diane Dimich Gorder and grandmother of Kristina Mackenzie

John and Marilyn Dan

In memory of Manuel P. Guerrero

August Rivera, Jr.

In memory of Dale Hammerschmidt

Mary A. Arneson

In memory of Rebecca Klein

Gerald and Marge Kazmierczak

Leslie Watkins and Douglas Larson

In memory of Alan Naylor

Bonita Hammel

In memory of Thelma Johnson

Gretchen Carlson

Charles Draper

Richard and Adele Evidon

Tim and Renee Farley

Rebecca and John Shockley

Mary Steinbicker

Barbara and John Rice

Clara Ueland and Walter McCarthy

In memory of Miriam “Mimi” Gengler

Lilly and in support of Schubert Club’s

Scholarship and Education programs

Doug Lilly

In memory of Myrna Liepins mother of Ingrid Liepins

Ingrid Liepens and Cynthia Frost

In memory of Jeff Longenecker

Joanna and Richard Cortright

In memory of Thomas G. Mairs

Robert G. Mairs

In memory of Gerhard and Ruth Neubeck

Eva Neubeck

In memory of Caryl Joanne Olsen

Margaret Olson

In memory of Jeanette Maxwell Rivera

August Rivera, Jr.

In Memory of William Dean Sell

Althea M. Sell

In memory of Nancy T. Shepard

Nan C. Shepard

In memory of Charlotte Straka

Suzanne Kennedy

In memory of Ted Weyerhaeuser

Christine Podas-Larson and Kent Larson

Diane and Mark Gorder

Barbara and John Rice

In memory of Dr. Valentin R. Zeileis

Valerie and Donn Cunningham

If you are interested in making a memorial or tribute donation, contact Amy Marret at amarret@schubert.org or 651.292.3270.

Schubert Club Endowment and Legacy Society

SCHUBERT CLUB ENDOWMENT:

The Schubert Club Endowment was started in the 1920s. Today, our endowment provides more than one-quarter of our annual budget, allowing us to offer free and affordable performances, education programs, and museum experiences for our community. Several endowment funds have been established to support education and performance programs, including the International Artist Series with special funding by the family of Maud Moon Weyerhaeuser Sanborn in her memory. We thank the following donors who have made commitments to our endowment funds:

The Eleanor J. Andersen

Scholarship and Education Fund

The Rose Anderson

Scholarship Fund

Edward Brooks, Jr.

The Eileen Bigelow Memorial

The Helen Blomquist

Visiting Artist Fund

The Estate of Dr. Lee A. Borah, Jr.

The Clara and Frieda Claussen Fund

Catherine M. Davis

The Arlene Didier Scholarship Fund

The Elizabeth Dorsey Bequest

The Berta C. Eisberg and John F. Eisberg Fund

The Helen Memorial Fund

“Making melody unto the Lord in her very last moment.” – The MAHADH Fund of HRK Foundation

The Julia Herl Education Fund

Hella and Bill Hueg/Somerset Foundation

Estate of Thelma Hunter

The Daniel and Constance Kunin Fund

The Margaret MacLaren Bequest

Estate of Thomas G. Mairs

The Dorothy Ode Mayeske Scholarship Fund

In memory of Reine H. Myers by her children

The John and Elizabeth Musser Fund

To honor Catherine and John Neimeyer

By Nancy and Ted Weyerhaeuser

In memory of Charlotte P. Ordway

By her children

The Gilman Ordway Fund

The I. A. O’Shaughnessy Fund

The Ethelwyn Power Fund

The Felice Crowl Reid Memorial

The Frederick and Margaret L. Weyerhaeuser Foundation

The Maud Moon Weyerhaeuser

Sanborn Memorial

The Wurtele Family Fund

MUSIC IN THE PARK SERIES FUND OF THE SCHUBERT CLUB ENDOWMENT:

Music in the Park Series was established by Julie Himmelstrup in 1979. In 2010, Music in the Park Series merged into the Schubert Club and continues as a highly sought-after chamber music series in our community. In celebration of the 35th Anniversary of Music in the Park Series and its founder Julie Himmelstrup in 2014, we created the Music in the Park Series Fund of the Schubert Club Endowment to help ensure long-term stability of the Series. Thank you to Dorothy Mattson and all of the generous contributors who helped start this new fund:

Meredith Alden

Beverly Anderson

Nina and John Archabal

Lydia Artymiw and David Grayson

Carol E. Barnett

Lynne and Bruce Beck

Harlan Boss Foundation

Linda L. Boss

Carl Brookins

Mary Carlsen and Peter Dahlen

Penny and Cecil Chally

Donald and Inger Dahlin †

Julie and Anders Himmelstrup

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Thelma Hunter†

Lucy R. Jones and James E. Johnson

Ann Juergens and Jay Weiner

Richard Geyerman †

Barry and Cheryl Kempton

Marion and Chris Levy

Estate of Dorothy Mattson

Wendy and Malcolm McLean

Marjorie Moody and Michael Zaccardi

Mary and Terry Patton

Donna and James † Peter

Paul and Betty Quie

Barbara and John Rice

Shirley and Michael Santoro

Mary Ellen and Carl Schmider

John Seltz and Catherine Furry

Sewell Family Foundation

Katherine and Douglas Skor

Eileen V. Stack

Cynthia Stokes

Ann and Jim Stout

Joyce and John † Tester

Thrivent Financial Matching Gift Program

Clara Ueland and Walter McCarthy

Ruth and Dale Warland

Katherine Wells and Stephen Wilging

Peggy R. Wolfe

THE LEGACY SOCIETY:

The Legacy Society honors the dedicated patrons who have generously chosen to leave a gift through a will or estate plan. Add your name to the list and leave a lasting legacy of the musical arts for future generations.

Anonymous

Frances C. Ames †

Rose Anderson †

Joanne Backer

Margaret Baxtresser †

Mrs. Harvey O. Beek †

Helen T. Blomquist †

Dr. Lee A. Borah, Jr. †

Phyllis Borchert

Raymond J. Bradley †

James Callahan

Lois Knowles Clark †

Margaret L. Day †

Terry Devitt † and Michael Hoffman

Harry Drake †

James E. Ericksen †

Mary Ann Feldman †

Alfia Fell

John and Hilde Flynn

Salvatore Franco

Richard Geyerman †

Anne and George Green

Marion B. Gutsche †

Michelle Hackett

Dale Hammerschmidt † and Mary Arneson

Anders and Julie Himmelstrup

Thelma Hunter †

Lois † and Richard King

Florence Koch †

Judith and Brian Krasnow

Dorothy Mattson †

Thomas G. Mairs †

James and Jane Matson

John McKay †

Mary Bigelow McMillan †

Jane Matteson †

Elizabeth Musser †

Heather J. Palmer

Lee and Roberta Rosenberg

Mary E. Savina

Althea M. Sell

John Seltz and Catherine Furry

Paul Schoeder

Helen McMeen Smith †

Eileen V. Stack

Dennis Stanton

Anthony Thein

Jill and John Thompson

Lee S. and Dorothy N. Whitson †

Timothy Wicker and Carolyn Deters

Leah Yotter

Richard A. Zgodava †

Joseph Zins and Jo Anne Link

† in remembrance

Become a member of The Legacy Society by making a gift in your will or estate plan. For further informat ion, please contact Amy Marret at 651.292.3270 or amarret@schubert.org

Artistic and Strategic Opportunities Fund

ARTISTIC AND STRATEGIC OPPORTUNITIES FUND

The Schubert Club Artistic & Strategic Opportunities Fund was established by the Board of Directors at its February 2017 meeting as an operating fund to support artistic initiatives and program development that are not part of the ongoing programming of Schubert Club. Examples include commissions, community partnerships, artistic or ensemble residency, purchase of instruments for the Schubert Club Museum, high tech productions, etc. Thank you to our generous donors who have given gifts above and beyond their annual giving to help make this fund a reality. New opportunities always present themselves, so you are encouraged to consider a special gift to this fund to allow for future projects. Contact Amy Marret for more information at 651.292.3270.

Anonymous

Suzanne Asher and Thomas Ducker

Paul Aslanian

Tom and Aimee Richcreek Baxter

Cecil and Penny Chally

Rebecca and Jay Debertin

Dorsey and Whitney

Anna Marie Ettel

Richard and Adele Evidon

Give the gift of music

Catherine Furry and John Seltz

Michael and Dawn Georgieff

John Holmquist and Alma Marin

Dorothy J. Horns and James P. Richardson

Ruth and John Huss

Lucy R. Jones and James E. Johnson

Ann Juergens and Jay Weiner

Barry and Cheryl Kempton

Kyle Kossol and Tom Becker

Libby Larsen and Jim Reece

Chris and Marion Levy

Peter and Karla Myers

Kim Severson and Philip Jemielita

Gloria and Fred Sewell

Anthony Thein

Jill and John Thompson

Timothy Wicker and Carolyn Deters

Margaret Wurtele

Thank you donors for contributing so generously to the 140th Anniversary Endowment Campaign for Arts Education and Scholarships. Because of your support, we exceeded our goal of $2,000,000 which will generate $80,000 annually in scholarship support.

MUSIC FOREVER

Schubert Club Legacy Society

Music changes lives. It speaks to everyone.

We invite you to join the Schubert Club Legacy Society and our commitment to sustaining music that inspires and enhances the quality of our lives...now and in the future.

Legacy Society members are listed on the previous page.

CLUB An die

schubert.org • 651.292.3270

Thank you to the following organizations:

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, and a grant from the Wells Fargo Foundation Minnesota.

Patrick and Aimee Butler Family Foundation

Art and Martha Kaemmer Fund of HRK Foundation Trillium Family Foundation

Anna M. Heilmaier Charitable Foundation Boss Foundation

Saint Anthony Park Community Foundation

Schubert Club is a proud member of The Arts Partnership with The Saint Paul Chamber Orchestra, Minnesota Opera, and Ordway Center for the Performing Arts

Music in the Park Series and Accordo Donors:

INSTITUTIONAL

Boss Foundation

Greystone Foundation and Walt McCarthy and Clara Ueland

Minnesota State Arts Board

Saint Anthony Park

Community Foundation

Saint Anthony Park Home

Saint Olaf College

Thrivent Financial Matching

Gift Program

Trillium Family Foundation

INDIVIDUALS

Janet Albers

Arlene Alm

Beverly S. Anderson

Martha and Renner Anderson

Anonymous

Nina Archabal

Adrienne Banks

Carol E. Barnett

Marilyn Benson and Thomas Wulling

Lynne and Bruce Beck

Kit Bingham

Rolf and Lisa Bjornson

Dorothy Boen

Linda L. Boss

Ted Bowman

Carl Brookins

Richard and Judith Brownlee

Ruth and Alan † Carp

Joan and Allen Carrier

Penny and Cecil Chally

William † and Mary Cunningham

Rita and David † Docter

Donald and Inger Dahlin †

John Seltz and Catherine Furry

Nancy and John Garland

Michael and Dawn Georgieff

Richard Geyerman †

Sue Gibson and Neill Merck

Peg and Liz Glynn

Sandra and Richard Haines

Melissa Harl

Joyce Haselmann

Don and Sandy Henry

Curt and Helen Hillstrom

Anders and Julie Himmelstrup

Mary Abbe Hintz

Warren † and Marian Hoffman

Gladys Howell

Jay and Gloria † Hutchinson

Joan Hershbell and Gary Johnson

Nancy P. Jones

Ann Juergens and Jay Weiner

Frederick Langendorf and Marian Rubenfeld

Chris and Marion Levy

Finette Magnuson

Deborah McKnight and James Alt

James and Carol Moller

Marjorie Moody and Michael Zaccardi

Jack and Jane Moran

Eva Neubeck

Kathleen Newell

Gerald Nolte

Vivian Orey

James † and Donna Peter

Marcia Raley

Elizabeth and Roger Ricketts

Richard and Mary Rogers

Peter Romig

Michael and Tamara Root

Juliana Rupert

Michael and Shirley Santoro

Jon Schumacher and Mary Briggs

Sylvia Schwendiman

A special thanks to the donors who designated their gift to ACCORDO

PERFORMANCE SPONSORS

Eileen Baumgartner

Dorothy J. Horns and James P. Richardson

Ruth and John Huss

Lucy R. Jones and James E. Johnson

Phyllis Kahn

MUSICIAN SPONSORS

Susan L. Adamek

Richard C. Allendorf and Paul W. Markwardt

Nina Archabal

Mary and Bill Bakeman, in support of Tony Ross

James Callahan

Sheldon Damberg

Marybeth Dorn

Richard and Marsha Gould

Melissa Harl, in support of Rebecca Albers

Margot McKinney

Elizabeth B. Myers †

Patricia O’Gorman

Bill and Susan Scott, In support of Erin Keefe

Dan and Emily Shapiro

PATRONS

Barbara Amram

Beverly S. Anderson

Gretchen and David Anderson

Karen Bachman

Dorothy Boen

Carol and Michael Bromer

Barbara Ann Brown

Barbara Cohen

Phyllis Conlin

Donald and Inger Dahlin †

Pamela Desnick

George Ehrenberg

Sara and Karl Fiegenschuh

Gerald Foley

Patricia Gaarder

Nancy and Jack Garland

Peg and Liz Glynn

Katherine Goodrich

Elly Grace

Linda Grothe

Michelle Hackett

Betsy and Mike Halvorson

Peter Mansfield and Naomi Haugen

Mary Beth Henderson

John Floberg and Martha Hickner

Elizabeth Hinz

Beverly Hlavac

David Larson

Leslie Leik

Brian Horrigan and Amy Levine

Carol A. Johnson

Mary A. Jones

Thomas and Susan Kafka

Edwin Karels

Dwayne King

Marit Lee Kucera

Gloria Kumagai and Dr. Steven Savitt

Dr. Frederick Langendorf and Marian

Rubenfeld

Dave Larson

Ruth Lauritzen

Mary and Doug Logeland

Mark and Becky Lystig

Suzanne Mahmoodi

Marsha and Thomas L. Mann

Kate Maple

Mary and Ron Mattson

Dorothy McClung

David McClung and Chris Zickrick

Nancy McKinley

Anne McKinsey

Deborah McKnight and James Alt

Barbara Menk

Jane Mercier and Mark Taylor

John Michel and Berit Midelfort

Kate Hunt and Howard Miller

David Miller and Mary Dew

James Miner and John Easton

Alfred P. and Ann M. Moore

Dan and Emily Shapiro

Rebecca and John Shockley

Marie and Darroll Skilling

Katherine and Douglas Skor

Harvey Smith

Robert Solotaroff

Eileen V. Stack

Cynthia Stokes

John † and Joyce Tester

Keith and Mary Thompson

Marilyn and Bruce Thompson

Linda and Mike Thompson

Mary Tingerthal and Conrad Soderholm

Anthony Thein

Tim Thorson

Elizabeth Villaume

Susan and Robert Warde

Judy and Paul Woodword

Ann Wynia

† in remembrance

Cynthia Mueller

J. Shipley and Helen Newlin

Lowell and Sonja Noteboom

Robert O’Hara

Scott and Judy Olsen

Barbara Osadcky

Joseph Osowski

Lois and Stephen Parker

Clara Presser

Alberto and Alexandria Ricart

Ann and Joan Richter

Jane Rosemarin

Diane Rosenwald

Mort Schlesinger and Joan Oliver Goldsmith

Christine Schwab and Mike Klevay

Sylvia Schwendiman

Gary Seim and Lee Pfannmuller

Marge and Ed Senninger

Elizabeth Sharpe

Gale Sharpe

Judith and Bruce Tennebaum

Anthony Thein

Timothy and Carol Wahl

Alex and Marguerite Wilson

Becky Yust

Debbie and Max Zarling

A special thanks to the donors who designated their gift to MUSIC IN THE PARK SERIES:

Schubert Club Officers, Board of Directors, Staff, and Advisory Circle

OFFICERS

President: Laura McCarten

Vice President Artistic: Laura Sewell

Vice President Audit & Compliance: Doug Flink

Vice President Diversity & Inclusion: Dameun Strange

Vice President Education: Suzanna Altman

Vice President Finance & Investment: David Wheaton

BOARD OF DIRECTORS

Suzanna Altman

Lynne Beck

Aaron Brown

Joanna Cortright

Patricia Durst

Richard Evidon

Doug Flink

STAFF

Catherine Furry

Cléa Galhano

Vice President Marketing & Development: Maria Troje Poitras

Vice President Museum: Brian Horrigan

Vice President Nominating & Governance: Lynne Beck

Vice President Strategic Planning: Seth Levin

Recording Secretary: Joanna Cortright

Schubert Club Board members, who serve in a voluntary capacity for three-year terms, oversee the activities of the organization on behalf of the community

Anne Kruger

Seth Levin

Vaughn Ormseth

Nancy Orr

Maria Troje-Poitras

Anne Vars

Reynolds-Anthony Harris

Braxton Haulcy

Dorothy Horns

Brian Horrigan

Nancie Litin

Michael Manns

Laura McCarten

Dr. Stephen Menya

John Nuechterlein

Jonathan Palmer

Karl Reichert

Kay Savik

Laura Sewell

Dameun Strange

David Wheaton

Eric Won

Donna Zimmerman

Barry Kempton, Artistic & Executive Director

Maximillian Carlson, Program Manager

Ben Cook-Feltz, Patron Services Manager

Kate Cooper, Director of Education & Museum

Galen Higgins, Graphics Designer

Aliese Hoesel, Executive Assistant

Kristina MacKenzie, Director of Marketing & Communications

Amy Marret, Director of Development

Janet Peterson, Business Manager

Gweni Smith, Education & Museum Associate

Mary Beth Stevens, Patron Services Associate

Anna Torgerson, Artist & Event Manager

ADVISORY CIRCLE

Kim Severson, chair

Craig Aase

Mark Anema

Nina Archabal

James Ashe

Suzanne Asher

Paul Aslanian

Jeanne B. Baldy

Aimee Richcreek Baxter

Lynne Beck

Carline Bengtsson

Dorothea Burns

James Callahan

Cecil Chally

Penny Chally

Schubert Club Music Museum Interpretive Guides:

Ann Braaten, Daphne Fruchtman, Alan Kolderie, Ed Kvarnes, Ansel Langmead, Derek Parshall, Kirsten Peterson, Allika Polowchak, Susan Thompson

Volunteer Coordinator:

Kirsten Peterson

Project CHEER Director:

Joanna Kirby

Project CHEER Instructors:

Joanna Kirby, Zeke Cowan, Enzo Mazumdar Stanger, Vanessa McKinney

The Advisory Circle includes individuals from the community who meet occasionally throughout the year to provide insight and advice to Schubert Club leadership

Birgitte Christianson

Carolyn S. Collins

Dee Ann Crossley

Josée Cung

Mary Cunningham

Marilyn Dan

Karyn Diehl

Ruth Donhowe

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Diane Gorder

Julie Himmelstrup

Libby Holden

Dorothy J. Horns

Anne Hunter

Ruth Huss

Lucy Rosenberry Jones

Ann Juergens

Lyndel King

Richard King

Kyle Kossol

Karen Kustritz

Libby Larsen

Chris Levy

Jeff Lin

Eric Lind

Dorothy Mayeske

Sylvia McCallister

Fayneese Miller

Peter Myers

Nicholas Nash

Ford Nicholson

Richard Nicholson

Gerald Nolte

Gayle Ober

Sook Jin Ong

Christine Podas-Larson

Nathan Pommeranz

David Ranheim

Barbara Rice

Ann Schulte

Estelle Sell

Gloria Sewell

Katherine Skor

Tom Swain

Anthony Thein

Jill G. Thompson

John Treacy

Nancy Weyerhaeuser

Lawrence Wilson

Mike Wright

Alison Young