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An die Musik April 6 – June 5, 2017


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An die Musik April 6 – June 5, 2017

TABLE OF CONTENTS 6

President and Artistic & Executive Director’s Welcome

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

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Daedalus Quartet

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Calendar of Events

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Alexandre Tharaud

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Schubert Club Student Scholarship Competition 2017

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Hill House Chamber Players

26 Accordo 29

Courtroom Concerts

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

TURNING BACK UNNEEDED TICKETS: If you have tickets but are unable to attend, please consider turning back your tickets as a tax-deductible contribution. Your generosity allows other music lovers to experience the performance in your seats. Turnbacks must be received one hour prior to the performance. There is no need to mail in your tickets. Thank you! Schubert Club Ticket Office: 651.292.3268 • schubert.org/turnback Schubert Club 75 West 5th Street, Suite 302 Saint Paul, Minnesota 55102 schubert.org on the cover: Alexandre Tharaud photo: Marco Borggreve

Sir András Schiff, piano Sun, Oct 29, 2017 • 3:00 PM

Eric Owens, bass-baritone & Susanna Phillips, soprano Wed, Dec 6, 2017 • 10:30 AM Thu, Dec 7, 2017 • 7:30 PM Avi Avital, mandolin & Sérgio & Odair Assad, guitar Tue, Feb 20, 2018 • 7:30 PM Wed, Feb 21, 2018 • 10:30 AM

INTERNATIONAL ARTIST SERIES

Jennifer Koh, violin & Shai Wosner, piano Tue, Mar 20, 2018 • 7:30 PM Wed, Mar 21, 2018 • 10:30 AM

Steven Isserlis, cello & Richard Egarr, harpsichord Tue, Apr 24, 2018 • 7:30 PM Wed, Apr 25, 2018 • 10:30 PM

Concerts at the Ordway 345 Washington Street Saint Paul

Sir András Schiff

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President and Artistic & Executive Director’s Welcome It’s hard to believe that our 2016-17 season is nearing its end. There are however still plenty of performances to look forward to in April, May and early June, and I am eagerly anticipating recitals and chamber music we’ve been planning for the best part of two years. Pianists Alexandre Tharaud and Christopher O’Riley, Daedalus Quartet (with the wonderful actor Linda Kelsey and cellist Wilhelmina Smith), Accordo, Hill House Chamber Players and some remarkable courtroom concert artists. Plenty to be excited about! As spring quickly turns to summer, I want to thank and recognize the extraordinary service that Schubert Club has enjoyed from our two composers-inresidence, Edie Hill and Abbie Betinis, who leave us after 12 fruitful years. Edie has devoted herself primarily to the Composer Mentorship program for high school-age composers. Abbie, in addition to hosting Thursday Courtroom concerts in Landmark Center, has been an active liaison to the Minnesota new music community, an effective advocate and an extraordinary resource in the programming of many concerts. Next season we will welcome a new composer-in-residence; the selected composer will be announced in early summer. Finally, I offer sincere congratulations to Clara Osowski, a Twin Cities based mezzo-soprano and lover of art song, who was recently awarded second prize in Thomas Quasthoff’s Das Lied International Song Competition in Heidelberg. Schubert Club regulars have had the joy of following Clara’s career progress over a number of years. We’re thrilled for her to gain this international recognition.

Schubert Club board in 1910

By my count, and with help from the Schubert Club 125th Anniversary book, I am the 41st President of the Board of Directors of the Schubert Club. Every President of this organization has been a woman, and it was not until sometime in the 1970s that the first man was admitted to the Board. As established by the Schubert Club’s Bylaws, the term of President is two years, and in a peaceful transition of power I will become past president July 1. It was not always so—according to the 125th Anniversary book, Mrs. Warren S. Briggs served as president for a total of 25 years, from 1902–1905 and again from 1908–1930! A cynic might say that the husbands of the Board members were really running the Schubert Club in the early days, but a reader of the 125th Anniversary book will come away with an entirely different impression. Throughout the history of the organization, Board members worked hard on committees, as volunteers, and elsewhere behind the scenes to present the highest quality classical music, which remains the hallmark of the Schubert Club. Generations of women who guided and served the Schubert Club have made it into the strong and vibrant organization that it is today. Is it a coincidence that one of this year’s sell-out Mix concerts was a ten-member, all female brass orchestra, tenThing?

tenThing

Barry Kempton Artistic and Executive Director

My two years serving this organization as President have been a joy, made possible by all the women who went before me in leadership roles and who developed the Schubert Club into a cultural treasure. Thank you!

Kim A. Severson President 6

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

Vice President Marketing & Development: Suzanne Asher

President: Kim A. Severson

Vice President Nominating & Governance: Catherine Furry

President Elect: Dorothy Horns

Vice President Audit & Compliance: Gerald Nolte

Vice President Artistic: Dorothy Horns

Vice President Museum: Anna Marie Ettel

Vice President Education: Marilyn Dan

Strategic Planning: Michael Georgieff, chair

Vice President Finance & Investment: John Holmquist

Recording Secretary: Catherine Furry

BOARD OF DIRECTORS 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. Nina Archabal

Dorothea Burns

Michael Georgieff

Libby Larsen

Kim A. Severson

James Ashe

James Callahan

Elizabeth Holden

Chris Levy

Gloria Sewell

Suzanne Asher

Cecil Chally

John Holmquist

Jeffrey Lin

Anthony Thein

Aimee Richcreek Baxter

Marilyn Dan

Dorothy Horns

Kristina MacKenzie

John Treacy

Lynne Beck

Anna Marie Ettel

Ann Juergens

Peter Myers

Alison Young

Carline Bengtsson

Richard Evidon

Lyndel King

Gerald Nolte

Daniel Bonilla

Catherine Furry

Kyle Kossol

Jana Sackmeister

STAFF Barry Kempton, Artistic & Executive Director

Paul D. Olson, Director of Development

Tirzah Blair, Ticketing & Development Associate

Janet Peterson, Finance Manager

Maximillian Carlson, Program & Production Associate

Quinn Shadko, Marketing Intern

Kate Cooper, Museum & Education Director Aly Fulton-Kern, Executive Assistant & Artist Coordinator Julie Himmelstrup, Artistic Director, Music in the Park Series

Composers-in-Residence: Abbie Betinis, Edie Hill

Tessa Retterath Jones, Director of Marketing & Ticketing

Schubert Club Museum Interpretive Guides:

Joanna Kirby, Project CHEER Director, Martin Luther King Center

Hannah Peterson Green, Jessica Johnston, Paul Johnson,

Ted Moore, Museum Intern

Alan Kolderie, Sherry Ladig, Rachel Olson, Kirsten Peterson

David Morrison, Graphics Manager & Museum Associate

Project CHEER Instructors: Joe Christensen, Omid Farzin Huttar

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

Mary Cunningham

Hella Mears Hueg

Nicholas Nash

Estelle Sell

Dorothy Alshouse

Joy Davis

Anne Hunter

Ford Nicholson

Gloria Sewell

Mark Anema

Terry Devitt

Ruth Huss

Richard Nicholson

Katherine Skor

Dominick Argento

Arlene Didier

Lucy Rosenberry Jones

Gayle Ober

Tom Swain

Paul Aslanian

Karyn Diehl

Richard King

Gilman Ordway

Jill Thompson

Jeanne B. Baldy

Ruth Donhowe

Karen Kustritz

Christine Podas-Larson

Nancy Weyerhaeuser

Ellen C. Bruner

Anna Marie Ettel

Libby Larsen

David Ranheim

Lawrence Wilson

Carolyn S. Collins

Diane Gorder

Dorothy Mayeske

George Reid

Mike Wright

Dee Ann Crossley

Elizabeth Ann Halden

Sylvia McCallister

Barbara Rice

Josee Cung

Julie Himmelstrup

Elizabeth B. Myers

Anne Schulte

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Sunday, April 23, 2017, 4:00 PM Saint Anthony Park United Church of Christ Pre-concert conversation one hour before the performance

Min-Young Kim, violin • Matilda Kaul, violin Jessica Thompson, viola • Thomas Kraines, cello Guest Artists: Wilhelmina Smith, cello • Linda Kelsey, reader

Leoš Janáček String Quartet No. 1, Kreutzer Sonata (1923) Adagio–Con moto Con moto Con moto–Vivo–Andante Con moto–Adagio–Più mosso Sergey Ivanovich Taneyev Allegro, from String Quartet No. 2, Opus 5 (1895) Pyotr Ilyich Tchaikovsky Andante cantabile, from String Quartet No. 1, Opus 11 (1871)

Intermission Ludwig van Beethoven, arr. Sonata No. 9 in A major, Opus 47, Kreutzer (1802-4), arranged for String Quintet Adagio sostenuto—Presto Andante con variazioni Presto

Today's performance is presented in honor of Linda Boss and her late husband, Andy Boss. Together, their years of support and advocacy of Music in the Park Series have brought the joy of music to thousands of audience members over the past 37 years. This presentation is supported by the Arts Midwest Touring Fund, a program of Arts Midwest that is funded by the National Endowment for the Arts, with additional contributions from Minnesota State Arts Board and the Crane Group.

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Music in the Park Series

Pieces will be performed together with readings from Leo Tolstoy’s The Kreutzer Sonata (1889) and Sophia Tolstaya’s Song Without Words.

Schubert Club •

DAEDALUS STRING QUARTET


Photo: Caroline Bittencourt

DAEDALUS STRING QUARTET Praised by The New Yorker as “a fresh and vital young participant in what is a golden age of American string quartets,” the Daedalus Quartet has established itself as a leader among the new generation of string ensembles. Since its founding in 2000, the Daedalus Quartet has performed in many of the world’s leading musical venues, including Carnegie Hall, Lincoln Center, the Library of Congress, Georgia’s Spivey Hall, and Boston’s Gardner Museum. Abroad the ensemble has been heard in the Musikverein in Vienna, the Mozarteum in Salzburg, the Concertgebouw in Amsterdam, the Cité de la Musique in Paris, and in leading venues in Japan, Germany, and Belgium. The ensemble has premiered works by Joan Tower, Fred Lerdahl, Richard Wernick, Louis Karchin, Lawrence Dillon, and David Horne. They have recorded extensively for Bridge Records, including music of Haydn, Sibelius, Ravel, Stravinsky, George Perle, Lawrence Dillon, and Fred Lerdahl. In the 2017-2018 season, the Daedalus Quartet will be performing a new work for string quartet and clarinet by Vivian Fung at the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society, and a program of works by Fred Lerdahl, including the recently commissioned piece Chaconne, at the Gardner Museum in Boston. In addition, Daedalus will be performing the complete cycle of Beethoven's string quartets at the University of Pennsylvania. The Quartet has forged associations with some of America’s leading classical music and educational institutions: Lincoln Center in New York, where the Chamber Music Society of Lincoln Center appointed the quartet as the Chamber Music Society Two string quartet for 2005-2007, and where they have performed numerous times for the Great Performers series and the Mostly Mozart Festival; and Carnegie Hall, through its European Concert Hall Organization (ECHO) Rising Stars program. The Daedalus Quartet has been Quartet-in- Residence at the University of Pennsylvania since 2006. In 2007, the Quartet was awarded Lincoln Center’s Martin E. Segal Award, and have won commissioning and residency grants from Chamber Music America.

WILHELMINA SMITH has been awarded a 2015-2016 McKnight Artist Fellowship for Performing Musicians administered by MacPhail Center for Music. She made her solo debut with the Philadelphia Orchestra while a student at the Curtis Institute of Music and in 1997 was a prizewinner in the Leonard Rose International Cello Competition. She has gone on to solo with orchestras including the Orquesta Millenium of Guatemala and

the Ural Philharmonic Orchestra of Russia and has performed recitals across the US and Japan. A strong supporter of new music, she has worked frequently with composers such as Esa-Pekka Salonen, with whom she collaborated to performed his cello concerto, Mania, and gave the American premiere of his solo cello work, Knock, Breathe, Shine. Ms. Smith’s solo CD of sonatas by Britten and Schnittke with pianist Thomas Sauer was released on the Arabesque label in 2006. Her recordings of chamber music include the complete chamber works of Aaron Copland, works by Sebastian Currier, John Musto and Aaron Jay Kernis. She has performed frequently with pop musician Sting and can be heard on recent recordings for both Sting and Bruce Springsteen. She currently lives in Saint Paul, Minnesota with her husband Mark Mandarano and children August and Giovanna.

LINDA KELSEY’s career has spanned decades in Hollywood and on national stages. As a graduate of The University of Minnesota, she received a McKnight Fellowship in acting, which launched her professional career at the Guthrie Theatre, appearing as Miranda in The Tempest, Maggie in The Lovers, and Teresa in The Hostage. Her television career includes guest starring roles on over thirty television series, including Touched by an Angel, ER, The Mary Tyler Moore Show, MASH, The Twilight Zone, Streets of San Francisco, and St. Elsewhere. As Billie Newman on the acclaimed series, Lou Grant, Linda received five Emmy and two Golden Globe nominations. In addition to Lou Grant as a series regular, she played the role of Kate Harper on Day by Day, for NBC. Linda also co-starred in the role of Carol for Billy Crystal’s series, Sessions, for HBO. Linda has starred in the made for television movies, A Perfect Match, Something For Joey, His Mistress, A Family Torn Apart, If Someone Had Known, and A Place to Be, and Baby Girl Scott. In the miniseries Eleanor and Franklin, she portrayed Lucy Mercer. She also appeared in the feature film Midnight Man, with Burt Lancaster. Linda has toured, since 2002, in the role of Emily Dickinson in The Belle of Amherst which was first staged at the Phipps Center for the Arts. She cocreated, with soprano Anne Marie Ketchum and pianist Victoria Kirsch, This and My Heart Beside, a theatre/ concert piece, interspersing spoken readings of Emily Dickinson’s texts with musical settings of her poems by four American composers. This and My Heart Beside premiered in Los Angeles in 2009. schubert.org

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String Quartet No. 1, Kreutzer Sonata Leoš Janáček (b. Hukvaldy, Moravia, 1854; d. Ostrava, 1928) Often described as a Czech nationalist, Leoš Janáček was born in Moravia and had strong Russian sympathies. He visited Russia several times, beginning in 1896. He learned the language and founded a “Russian Circle” in Brno. Janáček explored Russian subjects in two early, incomplete operas and in the String Quartet No. 1, written in 1923 when he was nearly 60. Janáček said he was inspired by Tolstoy’s story, but is this program music? The work begins with a series of great inhalations and exhalations. Some have associated the second movement’s polka theme— played by the viola—with Trukhachevsky, the violinist in the story; a nasal tremolando certainly suggests something sinister. The mood swings between pathos and panic in the third movement. The fourth aims at consummation, but turns grotesque and presses forward with the nervous energy so characteristic of this composer. The work ends in A-flat minor, a key with seven flats.

Tolstoy in 1908

PROGRAM NOTES In this “tree of songs,” we consider the power of music and the ideas of Leo Nikolayevich Tolstoy (1828–1910). The trunk is Beethoven’s “Kreutzer” Sonata. The branches are a Tolstoy story, a Tchaikovsky arrangement and a movement by Taneyev. Janáček’s Quartet offers colorful and abundant foliage. Tolstoy’s 1889 novella The Kreutzer Sonata takes place on an overnight railway journey. The narrator hears a tale told by Pozdnyshev, a glittering-eyed bureaucrat who knifed his own wife because he was jealous of a violinist who was playing duets with her. Pozdnyshev blames the influence of music, Beethoven's “Kreutzer” Sonata in particular. “A terrible thing is that sonata,” he says. “And a terrible thing is music in general. Music makes me forget my real situation. It transports me into a state which is not my own. Under the influence of music I really seem to feel what I do not feel, to understand what I do not understand, to have powers which I cannot have.”

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“Janáček meant the work to be a kind of moral protest against men’s despotic attitude to women,” suggests Josef Suk, who played in the premiere of the quartet. “Thus while Tolstoy ascribes to music ‘the most immoral effects,’ Janáček uses music to the exactly opposite effect: as the voice of the conscience of humanity.” Old Leoš was a feminist.

Leoš Janáček


Sergey Taneyev

Allegro, from String Quartet No. 2 in C major, Opus 5 Sergey Ivanovich Taneyev (b. Vladimir-na-Klyaz'me, 1856; d. Dyud'kovo, near Moscow, 1915) Sergey Taneyev has been called “The Russian Brahms” for his contrapuntal skill and affinity for abstract music. The first recipient of the Moscow Conservatory Gold Medal in both composition and performance, Taneyev was certainly an odd duck: portly, near-sighted, cross-eyed, a teetotaler who doted on his nanny. He kept a diary in Esperanto and even set that language to music. But he was an important composer. If Taneyev’s music is not well known in America, it may be because it lacks the lyric intensity of his teacher Tchaikovsky, the spiritual trappings of his student Scriabin or the glitter of his friend Rimsky-Korsakov. After the publication of The Kreutzer Sonata, Tolstoy’s wife Sofiya found solace in Taneyev’s company. That friendship was the inspiration for her book, Song Without Words. In a 2014 New Yorker article, “Sofiya Tolstoy’s Defense,” Sophie Pinkham discusses the relationship. Sofiya was in despair over the death of her beloved youngest son, but Taneyev restored her spirits, “opening her to an understanding of music, just as her husband had once led her to understand literature. Furiously jealous, Tolstoy put an end to Taneyev’s visits. But music stayed with Sofiya for the rest of her life.” Sofiya Tolstoya

Andante cantabile, from String Quartet No. 1 in D major, Opus 11 Pyotr Ilyich Tchaikovsky (b. Kamsko-Votinsk, 1840; d. St. Petersburg, 1893)) Tchaikovsky’s First Quartet was composed for his début in March 1871. The second movement begins with a folk-tune Tchaikovsky heard at his sister’s home in Ukraine in 1869: “Upon the divan Vanya sat / And filled a glass with rum / Before he’d poured out half a tot / He ordered Katenka to come.” That cantabile tune would carry the name of Tchaikovsky even further than the cannons of 1812. Tolstoy and Tchaikovsky met only once, at a Moscow concert in the novelist’s honor at the turn of the years 1876–77. Tchaikovsky confided to his diary: “I was never so flattered in my life, nor was my pride as a composer so stirred, as when Leo Tolstoy, sitting beside me listening to the Andante from my First Quartet, dissolved in tears.” The second theme, sung by violin molto espressivo over walking pizzicato, is a Tchaikovsky original.

Tchaikovsky in 1874

Sonata No. 9 in A major, Opus 47, Kreutzer, arranged for String Quintet Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827) Beethoven’s patron Prince Lichnowsky financed a concert in May 1803 that paired the composerpianist with George Polgreen Bridgetower, an English virtuoso touring the circuit as “son of the African Prince.” Beethoven hastily completed sketches for a Sonata in A minor, appending the finale of his Opus 24 as a makeshift. Beethoven’s first eight violin sonatas grow out of the “accompanied sonata” tradition, in which a second instrument complements a basically-

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complete keyboard part. Sonata No. 9 claims to be written “almost in the manner of a concerto.” It set a new standard for virtuosity in chamber music. A dedication to Bridgetower would have been natural, but there was a falling out, allegedly over a woman. Here’s where Rodolphe Kreutzer’s name comes in. Kreutzer (1766–1831) was a leading violin virtuoso and teacher of the Revolutionary period. He taught at the Conservatoire de Paris for some 30 years. His 42 Études or Caprices are still required study material. Beethoven had met Kreutzer in Vienna in 1798. The dedication went to Kreutzer without permission. Violin strikes a grand chord and plays the first bars unaccompanied. The Presto that follows sweeps the listener up in a whirlwind. The expansive set of variations was encored at the 1803 premiere. Beethoven later wrote a new finale, a second Presto that exceeds the first movement in its demands and rewards. In 1832, five years after Beethoven’s death, Simrock published the “Quintet . . . . arranged after the

grand Sonata for Piano and Violin, Opus 47 by L. van Beethoven.” According to musicologist Matthew Oswin, the arranger understood both the medium and the sonata itself. “The quintet spreads both instrumental parts from the original Kreutzer both across and between all five instruments. This ensures that while the parts are playable, they all require a high level of technical competency and skill from each individual musician in order to execute figures originally designed for the piano.” Beethoven had written a two-viola Quintet, Opus 29 in 1801. It’s possible he made the arrangement. We just don’t know. Program notes © 2017 by David Evan Thomas Daedalus String Quartet's Schubert Club/Music in the Park Series residency—supported in part by Arts Midwest, Saint Anthony Park Community Foundation, Trillium Foundation, and Boss Foundation—includes performances at Saint Anthony Park Elementary School, Saint Anthony Park Home, two Family Concerts, a subscription concert, a KidsJam workshop, a workshop, master class, and performance at St. Olaf College. In addition, the Quartet will be judges for the national St. Paul String Quartet Competition for high school students.

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

Anonymous

Warren and Marian Hoffman

Kathy and Doug Skor

Elmer L. and Eleanor J.

Nina and John Archabal

Gladys Howell

Harvey Smith

Lydia Artymiw and David Grayson

Peg Houck and Phil Portoghese

Conrad Soderholm

Arts Touring Fund of Arts Midwest

Adrienne Banks

Gary M. Johnson

Boss Foundation

Emily and Aaron Barnes

Cy and Paula DeCosse Fund of

Carol Barnett

Ann Juergens and Jay Weiner

Vania Stefanova

Lynne and Bruce Beck

Chris and Marion Levy

Cynthia Stokes

Carolyn and Kit Bingham

Michelle and Andrew Lewis

John and Joyce Tester

Anne-Marie Bjornson

Richard and Finette Magnuson

Anthony Thein

Carl and Jean Brookins

Deborah McKnight

David Evan Thomas

Philanthropic Fund of the Jewish

Alan and Ruth Carp

Greta and Robert Michaels

Marilyn and Bruce Thompson

Communal Fund

Penny and Cecil Chally

James and Carol Moller

Linda and Mike Thompson

Mary Sue Comfort

Marjorie Moody

Timothy Thorson

Mary and Bill Cunningham

Alex Murphy and Jodi Hanson

Chuck Ullery and Elsa Nilsson

Minnesota State Arts Board

Peter Dahlen and Mary Carlsen

Murphy

Stuart and Mary Weitzman

Muffuletta Café

Don and Inger Dahlin

David and Judy Myers

Peggy Wolfe

Saint Anthony Park

Garvin and Bernice Davenport

Kathleen Newell

Judy and Paul Woodword

Knowles Dougherty

Gerald Nolte

Saint Anthony Park Home

Bruce Doughman

Dennis and Turid Ormseth

Speedy Market

Maryse and David Fan

James and Donna Peter

Theresa’s Hair Salon

Jane Frazee

Rick Prescott and Victoria Wilgocki

Nancy and John Garland

Paul and Elizabeth Quie

Michael and Dawn Georgieff

Jane Rosemarin

Dick Geyerman

Juliana Kaufman Rupert

Peg and Liz Glynn

Michael and Shirley Santoro

Music in the Park Series

Anne and George Green

Jon Schumacher and Mary Briggs

Endowment Fund. Please

INDIVIDUALS

Sandra and Richard Haines

Sylvia Schwendiman

Meredith Alden

Eugene and Joyce Haselmann

Laura Sewell and Peter Freeman

see page 38.

Arlene Alm

Anders and Julie Himmelstrup

Dan and Emily Shapiro

Martha and Renner Anderson

J. Andreas Hipple and Marisa Vargas

Marie and Darrol Skilling

Andersen Foundation

The Minneapolis Foundation Dorsey & Whitney Foundation Matching Gift Program Phyllis and Donald Kahn

Walt McCarthy and Clara Ueland and the Greystone Foundation

Community Foundation

and Theresa Black Thrivent Financial Matching Gift Program Trillium Foundation

and Joan G. Hershbell

& Mary Tingerthal Eileen V. Stack

Thank you to all those who gave to the new

Special thanks to the donors helping to fund the commissioned work honoring Julie Himmelstrup’s 80th birthday with a new piece of music performed by the Pacifica Quartet on November 6. A complete list of contributors can be found on page 36. 14

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Calendar of Events April–June, 2017 APRIL 2017 Wed, Apr 5 • 7:30 PM SCHUBERT CLUB MIX Roomful of Teeth, the Grammy-winning eight-person vocal project, joined by Nick Zammuto, show off the dazzling, expressive potential of the human voice at Aria in Minneapolis.

more info at schubert.org Fri, Apr 28 • 10:30 AM INTERNATIONAL ARTIST SERIES In a morning “coffee” concert, Alexandre Tharaud, piano, reprises his program from the previous evening.

Thu, Apr 6 • 12 PM COURTROOM CONCERT—free Music of Jeffrey Van, Minnesota Composer Jeffrey Van, guitar; Brenda Mickens, violin; Clara Osowski, mezzo soprano. Thu, Apr 6 • 7:30 PM LIVE AT THE MUSEUM May We Hear Him Again: Music of Celius Dougherty Mark Bilyeu, Clara Osowski & Friends.

Alexandre Tharaud

Thu, Apr 13 • 12 PM COURTROOM CONCERT—free Musicians from Lakes Area Music Festival. Thu, Apr 20 • 12 PM COURTROOM CONCERT—free Music of Schubert Club Composer Mentorship Students, performed by the Lux String Quartet.

MAY 2017 Mon, May 1 & May 8 • 7:30 PM HILL HOUSE CHAMBER PLAYERS "Women of Note" 19thand 20th-century chamber music by women composers, performed in the historic James J. Hill mansion. Thu, May 11 • 6:30 PM & 8:30 PM SCHUBERT CLUB MIX

Pianist Christopher O’Riley, host of NPR's From the Top, plays Bach's Goldberg variations and Metamorphosis No. 2 by Philip Glass. Mon, May 15 • 7:30 PM ACCORDO

Lux String Quartet Fri, Apr 21 • 6 & 7:15 PM MUSIC IN THE PARK SERIES FAMILY CONCERT Daedalus String Quartet plays music for children of all ages and their families.

Chamber music of Schumann, Hindemith, and Brahms performed by current and former principal players of the SPCO and Minnesota Orchestra. Christopher O'Riley

Sun, Apr 23 • 4 PM MUSIC IN THE PARK SERIES Daedalus String Quartet with Linda Kelsey, narrator & Wilhelmina Smith, cello, explore music and literary texts associated with Beethoven’s Kreutzer Sonata. Thu, Apr 27 • 12 PM COURTROOM CONCERT—free Ben Osterhouse, 2017 First Place winner in the Schubert Club Scholarship Competition (Strings IV, ages 24-28). Thu, Apr 27 • 7:30 PM INTERNATIONAL ARTIST SERIES Brilliant young French pianist Alexandre Tharaud, performs music of Scarlatti, Rachmaninoff, Mahler, and Ravel at the Ordway Concert Hall.

JUNE 2017 Mon, Jun 5 • 7:30 PM ACCORDO

Minnesota's "dream team of chamber music" presents music of Bach in arrangements by Mozart and Sitkovetsky. Wed, Jun 7 • 12 PM ANNUAL LUNCHEON Guest speaker: Vern Sutton. schubert.org

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ALEXANDRE THARAUD, PIANO

Sergei Rachmaninoff Fantasy Pieces, Opus 3 (1892) Elégie Prélude in C-sharp minor Mélodie Polichinelle Sérénade

Intermission Gustav Mahler (arr. A. Tharaud) Adagietto from Symphony No. 5 Maurice Ravel Miroirs (1904–05) Noctuelles Oiseaux tristes Une barque sur l'océan Alborada del gracioso La vallée des cloches

This concert is dedicated in memory of Virginia and Edward Brooks, Jr. by their daughters, Katherine Brooks and Julie Zelle.

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International Artist Series

Domenico Scarlatti Seven Sonatas Allegro (Gavotta) in D minor, K. 64 Allegro in D minor, K. 9 Allegro in C Major, K. 72 Andante cantabile in C Major, K. 132 Presto in A minor, K. 3 Allegro in C Major, K. 514 Andante è cantabile in F minor, K. 481

Maud Moon Weyerhaeuser Sanborn

Ordway Concert Hall Pre-concert conversation one hour before the performance

Schubert Club •

Thursday, April 27, 2017, 7:30 PM Friday, April 28, 2017, 10:30 AM


Photo: Marco Borggrev

ALEXANDRE THARAUD’s concert schedule in 2015 began with the first of four American tours, during which Alexandre performed at major concert halls including Zankel Hall (Carnegie Hall), Boston’s Symphony Hall, the Walt Disney Hall in Los Angeles, and debut with both the Atlanta Symphony and Philadelphia orchestras. Alexandre’s international career continues to flourish with concerts this season in Scandinavia, Germany, Poland, Switzerland, Benelux (where he was invited to be the Eindhoven Muziekgebouw’s Resident-Artist in 2015/2016), Spain (as part of the Great Performers cycle at the Auditorio Nacional in Madrid), Italy (débuts at Santa Cecilia in Roma), the UK, Austria and in Asia with tours in China, South Korea and Japan (concerts with New Japan Philharmonic and Kansai Philharmonic). Next season Alexandre will present the world premiere of Hans Abrahamsen’s concerto for the left hand together with the WDR Sinfoniorchester Köln and conductor Ilan Volkov. Subsequent performances include national premieres with the CBSO in Birmingham, with the Rotterdam Philharmonic and chief conductor, Yannick Nézet-Séguin, with the Danish Radio Orchestra in Copenhagen and the Göteborgs Symfoniker, Sweden. Recent seasons have include a number of exciting projects including Alexandre’s first major tour to China, his BBC Proms orchestral debut (with the BBC Philharmonic under the baton of Juanjo Mena), a ‘Domaine Privé’ at the Cité de la Musique, book (Piano Intime) and film (Le Temps Dérobé, by Swiss film maker Raphaëlle Aellig-Régnier) releases; last but not least, Alexandre has been asked to revise a new edition of Maurice Ravel’s complete solo piano works. Alexandre’s eclectic discography includes Bach, then Mozart and Haydn with Les Violons du Roy, Autograph, Le Boeuf sur Le Toit, Scarlatti, Journal Intime (Chopin) and Bach Concertos with Les Violons du Roy for ERATO, and, in 2015, his long-awaited interpretation of Bach’s Goldberg Variations.

As a recitalist Alexandre Tharaud has performed across the world: Teatro Colón de Buenos Aires, Théâtre des Champs-Elysées, Opéra de Versailles, Cologne Philharmonie, Prague Rudofinum, Essen Philharmonie, Queen Elizabeth Hall Southbank Centre, Royal Albert Hall and Wigmore Hall, Concertgebouw Amsterdam, John F. Kennedy Centre Washington D.C., Vienna Musikverein, Bern Casino, Krakow Philharmonie, Hoam Art Hall and LG Arts Center Seoul, Hyogo Performing Arts Center, Oji Hall and the Suntory Hall in Tokyo. His festival appearances include the BBC Proms, Edinburgh International Festival, Gergiev Festival, Aix-enProvence, La Roque d’Anthéron, Schleswig-Holstein, Rheingau, Ludwigsburg, Ruhr Piano Festival, Nuits de Décembre de Moscou, Rimini, Domaine Forget and Lanaudière. As a soloist he has appeared with the main French orchestras (Orchestre National de France, Orchestre Philharmonique de Radio-France, Orchestre National de Lille, Orchestre National de Bordeaux-Aquitaine, Ensemble Orchestral de Paris, Orchestre du Capitole de Toulouse, Orchestre National de Lyon) and elsewhere (London Philharmonic Orchestra, Royal Concertgebouw Orchestra, Bolshoi Theatre Orchestra, Munich Chamber Orchestra, Sinfonia Varsovia, Tonhalle-Orchester Zürich and Tokyo Metropolitan Orchestra, as well as the Bavarian, Saarbrücken and Frankfurt Radio, Estonian National, Toronto, Singapore, Taiwan, Sao Paulo, Umea and Hamburg Symphony Orchestras, and the Japan and Malaysian Philharmonic Orchestras) under the direction of Lionel Bringuier, Bernard Labadie, Rafael Frühbeck de Burgos, Georges Prêtre, Marc Minkowski, Stéphane Denève, Leo Hussain, David Zinman, Yannik Nézet-Séguin and Claus Peter-Flor. Dedicatee of numerous works, Alexandre Tharaud premiered Thierry Pécou’s cycle Outre-Mémoire which included two concertos; L’Oiseau Innumérable, with orchestra and Le Visage – Le Coeur, with the choir Les Eléments at La Roque d’Anthéron Festival under the direction of Joël Suhubiette. In 2012, he premiered Gérard Pesson’s concerto in Zurich, Frankfurt and Paris with the Tonhalle Orchester Zurich and RSO Frankfurt. Alexandre has also both commissioned and premiered three cycles: ‘Hommages à Rameau’, ‘Hommage à Couperin’ and ‘Pianosong’. Alexandre Tharaud is represented by Opus 3 Artists.

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PROGRAM NOTES

Fantasy Pieces, Opus 3 (1892) Sergei Rachmaninoff (b. Oneg, Russia, 1873; d. Beverly Hills, 1943) The Fantasy Pieces (Morceaux de fantaisie) are Rachmaninoff’s first published piano works. The title is borrowed from Schumann, and the set is dedicated to Anton Arensky, Rachmaninoff’s harmony teacher at the Moscow Conservatory. Rachmaninoff must have enjoyed these pieces, for he never stopped playing them.

Seven Sonatas Domenico Scarlatti (b. Naples, 1685; d. Madrid, 1757) The sixth child of celebrated composer Alessandro Scarlatti, Domenico Scarlatti distinguished himself early as a harpsichord virtuoso. In 1719, he moved to Lisbon, where he became the teacher of Princess Maria Barbara, the eldest child of King João V of Portugal. In 1729, he moved to Seville, where João appointed him mestre of the royal chapel. While in Andalucía, he soaked up the music around him. The estimable Dr. Burney, visiting Scarlatti in 1756, observed that “he imitated the melody of tunes sung by carriers, muleteers, and common people.” By 1733, Scarlatti was in Madrid. When Maria Barbara ascended the throne in 1746, she retained her beloved music-master. Scarlatti wrote for the harpsichord, a predecessor of the piano. Its strings are plucked by a small quill, rather than struck by a hammer. The force of the stroke doesn’t affect the tone’s volume. Most of Scarlatti’s 555 sonatas fit a four-octave keyboard, but some of the high-numbered ones, like K. 514, span five octaves. Some of the sonatas may have been conceived for the piano—it was invented early in the eighteenth century—but all sound well on that instrument, which offers a range of colors alien to the harpsichord. With the exception of the 30 Essercizi per gravicembalo (K. 1–30), published in London in 1738 or 1739, the original manuscripts of the sonatas have not survived, so precise dating is impossible. The K. numbers after the sonatas refer to the catalogue created by harpsichordist Ralph Kirkpatrick. In this program we hear a selection of sonatas from Scarlatti’s entire career. Leave all notions of classical sonata form in the Foyer. Scarlatti writes a two-part form in the truest sense of sonata, where suono means sound, and suonare, to play. Each sonata is a unique planet with its own atmosphere, landscape and calendar. 18

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The young Sergei Rachmaninoff

Elégie is a bel canto song in the manner of Chopin that climaxes gloriously with two juxtaposed bellchords. Prélude is of course the Prelude in C-sharp minor, Rachmaninoff’s most famous piece, premiered at the First Moscow Electricity Exhibition in September, 1892. Three fateful introductory notes lead the ear from one key to another, and the climactic bell-sounds and searching attempts to find the last chord presage the Rachmaninoff to come. The piece became so popular that the composer was expected to play it wherever he went. “All Flapperdom sorrowed last night,“ reported critic James Huneker in 1918. “There are amiable fanatics who follow this pianist from place to place hoping to hear him in this particular Prelude, like the Englishman who attends every performance of the lady lion-tamer hoping to see her swallowed by one of her pets.“ But because Russia had not signed the landmark 1886 Berne Convention, foreign publishers pirated the Prélude without royalties to the composer. Mélodie recalls the manner of Anton Rubinstein’s famous Mélodie in F, where the tune is carried by a cello hiding in the pianist’s left hand. Polichinelle (Pulchinella) is the commedia dell’ arte character familiarly known as Mr. Punch, the grotesque humpback in the Punch and Judy puppet show. He is a bit of a brute, but do we hear the little bells on his cap ringing? Sérénade evokes gypsy style, which Rachmaninoff had explored


in his graduation thesis, the Gold Medal-winning one-act opera, Aleko, based on Pushkin’s poem “The Gypsies.” It bears resemblance to the second of the Symphonic Dances, which may be why the composer revised the Sérénade in 1940, nearly 50 years after its composition. Gustav and Alma Mahler

Adagietto, from Symphony No. 5 (1901–02) Gustav Mahler (arr. A. Tharaud) (b. Kalischt, Bohemia, 1860; d. Vienna, 1911) The fourth movement of Mahler’s Fifth Symphony, the Adagietto, is a prelude to a celebratory finale. The piece was famously played at Robert Kennedy’s funeral mass. But it is emphatically not a piece about death. Mahler finished the Rückert song “I am lost to the world” on August 16, 1901. On November 7, he met Alma Schindler, a budding composer studying (and having an affair) with Mahler’s friend Zemlinsky. Alma and Mahler became intimate within a month and announced their engagement on December 28. Dutch conductor Willem Mengelberg wrote in his score of the Symphony: “This Adagietto was Gustav Mahler's declaration of love to Alma! Instead of a letter he sent her this in manuscript; no accompanying words. She understood and wrote to him: he should come!!! Both told me this!” Constantin Floros has pointed out the prominent paraphrase of the “Glance” motive from Tristan und Isolde, a most expressive sigh of a seventh heard many times about halfway through.

falsies, and dancing en pointe, his beard contrasting with his tiny, wiry form, much like the body of a real ballerina.” Each movement of Miroirs is linked to a member of Les Apaches. Noctuelles (Night Moths) is dedicated to poet Léon-Paul Fargue, possibly Ravel’s closest friend. Ravel dedicated the haunting Oiseaux tristes (Sad Birds) to pianist Ricardo Viñes, his most faithful keyboard interpreter. “It was fun to inscribe to a pianist a piece that was not in the least pianistic,” he said. The maritime tableau Une barque sur l’océan (A Boat on the Ocean) is inscribed to artist Paul Sordes, who often hosted the group at his house in Rue Dulong. Gracioso was a character in seventeenth-century Spanish plays, Ivry tells us. “He was scatological, sexual, anti-feminist, anti-Semitic, and a vehicle for wild, antiheroic satire.” The satirical Alborada del gracioso (Gracioso’s Dawn Serenade) is dedicated to critic M. D. Calvocoressi, but a number of Ravel’s friends believed that Alborada is a self-portrait. Could this be a clue to the meaning of the title Miroirs? Do these five contrasting virtuoso pieces embody different reflections or faces of the composer? Was Ravel a shapeshifter? Naturally, La vallée des cloches (The Valley of Bells) is dedicated to a composer, Maurice Delage, one of Ravel’s rare pupils and a lifelong friend. It predates Debussy’s La cathédrale engloutie by five years. Though it’s often assumed that Ravel imitated the piano style of his elder colleague, the opposite seems to be the case. Program notes © 2017 by David Evan Thomas Composer Maurice Delage, to whom Ravel dedicated La vallée des cloches. (Drawing by Catherine Stravinsky.).

Miroirs (Mirrors) (1904–05) Maurice Ravel (b. Ciboure, 1875; d. Paris, 1937) Ravel enjoyed the company of an informal band of artists, critics and music lovers nicknamed Les Apaches. The tribe opposed academicism and was devoted to Russian music, folk-song, Asian art and—especially— the music of Debussy. Benjamin Ivry, in Maurice Ravel: A Life, describes Ravel entertaining his friends “by dressing up as a ballerina, complete with tutu and

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Bruce P. Carlson

Student Scholarship Competition 2017 2017 Guitar competitors awaiting their audition times at Augsburg College: Matthias Vancutsem, Brandon Kempf, Sam Hines, Manuel Rodriguez, Evan Taucher

The Schubert Club's 95th annual Student Scholarship competition took place in March 2017, awarding more than $50,000 in scholarships to young musicians. A change in format this year saw Saturday Prelims followed immediately by Finals on Sunday, a new schedule particularly appreciated by competitors coming from out of town. One such group hailed from Lawrence University in Appleton, Wisconsin. Professor Catherine Kautsky of Lawrence writes about her students' experience: The annual Schubert Club piano competition has played an important role in the lives of Lawrence piano students for a number of years. Each year we arrange for a couple of van loads of pianists to head to the Twin Cities and compete, and each year we have finalists, often winners. Despite the 4-5 hour drive, students are always eager to go; even those who are eliminated in the first round are delighted to have participated. In fact, the numbers increase each year. This is a wonderful contest, for the entrance fee is reasonable, the requirements are open-ended, the prize is generous, and the administration is kind, flexible, and humane! Students benefit enormously, no matter what their ultimate placement may be, for they are motivated by their upcoming performance and eager to receive comments from an outside panel of judges. All of us on the faculty at Lawrence work hard to provide performance opportunities for our students, and this is one of our favorites. We also offer many outreach opportunities, since we want students to play not only for other musicians, but also for the general public, and often for a general public that might not usually have access to classical music. My colleague in the piano department, Michael Mizrahi, helps run a 20

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program at Lawrence called Music for All, which sends students to play in homeless shelters, community centers, and other public venues in Appleton. My studio has performed at the Boys and Girls Club of Appleton, a local soup kitchen, and most recently has been doing concerts at the Oshkosh Correctional Institute. The latter has been a mind-opening experience for all of us; the astonishing letters from prisoners following—and anticipating—concerts remind us that the prison population is as varied as any other population and is filled with people who know and love music. Indeed, this audience appreciates our visits more than any other and has engaged with us as seriously as any audience I’ve ever encountered. I should mention that the Schubert Club provides us with other performance outlets as well, for it administers not only the competition but also wonderful concerts scheduled for winners. My student, Cameron Pieper, who won a few years ago, was awarded a memorable performance opportunity in the Twin Cities for which he was most grateful. He has now gone on to earn his Masters degree in piano performance at the Manhattan School of Music in New York City, and I know that the encouragement he received from the Schubert Club was priceless to him. Students also apply for the generous stipends ("Special Grants") the Schubert Club offers for summer festivals, affording them yet more opportunity to diversify their studies, perform in new venues, and interact with an entirely new cadre of young musicians. My student, Laetitia Lehman-Pearsall, was Lawrence University graduate Cameron Pieper, now a student at the Manhattan School of Music, was 1st Place winner in College Piano in 2015.


what we do and want to perform to the best of our abilities. When it is time to perform, we get into a completely different mindset. It is nice to see hard work be rewarded and have all the hours of practicing pay off. I was very honored to make it to finals and to be able to compete with some incredibly talented pianists. I felt good about my performance in the final round, so when I later found out I wasn't a winner, of course I was disappointed—but, this is how it goes For me, not winning is just another reason to keep practicing harder. Dinner at a local Chinese restaurant for Lawrence University students: Craig Jordan, Milou de Meij, Nick Suminski, Xiaoya Gao, Mingfei Li, Ming Hu, Xi Lin lucky enough to be awarded one of these grants in 2015. She had suffered a wrist injury and was able to attend a workshop aimed at the rehabilitation of injured pianists as a result of the grant. It proved of enormous value as she began to play again. In sum, this is a wonderful organization that serves our young musicians with enormous devotion in numerous capacities. Kudos to the entire organization and to Kate Cooper in particular. She administers with such an unusual degree of personal attention to both contestants and students, and we’re all very grateful! Catherine Kautsky Prof. of Music Chair, Keyboard Dept. Lawrence University

Neil (blue shirt) relaxing with fellow Lawrence student Tony Cardella and dog Frodo before the competition.

I think most important thing for me during the Schubert Club Competition (and competition in general) was to keep a healthy balance of competition and camaraderie. It is beneficial and relaxing to be able to hang out at Mall of America with your friends or explore downtown, but one must still have a competitive drive and attitude when it comes time to perform.

Piano Level III finalist Neil Krzeski made the trek from Lawrence University to Saint Paul this year with fellow students and shared his thoughts with us: Being stuck in a car for hours on end makes for a good bonding experience! It takes away from the inherent competitiveness in the situation. Talking and having a good time with your peers before you compete is a good way to relax—and remember that a competition shouldn't run your life. We had the chance to stay overnight in several different places near the competition site. I stayed at the house of a piano friend of mine from school. Being able to stay with your friend, to watch movies together, and to play with the dog is something that you might not find typical in a competition setting, but it is what makes the Schubert Club Competition a unique experience for me—it is always a fun adventure regardless of the competition's outcome. As for the competition itself, musicians spend their whole lives perfecting their craft; we take pride in

Many of the more than 200 competitors in the 2017 Competition live in the MInneapolis–Saint Paul area, including String FInalists and Winners pictured above. From left, Alastair Witherspoon, Madeline Sheard, Nygel Witherspoon, and Christopher Kwan. At right is Finals Judge, violinist Tim Fain­—who appeared in concert on the Schubert Club Mix series earlier this season. schubert.org

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James J. Hill House Pre-concert conversation
by Emily E. Hogstad at 6:45 PM

HILL HOUSE CHAMBER PLAYERS Julie Ayer, violin • Catherine Schubilske, violin Thomas Turner, viola • Tanya Remenikova, cello Mary Jo Gothmann, piano

Women of Note Lili Boulanger (1893–1918) Two Pieces Nocturne (1911) Cortege (1914) Fanny Mendelssohn Hensel (1805–1847) Piano Trio in D minor, Opus 11 (1846) Allegro molto vivace Andante espressivo Lied: Allegretto Finale: Allegro moderato

Intermission Gabriel Fauré (1845–1924) Piano Quartet No. 1 in C minor, Opus 15 (1876–79) Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto

The Hill House Chamber Players is the resident ensemble of the James J. Hill House. It is comprised of musicians from the Minnesota Orchestra, Minnesota Opera and University of Minnesota faculty. Currently in its 36th season, the ensemble performs regularly in the intimate Art Gallery of the historic Gilded Age mansion.

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Hill House Chamber Players

Presented by the Schubert Club and The Minnesota Historical Society

Schubert Club •

Mondays, March 6 & 13, 2017, 7:30 PM


PROGRAM NOTES Nadia Boulanger (1887–1979) enjoyed a long career as a conductor, organist and pedagogue. But Nadia considered her younger sister Lili to be the gifted one. Lili Boulanger (1893–1918) suffered from bronchial pneumonia as an infant and struggled with ill health throughout her short life, dying of intestinal tuberculosis at age 24. She dedicated herself to composition when she was sixteen. The girls’ father, Ernest Boulanger, had won the coveted Prix de Rome as a young man. “Lily expressed the wish to win the Prix de Rome, as her father had done in 1935,” writes biographer Léonie Rosenstiel. She hoped “to bring back to the family the prize that had just eluded her sister Nadia in 1908.” Not only did Lily win the Prix de Rome in 1913, she was the first woman to do so. The Two Pieces were written separately and later paired for publication. Nocturne (1911) was conceived for flute, but it works equally well as a violin piece. The arching fountain of Cs in the accompaniment makes an ideal harp part, and that’s how Lili orchestrated it later. Cortège, composed in June 1914, makes a jolly procession, with the unusual color of piano in its highest octave doubling violin. But Lili’s Rome sojourn at Villa Medici was cut short by the assassination of the Austrian Archduke on June 28 that year. Lili would not live to the end of the war.

Fanny Mendelssohn Fanny Mendelssohn Hensel was the first child of a prosperous Hamburg banking family and the elder sister of Felix Mendelssohn. She had perfect pitch and by the age of fourteen was able to play 24 preludes and fugues from the Well-Tempered Clavier from memory. Such a rare gift was acceptable, even laudable in a child. But in a mature woman of that era it was simply inappropriate. “Music will perhaps become [Felix’s] profession,” counseled her father, “while for you it can and must only be an ornament, never the root of your being and doing.” Fanny

married the Prussian painter Wilhelm Hensel and continued to play, conduct and promote music of the past and present in her Berlin salon, but only at the age of 40 did she decide to publish her own music, something her brother had long discouraged. The Trio in D minor is perhaps the most ambitious of her 450 compositions. It was composed in her last year. The Allegro is full of adventure. Heroic themes swirl in the mist as the piano moves from virtuoso display to tremulous quasi-orchestral accompaniment. Listen throughout this work for a recurring emblem, a soaring leap of a sixth followed by four descending steps. And notice how freely the cello moves in the ensemble: as independent bass, pizzicato accompaniment or lead singer. There is no pause before the Lied. Instead of a scherzo, this third movement is a simple song. The Finale is unique in the trio literature for its cadenza-like solo opening. Fanny did not live to see the Trio in print. She died of a stroke; her grief-stricken brother died six months later. Pauline Viardot, the famous singer and friend of Chopin, wrote of the young Gabriel Fauré: “He’s an excellent composer. What’s more he has a good sense of humor and he’s mad about dancing. We’re very fond of him.” In the summer of 1877, 32-year-old Fauré became engaged to Viardot’s daughter Marianne. When Marianne broke off the engagement, Fauré was heartbroken. “It took him months, perhaps years, to get over it,” wrote Fauré’s son Philippe. The wound left its mark on the Adagio of the C-minor Piano Quartet. The Quartet was written 1876–79. It begins with a full-throated chorus, the strings singing in unison. The meter is 3/4, but that’s not clear until the ninth measure. In the Scherzo’s delightful pizzicato play one may overlook Fauré’s masterful phrase-structure, as successive phrases grow longer, then overlap. The Adagio makes telling use of the common register of the stringed instruments, the octave or so around middle C that when played in unison is so heart-piercingly intense. Fauré revised the finale for performance in 1884. The result is driving, brilliant and wholly effective, at one point presenting a five-layer rhythmic texture that could remind one of gamelan music. Program notes © 2017 by David Evan Thomas

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Plymouth Congregational Church

ACCORDO Steven Copes, violin • Maiya Papach, viola • Ronald Thomas, cello • Anna Polonsky, piano Guest artist: Alexander Fiterstein, clarinet

Paul Hindemith (1895–1963) Quartet for Clarinet, Violin, Cello and Piano (1938) Mässig bewegt Sehr langsam Mässig bewegt–Lebhaft–Ruhig bewegt–Sehr Lebhaft

Intermission Johannes Brahms (1833–1897) Piano Quartet No. 2 in A Major, Opus 26 (1861) Allegro non troppo Poco Adagio Scherzo: Poco Allegro – Trio Finale: Allegro

PROGRAM NOTES Märchenerzählungen (Fairy Tales), Opus 132 Robert Schumann (b. Zwickau, 1810; d. near Bonn, 1856) On the last day of September 1853, twentyyear-old Johannes Brahms appeared at Robert Schumann’s door with a recommendation from Joseph Joachim in hand. The “young eagle” rejuvenated the older man, and in October he wrote some “house music” on youthful themes, the Fairy Tales, Opus 132. Schumann also wasted no time in penning a glowing article—too glowing, perhaps—which proclaimed Brahms as “one whose mastery would not gradually unfold but, like Minerva, would spring fully armed from the head of Jupiter.” The four Fairy Tales do not tell specific stories. The dialogue of the first tale could be Hansel

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and Gretel blithely chatting on their way into the woods. In the second, clarinet and viola finish each other’s sentences, and it’s easy to imagine a giant striding through the two-beat music. An air of enchantment pervades No. 3. Viola, bright on its highest string, occasionally rises above the clarinet in its mellow low register. Piano leads in the final scene with rhythms that bring the opening of Schumann’s Piano Concerto to mind. Quartet for Clarinet, Violin, Cello and Piano (1938) Paul Hindemith b. Hanau, nr Frankfurt, 1895; d. Frankfurt, 1963 Violist, composer, conductor, teacher, author— Paul Hindemith’s talents ran the gamut. After a period of early expressionist work, his compositions reflected the New Objectivity— clear lines, classical models, a cool but tonal

Accordo

Robert Schumann (1810–1856) Märchenerzählungen (Fairy Tales), Opus 132 (1853) Lebhaft, nicht zu schnell Lebhaft und sehr markiert Ruhiges Tempo, mit zartem Ausdruck Lebhaft, sehr markiert

Schubert Club •

Monday, May 15, 2017, 7:30 PM


harmonic palette. His music did not charm the Nazis; all Hindemith performances were banned in Germany in 1936. In 1939, Hindemith left Germany with his halfJewish wife Gertrude, arriving in the U.S. in 1940. Musicians enjoy Hindemith because the music sings, the parts work, and the interrelationships are satisfying. He works in a personal way with intervals. Clear fourths and fifths are as common as sweet thirds and sixths. (If you hum the theme from Star Trek, you start and end with perfect fourths.) The main theme of the first movement has three parts, introduced in turn by piano, violin and clarinet. The second theme naturally goes to the cello. It’s marked by a “diddle-dee” rhythm. When the main theme returns, all play fortissimo in unison. A bubbling pianissimo with clarinet trills is typical Hindemith good humor. Clarinet leads the “Very slow” second movement in a trio texture over piano bells. A favorite Hindemith technique is to bring the theme back with an entirely different accompaniment, so on return, piano is light and staccato, strings are plucked. The finale is a big rondo that passes though several meters and tempos until piano busts in, sounding like another piece altogether. But the principal theme returns, and the ending is emphatic, if unexpected. Piano Quartet No. 2 in A Major, Opus 26 (1861) Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1897) The A-major Piano Quartet is dedicated to “E. Rösing.” Elisabeth Rösing was Brahms’s landlady. Biographer Jan Swafford describes Brahms’s apartment in the Hamburg suburb of Hamm on the River Alster: “a large, sunny studio with tinted glass,

once a billiard room, and a balcony looking out to the garden and its old trees full of nightingales.” In his final article a few years before, Schumann had used the phrase verschleierte Symphonien (veiled symphonies) to describe Brahms’s youthful music. The phrase certainly applies to the A-major Quartet, a work of symphonic proportions and nuance. The first theme has two parts, one in triplets hummed by solo piano, one in flowing duplets sung sweetly by cello. A second subject also has two parts, beginning with pizzicato strings. Closing the exposition is a gentle string trio upon which the piano sprinkles fairy dust. Brahms stays for a long time in C—major and minor—to develop these ideas, which are transformed on each appearance with increasing vehemence. When you hear fairy dust poured on fortissimo, you’ll know home is in sight. And if you love the concord of thirds, the coda will be a balm. The Poco Adagio is one of Brahms’s loveliest slow movements, a rondo that begins with muted strings and “sweetly expressive” piano. But it’s also emotionally complex, as lulling two-note slurs give way to inscrutable arpeggios and anguished outbursts. Strings in soft octaves gently open what is supposed to be a Scherzo. But the movement gathers momentum as it goes until it breaks into triplets and spins off like Anna Pavlova into the wings. But that’s only the first third! Swafford calls the Trio “an exercise in the demonic-canonic.” The Finale has four themes and sets off with enormous folky energy, repeating itself like a carnival barker. A vigorous coda recalls Schumann, but a Schumann unbuttoned, in the open air, dancing in the sun. Program notes © 2017 by David Evan Thomas

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Patrons

Susan Adamek Jeanne Anderegg Performance Sponsors Beverly S. Anderson Eileen Baumgartner Gretchen and David Anderson Ruth and John Huss Brian O. Berggren Lucy R. Jones and James E. Johnson Dorothy Boen Alfred P. and Ann M. Moore Barbara Ann Brown Birgitte and John Christianson Musician Sponsors Barbara Cohen Richard Allendorf and Paul Markwardt Pamela and Stephen Desnick Nina Archabal George Ehrenberg Mary and Bill Bakeman, in support of Sara and Karl Fiegenschuh Tony Ross Judith Flahavan Carol and Michael Bromer John Floberg and Martha Hickner James Callahan John Fox Rachelle Chase and John Feldman Patricia Gaarder Sheldon Damberg Nancy Garland Hella Mears Hueg Mary Glynn, Peg and Liz Glynn Margot McKinney Catherine Goodrich Elizabeth Myers Bonnie Grzeskowiak Garrison Keillor and Jenny Nilsson Michelle Hackett Susan and William Scott Betsy and Mike Halvorson

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Plymouth Congregational Church

ACCORDO Erin Keefe, violin • Rebecca Albers, viola • Ronald Thomas, cello

Intermission J. S. Bach (1685–1750), arr. Sitkovetsky Aria with Diverse Variations, BWV 988 (Goldberg Variations) (1741) Aria Variations 1 – 30 Aria

PROGRAM NOTES No patron in the history of music was more influential than Gottfried van Swieten (1733–1803). Born in Holland, he served various diplomatic posts before settling in Vienna as Prefect of the Imperial Library. Swieten was Haydn’s age, but he exerted a powerful influence on Mozart and Beethoven as well. In 1782, Mozart wrote to his father: “I go to Baron von Suiten’s [sic] every Sunday at midday, where nothing is played but Handel and Bach. I am now making a collection of the fugues of Bach.” We’ll hear two of these fugues, arranged by Mozart for string trio. Because a prelude is properly something a keyboard player executes, Mozart composed an adagio to pair with each fugue. The first is No. 8 in D-sharp minor, BWV 853, from Book 1 of the Well-Tempered Clavier, transposed to a more resonant D minor. This is one of Bach’s most impressive creations, for the subject is treated to inversion (turned upside down), stretto (overlapped entries), and augmentation (proportional expansion), which Herman Keller notes “is for Bach a symbol of inner greatness.” The second fugue is No. 13 in F-sharp major, BWV 882, from Book 2

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of the WTC, transposed down a semitone. The subject begins with a trill, which is practically unheard of. Forget Forkel’s fanciful and oft-quoted story about a wakeful Count and an agreeable clavierspieler. This much is certain: in 1741, J. S. Bach published Aria with Diverse Variations as the fourth and concluding volume of his monumental Keyboard Practice. The work was written specifically for a harpsichord with two keyboards. In any case, the name Goldberg is now immortal, forever bound to this ne plus ultra of variation sets. We’ll hear the work in an arrangement for string trio by violinist Dmitry Sitkovetsky. The Aria presents both a theme in the top voice and a bass line. The bass is present in every variation. There are two large halves. Each half contains five groups of three. Each group of three closes with a canon. In a canon, a leading voice is imitated by a following voice at a specified melodic interval— e.g., a third—and at a specified time—one bar or one beat, etc.

Accordo

J. S. Bach, arr. W. A. Mozart, K. 404a (1782–83) Adagio and Fugue in D minor Adagio and Fugue in F major

Schubert Club •

Monday, June 5, 2017, 7:30 PM


Aria with Diverse Variations: Aria Variation 1: Variation 2: Variation 3: Variation 4: Variation 5: Variation 6: Variation 7: Variation 8: Variation 9: Variation 10: Variation 11: Variation 12: Variation 13: Variation 14: Variation 15:

athletic and sturdy, with the theme passed between violin and viola. 3/4. imitative, in 3 voices. 2/4. canon at the unison, violin leading. 12/8. imitative, in 4 voices. 3/8. a running variation in 3/4 with one voice hopping above and below. canon at the second, viola leading. 3/8. for violin and cello, in the manner of a French gigue. 6/8. in 2 voices, contrasting 3/4 in the top voice with 6/8 in the cello. canon at the third, violin leading. 4/4. little fugue in 4 voices. 2/2. in 2 voices constantly crossing. 12/16. canon at the fourth, with the viola in inversion. 3/4. a singing variation for violin with the others accompanying. 3/4. a brilliant variation with voices calling above and below and fancy passagework. 3/4. canon at the fifth, viola leading with violin inverted. Andante, in minor mode. 2/4. End of Part One.

Variation 16: Variation 17: Variation 18: Variation 19: Variation 20: Variation 21: Variation 22: Variation 23: Variation 24: Variation 25: Variation 26: Variation 27: Variation 28: Variation 29: Variation 30: Aria reprise

French overture for violin and cello, 2/2, with viola joining for a fugal section in 3/8. running thirds and sixths for viola and cello. 3/4. canon at the sixth with an active bass. 2/2. graceful pizzicato in 3 voices. 3/8. 2 voices running every which way. 3/4. canon at the seventh, viola leading. Minor mode. 4/4. canzona in the old style in 4 voices. Alla breve. a fastball; brilliant cascades. 3/4. a change-up, sauntering and songful; canon at the lower octave, violin leading. 9/8. Adagio in 3 voices, the third variation in minor mode. 3/4. a combination of 12/8 and 3/4. canon at the ninth for violin and viola. 6/8. trills and crossing voices. 3/4. toccata. 3/4. 4-voice quodlibet, and one of the great jests in music. The bass supports two popular tunes: viola plays “It’s been so long since I’ve been with you,” violin answers, "Cabbage and turnips have driven me away.”

Program note © 2017 by David Evan Thomas

SPECIAL THANKS TO OUR ACCORDO DONORS Season Sponsor Accredited Investors

Patrons

Susan Adamek Jeanne Anderegg Performance Sponsors Beverly S. Anderson Eileen Baumgartner Gretchen and David Anderson Ruth and John Huss Brian O. Berggren Lucy R. Jones and James E. Johnson Dorothy Boen Alfred P. and Ann M. Moore Barbara Ann Brown Birgitte and John Christianson Musician Sponsors Barbara Cohen Richard Allendorf and Paul Markwardt Pamela and Stephen Desnick Nina Archabal George Ehrenberg Mary and Bill Bakeman, in support of Sara and Karl Fiegenschuh Tony Ross Judith Flahavan Carol and Michael Bromer John Floberg and Martha Hickner James Callahan John Fox Rachelle Chase and John Feldman Patricia Gaarder Sheldon Damberg Nancy Garland Hella Mears Hueg Mary Glynn, Peg and Liz Glynn Margot McKinney Catherine Goodrich Elizabeth Myers Bonnie Grzeskowiak Garrison Keillor and Jenny Nilsson Michelle Hackett Susan and William Scott Betsy and Mike Halvorson

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Season Sponsor:

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ACCORDO, established in 2009, is a Minnesota-based

REBECCA ALBERS is the Assistant Principal violist of

chamber group made up of some of the very best instrumentalists in the country, eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Their concerts are held in the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by the esteemed architect Eliel Saarinen and his son Eero Saarinen. Accordo includes a string octet composed of Saint Paul Chamber Orchestra and Minnesota Orchestra current and former principal players Rebecca Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim, Maiya Papach, Anthony Ross, and Ronald Thomas.

the Minnesota Orchestra. She has performed at the

Violinist ERIN KEEFE was named concertmaster of the Minnesota Orchestra in September 2011 and undertook her new duties with the classical season’s first concert on September 29. Keefe has appeared as soloist with such orchestras as the New York City Ballet, New Mexico Symphony, the Korean Symphony Orchestra, and the Gottingen Symphony Orchestra, among others. A native of Northampton, Massachusetts, Keefe earned a master of music degree from the Juilliard School and a bachelor of music degree from the Curtis Institute of Music.

Viola Institute.

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Chesapeake Chamber Music festival, International Musicians Seminar and Open Chamber Music at Prussia Cove, the Marlboro Music Festival, and the Seattle Chamber Music Society’s summer and winter festivals. She has toured with the Albers Trio, a group formed with her two sisters. Rebecca is a Distinguished Artist faculty member at Mercer University’s Robert McDuffie Center for Strings. She previously taught at the University of Michigan, in collaboration with Heidi Castleman in the Juilliard School’s college and precollege divisions, and at such summer festivals as the Perlman Music Program and the North American

Former principal cellist of the SPCO, RONALD THOMAS sustains an active and varied career as performer, teacher and artistic administrator. Thomas is the co-founder and artistic director of the Boston Chamber Music Society with which he appears regularly. He has appeared as soloist and in recital with orchestras throughout the United States and Europe. Thomas has taught at MIT, Brown University, Boston Conservatory and Peabody Conservatory. Prior to winning the Young Artists Auditions at the age of nineteen, he attended the New England Conservatory and the Curtis Institute.


Schubert Club •

Thursday, April 6, 2017, Noon Landmark Center

JEFFREY VAN, GUITAR; BRENDA MICKENS, VIOLIN; CLARA OSOWSKI, MEZZO SOPRANO Evocacion de Manuel de Falla

Courtroom Concert Series

Transitions Suite No. 1 Carry My Hope • Uncertainty • Supplications The Winds of Change • A Flower of the Field A Ring of Birds The Hermit Thrush • Three Little Birds in a Row • Little Birds of the Night To a Skylark • The Owl • The Young Crows

Guitarist and composer JEFFREY VAN has premiered over 50 works for guitar, including Dominick Argento's Letters from Composers, five concertos, and a broad variety of chamber music. He has performed in Carnegie Hall, London's Wigmore Hall, and the Kennedy Center in Washington, DC, and as part of Duologue, with flutist Susan Morris De Jong, premiered and recorded commissioned works from more than a dozen composers, including Stephen Paulus, Roberto Sierra, Tania Leon, Michael Daugherty, Libby Larsen and William Bolcom. He is a founding member of The Hill House Chamber Players, with whom he performed for thirty years. He has been featured on many National Public Radio broadcasts, has made several solo and ensemble recordings, and appears on ten recordings with the Dale Warland Singers. His compositions include works for guitar, guitar and violin, guitar and flute, chorus, chamber ensemble, and vocal solo. The Van-Dixon Duo's recording of Van's Reflexiones Concertantes (Concerto for Two Guitars and Chamber Orchestra) has been released on the Centaur label. His music is published by E.C. Schirmer, G. Schirmer,Walton, Boosey & Hawkes, Morningstar, earthsongs, and Hal Leonard.

BRENDA MANUEL MICKENS, formerly of the St. Paul Chamber Orchestra, currently freelances as an orchestra and chamber musician and teaches privately in the Twin Cities. She received her Master of Music Performance from Northwestern University in Evanston, Illinois. She received her Bachelor of Arts degree from University of Nebraska, Lincoln. She grew up in San Diego, California, and was member of San Diego Symphony and San Diego Opera.

CLARA OSOWSKI is an active soloist and chamber musician throughout the United States and Europe. Hailed for her artistry and “rich and radiant” voice (Urban Dial Milwaukee), her recent awards include, the runner-up un the 2016 American Prize for Art Song, runner-up in the 2016 Schubert Club Bruce P. Carlson Scholarship Competition, a 2016 Oregon Bach Festival Vocal Fellow, winner of the 2017 Houston Saengerbund competition. and runner-up in Das Lied International Song Competition. Clara’s passion for song creation and collaboration is evident in her most recent premieres with Linda Tutas Haugen (Gjendine’s Lullaby), Jeremy Walker (Alma Gentil) and James Kallembach (Songs on Letters of John and Abigail Adams and St. John Passion). Highlights in the 2016-2017 season include a residency at the 50th Contemporary New Music Festival at Indiana State University, soloist in Paul Rudoi’s premiere oratorio with Magnum Chorum in the Twin Cities, and several recital engagements across the United States. Clara is featured on numerous recordings with Consortium Carissimi (Naxos), and James Kallembach’s St. John Passion, released with high acclaim on Roven Records. In collaboration with pianist Mark Bilyeu and composer Libby Larsen, Clara serves as the Associate Artistic Director of Source Song Festival, a week-long art song festival in Minneapolis, Minnesota. In addition to her solo work, she participates in a number of ensembles, including Consortium Carissimi, Lumina Women’s Ensemble, the Rose Ensemble and Seraphic Fire.

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Landmark Center

FRANCESCA ANDEREGG, VIOLIN; SCOTT LYKINS, CELLO; TIMOTHY LOVELACE, PIANO

Antonín Dvořák Piano Trio No. 4 in E Minor, Op. 90, B. 166, "Dumky" Lento Maestoso • Poco Adagio • Andante • Andante Moderato • Allegro • Lento Maestoso

FRANCESCA ANDEREGG has collaborated with the leading musicians of the concert stage, and regularly performs throughout the United States and abroad. As a soloist, Anderegg recently performed the Stravinsky Violin Concerto with the St. Olaf Orchestra, and will be the featured soloist on the orchestra’s upcoming tour to Argentina and Uruguay. As winner of the Juilliard Concerto Competition, she performed the Ligeti Violin Concerto with the Juilliard Orchestra. In 2016, She was awarded a McKnight Fellowship for Performing Musicians, given to artists with a “distinctive musical voice.” Ms. Anderegg graduated from Harvard University in 2005. She holds a Doctor of Musical Arts degree from The Juilliard School, where she also received a Masters in Violin Performance.

SCOTT LYKINS' career blends performance as a cellist and pianist with administrative creativity as founding artistic & executive director of the Lakes Area Music Festival in Brainerd, MN. Primarily a cellist, he enjoys a busy schedule performing throughout the Midwest. He has served as principal cellist for the National Orchestra Institute, National Repertory Orchestras, Classical Symphony of Chicago, and Eastman Philharmonic Orchestra, and has played regularly with the Syracuse, South Dakota, and New World Symphonies. As a soloist, recent concerto appearances include the Minnesota Philharmonic Orchestra, Heartland Symphony, Northeast Orchestra, and the Lakes Area Music Festival. He has received both bachelors and masters degrees in cello performance from the Eastman School of Music, studying with Steven Doane and Alan Harris,

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respectively. Lykins is a graduate of the Catherine Filene Shouse Arts Leadership Program at Eastman and was a member of the 2014 cohort of the Institute for Executive Director Leadership presented by St. Thomas University’s College of Business.

TIMOTHY LOVELACE has performed on four continents and has been featured at Rio de Janeiro’s Sala Cecilia Meireles, Carnegie’s Weill Recital Hall, Washington’s Kennedy Center, New York’s Merkin Concert Hall, Chicago’s Dame Myra Hess Memorial Concerts and on chamber music series sponsored by the symphony orchestras of Chicago, Cincinnati, Detroit, Minnesota and the Saint Paul Chamber Orchestra. The roster of internationally-known artists with whom Lovelace has appeared includes Miriam Fried, Alban Gerhardt, Nobuko Imai, Robert Mann, Charles Neidich, Paquito D’Rivera, and Dawn Upshaw. For thirteen years, he was a staff pianist at the Ravinia Festival’s Steans Institute, where he played in the classes of Barbara Bonney, Christoph Eschenbach, Thomas Hampson, Christa Ludwig and Yo-Yo Ma, among others. A proponent of new music, Lovelace has performed the works of many living composers, and he presented the world premiere of Osvaldo Golijov’s Third World. He has recorded for the Albany, Arabesque, Blue Griffin, Boston Records, and MSR labels. Lovelace currently heads the Collaborative Piano program at the University of Minnesota. His own studies were principally with Harold Evans, Gilbert Kalish, Donna Loewy, and Frank Weinstock.

Courtroom Concert Series

Béla Bartók Romanian Folk Dances I. Jocul cu bâtă (Stick Dance) • II. Brâul (Sash Dance) • III. Pe loc (In One Spot) IV. Buciumeana (Dance from Bucsum) • V. Poarga Românească (Romanian Polka) • VI. Mărunțel (Fast Dance)

Schubert Club •

Thursday, April 13, 2017, Noon


Music from the Schubert Club Composer Mentorship Program

Thursday, April 20, 2017, Noon Landmark Center

LUX STRING QUARTET Seamus Hubbard Flynn on reaching and collapsing iii. half-broken bells • iv. bright lights incessant • v. sails and kites Beatrice Peters Energy I. Vitality • II. Life • III. Spirit Nicholas Christenson

A Solitary Man on a Bucket, Fishing through Eighteen Inches of Ice on a Lake that’s Constantly Turning over its Water atop an Arcadian Mountain in America

Nadine Manske String Quartet No. 3 I. • II. • III.

LUX STRING QUARTET, a Twin Cities-based ensemble of savvy artists established in 2013, strives to communicate their passion for performance as well as for educational and community outreach. While playing for events, they also prepare classical standards and champion new music in concert. They desire to explore the boundaries of possibility for the string quartet form. Freshly adult-ed at age 18, SEAMUS HUBBARD FLYNN is a lifelong resident of St. Paul. This is his second year in the Schubert Club Mentorship Program. Having been raised around music, he was plunking out miniature “compositions” on the piano from a very early age. He is now a senior in high school at Cyber Village Academy, but takes most of his classes through post-secondary enrollment at the University of Minnesota and Concordia University St. Paul. He has studied composition with Abbie Betinis at Concordia since 2015, and is also in his second year in NextNotes Lab, a high school studentrun composer ensemble affiliated with the American Composers Forum. When he isn't composing or playing the piano, Seamus enjoys riding his bicycle and looking at atlases (usually not at the same time).

BEATRICE PETERS is currently a junior attending Woodbury High School. She plays cello, violin and piano and has played cello in the Minnesota Youth Symphony Orchestra for two years. For the second year in a row, Bee has composed a piece for the Composer Mentorship Program. The beauty and creativity that can be found in music is the main source of enjoyment she gets from composing. Beatrice believes that the harmonious interaction of tones that can evoke emotion is one of the

most moving ways to express an idea. When writing, she strives to create something that leaves others moved in a way that is thought provoking and thoroughly enjoyable.

NICHOLAS CHRISTENSON, 17, is a senior at South High School in Minneapolis and will likely be attending Lawrence University in the fall. He first began interacting personally with music in kindergarten when he began taking piano lessons to follow in his older brother’s footsteps, and has been making experimental music since 2013 and began writing classical music in 2015. He currently studies composition with Troy Strand at the MacPhail Center for Music. In addition to composing, Nicholas plays jazz bass and has performed and recorded with bands around the twin cities and recorded some as a singer-songwriter. He collects video and audio cassettes and loves John Coltrane, Alice Munro, and the TV show Friends.

NADINE MANSKE is 17 years old and is currently a junior at the St. Paul Conservatory for Performing Artists, where she studies instrumental music. She plays violin and is a part of Greater Twin Cities Youth Symphonies and Artaria Chamber Music School. Her compositions have mainly been focused in the realm of string chamber music, and in the past she studied with Terry Burk for composition. She currently studies violin privately with Aaron Janse. Primary musical inspirations come from many Russian composers such as Tchaikovsky, Arensky, and Shostakovich. She also enjoys listening to works by Barber and John Adams. This string quartet is her third piece she has written for string quartet, one of the most extensive works she has written to date schubert.org

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Schubert Club •

Thursday, April 27, 2017, Noon Landmark Center

BEN OSTERHOUSE, CELLO HSIN-I HUANG, PIANO

Ben Osterhouse Three Narratives for Cello Quartet Introduction • Intermezzo • Finale (with Lindsay Schlemmer, Elena Denny, Arianna Wegley, cellos)

BENJAMIN OSTERHOUSE is currently pursuing a

HSIN-I HUANG, a native of Taiwan, received her Master

doctorate in cello performance, studying with Tanya Remenikova. During his college career he has given solo performances with the University of Minnesota’s Symphony Orchestra, the Metropolitan Symphony Orchestra, the Two Rivers Chorale, and the University of Northwestern Orchestra. This past Spring he won 1st place in both the Schubert Club Scholarship Competition and the Thursday Musical Scholarship Competition. He has performed twice on Minnesota Public Radio; once performing a solo cello piece he wrote, and more recently played the chamber compositions of Minnesota Varsity Featured Composers. During his masters in cello performance at the University of Minnesota Benjamin also studied piano and double bass, and is now studying composition with Alex Lubet as a secondary emphasis to his doctorate. He has attended the Tafelmusik Baroque Institute in Toronto and will be attending the Emerging Artist Fellowship Program at Garth Newel, in Virginia.

of Music degree in Collaborative Piano at The University of Texas at Austin under the tutelage of Anne Epperson in 2014. Huang is currently a doctoral candidate in Collaborative Piano and Coaching at the University of Minnesota, where she is a teaching assistant to Dr. Timothy Lovelace. Her previous appointments include a Teaching Assistantship in collaborative piano at the Brevard Music Festival in the summer of 2013, and a collaborative piano fellowship at the Music Academy of the West in Santa Barbara in the summer of 2014. During the summer of 2016, Huang was a full-scholarship student at Aspen Music Festival and School in Colorado, where she studied with renowned Rita Sloan. In the summer of 2017, she will return to Aspen as a fullscholarship student studying with Andrew Harley.

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Courtroom Concert Series

Sergei Rachmaninoff Cello Sonata in G Minor, Opus 19 I. Lento – Allegro moderato III. Andante


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Jayne and Jim Early

Sidney and Decima Phillips

George Ehrenberg

Mary E. Savina

Peter Eisenberg and Mary Cajacob

Paul L. Schroeder Laura Sewell and Peter Freeman Rebecca and John Shockley

Nancy Feinthel Jack Flynn and Deborah Pile Gerald Foley

Harvey Smith

Barbara and John Fox

Ronald Spiegel

Salvatore Franco

Tom Swain Kipling Thacker and Kevyn Riley John and Joyce Tester

Patricia Freeburg Jane Frazee Patricia Gaarder

Mike and Linda Thompson

Nancy and Jack Garland

Jane and Dobson West

General Mills Foundation

William White Timothy Wicker and Carolyn Deters

SCHUBERT CLUB

Carl Ahlberg Mrs. Dorothy Alshouse

Ellen and Philip Bruner

34

William R. Goetz

$100–$249

Fred and Sylvia Berndt

Peggy R. Wolfe

CONTRIBUTOR

David J. Gerdes Barbara Gershan and Jim Gillman

An die Musik

Katherine Goodrich

Steve Butler Ora Itkin Veronica Ivans

Bradley H. Momsen and Richard Buchholz

Lyudmila and Mikhail Pekurovsky Patricia Penovich and Gerald Moriarty

Paul Jansen

James and Donna Peter

Maria Jette

Janet V. Peterson

B.K. and Robbin Johnson

Sydney M. Phillips

Carol A. Johnson

Dr. Paul and Betty Quie

Linda M. Johnson

Mindy Ratner

Pamela and Kevin Johnson

Rhoda and Paul Redleaf

Mary A. Jones

Gladys and Roger Reiling

Judy A. Karon

Karen Robinson

Erwin and Miriam Kelen

Mary and Richard Rogers

Donald and Carol Jo Kelsey

Peter Romig

Linda Kelsey and Glenn Strand

Jane Rosemarin

Suzanne Kennedy

Lee and Roberta Rosenberg

Charlyn Kerr

Diane Rosenwald

Robert Kieft

Barbara Roy

Robin and Gwenn Kirby

Connie Ryberg and Craig Forsgren

Richard Knuth and Susan Albright

Jean Thomson and John Sandbo

Karen Koepp

The Saint Paul Foundation

Marek Kokoszka

David Schaaf

Judy and Brian Krasnow

Noel Schenker

Larkin Hoffman Daly &

Paul L. Schroeder

Lindgren Ltd Foundation

Russell G. Schroedl

Bill Larson

A. Truman and Beverly Schwartz

David G. Larson

Sylvia J. Schwendiman

Elaine Leonard

Sara Ann Sexton

Amy Levine and Brian Horrigan

Gale Sharpe

Gary M. Lidster

Mariana and Craig Shulstad

Mary and David Lundberg-Johnson

Mary and Mark Sigmond

Mark and Becky Lystig

Marilynn and Arthur Skantz

King W. and Nancy Ma

Darroll and Marie Skilling

Richard and Finette Magnuson

Nance Olson Skoglund

Helen and Bob Mairs

Sarah J. Snapp

Danuta Malejka-Giganti

Carol Christine Southward

Mella Martin

Eileen V. Stack

Ron and Mary Mattson

Hazel Stoeckeler and Alvin Weber

Joan L. Maynard

Arturo L. Steely

Tami McConkey

Cynthia Stokes

Polly McCormack

Monika Stumpf

Deborah McKnight and James Alt

Janet and Craig Swan

Anne McKinsey

John and Dru Sweetser

John A. Michel

Lillian Tan

Dina and Igor Mikhailenko

Barbara J. Telander

Patricia Mitchell

Theresa’s Hair Salon and Theresa Black


David Evan Thomas

James Crabb

Pamela E. King

Stephanie Rich

Tim Thorson

Barbara Cracraft

Kathryn Kloster

Ann C. Richter

Susan Travis

Lisa Daniels

Jane and David Kostik

Roger and Elizabeth Ricketts

Karen and David Trudeau

Mary R. DeMaine

Natalia Koyrakh

Julia Robinson

Chuck Ullery and Elsa Nilsson

Alma and Donald Derauf

Dave and Linnea Krahn

Drs. W.P. and Nancy W. Rodman

Joy R. Van

Theresa Dixon

Jill and Thomas Krick

Karen S. Roehl

Osmo Vanska

Rita and David Docter

Elizabeth Lamin

Steven Rosenberg

Vargo Family Charitable Fund

Lois Ann and Robert Dokken

Elizabeth R. Langer

Stewart Rosoff

M. K. Volk

Sue Freeman Dopp

Helen and Tryg Larsen

Kurt and Lesley Rusterholz

Dale and Ruth Warland

Knowles Dougherty

Kenyon S. Latham, Jr.

Dr. Steven Savitt

Stuart and Mary Weitzman

Karen and David Dudley

DeeDee Lee

Ralph J. Schnorr

Beverly and David Wickstrom

Heidi Eales

Karen S. Lee

Christine K. Schwab

Christopher and Julie Williams

Norm and Sherry Eder

James W. Lewis

Steve Seltz and Sheryl Widme

Dr. Lawrence A. Wilson

Katherine and Kent Eklund

Kim Lewis

Marge and Ed Senninger

Paul and Judy Woodward

Tracy Elftmann

Gary Lidster

Kathryn and Jay Severance

Alison Young and Richard Rasch

Sara and Karl Fiegenschuh

Michael Litman

Robert Shainess

Max and Debbie Zarling

Judith Flahavan

Valerie Little and John Clapham

Nancy and Ray Shows

Susan Flaherty

Michael D. Lorge

Brian and Stella Sick

Susan Fletcher

Jeff Lotz

Emma Small

Hilde and John Flynn

Elizabeth Lukanen

Darryl Smith

About Tours with Spangles, Inc.

Lea Foli

Carol G. Lundquist

Susannah Smith

Association of Professional Piano

Kenneth Ford

Beatrice Magee

Linda Smith-Kiewel

Michael G. Freer

Al Maleson

Nancy Sogabe-Engelmayer

Susan Adamek

Lisl Gaal

Marsha Mann

Robert Solotaroff

Cigale Ahlquist

Cléa Galhano

Thomas and Marsha Mann

Patricia and Arne Sorenson

Elaine Alper

Christine Garner

Kate Maple

South Suburban Music

Jeanne Anderegg

Dr. and Mrs. Robert Geist

Karen and James Markert

David and Gretchen Anderson

Celia Gershenson

Chapman Mayo

Biruta Spruds

Susan and Brian Anderson

Sue Gibson and Neill Merck

Mary McDairmid

Beverly and Norton Stillman

Anonymous (3)

Beatrice A. Giere

Kara McGuire

Arvida Steen

Jim Baltzell

Mary, Peg and Liz Glynn

James and Sally McLaughlin

Ross Sutter

Jack and Helen Barber and Family

Jennifer Gobel

Barbara and Lewis McMeen

Ruthann Swanson

Emily and Aaron Barnes

Nanette Goldman

Ralph and Barbara Menk

Bruce and Judith Tennebaum

Sara Barsel

A. Nancy Goldstein

Jane E. Mercier and Mark Taylor

Bruce and Marilyn Thompson

Anita Bealer

Deb Griesing

John L. Michel and Berit Midelfort

Keith Thompson

Barbara and Paul Benn

David Griffin and Margie Hogan

Donna Saul Millen

Karen Titrud

Brian O. Berggren

Thomas Guglielmi

John W. Miller, Jr.

Charles and Anna Lisa Tooker

Ellen Bergstrom

Kay and Daniel Halvorsen

Margaret Mindrum

Rev. Robert L. Valit

Michelle Blaeser

Anne Hanley

Amy Mino

Rica and Jeffrey Van

Tirzah Blair

Michelle Hackett

Steven Mittelholtz

Erik Vankuijk and Virginia Brooke

Mitchell Blatt

Eugene and Joyce Haselmann

Lynn Moeller

Iona Vartolomei Pribiag

Roger Bolz

Kristina and Thomas Hauschild

Marjorie Moody

Louise A. Viste-Ross

Cecelia Boone

Alan J. Heider

Alex Murphy and

Karen L. Volk

Judith Bostrom

Benjamin Heille

Marge and Ted Bowman

Mark and Jane Heille

Christy and Gordon Myers

Helen H. Wang

Charles D. Brookbank

Molly Henke

Michael Nation

William K. Wangensteen

Steven and Diane Brown

Don and Sandralee Henry

Ingrid Nelson

Betty and Clifton Ware

Richard and Judy Brownlee

Helen and Curt Hillstrom

Philip Novak

Betsy Wattenberg and John Wike

Christopher Brunelle and

Elizabeth Hinz

Rosalie W. O’Brien

Tammie Weinfurtner

J. Andreas Hipple and

Jonathan O’Conner

Hope Wellner

FRIENDS $1–$99

Instructors and Rachel Hass

Serena Zabin Jackson Bryce

Marisa Vargas

Jodi Hanson Murphy

and Eric Schlotterbeck

Teachers Association

Mark Walbran

Cynthia N. Werner

Elizabeth Buschor

Marian and Warren Hoffman

Debbie and John Orenstein

Eva and Peter Weyandt

Sherri Buss

Peg Houck and Phil Portoghese

Dennis and Turid Ormseth

Kurt and Vickie Wheeler

Lori Cannestra

Gladys Howell

Elisabeth Paper

Victoria Wilgocki and

Dr. Bruce M. Carlson

Kjeld and Karen Husebye

Alison H. Page

Joan and Allen Carrier

Eva Hyvarinen

Cheryl Paullin

Alex and Marguerite Wilson

Francis Carter

Emi Ito

Timothy Perry

Sue Wiltgen

Elaine and Edwin Challacombe

Paul W. Jansen

Merrell Peters

Kathleen Winters

Colleen Chandler

Fritz Jean-Noel

Dorothy Peterson

Aaron Wulff

Christina Clark

Max Jodeit

Hans-Olaf Pfannkuch

Tim Wulling and Marilyn Benson

Deborah K. Clayton

Isabelle and Daniel Johnson

Lee Ann Pfannmueller and

Helen Cleveland

Stephen and Bonnie Johnson

Barbara Cohen

Tessa and Ryan Jones

James L. Phelps

Mary Sue Comfort

Dr. Robert Jordan

Jo Prouty

Phyllis Conlin

Shirley Kaplan

Benjamin Ratzlaff

Irene Coran

Dwayne King

Alberto and Alexandra Ricart

Lowell Prescott

Gary Seim

schubert.org

35


Memorials and Tributes

In honor of the special birthday of

George and Anne Green

Shirley and Michael Santoro

In memory of Clifton W. Burns

Jeanne Baldy

Sandra and Richard Haines

Mary Ellen and Carl Schmider

Dorothea Burns

Rhoda and Donald Mains

Dale Hamerschmidt

Jon Schumacher and Mary Briggs Estelle Sell

In memory of Dr. John Davis

In honor of Kate Cooper

Hella Mears Hueg

Kim Severson and Phil Jemielita

August Rivera Jr.

Joanna Cortright

Joan Hershbell

Gloria and Fred Sewell

and Mary Arneson

Anders Himmelstrup

Emily and Daniel Shapiro

In memory of Knowles Dougherty

A commissioning fund in honor of

Lisa Himmelstrup and Dan Liljedahl

John Shardlow

Julie and Anders Himmestrup

Julie Himmelstrup’s 80th birthday

Linda and Jack Hoeschler

(As of March 10, 2017)

Marian and Warren Hoffman

Elizabeth P. Shippee

In memory of Bruce Doughman

Beverly Anderson

Dorothy Horns

Phil Shively

Julie and Anders Himmestrup

Emily Andersen

and James Richardson

and Marilyn Fritz Shardlow

Mary and Mark Sigmond

Nina Archabal

Anne and Steve Hunter

Barbara and Bill Sippel

In memory of Jim Frazee

Dominick Argento

David Hunter and Janet Legler

Ann and Wayne Sisel

Conrad Soderholm

Marilyn Arny

Ruth and John Huss

Marie and Darrol Skilling

Donald and Claire Aronson

Lucy Jones and James Johnson

Doug and Kathy Skor

Lydia Artymiw

Nancy Jones

Harvey Smith

In memory of Eric Giere

Suzanne Asher

Tessa Retterath Jones

Conrad Soderholm

Ebner Decker Family

and Thomas Ducker

Stan Kaufman

and Mary Tingerthal

and Mary Tingerthal

Beatrice Giere

Adrienne Banks

Donald and Carol Kelsey

Eileen Stack

John Barker

Cheryl and Barry Kempton

Norton Stillman

In memory of Leon R. Goodrich

Carol Barnett

Lois and Richard King

Cynthia Stokes

Megan and Daniel Goodrich

Lynne and Bruce Beck

Mary Beth and David Koehler

Ann and Jim Stout

Katherine Goodrich

Marilyn Benson

Kyle Kossol and Tom Becker

Monika Stumpf

Gretchen Kreuter

Vern Sutton

In memory of Manuel P. Guerrero

Anders and Judie Bjorling

and Thomas Wulling

Karen Kustritz

Barbara Swadburg and James Kurle

August Rivera

Rolf Bjornson

Christine Podas-Larson and

Joyce and John Tester

Ann-Marie Bjornson

Kent Larson

Anthony Thein

Dorothy Boen

Maren J. Leonard

David Evan Thomas

Linda Boss

Marion and Chris Levy

Butch Thompson

Ted Bowman and

Sarah Lutman and Robert Rudolph

Marge Grahn-Bowman

In memory of Mary Brock Hess, sister of Beth Villaume Bush Foundation

and Mary Ellen Niedenfuer

Finette and Richard Magnuson

Tom Swain

In memory of Thelma Hunter

Carl and Jean Brookins

Joan O. Mason

Anna Lisa Tooker

Jack and Helen Barber and Family

Ellen and Philip Bruner

Sylvia and John McCallister

Bonnie and John Treacy

James Ford Bell Foundation and

James Callahan

Ann and Steve McCormick

Mimi Tung

Ford W. Bell

Alan Carp

Deborah McKnight

Clara Ueland and Walter McCarthy

Elisabeth R. Bennett

Phyllis Casper

Neill Merck and Sue Gibson

Chuck Ullery and Elsa Nilsson

Ellen Bruner

Penny and Cecil Chally

Robert and Greta Michaels

David Vincent

Shirley I. Decker

Kate and Dave Cooper

James and Carol Moller

Jay Weiner and Ann Juergens

Suzanne Asher and Thomas Ducker

Dee Ann and Kent Crossley

Marjorie Moody

Mary and Stuart Weitzman

Dee Ann and Kent Crossley

Mary and Bill Cunningham

Nick Nash and Karen Lundholm

Nancy and Ted Weyerhaeuser

Mary and Bill Cunningham

Peter Dahlen and Mary Carlsen

Catherine and Ford Nicholson

Judy and Paul Woodward

Donald and Alma Derauf

Donald and Inger Dahlin

John B. Noyd

Dr. Lawrence Wilson

Norm and Sherry Eder

Joy Davis

John L. Nuechterlein

Peggy Wolfe

Kay and Daniel Halvorsen

Shirley Decker

Polly O’Brien

Ann Wynia

Benjamin Heille

Karyn Diehl

Christina Ogata

Rita and David Docter

Paul D. Olson

Ruth Donhowe

and Mark Baumgartner

Mark and Jane Heille In memory of John Archabal

Julie and Anders Himmelstrup

Catherine Furry and John Seltz

John and Ruth Huss Fund

Anna Marie Ettel

Dennis and Turid Ormseth

Julie and Anders Himmelstrup

David Hunter

Catherine and Gerald Fischer

Mary and Terry Patton

Cheryl and Barry Kempton

Kjeld and Karen Husebye

Mina Fisher and Fritz Nelson

Dick and Elaine Phillips

Paul D. Olson

Maria Jette

Roxana Freese

Phil Portoghese and Peg Houck

Catherine Furry and John Seltz

Betty and Paul Quie

Dawn and Michael Georgieff

Judy and David Ranheim

Richard Geyerman

Barbara and John Rice

Peg and Liz Glynn and Mary Glynn

Bill and Shannon Sadler

Diane and Mark Gorder

Saint Anthony Park Home and

Kiki and Warren Gore

36

SCHUBERT CLUB

John Barker

An die Musik

and Mark L. Baumgartner Barbara and John Rice

B.K. and Robbin Johnson Lucy R. Jones and James Johnson Cheryl and Barry Kempton

In memory of Avery and Wally Brookins Carl Brookins

Elizabeth R. Langer Nicholas Nash and Karen Lundholm Mella Martin Tami McConkey


Karla and Peter Myers

Clara Ueland and Walter McCarthy

Joan Maynard

Alison H. Page

Rica and Jeffrey Van

Paula Devroy

Christine Podas-Larson and Kent

Nancy and Ted Weyerhaeuser

Mary Jo Schiavoni

In memory of Jeanette Maxwell Rivera

Joan Panepinto

August Rivera Jr.

Larson Ramsey County Attorney’s Office

In memory of Donald Kahn

Mindy Ratner

Stephen and Hilde Gasiorowicz

Barbara and John Rice

Phyllis Kahn

Jill and John Thompson

Nancy Hodapp In memory of Charlotte Straka

Jean Huxmann

Suzanne Kennedy

Lurie LLP

Estelle Quinn Sell

The Saint Paul Foundation

Rebecca Shockley

In memory of Thomas G. Mairs

Andrea K. Specht

In memory of Herb Wright

Linda Smith-Kiewel

Thomas E. Dosdall

Jill and John Thompson

Mary and Bill Cunningham

Barbara J. Telander

Kay and Daniel Halvorsen

Nancy and Ted Weyerhaeuser

Julie and Anders Himmelstrup

David Evan Thomas

The Knitting Group:

Nan and Jim Youngerman

Vania Stefanova

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.

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

Photo: Brent Cline

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.

Give the gift of music Leave a gift to the Schubert Club in your will. Name Schubert Club as beneficiary on an insurance policy or retirement account. Talk to our Development Department about other options.

MUSIC FOREVER schubert.org 651.292.3270

schubert.org

37


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 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 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

38

SCHUBERT CLUB

An die Musik

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 Nina and John Archabal Lydia Artymiw and David Grayson Carol E. Barnett Lynne and Bruce Beck Harlan Boss Foundation Linda L. Boss Jean and Carl Brookins Mary Carlsen and Peter Dahlen Penny and Cecil Chally Don and Inger Dahlin Bernice and Garvin Davenport Adele and Richard Evidon Maryse and David Fan Roxana Freese Gail Froncek Catherine Furry and John Seltz Richard Geyerman Julie and Anders Himmelstrup Cynthia and Russell Hobbie Peg Houck and Philip S. Portoghese Thelma Hunter Lucy Jones and James Johnson Ann Juergens and Jay Weiner Phyllis and Donald Kahn Barry and Cheryl Kempton Marion and Chris Levy Estate of Dorothy Mattson Wendy and Malcolm McLean Marjorie Moody 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 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* Margaret Baxtresser* Mrs. Harvey O. Beek* Helen T. Blomquist* Dr. Lee A. Borah, Jr.* Raymond J. Bradley* James Callahan Lois Knowles Clark* Margaret L. Day* Terry Devitt and Michael Hoffman Harry Drake* James E. Ericksen* Mary Ann Feldman John and Hilde Flynn Salvatore Franco Richard Geyerman Anne and George Green Marion B. Gutsche* Anders and Julie Himmelstrup Thelma Hunter* Lois and Richard King Florence Koch* Judith and Brian Krasnow Dorothy Mattson* Thomas G. Mairs* John McKay Mary Bigelow McMillan Jane Matteson* Elizabeth Musser* Heather Palmer Mary E. Savina Helen McMeen Smith* Eileen Stack Anthony Thein Jill and John Thompson Lee S. and Dorothy N. Whitson* Timothy Wicker and Carolyn Deters 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 information, please contact Paul D. Olson at 651.292.3270 or polson@schubert.org


to make an appointment: wildsound@wild-sound.com | 612.706.0815 WILD-SOUND.COM

CELEBRATING

55 YEARS! SUNDAY, JUNE 11 • 7PM ORCHESTRA HALL


Saturday Afternoon Tea At the

WomAn’s Club of minneApolis

noon to 2pm o pen to the p ubliC

Five Exquisite Tea Courses $40 inclusive for nonmembers

April 8, May 20, June 17, July 22, Aug 19, Sept 9, Oct 28, Nov 4, Dec 16

For more information, visit womansclub.org or call 612.813.5300

Private lessons for all ages and levels, piano, voice, guitar, strings, brass, winds, percussion, Suzuki Early Childhood

651-690-4364 stjoseph-schoolofmusic.net

GREAT RIVER


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Learn more at hamline.edu.

THE CU RRENT PRESENTS ®

MAVIS STAPLES JUNE 17 | 7PM FITZGERALD® THEATER Tickets at fitzgeraldtheater.org


A new matinee series featuring the glorious gamut of the world’s chamber music, vocal and instrumental; from the earliest Renaissance and Baroque, through Mozart, Beethoven, Debussy and Ravel, to the 21st C, and brand-new music written just last week.

S AT U R DAY S AT 3 P M LinK12-Lakeville is a tuition-free, K-12, statewide online school. Students take full-time or part-time courses, and can earn a Lakeville Area Public Schools diploma.

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I N T H E D U N S M O R E RO O M

A L I S T E N I N G R O O M F E AT U R I N G A B E AU T I F U L 9 - F O OT S T E I N W AY P I A N O A N D C A B A R E T S E AT I N G .

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THE CU RRENT PRESENTS ®

CHASTITY BROWN JUNE 2 | 8PM Silhouette of Sirens — Album Release Show

FITZGERALD THEATER ®

Tickets at fitzgeraldtheater.org


Live. Create. Connect.

Affordable historic apartments, commited to the arts. carletonartistslofts.com • 651.646.5638


An die Musik Apr 6 – Jun 5, 2017  

The Schubert Club's program book for April 6 - June 5, 2017 featuring Daedalus Quartet, Alexandre Tharaud, Hill House Chamber Players, Accor...

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