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An die Musik January 4 – February 26, 2018

Welcome the Stranger


Featuring over five centuries of music exploring Saint Benedict's Rule of unconditional hospitality, this program highlights the music of Hildegard von Bingen, Caterina Assandra, Chiara Margarita Cozzolani, as well as the premiere of a new work honoring Saint Scholastica by Abbie Betinis.


Colonial Church

MAR 10

Church of the Holy Cross

MAR 11

Saint Paul Seminary Chapel

MAR 16

Saint John’s University

MAR 18

Saint Mary’s University

MAR 19

College of St. Scholastica

Edina | 7:30pm

Minneapolis | 7:30pm Saint Paul | 3:00pm

Collegeville | 8:00pm Winona | 3:00pm Duluth | 7:30pm

Abbie Betinis, composer

Information and Tickets at





A C C R E D I T E D . C O M | 9 5 2 . 8 4 1 . 2 2 2 2 | 5 2 0 0 W E S T 7 3 R D S T R E E T , E D I N A , M I N N E S O TA 5 5 4 3 9

2017-2018 Schedule Oct 8 Oct 15 Oct 22 Oct 29 Nov 2 Nov 5 Nov 12 Nov 19 Nov 26 Dec 24/25 Dec 31 Jan 7 Jan 14 Jan 21 Jan 28 Feb 4 Feb 11 Mar 11 Apr 1 Apr 8 Apr 15 Apr 22 Apr 29 May 6 May 13 May 20 May 27 Jun 3

Mozart, Missa Brevis in D Haydn, Paukenmesse Haydn, Theresienmesse Beethoven, Mass in C Mozart, Requiem Mass (7:30pm) Haydn, Nikolaimesse Dvořák, Mass in D Schubert, Mass in B-flat Haydn, Nelsonmesse Mozart, Coronation Mass Christmas Midnight Mass Schubert, Mass in G Mozart, Piccolomini Mass

Our family is here for yours. With 160 years of service, you can trust the McReavy family for funeral, cremation and pre-planning services.

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Mozart, Mass in C Gounod, Saint Cecilia Mass Haydn, Kleine Orgelsolomesse Mozart, Missa Brevis in F Schubert, Mass in C Mozart, Coronation Mass Mozart, Spatzenmesse Rheinberger, Mass in C Haydn, Harmoniemesse Haydn, Grosse Orgelmesse Schubert, Mass in A-flat Haydn, Mariazellermesse Gounod, Saint Cecilia Mass Haydn, Heiligmesse Mozart, Trinitatis Mass Schubert, Mass in G

Twin Cities Catholic Chorale & Orchestra directed by Dr. Robert L. Peterson

at the Church of Saint Agnes 548 Lafond Avenue Saint Paul, MN 55103 www.catholicchorale.org

Latin Mass at 10:00 a.m. Each Sunday

Nationally recognized. K-12. Faithfully Catholic. Located in the heart of Saint Paul since 1888.

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An die Musik January 4 – February 26, 2018


Artistic & Executive Director and President's Welcome


Calendar of Events


Parker Quartet


From the Schubert Club's Education Director


Sérgio & Odair Assad • Avi Avital

22 Accordo 25

Hill House Chamber Players


Schubert Club Officers, Board, Staff, and Advisory Circle


Courtroom Concert Series


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: Avi Avital, photo: Harald Hoffman Odair & Sérgio Assad

Schubert Club Museum Natasha D'Schomer,Kate CooperHarald Hoffman/DG

Open late 4–8 PM

First Thursdays of each month. Enjoy hands-on fun, music-making, demonstrations, trivia, free refreshments, guided tours, and ticket drawings.





Welcome to the Schubert Club!

Artistic & Executive Director and President's Welcome

And a very Happy New Year to all! We have two busy and inspiring months of music ahead, including concerts in many of our series, KidsJam and Jazz Piano workshops, and the preliminary rounds of our Bruce P. Carlson Student Scholarship Competition. Sérgio Assad (who performed in December with daughter Clarice in Schubert Club Mix) returns to the stage with his regular guitar duo partner, brother Odair Assad, and the wonderful mandolin player Avi Avital. We welcome back the Parker Quartet to Music in the Park Series—and welcome them back to Minnesota since they were resident here a few years ago. Accordo continue their exploration of chamber music by Antonín Dvořák at Plymouth Congregational Church, and the Hill House Chamber Players perform in the atmospheric James J. Hill House on Summit Avenue. We are also very excited to present a program of music by leading American (and Minneapolis-based) composer Libby Larsen with various film, cartoon, and lighting elements in Schubert Club Mix. This is a special program put together for our series and will be performed twice (at 6:00 and 8:30pm) on January 18th at TPT’s Street Space in Lowertown St Paul. Finally, the Thursday lunchtime Courtroom Concert Series is in full swing. These are free noontime concerts in Landmark Center, always popular, and feature some of the outstanding musical talent we have living in our state like the Elkina sisters, Francesca Anderegg, and Cerulean Fire. Also, mark your calendars to remind yourselves that we announce next season’s International Artist Series and Music in the Park Series during the weekend of February 17–18th. Thank you for your support and I hope you find enjoyment and inspiration in whatever Schubert Club concert or activity you attend.

Did you know that the Schubert Club is more than just a music presenter? Although we present more than sixty concerts a year, we are also busy with educational endeavors and with our Museum located on the second floor of Landmark Center. The idea for a museum started in 1970 with the gift of a 1830 Kisting piano that was played by Clara Schumann and Brahms. This led to the development of a keyboard museum, which opened in 1980 and now encompasses instruments from the 17th through the 20th century, including a significant keyboard collection of harpsichords, clavichords, fortepianos, and pianofortes. A 1981 exhibition, “The Piano: Mirror of American Life”, traced not only the development of keyboard instruments but also their importance in American life. For example, the first piano arrived in Minnesota at Fort Snelling in 1824! Instruments are meant to be played, and ours are. Local groups and visiting international artists have performed on Schubert Club period instruments. Peter Serkin recorded Schubert and Beethoven on our Graf piano. Even visitors can play our Bechstein and selected other instruments. In the 1980s, Gilman Ordway generously donated a fascinating collection of letters by composers. Over subsequent years, the collection has grown to more than 100 pieces. For example, a letter that Mozart wrote to his wife shows the struggles of a composer grappling with financial difficulties. Our Museum expanded with the acquisition of the instrument collection of William Kugler, a bandleader and violin maker. Museum admission is free and is open five afternoons each week. The Museum is also open in the evening each “First Thursday” of the month with instrument demonstrations and refreshments. It’s fun—you should go! I look forward to seeing you in the Museum! You can find out more at Schubert.org/museum.

Dorothy J. Horns Barry Kempton Artistic and Executive Director

Dorothy J. Horns President




SHATTUCK-ST. MARY’S Pre-Conservatory Program

Mark Prihodko ➣ SSM Class of 2016 Juilliard Class of 2020

Music Lessons: All ages. All levels. All instruments.

Contact Eric.Olson@S-SM.org

College Prep - Grades 6-12 - Boarding and Day Faribault, Minnesota


Contact us to set up a free trial lesson! 651-224-2205 www.thespcm.org

reach a captive audience For advertising opportunities in the Schubert Club programs: mary-kate@artsink.org • 612.791.3629 artsink.org Proud to partner with Schubert Club Offering advertising opportunities in the following program publications: Ordway • Minnesota Opera • Children’s Theatre Company Chanhassen Dinner Theatres • The Saint Paul Chamber Orchestra Cantus • Hennepin Theatre Trust’s Spotlight Education • Ivey Awards Minnesota Boychoir • Minnetonka Theatre • Schubert Club



JAKE HEGGIE | JAN 27–FEB 3 “... a gripping, enormously skillful marriage of words and music to tell a story of love, suffering and spiritual redemption.” – The San Francisco Chronicle

Tickets from


BUY TODAY mnopera.org 612-333-6669

Elexis Trinity is a researcher, poet, amateur occultist, avid autodidact and graduate student in human rights. In her spare time she studies languages and the stars. Not surprisingly, her Spectacle Shoppe glasses are every bit as unique as she is.

See Different Uptown, New Brighton, Burnsville Center and Grand Avenue

Thu, Jan 4 • 4–8 PM FIRST THURSDAYS—free Schubert Club Museum stays open until 8 PM for live demonstrations, interactive music-making, and more Wed, Jan 10 • 10:30 AM KIDSJAM WORKSHOPS (for Home School families) Sounds of Mexico LISTEN to the Son Huasteco and the Huapango. PLAY folk instruments CREATE your own lyrics and LEARN dance steps. Sat, Jan 13 • 11 AM SENSORY-FRIENDLY FAMILY CONCERT—free Sounds of Mexico: Andale, Juana! with Yumhali Garcia and friends SCHUBERT CLUB MIX Music of Libby Larsen The Fantom of the Fair, and and other multi-media works inspired by comic strips. Sat, Jan 27 • JAZZ PIANO WORKSHOP Pianist/composer/clinician Jeremy Siskind leads workshops for middle-school and high school students.


Thu, Mar 1 • 4–8 PM FIRST THURSDAYS—free Schubert Club Museum stays open until 8 PM for guided tours, live demonstrations, interactive musicmaking, and more Sun, Mar 4 • 4 PM MUSIC IN THE PARK SERIES David Finckel, cello & Wu Han, piano. Artistic Directors of the Chamber Music Society of Lincoln Center perform music of Beethoven, Mendelssohn, & Grieg. Sat, Mar 10 • 8:30 AM BRUCE P. CARLSON SCHOLARSHIP COMPETITION Competition Prelims—Voice/Brass/Woodwind/Guitar Sun, Mar 11 • 8:30 AM BRUCE P. CARLSON SCHOLARSHIP COMPETITION Competition Finals—Voice/Brass/Woodwind/Guitar Tue, Mar 13 • 7:30 PM ACCORDO An Evening of Silent Film (at the Ordway) MInnesota's all-star string ensemble provides live musical accompaniment to two classic films of the silent era. Tue, Mar 20 • 7:30 PM INTERNATIONAL ARTIST SERIES Jennifer Koh, violin • Shai Wosner, piano Two young artists who are garnering rave reviews, Koh and Wosner bring a program of Beethoven sonatas and short works by Andrew Norman. Wed, Mar 21 • 10:30 AM INTERNATIONAL ARTIST SERIES Jennifer Koh, violin • Shai Wosner, piano A reprise of the previous evening's concert. Tue, Nov 27 • 7:30 PM SCHUBERT CLUB MIX Colin Currie, percussion (at Aria A high energy evening of music by “the world’s finest and most daring percussionist” (The Spectator).

more info at schubert.org

Thu, Feb 1 • 4–8 PM FIRST THURSDAYS—free Schubert Club Museum stays open until 8 PM for guided tours, live demonstrations, interactive music-making, and more Sun, Feb 11 • 4 PM MUSIC IN THE PARK SERIES Parker Quartet Boston-based Parker Quartet performs string quartets by Mendelssohn and Beethoven. Tue, Feb 20 • 7:30 PM INTERNATIONAL ARTIST SERIES Avi Avital, mandolin & Sérgio & Odair Assad, guitar Young Israeli virtuoso Avital joins the legendary Assad brothers in program of music ranging from Bach to Piazzola by way of Bartók and Brazil. Wed, Feb 21 • 10:30 AM INTERNATIONAL ARTIST SERIES Avi Avital, mandolin & Sérgio & Odair Assad, guitar A reprise of the previous evening's concert by three virtuoso players of the guitar and mandolin. Sat, Feb 24 • 8:30 AM BRUCE P. CARLSON SCHOLARSHIP COMPETITION Competition Prelims—Strings/Piano Sun, Feb 25 • 8:30 AM BRUCE P. CARLSON SCHOLARSHIP COMPETITION Competition Finals—Strings/Piano

MARCH 2018 January–March 2018

Vintage comics inspire Libby Larson's multi-media works performed at TPT Street Space

Shai Wosner & Jennifer Koh

Calendar of Events


Mon, Feb 26 • 7:30 PM ACCORDO Dvořák Bagatelles, Prokofiev String Quartet No. 1, and Schuman Piano Quartet with guest Gilles Vonsattel. Mon, Feb 26 • 7:30 PM HILL HOUSE CHAMBER PLAYERS Music of Rontgen, Hindemith, Granados and Beethoven, performed in the art gallery of the historic Hill mansion. Tue, Feb 27 • 7:30 PM ACCORDO AT ICEHOUSE HIghlights of the previous evening's concert in the popular South Minneapolis restaurant/music venue.

Saint Anthony Park United Church of Christ Pre-concert conversation one hour before the performance

PARKER QUARTET Daniel Chong, violin • Ying Xue, violin Jessica Bodner, viola • Kee-Hyun Kim, cello Wolfgang Amadeus Mozart (1756–1791) Allegro Larghetto Menuetto: Moderato Allegro assai György Ligeti (1923–2006) Quartet No. 1, Metamorphoses Nocturnes (1953–54)

Intermission Felix Mendelssohn-Bartholdy (1809–1847) Quartet No. 4 in E minor, Opus 44, No. 2 (1839) Allegro assai appassionato Scherzo: Allegro di molto Andante Presto agitato

PARKER QUARTET Inspiring performances, luminous sound, and exceptional musicianship are the hallmarks of the Grammy Award-winning Parker Quartet. Well known to Twin Cities music lovers, the Parker made its debut on Music in the Park Series in 2007, subsequently serving as Artistsin-Residence at the University of St. Thomas, at the University of Minnesota, with the St. Paul Chamber Orchestra, and as the first-ever Artists-in-Residence with Minnesota Public Radio. Currently Blodgett Artists-in-Residence at Harvard University’s Department of Music, the Parker Quartet has distinguished itself with acclaimed recordings, including György Ligeti’s complete works for string quartet, which won the 2011 Grammy Award for Best Chamber Music Performance. 10


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Following a 2016 summer season that had the ensemble crossing North America for appearances at music festivals, including opening the Rockport Chamber Music Festival (MA) with the pianist Menahem Pressler, the Rite of Music Festival on New York’s Governor’s Island, Vermont’s Yellow Barn Festival, Toronto Summer Music Festival, the Garth Newell Music Center in Virginia, the Skaneateles Festival in upstate New York, and the San Miguel de Allende International Chamber Music Festival in Mexico, the Parker Quartet’s Fall 2016 begins with the release of their own recording for Nimbus Records of Mendelssohn’s Quartets Op. 44, Nos. 1 and 3. Highlights of the 201617 season included the ensemble’s ongoing concert series at Harvard as the Blodgett Artists-

Music in the Park Series

Quartet in B-flat major, K. 589 (1789)

Schubert Club •

Sunday, February 11, 2018, 4:00 PM

Parker Quartet in-Residence; a January 2017 European tour featuring performances with violist Kim Kashkashian; and two concerts in Washington, DC: at the National Gallery of Art and with jazz pianist Billy Childs at the Kennedy Center for the Performing Arts. Other performances also include Annapolis Concerts at St. John’s College, Mary Anne Rennolds Chamber Concert Series at VCU, concerts at South Carolina University as the School of Music’s Quartet-in-Residence, the Lake Champlain Chamber Music Festival, and the Philadelphia Chamber Music Society. Recent highlights include the project “Schubert Effect” in collaboration with pianist Shai Wosner at the 92nd Street Y, the premiere of a new string quartet by American composer Augusta Read Thomas as part of the Quartet’s four-concert series at Harvard University, appearances at Carnegie Hall, the Library of Congress, the Slee Series in Buffalo, New York’s Lincoln Center Great Performers series, and with jazz pianist Billy Childs. The Quartet also continues to be a strong supporter of violist Kim Kashkashian’s project Music for Food by participating in concerts throughout the United States for the benefit of various food banks and shelters. The Parker Quartet has distinguished itself with acclaimed recordings for Zig-Zag Territoires, Innova Records, and Naxos. In 2015, Innova Records released the world premiere recording of American composer Jeremy Gill’s “Capriccio” written for the Quartet through a Chamber Music America commissioning grant. In April 2016 Augusta Read Thomas’s world premiere recording of Helix Spirals for string quartet on “Of Being is a Bird” was released on Nimbus Records. Recent collaborations include acclaimed artists like violist Kim Kashkashian, violinist Nadja SalernoSonnenberg, pianists Anne-Marie McDermott and Shai Wosner, Kikuei Ikeda of the Tokyo String Quartet, clarinetist and composer Jörg Widmann, and clarinetist Charles Neidich.

Founded and currently based in Boston, the Parker Quartet’s numerous honors include winning the Concert Artists Guild Competition, the Grand Prix and Mozart Prize at France’s Bordeaux International String Quartet Competition, and Chamber Music America’s prestigious Cleveland Quartet Award. The Parker Quartet’s members hold graduate degrees in performance and chamber music from the New England Conservatory of Music and were part of the New England Conservatory’s prestigious Professional String Quartet Training Program from 2006–2008. Some of their most influential mentors include the original members of the Cleveland Quartet, Kim Kashkashian, György Kurtág, and Rainer Schmidt.

PROGRAM NOTES Quartet in B-flat major, K. 589 (1789) Wolfgang Amadeus Mozart (b. Salzburg, 1756; d. Vienna, 1791) Mozart’s so-called “Prussian Quartets” create a distinct sound-world. They were the product of Mozart’s apparently unsuccessful trip to the Berlin court of King Friedrich Wilhelm II in 1789. Not all scholars accept Mozart’s assertion that these Quartets were commissioned “for the King of Prussia.” But the composer certainly had the monarch in mind, for each work features the cello, and the king was a cellist. Moreover, his director of chamber music, Jean-Pierre Duport, was one of the great cellists of the day. In any event, Mozart completed only three of a projected set of six. K. 589 is the second of the three. In these quartets, viola often dips beneath cello to assume the bass. Mozart was writing viola quintets during these years, and the presence of the cello in its tenor register often makes you think you’re hearing a quintet, musicminus-one cello. schubert.org




Quartet No. 1, Metamorphoses Nocturnes (1953–54) György Ligeti (b. Târnăveni, Romania, 1923; d. Vienna, 2006) After World War Two, writes New Yorker critic Alex Ross, “composers took up what might be called catastrophe style with a vengeance, history having justified their instinctive attraction to the dreadful and the dire.” Hungarian composer György Ligeti was well acquainted with catastrophe. His father, brother, an aunt and an uncle had died in Nazi concentration camps. He suffered personally as the Soviets occupied Hungary after the war. But Ligeti’s spirit remained undaunted; his sense of humor darkened but was not extinguished. He fled Hungary in 1956 and settled in western Europe.

King Friedrich Wilhelm II of Prussia Notice the perfect poise of the first two phrases. Violins float sweet thirds from above, and as the opening motive passes to viola, cello joins with a slow tremolo. There is symmetry, but Mozart has avoided writing the expected four-bar phrases; these phrases are six bars apiece. A second theme goes to the cello, lightly accompanied by viola. On return, the top two players will enjoy it. The truculent triplets that close the exposition are carried into the development, which picks up an earlier slithering chromatic bridge-theme. That idea’s reappearance later in stern, two-part texture is a striking, if fleeting, sonic highlight. Cello and violin take turns singing the Larghetto’s expansive eight-bar theme. The theme is potent, eliciting long, languid cascades from the others. The Minuet is quite vigorous, with violin taking the initiative and often venturing into the high positions. Indeed, cello seems to be returning to its traditional role as violin is asserting dominance! (What would Friedrich Wilhelm have thought of that?) The first notes of the final Allegro assai are the very same violin thirds that began the quartet. But this new theme is jaunty and in 6/8 meter. Some shadows fall in this sonata form. Most striking: an excursion to the remote key of D-flat major. The way home lies through a contrapuntal thicket that may have been inspired by the close attention Mozart paid to Handel’s work in arranging Messiah and Acis and Galatea for Baron van Swieten’s musicales. But the hegemony of the cello is over, and after vigorous passagework, the quartet ends modestly. 12


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Ligeti anticipated, embraced or rejected most of the trends of post-war composition. Before minimalism was spoken of, he had explored gradual processes in the athematic Continuum for harpsichord and Poème Symphonique for 100 Metronomes. Ligeti became well known in the 1960s for a texture made from a dense weave of canons, a process he called “micropolyphony.” It was this sound-world that attracted the attention of film director Stanley Kubrick. Four Ligeti works, including Atmospheres and Lux aeterna, were included in Kubrick’s 2001: A Space Odyssey—without the composer’s permission. But a mass audience was thereby introduced to a music they would otherwise never have even imagined. Ligeti’s Études for Piano, Book 1 was awarded the 1986 Grawemeyer Award, a six-figure American prize. Like Chopin’s Études, they are finger exercises and standalone works of art, but Ligeti’s Études are also exercises in listening and philosophy. Ligeti was not dogmatic about dissonance or consonance; his music is neither tonal nor serial. It draws on the entire spectrum of sounds as he sees fit. Here is a composer to whom no sonority is off-limits.

György Ligeti when asked a question

The Quartet No. 1, Metamorphoses Nocturnes, was composed 1953–54, but it waited until 1958 for a premiere. One hears the clear influence of Hungarian folk music, and of Ligeti’s countryman Bartók, but the manner is individual. This music is fiendishly difficult to play, and the composer’s sense of hyperbole often takes the form of patterns carried up or down to extremes. There is a dark humor in these “night transformations” that often tends toward the absurd, but there is also a sense of the fleetingly sublime. Swedish musicologist Ove Nordwall elaborates on two contrasting elements in the Quartet No. 1: “one vaguely ethereal, the other rustically dance-like. The conflict between them is strengthened as the work progresses. The contours seem more and more to dissolve while the dance impulse petrifies to a mechanical ticking. Different sections are usually dominated by one of these two basic elements but at times they confront each other directly.” A few key events in this kaleidoscopic work: • Allegro grazioso: over rising, slithering chromatics, violin presents a melodic motive—two wholesteps a semitone apart—which will be transformed throughout the work. • Adagio: a soulful melody in the second violin which mimics the Hungarian language, with accent on the first syllable. • Presto: a scherzo in 3/4 with something unusual in twentieth-century music: a formal repeat. Violins play the same music, a half-step apart. Out of nowhere comes a hugely ironic cadence in E major • Prestissimo: a motive of accented ascending fourths. • Andante tranquillo: a muted pastoral chorale with tremolandos. • Tempo di Valse: elegant and capricious, leading suddenly to unison Hungarian rhythms in crunchy 7/8 meter. • A machine ticks in 5/8 meter “with mechanical precision.” Then a prestissimo scurry with instruments buzzing near the bridge. • Initial melodic motive returns over pianissimo harmonic arpeggios

Quartet No. 4 in E minor, Opus 44, No. 2 (1839) Felix Mendelssohn-Bartholdy (b. Hamburg, 1809; d. Leipzig, 1847) What does a composer do on his honeymoon? After Felix Mendelssohn’s wedding to Cécile Jeanrenaud on March 28, 1837, the couple spent their wedding night in Mainz at the Rheinisher Hof. Cécile confessed to their

Cécile Mendelssohn-Bartholdy honeymoon diary of “one agreeable thing which I will refrain from mentioning!” Felix began to teach her English. They spent April in Freiburg and the Black Forest, where Felix sketched the Quartet in E minor, one of three which would be published as Opus 44. All were composed in 1837–38 in the order 2, 3, 1. They are dedicated to Gustavus, Crown Prince of Sweden. Mendelssohn may have had Mozart in mind when he conceived the opening of this Quartet. The main theme of the Allegro assai rises through the tonic chord just like the finale of Mozart’s G-minor Symphony; its accompaniment rustles like that composer’s Piano Concerto in D minor. Agitation, then passion comes from a transitional flurry of unison sixteenth-notes. We are prepared for a second theme in B minor, but cello trills us into G major instead; soon it takes the violin’s gentle melody up into its high register. The closing of the exposition, with the theme moving in canon—and at twice the speed in the inner parts—is particularly satisfying. In development, Mendelssohn combines the rising main theme with the transitional flurry and whips up a blizzard. Listen carefully for the return of the main theme: it’s somewhat snow-covered. Mendelssohn is famous for his fairy music, and the Scherzo provides it in what may be the highlight of the quartet. Opening with a Brrr!, its 3/4 meter only gradually becomes clear. At the peak, we hear the first-movement theme as if through chattering teeth, then a heart-tugging viola solo. The Adagio is an intimate “song without words,” perhaps about that “agreeable thing” that Cécile chose not to mention. With three abrupt repeated notes, the Finale simultaneously revives the tempo of the Scherzo and reworks the opening melody of the Allegro assai. Those three obstinate notes are everywhere: in the accompaniment; in a tentative second theme; in the sequences and imitations of the workings-out. Mendelssohn’s music is most ingenious in the way he superimposes different speeds of music, and this finale does just that, repeatedly. The listener expects an ending in major mode, but no, Mendelssohn has a mind of winter. Program notes © 2017 by David Evan Thomas schubert.org


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

Carol Barnett

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Arts Touring Fund of Arts Midwest

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Boss Foundation

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David Evan Thomas


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Philanthropic Fund of the Jewish

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Thank you to all those

Peg and Liz Glynn

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who gave to the new

Sandra and Richard Haines

Dan and Emily Shapiro

Anders and Julie Himmelstrup

Marie and Darrol Skilling

Endowment Fund.


Warren and Marian Hoffman

Kathy and Doug Skor

Please see page 37.

Martha and Renner Anderson

Gladys Howell

Harvey Smith


Peg Houck and Phil Portoghese

Conrad Soderholm

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and Walt McCarthy and Clara

Community Foundation

Gift Program Trillium Foundation

and Joan G. Hershbell

Adrienne Banks

Music in the Park Series

and Mary Tingerthal Eileen V. Stack

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 35.

Tuesday, March 13, 2018 at the Ordway

ACCORDO with Silent Movies

Minnesota's “dream team of chamber music” performs live musical accompaniment to two classic silent films: Lotte Reiniger's 1922 animated film Cinderella, and Buster Keaton's College, with scores by Karim Al-Zand and Stephen Prutsman.

Tickets start at $20

schubert.org • 651.292.3268 14


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MUSIC FOR ALL: Sensory-friendly Family Concerts In April 2015, when pianist Stephen Prutsman came to perform for Schubert Club Mix, he offered to do a bit more than just his scheduled concert. As a dad whose son was diagnosed with autism, he realized there were very few public events and environments tailored for kids with autismrelated behaviors. That prompted him to create some "sensory-friendly" environments himself, branding them ‘Azure.’ That spring, he performed the Schubert Club’s first ‘Azure’ concert here for a dozen families. He played some short sets of piano pieces, and in between, invited children to come on stage to listen more closely­—or even play along with him. It was wonderful to observe, and I was moved by their response. “When you see that child engaging with someone, not melting down, developing a contact with music and sound, it brings tears to your eyes,” says Prutsman. “These concerts are all about those little wins and successes.” Since then, the Schubert Club has carried on with its own version of Steve’s ‘Azure’ concerts, which we call Sensory-Friendly Family Concerts. We receive tremendous support from the Autism Society of Minnesota and music therapist Lyndie Walker. They consult with us to do this right—and well—and offer training to our teaching artists. Since Steve’s first program here, children and their families have experienced a wind quintet, a percussion trio, and ethnic music from Sweden and Ecuador. These events also benefit other concert-goers in addition to the kids who are touched by autism. The performances are welcoming to those who may not be able to sit still in a concert venue

such as a traditional symphony hall, or are more sensitive to their environment. Volume levels are kept low without sudden changes, and the lighting is soft. Noise-reduction headphones are available, as are fidget toys which allow extra tactile symmetry to the listening experience. Attendees are encouraged to use scarves to get up and dance, or move their bodies freely around the room. Many of the performing artists invite attendees to participate with them in creating music or motion alongside them on stage. First and foremost we present these concerts in an environment that is non-judgmental and supportive so that all patrons feel comfortable attending—and that accompanying adults don’t have to be on edge planning reactions to unexpected behavior. Schubert Club also provides a “Social Story” online that can help participants prepare for the event. It shows a visual sequence of all of the steps: from arriving at the building, riding the elevator, etc, to what will happen during the actual program. Everything around these concerts is intended to provide a sense of comfort in the environment. At one of our recent Sensory-Friendly Family concerts I was inspired as I looked around the room and witnessed several children out of their seats, expressing themselves with movements and sounds—some waving scarves to the rhythm. Other eager attendees lined up to play an instrument or try their hand at puppetry, as parents and adults with relaxed smiles were observing or interacting. Meanwhile, some kids were snuggled on their parents' laps wearing headphones to block out any unwelcome sound, keeping their fingers busy and bodies relaxed while fidgeting with a brightly colored toy! The beauty of this was in how everyone was responding and connecting to the music in their own way—and every way was OK for all!

Kate Cooper Director of Education & Museum

Next up on Sensory-friendly Family Concerts: Andale, Juana! Sounds of Mexico with Yumhali Garcia, Israel Aranda, and Alberto Villegas

Saturday, January 13, 11 AM

From the Schubert Club's Education Director

Kathy and Leo Lara offered hands-on opportunities for audience participation at their recent Schubert Club sensory-friendly concert


Sonata No. 50 in D Major, Hob. XVI:37 Allegro con brio Largo e sostenuto Finale: Presto ma non troppo

Joseph Haydn (1732–1809)

La plus que lente, L. 121

Claude Debussy (1862–1918)

Romanian Folk Dances, Sz. 56 Stick Dance Sash Dance In One Spot Dance from Bucsum Romanian Polka Fast Dance

Béla Bartók (1881–1945)

Intermission Histoire du Tango Bordel 1900 Cafe 1930 Night-club 1960 Concert d’aujourd’hui

Astor Piazzolla (1921–1992)

Three Jewish Dances, Opus 192 Sher (Allegro) Yemenite Wedding Dance (Andante) Hora (Allegro vivo)

Marc Lavry (1903–1967)

Three Brazilian Pieces Santa Morena Jacob Bittencourt (1918–1969) Glória “Pixinguinha” (1897–1973) Assanhado Bittencourt All works arranged by S. Assad Exclusive management: Opus 3 Artists 470 Park Avenue, New York, NY



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These concerts are dedicated to the memory of Reine H. Myers, by her family.

International Artist Series

Sonata in E Major, BWV 1016 (Selections) Allegro Adagio ma non tanto Allegro

Maud Moon Weyerhaeuser Sanborn

Ordway Concert Hall Pre-concert conversation by David Evan Thomas one hour before the performance

Schubert Club •

Tuesday, February 20, 2018, 7:30 PM & Wednesday, February 21, 2018, 10:30 AM

SÉRGIO & ODAIR ASSAD Brazilian-born brothers Sérgio and Odair Assad have created a new standard of guitar innovation, ingenuity and expression. Their exceptional artistry and uncanny ensemble-playing come from a family rich in Brazilian musical tradition and studies under guitarist/lutenist Monina Távora, a disciple of Andrés Segovia. Their virtuosity has inspired a wide range of composers to write for them including Astor Piazzolla, Terry Riley, Radamés Gnattali, Marlos Nobre, Nikita Koshkin, Roland Dyens, Jorge Morel, Edino Krieger, and Francisco Mignone. Sérgio Assad has added to their repertoire by composing music for the duo and for various musical partners both with symphony orchestra and in recitals. They have worked extensively with such renowned artists as Nadja Salerno-Sonnenberg, Gidon Kremer, and Dawn Upshaw. Odair is based in Brussels where he teaches at École Supérieure des Arts, while Sérgio resides in San Francisco where he is on the faculty of the SF Conservatory. The Assad Brothers began playing together at an early age and their international career began with a major prize at the 1979 Young Artists Competition in Bratislava. Their repertoire explores folk, jazz, and various styles of Latin music. Their classical repertoire includes transcriptions of the great Baroque keyboard literature of Bach, Rameau, and Scarlatti and adaptations of works by Gershwin, Ginastera, and Debussy; thus making their touring programs a compelling blend of styles, periods and cultures. They have collaborated with such notable orchestras as the Los Angeles Philharmonic, the orchestras of São Paulo and Seattle, and the Saint Paul Chamber Orchestra. In 2004, Sérgio and Odair arranged a special tour featuring three generations of the Assad family including their father, Jorge Assad (1924-2011), on the mandolin and the voice of their mother, Angelina Assad. GHA Records released a live recording and a DVD of the Assad family live at Brussels’ Palais des Beaux-Arts. In 2009 they were featured performers on James Newton Howard’s soundtrack to the movie Duplicity. In the 2011 and 2012, the brothers toured a project entitled “De Volta as Raizes” (Back to Our Roots) with Lebanese-American singer Christiane Karam, percussionist Jamey Haddad, and composer/ pianist Clarice Assad. Also that season Sérgio Assad premiered his concerto Phases with the Seattle Symphony and was nominated for two Latin Classical Grammys for his works Interchange and Maraeaipe. Other recent touring projects include a reunion of the Assad Family in Qatar and across Europe with a finale at Le Palais des Beaux Arts, a tour and recording with Paquito D'Rivera called "Dances from the New World,"

and a tour with jazz guitarist Romero Lubambo. In 20152016 they toured with Yo-Yo Ma and other musicians from the Silk Road Ensemble. The Assads have made a number of recordings on Nonesuch and GHA including Sérgio and Odair Assad Play Piazzolla and Jardim Abandonado, which both received Latin Grammys. They recorded Obrigado Brazil with Yo-Yo Ma with Sérgio arranging several of the works and were featured on Yo-Yo Ma’s chart topping release, Songs of Joy & Peace, alongside other guests as diverse as James Taylor and Dave Brubeck. Both recordings won Grammy awards. In 2015, Sérgio and Odair celebrated their 50th anniversary as a duo. Their first ever performance together was in the fall of 1965 on a Brazilian television show called Boussaude. The celebration included a 27city tour in Brazil followed by ten more in North America, highlighted at the 92nd Street Y in New York. The Guitar Foundation of America awarded the brothers with its Lifetime Achievement Award in June 2015.

AVI AVITAL The first mandolin soloist to be nominated for a classical Grammy Award, Avi Avital is one of the foremost ambassadors for his instrument. Passionate and "explosively charismatic" (New York Times) in live performance, he is a driving force behind the reinvigoration of the mandolin repertory. More than 90 contemporary compositions, 15 of them concertos, have been written for him, while his inspired reimaginings of music for other instruments include the arrangements heard on his 2015 ECHO Klassik Award-winning Deutsche Grammophon recording, Vivaldi. Enhanced by his infectious spirit of adventure and the warm rapport he fosters with his audience, Avital’s pathbreaking championship of his instrument is taking the mandolin center stage. "The exciting part of being a classical mandolin player," he says, "is that it opens a wide field for creative freedom. When I commission new pieces and engage with different musical styles, I feel that I am bringing to light new faces of this unique instrument, uncovering what is hiding there." Avital’s unprecedented Grammy nomination honors his recording of Avner Dorman’s Mandolin Concerto, a work he commissioned in 2006 and went on to capture with New York’s Metropolis Ensemble under Andrew Cyr. As the first mandolin soloist to become an exclusive Deutsche Grammophon artist, he has made three recordings for the label to date; besides the awardwinning 2015 release Vivaldi, these are his 2012 debut, featuring his own Bach concerto transcriptions, and the 2014 album Between Worlds, a cross-generic chamber collection exploring the nexus between classical and traditional music. He previously recorded for such labels schubert.org


as SONY Classical and Naxos, winning a first ECHO Klassik Award for his 2008 collaboration on the former label with the David Orlowsky Trio. Avital’s inspired music-making has electrified audiences throughout Israel, Europe, Australia, Asia, and the Americas. Recent highlights include dates at Beijing’s National Centre for the Performing Arts, London’s Wigmore and Royal Albert Halls, the Berlin Philharmonie, Zurich’s Tonhalle, Barcelona’s Palau de la Música Catalana, the Paris Philharmonie, and, with a live telecast on Arte, the Palais de Versailles. In spring 2016, Avital undertook an international tour with a program of arrangements for mandolin, accordion, and percussion drawn primarily from Between Worlds. After more than 70 performances in Europe, Asia, and South America, the extensive U.S. portion of the tour took him from coast to coast and was capped by appearances in Boston’s Celebrity Series, at the National Gallery in Washington, DC, and at Manhattan’s 92nd Street Y. Avital has partnered leading artists in a variety of genres, including star singers Dawn Upshaw, Andreas Scholl, and Juan Diego Flórez, clarinetist Giora Feidman, violinist Ray Chen, pianist David Greilsammer, harpsichordist Mahan Esfahani, accordionists Richard Galliano and Ksenija Sidorova, percussionist Itamar Doari, and the Enso and Danish String Quartets, as well as a host of international orchestras from the Mahler Chamber Orchestra to the Israel Philharmonic. He is also a favorite on the international festival circuit, having appeared at the Aspen, Salzburg, Tanglewood, Spoleto, Ravenna, and Verbier festivals, among many others

PROGRAM NOTES Opera lovers will recognize the mandolin as the instrument Don Giovanni plays to serenade Donna Elvira in “Deh, vieni alla finestra.” But this plucked, wire-strung instrument has a rich, 400-year history with its own repertoire, particularly from the eighteenthcentury: solo sonatas by Caldara and Sammartini, concertos by Vivaldi, and cameo appearances in operas by Handel and Hasse. More recently, Mahler called for mandolin in his Seventh and Eighth symphonies and in Das Lied von der Erde, and composers like Stravinsky, Boulez, and Ligeti have found its color essential to their respective palettes. The mandolin, tuned like a violin and usually played with a plectrum, is surging in popularity through advocates like Avi Avital and Chris Thile. In this program, we hear a wide range of classical, Hungarian, Israeli, and popular Brazilian compositions—some familiar, all transformed—in arrangements by Sérgio Assad. 18


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Sonata in E Major, BWV 1016 (Selections) J. S. Bach (b. Eisenach, 1685; d. Leipzig, 1750) Bach defined a new genre in his sonatas for violin and obbligato keyboard. He borrowed from the trio-sonata texture, in which a continuo bass accompanies two melody instruments. But by replacing the second instrument with the right hand of the keyboard, he created that pleasing paradox: a “trio” for two instruments. And Bach did not spare the violin. In his 1802 biography of Bach, J. N. Forkel advised: “The violin part requires a master. Bach knew the possibilities of that instrument and spared it as little as he did his clavier.” In this program we hear all but the first movement of Bach’s Sonata in E major. The Allegro is a trio for equal voices. Its theme has the rustic simplicity of a tune that father Bach might have whistled to one of his twenty children. The Adagio–“but not too”—is a duet with an accompaniment that in its opening chords adapts particularly well to the guitar. Its felicitous, rippling triplets may be behind C. P. E. Bach’s 1774 remark, that the sonatas “contain some Adagii that could not be written in a more singable manner today.” The sonata closes with a rollicking movement in concerto style. The first of its concertante episodes features the lively play of two notes against three. Sonata No. 50 in D Major, Hob. XVI:37 Joseph Haydn (b. Austria, 1732; d. Vienna, 1809) If Haydn was not a public keyboard virtuoso like Mozart, the piano was still central to his musical life. He composed at the piano and suffered when it didn’t go well. “My pianoforte, which I usually love, was perverse and disobedient,” he lamented to Marianne von Genzinger in 1790. Haydn composed piano sonatas throughout his career, over fifty in all, including a very fine one in E-flat for Frau von Genzinger in 1790. Haydn’s first publication by the Viennese publisher Artaria was a set of six highly varied sonatas, one of them the bubbly D-major sonata. Haydn dedicated the opus to the distinguished keyboard virtuosae Marianna and Katharina von Auenbrugger. The designation “for harpsichord or forte-piano” reflected the changing tastes of 1780 as well as the desire by composers to write music that was more dynamic and expressive. The Allegro bursts forth like prosecco liberated from the bottle. But the central Largo is a surprise: serious, four-part counterpoint encrusted with double suspensions. It lasts just nineteen bars and ends inconclusively. Beethoven may have thought of this movement when he conceived the Introduzione to the last movement of his Waldstein Sonata. Haydn’s Presto

covers a lot of ground in a short space. He begins with a nimble theme, marked innocentemente, turns to the minor mode for a second theme, then varies each of them before ending exuberantly.

Claude Debussy

La plus que lente Claude Debussy (b. Germain-en-Laye, 1862; d. Paris, 1918) Debussy was trying to write a hit with La plus que lente. In 1910, the composer of Pelléas et Mélisande and La mer was mad about the Gypsy band at the newlyopened Hotel Carlton. The ensemble, which Debussy called “ces messiers qui portent l’habit rouge” because of their red jackets, included E-flat clarinet, violin, double-bass and—new to Debussy—the Hungarian percussion instrument called cimbalom. In his memoir Debussy as I Knew Him, American violinist Arthur Hartmann recalls the Red Jackets “playing their wild and melancholy rhapsodies and making of everything, from “Ave Maria” to a German waltz, an unrecognizable, exotic Ragout tziganesque (Gypsy stew).” Later, at the Debussy house, Hartmann was treated to an impromptu recital. “And now I’ll play you my latest,” said Debussy, launching into La plus que lente. “I noticed that he played this piece with considerable amusement,” remembers Hartmann, “capriciously and by no means slowly.” The title of this little slow waltz—which translates as “the more than slow”—is obscure today. But it refers to “La valse lente,” a tune popular in Paris at the time. Note the ironic tempo marking: molto rubato con morbidezza. With the unchanging, jazzy harmony of the first six bars, Debussy sets a slow pace indeed. When he orchestrated the piece, Debussy included a prominent cimbalom part in addition to a separate part for piano. Romanian Folk Dances, Sz. 56 Béla Bartók (b. Torontal district of Hungary, now in Romania, 1881; d. New York, 1945) Bartók is today regarded as Hungary’s foremost composer of the last century, but early in his career he was a collector of folk music, traveling as far afield

as North Africa in pursuit of the authentic voice of the rural peasant. He had a special fondness for Hungary’s eastern neighbor, Romania. That country has been called “a Latin island in a Slavic sea.” It has always been vulnerable to outside forces: Turks from the east; Germans from the northwest; Russians from the northeast. With the assassination of the Archduke Ferdinand and the onset of war in 1914, Romania was threatened once again. To a friend, Bartók wrote: “I am thrown into a state of depression by the war . . . It would be a grievous thing to me to see my beloved Transylvania devastated.” The six Romanian Folk Dances for piano were written the following year, based on fiddle tunes. Many have adapted this delightful set for various combinations, including Zoltán Székely (for violin and piano) and Arthur Willner (for string orchestra). The third and fourth dances use scales that feature the augmented second, an interval that shows up in Western music only as part of the artificial “harmonic minor scale.” It is a specifically Balkan, not Hungarian feature. Bartók cited his arrangement of “Pe loc” (In One Spot) as an example of setting the tune “like a jewel,” allowing the melody to speak without interference from an accompaniment. The last two dances proceed without pause. Note the mixture of 2/4 and 3/4 in the Romanian Polka. And how Bartók never sets the tune the same way twice— each statement of the Mărunţel (Fast Dance) gets a new harmonization. “Bartók hardly ever preserved the tempos of the original tunes,” observes János Kárpáti. “He made fast faster, slow slower.”

Astor Piazzola, virtuoso of the bandoneon

Histoire du Tango Astor Piazzolla (b. Mar del Plata, 1921; d. Buenos Aires, 1992) Astor Piazzolla has been called “The Ellington of Argentina.” “He actually took the tango to another level by inhabiting his music,” notes Yo-Yo Ma. “The music grew in him, and he adeptly incorporated the influences of his surroundings—whether from New York, Paris or Buenos Aires.” Piazzolla was a child prodigy on the bandoneon, a kind of buttonaccordion. Born in Mar del Plata, a four-hour drive



from Buenos Aires, Piazzolla spent much of his childhood in New York City, but returned to Argentina in his teens, later studying with Alberto Ginastera. Nadia Boulanger’s advice: cultivate a personal style with your country’s music as the source. Tango originated in Argentina and Uruguay as a lower-class urban dance related to the habanera and Cuban contradanza. From it, Piazzolla developed his own “nuevo tango,” which blended elements of jazz, baroque counterpoint and contemporary techniques with traditional elements. “The Story of Tango” is instructive as well as entertaining. In four tableaux, it traces the dance from its lively whorehouse origins to the irregular rhythms, astringent harmonies and percussive effects of the “present day.” Composed in 1986 for flute and guitar, it has been adapted to many combinations. The composer introduces the individual movements: Bordello, 1900: The tango originated in Buenos Aires in 1882. It was first played on the guitar and flute. Arrangements then came to include the piano, and later, the concertina. This music is full of grace and liveliness. It paints a picture of the good natured chatter of the French, Italian, and Spanish women who peopled those bordellos as they teased the policemen, thieves, sailors and riff-raff who came to see them. This is a highspirited tango. Cafe, 1930: This is another age of the tango. People stopped dancing it as they did in 1900, preferring instead simply to listen to it. It became more musical, and more romantic. This tango has undergone total transformation: the movements are slower, with new and often melancholy harmonies. Tango orchestras come to consist of two violins, two concertinas, piano, and a bass. The tango is sometimes sung as well. Night Club, 1960: This is a time of rapidly expanding international exchange, and the tango evolves again as Brazil and Argentina come together in Buenos Aires. The bossa nova and the new tango are moving to the same beat. Audiences rush to the night clubs. This marks a revolution and a profound alteration in some of the original tango forms. Modern-Day Concert: Certain concepts in tango music become intertwined with modern music. Bartók, Stravinsky, and other composers reminisce to the tune of tango music. This is today’s tango, and the tango of the future as well.

Marc Lavry

Three Jewish Dances, Opus 192 Marc Lavry (b. Riga, 1903; d. Haifa, 1967) 2017 is the fiftieth anniversary of the death of Marc Lavry, one of the leading musical voices in modern Israeli music. Lavry was born in Latvia, but studies at the Leipzig Conservatory and private lessons with Scherchen and Glazunov prepared him for a conducting career. He worked at Saarbrücken, Berlin and Riga until the rise of Nazism prompted his emigration to Palestine. “Lavry believed that music should be communicative and thus relatively simple and comprehensible,” writes Miri Gerstel in the New Grove. “Musical compositions, he argued, should be dominated by melodies, however complex.” Lavry wrote songs that served political and social causes, including the first marching song of the Israeli Defense Forces, and “Shir Ha-Emek,” which celebrates the landscape of the Jezreel Valley. In 1945 he composed Dan ha'shomer (“Dan the Guard”), the first opera composed and performed in Israel. Lavry was awarded honorary citizenship in Haifa in 1962. Three Jewish Dances was composed in 1945 as part of a set of five dances for piano solo. The following notes are adapted from those by the Marc Lavry Heritage Society. Sher (Scissors Dance) is a Hassidic-Jewish style dance inspired by music from Lavry’s childhood. Like many other composers at the time, Lavry was introduced to Yemenite music by singer Bracha Zfira. Unlike typical energetic wedding dances, the Wedding Dance of the Yemenite bride is gentle, calm and shy. The dance is performed in small steps and soft, round movements of the hands. Once in a radio interview, Lavry remembered: “After I visited Kibbutz Degania where we danced all night, the dance left a huge impression on me, an endless Hora dance— with shouts and rhythmic legwork—the young people were wonderful."

Three Brazilian Dances, Jacob Bittencourt (b. Rio de Janeiro, 1918; d. there, 1969) “Pixinguinha” (b. Rio de Janeiro, 1897; d. there, 1973) The Brazilian genre called choro is a broad topic with many subdivisions. The term began as a way to describe a serenade ensemble that developed in Rio de Janeiro around 1870; it later expanded to apply generally to urban instrumental popular music—mainly dances of European origin at popular festivities. Then other popular dances of urban Brazil such as the maxixe (the Brazilian tango) and the samba joined the choro repertoire. Alfredo da Rocha Viana, Jr., better known as Pixinguinha (Peesh-in-GEEN-ee-a), was an AfroBrazilian musician and composer who reinvented the choro in the 1930s and ‘40s, adding variations, complex counterpoint, and jazz improvisation. Pixinguinha played many instruments, including the small, four-stringed guitar called cavaquinho, but his flute playing was particularly virtuosic. His “Old School” band captured the air-waves with songs like “Carinhoso” and “Lamentos.”

“Jacobo do Bandolim”

Jacob Bittencourt was a master of the Brazilian mandolin, the bandolim, which sports a flat bottom and wider body than the Neapolitan mandolin. Born in Rio, Bittencourt became so identified with his instrument that he took the stage name “Jacobo do Bandolim.” He composed more than one hundred choro compositions, like “Carioca Nights” and “Vibrações,” songs that place him firmly in the Pixinguinha tradition. But Bittencourt did not outlive the musician who had inspired him. After a day spent with Pixinguinha, he had a heart attack. They had been planning a benefit recording project of the elder master’s work. Program notes © 2017 by David Evan Thomas



Monday, February 26, 2018, 7:30 PM

ACCORDO Erin Keefe, violin • Kyu-Young Kim, violin • Maiya Papach, viola Anthony Ross, cello • Gilles Vonsattel, piano & harmonium

(Keefe, Kim, Vonsattel)

Sergei Prokofiev (1891–1953) String Quartet No. 1 in B Minor, Opus 50 Allegro Andante molto Andante (Keefe, Kim, Papach, Ross)

Intermission Robert Schumann (1810–1856) Piano Quartet in E-flat Major, Opus 47 Sostenuto assai — Allegro ma non troppo Scherzo. Molto vivace Andante cantabile Finale. Vivace (Keefe, Kim, Papach, Ross, Vonsattel)

PROGRAM NOTES Bagatelles for two Violins, Cello, and Harmonium, Opus 47 Antonín Dvořák (b. Nelahozeves, Czech Republic, 1841; d. Prague, 1904) Dvořák wrote these five charming pieces for a close friend who loved chamber music and owned a harmonium— commonly known as a pump organ or reed organ—which explains the rather odd pairing of instruments. Harmoniums were not uncommon in Dvořák’s day as they were fairly inexpensive to make and thus quite affordable, making them perfect for people who



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wanted a keyboard instrument at home but could not afford a piano. In the ensuing years, the harmonium’s rustic reputation has probably limited its appearances on “formal” concert series, front and center. And you will be forgiven for smiling while you watch the harmonium player madly pedal away, trying not to resemble a guy who is riding a bike while playing keyboard. The Bagatelles are the sister pieces to Dvořák’s more famous Slavonic Dances for piano four-hands, that were both written in 1878, a


Antonín Dvořák (1841–1904) Bagatelles for two Violins, Cello, and Harmonium, Opus 47 Allegretto scherzando • Tempo di minuetto. Grazioso Allegretto scherzando • Canon. Andante con moto • Poco Allegro

Schubert Club •

Plymouth Congregational Church

productive year for chamber music that also saw the composition of a string sextet and his popular Serenade for winds. The first and third movements are based on a popular Czech folk song called “The Bagpipes Played in Poduba.” The second—Tempo di Minuet—is modeled on a Bohemian folk dance called the Sousedka. In the fourth, listen for how the melody is presented in “canon”; one melody is introduced then another voice enters that imitates it exactly but staggered in time. The twin melodies are always offset slightly, yet they still mesh together beautifully with the underlying harmonies. The last Bagatelle is a playful, tuneful polka of the kind that stays easily in your head. Don’t be surprised if you are singing it hours later. String Quartet No. 1 in B Minor, Opus 50 Sergei Prokofiev (b. Sontsivka, Ukraine, 1891; d. Moscow, 1953) Prokofiev was without a doubt, one of the most disliked and dislikable personalities in the history of music. He didn’t care what people thought of him or his music. Even as a teenager, his remarkable talent was obscured by his harsh, abrasive personality, an obvious lack of respect for his teachers, and outright contempt for his fellow students. He was the youngest student ever admitted to the Moscow Conservatory (a move they regretted more than once) and his reputation as the “enfant terrible” of Russian music was apparently well deserved. After graduation, he set off to Paris for ten years, following the lead of his countryman, Stravinsky, who was by then a darling of the avant-garde for his ballets The Firebird and Petrouchka, followed by the near riot of The Rite of Spring. In 1930, Prokofiev visited the United States on an extended concert tour, one that took him to Cuba and Canada as well. A highlight of the trip was a commission from the Library of Congress to compose a string quartet. Prokofiev did not produce much chamber music during his lifetime, penning only

Antonín Dvořák in repose

Sergei Prokofiev playing chess by himself two string quartets and a handful of other works. He usually preferred a larger canvas with bigger sounds. Before starting work on this piece, Prokofiev wrote in his autobiography, “I studied Beethoven's quartets, chiefly in railway carriages on my way from one concert to another… Perhaps this explains the somewhat ‘classical’ idiom of the first movement of my quartet.” According to Prokofiev, the quartet has two distinctive features. First, the key of B minor—just a half tone below the limits of the cello and viola range—“involves a number of difficulties in writing the music.” Secondly, the most significant movement according to Prokofiev, was the slow movement—the finale—which is full of intense emotions and sweeping melodies. In fact, Prokofiev liked the finale so much that he recycled versions of it for string orchestra and for solo piano. What is striking about this piece is the strong impression it makes considering that it was Prokofiev’s first effort at writing for the hallowed genre of the string quartet. There are no rookie mistakes. It is as confident, wellcrafted and polished as any of his finest works. Piano Quartet in E-flat Major, Opus 47 Robert Schumann (b. Zwickau, Germany, 1810; d. Endenich, Bonn, Germany, 1856) “My mission is to send light into the depths of the human heart.” — Robert Schumann From his earliest years as a composer, Robert Schumann had a mission: to find a means of expression liberated from the confining rules and regulations of the classical period. He believed that expressing emotion was more important than musical form, reason, or logic and he never seemed short of emotions to express. He did more to promote this cause—which came to be called Romanticism—than any other composer of his era. In addition to this fundamental shift in approach, there was also experimentation going on with new schubert.org


PROGRAM NOTES CONTINUED combinations of instruments in chamber music. Schumann, Mendelssohn and Brahms were no longer limiting themselves to the string quartet form, but adding the piano to a mix of strings for some novel results. Which brings us to the year 1841: Schumann was in a terrible snit because the love of his life—and new wife— Clara was about to embark on a lengthy concert tour, which he was firmly against. As you can imagine, it is difficult to compose when you are in a snit, so instead Schumann launched himself into a new project: studying the string quartet scores of Beethoven, Mozart, and Haydn. What resulted upon Clara’s return was a burst of creativity that gave birth to some of Schumann’s greatest chamber music: three string quartets, a piano quintet and this piano quartet, all in the year 1842, known as his “year of chamber music.” This piano quartet is so successful because it contains some of his most intimate thoughts and uninhibited feelings. It is Schumann at his most unbuttoned. Perhaps this is most evident in the slow movement, which is the emotional centerpiece of the entire work. It begins with one of the most beautiful melodies Schumann ever wrote, played by the cello and supported by the violin. In the middle, there is a somber interlude framed by the return of that gorgeous melody once again, now in the viola. Near the end of the movement, Schumann requires the cellist do a novel thing. He indicates that the player tunes the lowest string down a whole step, to a low

Robert and Clara Schumann

B-flat, which happens to be the key of this movement. This allows the cello to hold this deep low B-flat for the last dozen bars of the movement, a pedal tone in musical parlance. By extending the lower range of the cello by one note, Schumann creates a richer sonority for the entire ensemble. After an elfin Scherzo, reminiscent of the effervescent ones by Mendelssohn, the Finale recaptures the energetic drive of the first movement, driving to a brilliantly effective, bravura ending. Program notes © 2017 by Michael Adams



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Mary and Doug Logeland Marsha and Thomas L. Mann Kate Maple Mary and Ron Mattson Nancy McKinley Anne McKinsey Barbara Menk Jane C. Mercier John Michel and Berit Midelfort David Miller and Mary Dew James Miner J. Shipley and Helen Newlin Elsa Nilsson and Charles Ullery Rebecca Njaa Sonja and Lowell Noteboom Judy and Scott Olsen Sydney M. Phillips Ann and Joan Richter Elizabeth and Roger Ricketts Tamara Root Diane Rosenwald Dr. Steven Savitt Linda Schlof John Schmidt Sylvia Schwendiman Gary Seim and Lee Ann Pfannmueller

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Hill House Chamber Players

Mondays, February 26 & March 5, 2018, 7:30 PM James J. Hill House Pre-concert conversation at at 6:45 PM

HILL HOUSE CHAMBER PLAYERS Julie Ayer, violin • Catherine Schubilske, violin • Thomas Turner, viola Tanya Remenikova, cello • Mary Jo Gothmann, piano “IN FLANDERS FIELDS,” Music Prevails Julius Röntgen (1855–1932) String Trio in D major, Opus 76 (1915) Vivace e giocoso • Un poco andante • Un poco allegretto e scherzando • Passepied Paul Hindemith (1895–1963) Viola Sonata, Opus 11, No. 4 Fantasie • Thema mit Variationen • Finale (mit Variationen)

Intermission Enrique Granados (1867–1916) Intermezzo from “Goyescas” for cello and piano Ludwig van Beethoven (1770–1827) Piano Trio in G Major, Opus 1, No. 2 Adagio - Allegro vivace • Largo con espressione • Scherzo. Allegro • Finale. Presto Co-sponsored by the Minnesota Historical Society and Schubert Club 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 33rd season, the ensemble performs regularly in the intimate art gallery of the historic Gilded Age mansion.

PROGRAM NOTES String Trio in D major, Opus 76 (1915) Julius Röntgen (b. Leipzig, 1855; d. Utrecht, Netherlands, 1932) Perhaps something about Julius Röntgen’s name rings a bell for you. It should, as he is the younger brother of Wilhelm Röntgen, who discovered X-rays and won a Nobel Prize in 1901. In fact, for German speakers, Röntgen is the word now used for X-Rays. Whereas Wilhelm the scientist may have been a man ahead of his time, brother Julius the composer was certainly not. In fact, from the sound of this gifted composer’s music, you’d think he’d been born about 50 years too late. For example, this string trio, written about eight years before his death in 1932, would not have sounded remotely out of place next to Brahms’s music

of the 1880s. He was an old-fashioned romantic, trained in Leipzig, where he emerged as a child prodigy to musician parents. He eventually put down roots in Amsterdam at age 22, where he helped found the Amsterdam Conservatory and the world famous Concertgebouw Orchestra. Given the excellent quality of his music, one wonders why we have not heard more about a guy with such major league credentials: he composed more than 600 works, including 14 piano trios, 16 string trios, over 20 string quartets, and three piano quintets. He was an acquaintance with Schumann, was a close friend of Brahms (Röntgen was once the soloist in Brahms’ 2nd piano concerto, with the composer conducting), and very close to Edvard Grieg, later penning a respected biography about him. schubert.org


PROGRAM NOTES CONTINUED This string trio is a charming throwback that reveals Röntgen's interest in Dutch folk music. The 3rd movement is in the form of an old-fashioned Bouree, based on a Dutch folk song. The Finale conjures J.S. Bach, a theme and variations based on a Passapied that displays the full arsenal Röntgen’s compositional weapons, including a clever and complicated fugue.

Viola Sonata, Opus 11, No. 4 Paul Hindemith (b. Hanau, 1895; d. Frankfurt, 1963 Paul Hindemith is a paradox. He could be the most abstract of composers, yet the most concrete and practical as well. He played the viola and violin professionally (he made his living for a time in a string quartet) and made it his mission to learn to play nearly every other instrument of the orchestra capably as well. You’d have to go back nearly 100 years to find another composer who was also this gifted as a performer. He had a great admiration for the music of the baroque and classical periods and many of his pieces have baroque titles or are inspired by baroque forms. Hindemith’s textbooks about baroque forms and styles and about harmony are still in use today. When Hindemith wrote this viola sonata in 1919, it coincided with his decision to abandon playing the violin professionally in favor of its larger cousin. In a clear nod to past masters, Hindemith displays his skills at theme-and-variation technique in both the 2nd and 3rd movements. In fact, according to Wikipedia, the 3rd movement is “the apotheosis of Hindemith's mastery of classical forms.” And though you’d think that a guy that loved and understood the music of the past so well would have no problem writing music that was easy to like, unfortunately Hindemith has always struggled to find a mainstream audience. Many critics claim he was “melodically challenged”; that he couldn’t write a decent melody to save his life. Regardless, he was a meticulous and tidy craftsman who took great pride in his idiomatic understanding of every instrument he composed for. The intellectual complexity of his pieces even suggests German engineering at its finest, so much so that I refer to Hindemith as “musical fahrvergnügen” for those of you that remember the Volkswagen commercials of a few years ago.

Intermezzo from “Goyescas” for cello and piano Enrique Granados (b. Lleida, 1867; d. English Channel, 1916) This Intermezzo was composed especially for the American premiere of Spaniard Enrique Granados’ opera Goyescas, given at the Metropolitan Opera House in New York (1916). The genesis of the piece dates to 1911 when he wrote a set of six pieces based on paintings of Francisco Goya. Its success prompted him to write an entire opera based on the subject, but the outbreak of World War I forced the cancellation of the European premiere. After the highly acclaimed U.S. premiere at the Met, Granados accepted an invitation to perform a piano recital for President Woodrow Wilson. Unfortunately, this delayed his return trip to Spain, causing him to catch a later 26


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boat home. On the way across the English Channel, the Sussex was torpedoed by a German U-boat. as part of the German World War I policy of unrestricted submarine warfare. Sadly, Granados and his wife drowned during the rescue attempt. A prolific composer of piano music—much of which has been successfully transcribed for the guitar, the national instrument of Spain—Granados also composed chamber music, songs, zarzuelas, and an orchestral tone poem based on Dante's Divine Comedy. Granados was an important influence on at least two other important Spanish musicians: composer Manuel de Falla and cellist Pablo Casals.

Piano Trio in G Major, Opus 1, No. 2 Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827) Any work with “opus 1” in the title is symbolically important, especially in the case of Beethoven’s three piano trios of opus 1. They are “statement” pieces; a compositional debut carefully calculated for maximum impact. Of course Beethoven had already written dozens of works before this, including another piano trio for example. So buyer beware that when it comes to Beethoven, whose opus numbers are not a reliable chronological guide to his music. For example, the wind octet, op. 103, was written before the op. 1 piano trios. Go figure. Beethoven took this popular form of amateur music-making— the piano trio—and enlarged its dimensions. This one has four movements, when three had been the prevailing standard in the days of Haydn and Mozart. Likewise, Beethoven wrote string parts that were far meatier and more independent than his predecessors, who had thought of the strings as a modest accompaniment to the virtuosic pianist. As it happens, Beethoven was a virtuoso pianist who wrote the part for himself, seeing as he needed material to advertise his arrival in Vienna at age 25, as both pianist and composer. The opus 1 piano trios were published in 1795 and dedicated to Prince Carl Lichnowsky, an arts patron who frequently held musical soirees in his home. He remained a loyal and patient supporter of Beethoven, a difficult feat given Ludwig’s feisty and mercurial temperament. This trio is in G major, a key that for Beethoven is typically more genial and lyrical. Indeed, this is one of the most emotionally uncomplicated, even serene works that he ever wrote. Case in point: the beautiful slow movement, in the sunny key of E major, is a lyrical, tuneful affair that leisurely unfolds into the longest of the four movements. The finale is a humorous, rollicking jaunt that someone referred to as “in the manner of one of Haydn’s car chase scenes”, full of irrepressible energy and wit. Who said Beethoven did not have a sense of humor?

Program notes © 2017 by Michael Adams

Schubert Club Officers, Board of Directors, Staff, and Advisory Circle OFFICERS President: Dorothy J. Horns

Vice President Finance & Investment: John Holmquist

Immediate Past President: Kim A. Severson

Vice President Marketing & Development: Suzanne Asher

Vice President Artistic: Richard Evidon

Vice President Museum: Anna Marie Ettel

Vice President Audit & Compliance: Kyle Kossol

Vice President Nominating & Governance: Ann Juergens

Vice President Education: Anne Hunter

Recording Secretary: Anna Marie Ettel

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. Mark Anema

Cecil Chally

Dorothy J. Horns

Jeffrey Lin

Jana Sackmeister

James Ashe

Birgitte Christianson

Anne Hunter

Eric Lind

Kim A. Severson

Suzanne Asher

Rebecca Debertin

Ann Juergens

Kristina MacKenzie

Gloria Sewell

Aimee Richcreek Baxter

Anna Marie Ettel

Lyndel King

Fayneese Miller

Anthony Thein

Carline Bengtsson

Richard Evidon

Kyle Kossol

Peter Myers

John Treacy

Daniel Bonilla

Elizabeth Holden

Libby Larsen

Sook Jin Ong

Timothy Wicker

Dorothea Burns

John Holmquist

Chris Levy

Nathan Pommeranz

Alison Young

STAFF Barry Kempton, Artistic & Executive Director


Maximillian Carlson, Program & Production Coordinator

Reinaldo Moya

Kate Cooper, Director of Education & Museum Emma Figgins, Education and Community Engagement Associate Aly Fulton-Kern, Executive Assistant & Artist Coordinator Julie Himmelstrup, Artistic Director, Music in the Park Series

Schubert Club Museum Interpretive Guides: Gabriel Glissmeyer, Hannah Peterson Green, Katie Johnston, Alan Kolderie, Sherry Ladig, Rachel Olson, Kirsten Peterson

Tessa Retterath Jones, Director of Marketing

Senior Museum Guide:

Joanna Kirby, Project CHEER Director, Martin Luther King Center

Jessica Johnston

David Morrison, Graphics Manager & Museum Associate

Project CHEER Instructors:

Kelsey Norton, Patron Relations Manager

Joe Christensen, Omid Farzin Huttar

Paul D. Olson, Director of Development Janet Peterson, Finance Manager

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. Barbara Rice, chair Craig Aase Dorothy Alshouse Mark Anema Nina Archabal Dominick Argento Paul Aslanian Jeanne B. Baldy Lynne Beck Ellen C. Bruner James Callahan

Penny Chally Carolyn S. Collins Dee Ann Crossley Josee Cung Mary Cunningham Marilyn Dan Joy Davis Terry Devitt Arlene Didier Karyn Diehl Ruth Donhowe

Anna Marie Ettel Catherine Furry Michael Georgieff Diane Gorder Elizabeth Ann Halden Julie Himmelstrup Anne Hunter Ruth Huss Lucy Rosenberry Jones Richard King Karen Kustritz

Libby Larsen Dorothy Mayeske Sylvia McCallister Elizabeth B. Myers Nicholas Nash Ford Nicholson Richard Nicholson Gerald Nolte Gayle Ober Gilman Ordway Christine Podas-Larson

David Ranheim George Reid Ann Schulte Estelle Sell Gloria Sewell Katherine Skor Tom Swain Jill Thompson Nancy Weyerhaeuser Lawrence Wilson Mike Wright



Landmark Center

Scotty Horey, marimba • Bethany Gonella, flute Toccata — Anna Ignatowicz-Glinska Character Piece No. 2 “Furioso and Quote” — Casey Cangelosi Blue Line — Marta Ptaszynska selections from “Nine French American Rudimental Solos” — Joseph Tompkins Libertango — Astor Piazzolla Agustina — Scotty Horey

Thursday, January 11, 2018, Noon Landmark Center

Irina and Julia Elkina, piano duo Taschyag — Paul Schoenfield Suite “Two Pianos” — Morton Gould I .Chords • II. Blues • III. Waltzes • IV. Echos • V. Triplets Symphonic Dances from “West Side Story” — Leonard Bernstein (arr. John Musto) Prologue (Allegro moderato) • Somewhere (Adagio) • Scherzo (Vivace a leggiero) • Mambo (Meno Presto) Cha-Cha (Andantino congrazia) • Meeting Scene (Meno Mosso) • Cool Fugue (Allegretto) Rumble (Molto Allegro) • Finale (Adagio)

Thursday, January 18, 2018, Noon Landmark Center

Francesca Andregg, violin • James Bobb, harpsichord Sonata in A major, BWV 1015 — J.S. Bach I. [Andante] • II. Allegro • III. Andante un poco • IV. Presto Sonata in B minor, BWV 1014 — Bach I. Adagio • II. Allegro • III. Andante • IV. Allegro Sonata in G major, BWV 1019 ­— Bach I. Allegro • II. Largo • III. Allegro • IV. Adagio • V. Allegro 28


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Courtroom Concert Series

Kembang Suling, three musical snapshots of Asia — Gareth Farr

Schubert Club •

Thursday, January 4, 2018, Noon

Thursday, January 25, 2018, Noon Landmark Center

Naomi Karstad, soprano • Bryon Wilson, piano En vacker höstdag - A beautiful autumn day — Elfrida Andrée (1841–1929) Vi ses igen (We’ll meet again) — E. Andrée Visa en vårmorgon (Song for a Spring Morning) — E. Andrée Vid Rånö ström(At Rånö Stream)—Valborg Aulin (1860–1928) Carina— V. Aulin Det fins en gosse och han är min (There is a lad and he is mine)—V. Aulin

Dolce Wind Quintet Nancy Wucherpfennig, flute; Megan Dvorak, oboe; Karen Hansen, clarinet Vicki Wheeler, horn; Ford Campbell, bassoon “Danses” from Deux Pièces, Opus 98 — Joseph Jongen (1887–1953) Allegro — Moderé — Assez vif Sempre Dolce (2017) — Steven Amundson (b. 1955) I. Conspirare in motu II. Alphorn Amore III. Wheel a Jig

Thursday, February 8, 2018, Noon Landmark Center

Nicholas Nelson, bass • James Barnett, piano Songs of Franz Schubert Auf der Donau L’incanto degli occhi Totengraberlied Der Strom Fahrt zum Hades Der zurnende Barde

OboeBass: Carrie Vecchione, oboe/English horn • Rolf Erdahl, double bass Prelude; Koiviston Polska — Julie Johnson Hard Times Come Again No More — Stephen Foster, arr. Eric Hanson Plucked Halling — Adrian Mann Cantate Con Me — Adrian Mann schubert.org


Landmark Center

Cerulean Fire: Margaret Humphrey, violin • Asako Hirabayashi, harpsichord Sonata No. 3 for Violin and Harpsichord BWV 1016 — J.S. Bach Adagio • Allegro Adagio ma non tanto • Allegro

Silhuotten, Op. 41 — Karl Davydov In the Morning Waltz Notturno On Lake Lugano Chanson Triste, Op. 56, No. 3 — Anton Arensky

Margaret Humphrey performs with ensembles around the country. A featured concerto soloist with several local orchestras, Ms. Humphrey is also a member of the Minnesota Opera Orchestra. She tours as with the Kingsbury Ensemble in St. Louis, and in ensembles in the Ancient Music Series of St. Savin France. A founding member of Belladonna, she has toured nationally and internationally for festivals and music series and was featured on the radio shows Harmonia and Performance Today Her newest ensemble Cerulean Fire, performs Early Music combined with Jazz, Contemporary, and Latin repertoire.

from Bach and Brahms to contemporary works. He owns a Baroque cello from c. 1710, a modern cello from 1996, and a Parisian bow from c. 1860. Within Minnesota, Dr. Asch also performs with Lyra Baroque Orchestra and the Minnesota Opera. His teachers included Jaap ter Linden, Tanya Remenikova, Fred Sherry, Richard Aaron, Hans Jorgen Jensen and Greg Mathews. His private teaching studio is an important part of his career, where he teaches absolute beginners through advanced cellists. He teaches both lessons and chamber music at MacPhail Center for Music and is currently faculty at UW-River Falls.

Asako Hirabayashi’s first recording on Albany Label,

Irina Elkina is an internationally recognized concert

whose program is entirely composed and played by herself, was selected as one of the 5 best classical CDs of the year 2010 by Minneapolis Star Tribune. She won numerous grants and awards including the 2009 -10 McKnight Fellowship for Performing Musicians and 2 Minnesota State Arts Board’s Artist Initiative grants as a soloist. he has appeared as a featured guest soloist in international festivals and concert series worldwide since her New York debut recital at Carnegie Hall. She holds a Doctoral degree from the Juilliard School.

pianist, known particularly for piano duo performances with her twin sister Julia, bringing brilliant interpretations of two- piano repertoire. Elkina sisters have won first prizes at Citta di Marsala (Italy) and Forth Murray Dranoff International Two Piano Competition. They performed in such venues as Ordway Center in St. Paul, Lincoln Center in New York and appeared in numerous festivals including Ravinia, Gilmore Keyboard Festival and Minnesota Orchestra Sommerfest. Irina and Julia have been frequent guests on the National Public Radio and performed on Prairie Home Companion. Irina is a graduate of St. Petersburg Conservatory (Russia) and holds a Doctoral degree in Piano Performance from the University of Minnesota.

Charles Asch completed his Doctor of Musical Arts degree at the University of Minnesota, after finishing his master’s degree at Juilliard. He performs solo and chamber music recitals of varied character and style,



An die Musik

Courtroom Concert Series

Charles Asch, cello • Irina Elkina, piano

Schubert Club •

Thursday, February 15, 2018, Noon

Thursday, February 22, 2018, Noon Landmark Center

Music of Abbie Betinis featuring Songs from Justice Choir Songbook Ahmed Anzaldúa, conductor-pianist Abbie Betinis is a composer and publisher based in St. Paul, Minnesota. A two-time McKnight Artist Fellow, she also has been listed by NPR Music in their 100 Composers Under 40, featured in the Public Television documentary “Never Stop Singing,” and her music has been broadcast on National Public Radio and Public Radio International. She has held residencies with The Singers-Minnesota Choral Artists, The Rose Ensemble, and the New York State School Music Association, and for 12 seasons was Composer-in-Residence for The Schubert Club. A graduate of St Olaf College and the University of Minnesota, she is currently Adjunct Professor of Composition at Concordia University and executive director of Justice Choir.

Justice Choir, co-founded by Abbie Betinis and Tesfa Wondemagegnehu, is a template to encourage more

group singing for social and environmental justice. Designed around the new Justice Choir Songbook, commissioned by Westminster Presbyterian Church in Minneapolis, our goal is a grassroots movement to engage in the empathetic, collaborative and collective power of singing together as a catalyst for personal growth, social transformation, and lasting change. Since launching the inaugural chapter, Justice ChoirTwin Cities, in June 2017, twelve new Justice Choir chapters are leading community singing coast-tocoast. Some chapters have regular rehearsals, others respond to events in their communities, singing together in marches, rallies and other pop-up style events. Countless other conductors and community organizers are using the free songbook to augment their programming and incorporate group singing into their events. More information: www.justicechoir.org


Tuesday, March 20 • 7:30 PM Wednesday, March 21 • 10:30 AM

Shai Wosner, piano Jennifer Koh, violin

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Megen Balda and Jon Kjarum

Suzanne Kennedy

Donald C. Ryberg

Colleen Chandler

Benjamin and Mary Jane Barnard

Charlyn Kerr

Dr. Steven Savitt

Christina Clark

Carol E. Barnett

Robert Kieft

Noel Schenker

Elly Clark

Roger Battreall

Kendall King

Paul L. Schroeder

Deborah K. Clayton

Jerry and Caroline Benser

Robin and Gwenn Kirby

A. Truman and Beverly Schwartz

Barbara Cohen

Carolyn and Kit Bingham

Karen Koepp

Sylvia J. Schwendiman

Roberta Cole

Ann-Marie Bjornson

Marek Kokoszka

Estelle Sell

Jonathan Coltz

Lisa and Rolf Bjornson

Judy and Brian Krasnow

Gale Sharpe

Shelby Couch



Phyllis Conlin

Tessa and Ryan Jones

Elizabeth Mishler

Darryl Smith

Irene Coran

Thomas and Susan Kafka

Steven Mittelholtz

Susannah Smith

Margaret H. Cords

Shirley Kaplan

Marjorie Moody

Nancy Sogabe-Engelmayer

Barbara Cracraft

Barbara Kattner

Sarah Nagle

Robert Solotaroff

Margaret Dean

Dwayne King

Ingrid Nelson

Rosemary W. Soltis

Lisa Daniels

Pamela E. King

Rebecca Njaa

Patricia and Arne Sorenson

Alma and Donald Derauf

Kathryn Kloster

Jonathan O’Conner

Andrea K. Specht

Theresa Dixon

Fred Knudsen

and Eric Schlotterbeck

Karen and David Dudley

Krystal Kohler

Debbie and John Orenstein

Heidi Eales

Jane and David Kostik

Dennis and Turid Ormseth

Beverly and Norton Stillman

Katherine and Kent Eklund

Christine Kraft

Elisabeth Paper

Helen Stub

Laura Elletson

Dave and Linnea Krahn

Merrell Peters

Kent Sulem

Sara and Karl Fiegenschuh

Jill and Thomas Krick

Dorothy Peterson

Ross Sutter

Hilde and John Flynn

Dawn Kuzma and James Houlding

Hans-Olaf Pfannkuch

Ruthann Swanson

Lea Foli

Elizabeth Lamin

James L. Phelps

Bruce and Judith Tennebaum

Kenneth Ford

Leanora Lange

Jonathan and Mary Preus

Supiya Thathachary

Kylie Foss

Elizabeth B. Larsen

Jo Prouty

Mary Theisen

Shirley Friberg

Helen and Tryg Larsen

Benjamin Ratzlaff

Bruce and Marilyn Thompson

Stan and Di Ann Fure

Karla Larsen

Robert Reilly

Keith and Mary Thompson

ClĂŠa Galhano

Kenyon S. Latham, Jr.

Andrea Retterath

Karen Titrud

Celia Gershenson

DeeDee Lee

Amanda Richardson

Charles and Anna Lisa Tooker

Sue Gibson and Neill Merck

Kim Lewis

Ann and Joan Richter

Rica and Jeffrey Van

Nanette Goldman

Gary Lidster

Laurence Risser

Louise A. Viste-Ross

Graciela Gonzalez

Kathleen Lindblad

Drs. W.P. and Nancy W. Rodman

Sarah and Thomas Voigt

Deb Griesing

Michael Litman

Bonnie Rolstad

Karen L. Volk

David Griffin and Margie Hogan

Jeff Lotz

Peter Romig

Nan and Jim Youngerman

Yvonne Grover

Elizabeth Lukanen

Jane Rosemarin

Timothy and Carol Wahl

Thomas Guglielmi

Carol G. Lundquist

Steven Rosenberg

Mark Walbran

Katherine Hage

Lurie LLP

Stewart Rosoff

Helen H. Wang

Kay and Daniel Halvorsen

Beatrice Magee

Kurt and Lesley Rusterholz

William K. Wangensteen

Michelle Hackett

Al Maleson

Sandra Sandell

Clifton and Bettye Ware

Dr. Dan and Kay Halvorsen

Kate Maple

Mary E. Savina

E. Wattenberg

Anne Hanley

Karen and James Markert

Linda Schloff

Betsy Wattenberg and John Wike

Eugene and Joyce Haselmann

Jeffrey Masco

John Schmidt

Tammie Weinfurtner

Alan J. Heider

David Mayo

Ralph J. Schnorr

Cynthia N. Werner

Daniel Hellrung

Susan McCarthy

Christine K. Schwab

Eva and Peter Weyandt

Don and Sandralee Henry

David McClung

Alyssa Scott

Alex Wiebe

Elizabeth Hinz

Mary McDiarmid

Steve Seltz and Sheryl Widme

Victoria Wilgocki and

Kathleen and Lowell Holden

John and Sandra McFarland

Marge and Ed Senninger

Marian and Warren Hoffman

Jane E. Mercier and Mark Taylor

Kathryn and Jay Severance

Alex and Marguerite Wilson

Ken Holmen

Robert and Greta Michaels

Anne Paolini Shaw

Margaret Wimberley

Gladys Howell

Dina and Igor Mikhailenko

Nancy and Ray Shows

Zaw Win

Emi Ito

Donna Saul Millen

Brian and Stella Sick

Kathleen Winters

Carolyn Jackson

John W. Miller, Jr.

Mary and Mark Sigmond

Aaron Wulff

Bernard Jacob

Margaret Mindrum

Deborah Skinner

Tim Wulling and Marilyn Benson

Stephen and Bonnie Johnson

Stacy Minutolo

Regina Slindalovsky

Eileen Zurek

Stammtisch Deutsch Amerikanisher Club

Lowell Prescott

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

Memorials and Tributes

In honor of the special birthday of

Catherine and Gerald Fischer

Dennis and Turid Ormseth

In honor of Tim Lovelace’s 50th Birthday

Jeanne Baldy

Mina Fisher and Fritz Nelson

Mary and Terry Patton

Fabrizio Perri

Rhoda and Donald Mains

Roxana Freese

Dick and Elaine Phillips

Arturo Steely

Catherine Furry and John Seltz

Phil Portoghese and Peg Houck

David Evan Thomas

In honor of Abbie Betinis and the

Dawn and Michael Georgieff

Betty and Paul Quie

Courtroom Concerts

Richard Geyerman

Judy and David Ranheim

In honor of Paul Olson and Mark

Phyllis and Wanda Goldin Brown

Peg and Liz Glynn and Mary Glynn

Barbara and John Rice

Baumgartner’s 25th Anniversary

Diane and Mark Gorder

Bill and Shannon Sadler

Laura Elletson

In honor of Kate Cooper

Kiki and Warren Gore

Saint Anthony Park Home and

Julie and Anders Himmelstrup

Joanna Cortright

George and Anne Green

John Barker

Barry and Cheryl Kempton

Sandra and Richard Haines

Shirley and Michael Santoro

Dale Hamerschmidt

Mary Ellen and Carl Schmider

In honor of Nathan Pommeranz

Jon Schumacher and Mary Briggs

Board Service

Hella Mears Hueg

Estelle Sell


Joan Hershbell

Kim Severson and Phil Jemielita

A commissioning fund in honor of

Anders Himmelstrup

Gloria and Fred Sewell

In honor of George Reid’s 90th Birthday

Julie Himmelstrup’s 80th birthday

Lisa Himmelstrup and Dan Liljedahl

Emily and Daniel Shapiro

John and Sandra McFarland

(as of September, 2017)

Linda and Jack Hoeschler

John Shardlow

Beverly Anderson

Marian and Warren Hoffman

Emily Andersen

Dorothy Horns

In honor of Julie Himmelstrup Anonymous Gene and Joyce Haselmann

Nina Archabal

and Mary Arneson

and James Richardson

and Marilyn Fritz Shardlow

In memory of John Archabal

Elizabeth P. Shippee

Catherine Furry and John Seltz

Phil Shively

Julie and Anders Himmelstrup

Dominick Argento

Anne and Steve Hunter

Mary and Mark Sigmond

Cheryl and Barry Kempton

Marilyn Arny

David Hunter and Janet Legler

Barbara and Bill Sippel

Paul D. Olson

Donald and Claire Aronson

Ruth and John Huss

Ann and Wayne Sisel

Lydia Artymiw

Lucy Jones and James Johnson

Marie and Darrol Skilling

Suzanne Asher

Nancy Jones

Doug and Kathy Skor

Tessa Retterath Jones

Harvey Smith

Adrienne Banks

Stan Kaufman

Conrad Soderholm

John Barker

Donald and Carol Kelsey

Carol Barnett

Cheryl and Barry Kempton

Eileen Stack

Lynne and Bruce Beck

Lois and Richard King

Norton Stillman

In memory of Clifton W. Burns

Marilyn Benson

Mary Beth and David Koehler

Cynthia Stokes

Dorothea Burns

Kyle Kossol and Tom Becker

Ann and Jim Stout

Anders and Judie Bjorling

Gretchen Kreuter

Monika Stumpf

In memory of Bruce Carlson

Rolf Bjornson

Karen Kustritz

Vern Sutton

Maria Jette

Ann-Marie Bjornson

Christine Podas-Larson and

Barbara Swadburg and James Kurle

and Thomas Ducker

and Thomas Wulling

Dorothy Boen

and Mary Tingerthal

and Mark L. Baumgartner Barbara and John Rice In memory of Avery and Wally Brookins Carl Brookins

Joyce and John Tester

In memory of Dr. John Davis

Linda Boss

Maren J. Leonard

Anthony Thein

August Rivera Jr.

Ted Bowman and

Marion and Chris Levy

David Evan Thomas

Sarah Lutman and Robert Rudolph

Butch Thompson

Marge Grahn-Bowman

Kent Larson

In memory of Shirley Decker

Carl and Jean Brookins

Finette and Richard Magnuson

Ellen and Philip Bruner

Joan O. Mason

Tom Swain

James Callahan

Sylvia and John McCallister

Anna Lisa Tooker

Alan Carp

Ann and Steve McCormick

Bonnie and John Treacy

In memory of Knowles Dougherty

Phyllis Casper

Deborah McKnight

Mimi Tung

Julie and Anders Himmestrup

Penny and Cecil Chally

Neill Merck and Sue Gibson

Clara Ueland and Walter McCarthy

Kate and Dave Cooper

Robert and Greta Michaels

Chuck Ullery and Elsa Nilsson

In memory of Bruce Doughman

Dee Ann and Kent Crossley

James and Carol Moller

David Vincent

Julie and Anders Himmestrup

Mary and Bill Cunningham

Marjorie Moody

Jay Weiner and Ann Juergens

Peter Dahlen and Mary Carlsen

Nick Nash and Karen Lundholm

Mary and Stuart Weitzman

In memory of Jim Frazee

Donald and Inger Dahlin

Catherine and Ford Nicholson

Nancy and Ted Weyerhaeuser

Conrad Soderholm

Joy Davis

John B. Noyd

Judy and Paul Woodward

Shirley Decker

John L. Nuechterlein

Dr. Lawrence Wilson

Karyn Diehl

Polly O’Brien

Peggy Wolfe

In memory of Eric Giere

Rita and David Docter

Christina Ogata

Ann Wynia

Ebner Decker Family

Ruth Donhowe

Paul D. Olson

Anna Marie Ettel

and Mary Ellen Niedenfuer

Sandra and Richard Haines Julie and Anders Himmelstrup

and Mary Tingerthal

Beatrice Giere

and Mark Baumgartner

continued next page schubert.org


Memorials and Tributes


In memory of Leon R. Goodrich

In memory of Thomas G. Mairs

In memory of Jeanette

Laurence Risser

Megan and Daniel Goodrich

Thomas E. Dosdall

Maxwell Rivera

Donald C. Ryberg

Katherine Goodrich

Kay and Daniel Halvorsen

August Rivera Jr.

Helen Stub Mary Theisen

The Knitting Group: In memory of Manuel P. Guerrero

Joan Maynard

In memory of John L. McCallister

August Rivera

Paula Devroy

Sylvia McCallister

In memory of Jeanne Shepard Nan Shepard

Mary Jo Schiavoni In memory of Mary Brock Hess,

Joan Panepinto

In memory of Virginia Olson

sister of Beth Villaume

Nancy Hodapp

Maria Jette

In memory of Nancy Shepard

Bush Foundation

Jean Huxmann

Lawrence Wilson

Nan Shepard

Lurie LLP In memory of Thelma Hunter

The Saint Paul Foundation

In memory of Sara Ann Sexton

In memory of Charlotte Straka

Maria Jette

Andrea K. Specht

Edwin D. Andersen

Suzanne Kennedy

Jill and John Thompson

Roberta Cole

In memory of Donald Kahn

Nancy and Ted Weyerhaeuser

Stan and Di Ann Fure

In memory of Herb Wright

Stephen and Hilde Gasiorowicz

Nan and Jim Youngerman

Katherine Hage

Mary and Bill Cunningham

Phyllis Kahn

Jill and John Thompson

Kathleen and Lowell Holden

Julie and Anders Himmelstrup

Barbara Kattner

Vania Stefanova

Dorothy and Roy Mayeske

In memory of Donald Kelsey Julie and Anders Himmelstrup

Give the gift of music

Schubert Club Legacy Society Music changes lives.

Photo: Brent Cline

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.

MUSIC FOREVER 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.



An die Musik

schubert.org 651.292.3270

Schubert Club Endowment and Legacy Society



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:

Ruth and Dale Warland Katherine Wells and Stephen Wilging Peggy R. Wolfe

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:


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 Estate of Thelma Hunter The Daniel and Constance Kunin Fund The Margaret MacLaren Bequest Estate of Thomas G. Mairs The Dorothy Ode Mayeske Scholarship Fund In memory of Reine H. Myers by her children The John and Elizabeth Musser Fund To honor Catherine and John Neimeyer By Nancy and Ted Weyerhaeuser In memory of Charlotte P. Ordway By her children The Gilman Ordway Fund The I. A. O’Shaughnessy Fund The Ethelwyn Power Fund The Felice Crowl Reid Memorial The Frederick and Margaret L. Weyerhaeuser Foundation The Maud Moon Weyerhaeuser Sanborn Memorial The Wurtele Family Fund


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

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

Study the Classical Guitar Give yourself the gift of music with Spanish trained classical guitarist

David Malmberg, M.Mus. Private lessons. Call 612 418 9058 for information or visit us at: https://davidmalmberg.musicteachershelper.com www.davidmalmbergmusic.com


CONCERT series






MUSIC & movement


FEB 15


a co-presentation with The O’Shaughnessy


FEB 24

and Dancers PRESENT INK MAR 23



Dark Side of the Moon

Co-presented with the Walker and in association with The Cedar

FEB 24





651.224.4222 TTY: 651.282.3100


Generous support for Music & Movement is provided by The Scrooby Foundation


Louis Lortie

Cameron Carpenter

Juraj Valčuha

Osmo Vänskä and Erin Keefe

Osmo Vänskä /// Music Director

Debussy’s La Mer Thu Mar 1 11am Fri Mar 2 & Sat Mar 3 8pm Juraj Valčuha, conductor / Kirill Gerstein, piano

Juraj Valčuha returns to conduct Rachmaninoff’s powerful Third Piano Concerto and Debussy’s shape-shifting picture of the sea, La mer.

Vänskä Conducts Mahler’s Titan Symphony Thu Mar 15 11am Fri Mar 16 & Sat Mar 17 8pm Osmo Vänskä, conductor / Erin Keefe, violin

No first symphony has ever rocked the world like Mahler’s stunning Titan—joyous and bold, the composer’s audacious wish to embrace all of humanity in a single piece of music.

Cameron Carpenter Plays Rachmaninoff Fri Apr 20 & Sat Apr 21 8pm Klaus Mäkelä, conductor / Cameron Carpenter, organ

There are revolutionaries in music—and then there’s Cameron Carpenter, who tours globally with an astonishing electric organ of his own design and amazes audiences with his jaw-dropping virtuosity.

Wagner, Liszt and Schumann Fri Apr 13 & Sat Apr 14 8pm Markus Stenz, conductor / Louis Lortie, piano

Wagner’s beautiful chamber work Siegfried Idyll, Liszt’s glittering Piano Concerto No. 1 and the soaring Symphony No. 2 by Schumann.

The King’s Singers GOLD Sun Apr 15 2pm Recognized as royalty of the choral music world, The King’s Singers bring their vocal virtuosity and British wit to a performance that celebrates 50 years of making gorgeous music. The King’s Singers

612-371-5656 / minnesotaorchestra.org / Orchestra Hall Photo credits available online.

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Profile for Schubert Club

An die Musik January 4 - February 26, 2018  

The Schubert Club's program booklet featuring Parker Quartet, Sérgio and Odair Assad, Avi Avital, Accordo, Hill House Chamber Players, Court...

An die Musik January 4 - February 26, 2018  

The Schubert Club's program booklet featuring Parker Quartet, Sérgio and Odair Assad, Avi Avital, Accordo, Hill House Chamber Players, Court...