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An die Musik October 2 – November 9, 2017


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OCT 10

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An die Musik October 2 – November 9, 2017

TABLE OF CONTENTS 6

Artistic & Executive Director and President's Welcome

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Calendar of Events

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Hill House Chamber Players

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Schubert Ensemble of London

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From the Schubert Club's Education Director

20 Accordo 24

Sir András Schiff

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Courtroom Concert Series

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

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Schubert Club Officers, Board, Staff, and Advisory Circle

Sphinx Virtuosi

Arts Partnership Co-presentation

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: Sir András Schiff photo: Nadia F. Romani

Sunday, October 22, 3:00 PM Ordway Concert Hall

Back by popular demand!

The Sphinx Virtuosi is one of the nation’s most dynamic professional chamber orchestras, composed of top Black and Latino classical soloists from across the nation. Celebrating the 20th anniversary of the organization, the 20 stellar string musicians of Sphinx Virtuosi will perform Concerti per Venti, a collection of concerti through the ages from the Baroque to modern day.

ordway.org • 651-224-4222 schubert.org

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Artistic & Executive Director and President's Welcome

Welcome to a new season of the Schubert Club! Many of you know that planning for most concert series is complete at least one year in advance. So, after months of anticipation, we’re thrilled to welcome these world-class artists to our various stages. I am delighted that Sir András Schiff returns to our International Artist Series for the first time since 1996. He is quite simply one of the most musically interesting pianists of our time – and has been for several decades. We open the 39th Music in the Park Series in Saint Anthony Park with a return performance by the Schubert Ensemble of London, whose program includes Schubert’s ever popular Trout Quintet and a new work by British composer Cheryl Frances-Hoad. Schubert Club Mix returns to Aria in Minneapolis with the Alehouse Sessions, early music as it might have been heard in a boisterous 17th-century English tavern. And we continue to proudly present Accordo and our Thursday lunchtime Courtroom Concert series, as well as support the Hill House Chamber Players. New this season, the Schubert Club Museum is open every First Thursday evening of the month (until 8pm). Museum guides will be there to show visitors around the exhibits, and in addition, we will have music making, demonstrations, trivia, and refreshments. Please join us if you can.

Barry Kempton Artistic and Executive Director

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Welcome to the 136th season of the Schubert Club. Barry Kempton and his staff have lined up another wonderful concert season for you in our many series, which range from recitals by international artists and chamber groups to our own top-level artists of Accordo, to interesting, new, and edgy music (“creative classical music”). The common elements of these concerts are the high quality of the music making and you, the audience. It will be my honor and pleasure to serve as your president for the next two years. I follow a long line of highly capable and accomplished Schubert Club presidents who have contributed to the great success of this organization. Primary credit, of course, is due to the hard work of a small but talented and extremely dedicated staff. Music has always been a big part of my life. Like many of you, I am an inveterate audience member. My love of music, especially classical music, came to me at a young age. I was lucky to have had parents who believed that an education in the humanities, especially in the arts, is essential for a fullylived life. As a girl, I was taken to Northrop Auditorium to hear the Minneapolis Symphony and the Metropolitan Opera. I sang in my church, school, and college choirs. I played in the school band and studied the piano. What followed is a deep love of music of all kinds. I imagine that many of you can tell a similar tale, and I know that for some of you music is at the center of your professional lives. The only qualification to be a member of the Schubert Club is a love of music. If you are reading this, you are a member of the Schubert Club!

Dorothy J. Horns President


The Schubert Club – program magazine, An Die Musik 1 | full-page = 7"x10" | layout date: 09-11-2017 Advertiser: Minnesota Museum of American Art | Designer: Adam Demers, 612-327-1990

We the People. Three simple words that usher in our Constitution. A phrase that brings to mind all that is meant to connect us as Americans. Come experience the visual impact of what that powerful phrase means today, as seen through the eyes of four young curators and 38 artists from around the country. We the People runs through October 29th at the Minnesota Museum of American Art in the Historic Pioneer Endicott in the heart of downtown St. Paul. Visit us Thursday through Sunday.

Minnesota Museum of American Art • mmaa.org • 651-797-2571 • 141 E. 4th Street (on the corner of 4th and Robert Streets), downtown St. Paul • Gallery hours: Thurs & Fri: 11–6, Sat & Sun: 10– 4 Susan Hauptman (1947–2015), Self-Portrait, 1997, charcoal and pastel on paper, 58 ¾ x 48 ½ inches. Collection Minnesota Museum of American Art

Schubert-AnDieMusik1_HalfHorz_0911.indd 1

9/11/17 1:06 PM


OPERA THAT COMMANDS. Se a s o n af te r s e a s on, MN O P E R A te lls t ran s fo r m at i ve storie s t hroug h fe a rle ss pro d u c t i o n s . We s ing t his v is ion t hroug h eve r y n o te, a nd t a ke ris k s t hat forg e th e fut u re o f o p e ra . Jo i n u s t h i s s e a s on, a nd re ima g ine ope ra. mno pe ra.o rg

Da s R h e in g o ld , 2 01 6 Š Co r y We aver.


G A E TA N O D O N I Z E T T I

OCTOBER 7–15

WOLFGANG AMADEUS MOZART

NOVEMBER 11–19

T I C K E TS F R O M $ 2 5 V I S I T M N O P E R A .O R G O R C A L L 61 2 - 3 3 3 - 6 6 6 9


Calendar of Events October–November, 2017

OCTOBER 2017 Mon, Oct 2 & 9 • 7:30 PM HILL HOUSE CHAMBER PLAYERS Guest Craig Johnson shares poems and stories of the Great War. Music of Debussy, Satie, and Dohnanyi THu Oct 5 • 4–8 PM FIRST THURSDAYS—free Schubert Club Museum stays open until 8 PM once a month; special programming, trivia, refreshments. Sun, Oct 8 • 4 PM MUSIC IN THE PARK SERIES Schubert Ensemble of London An eclectic program: The Whole Earth Dances, a new, natureinspired work by young British composer Cheryl Frances-Hoad; Vaughan Williams’ romantic Piano Quintet in C-Minor; and the grand finale: Franz Schubert’s much-beloved Trout quintet.

more info at schubert.org Sat, Oct 28 • 11 AM SENSORY-FRIENDLY FAMILY CONCERT Leo and Kathy Lara: free concert of Latin American Folkloric Music—Musica, Lengua y Cultura. Sun, Oct 29 • 3 PM INTERNATIONAL ARTIST SERIES Sir András Schiff, piano Renowned pianist Sir András Schiff returns to the Schubert Club for the first time in more than twenty years with a program featuring music of Mendelssohn, Beethoven, Brahms, and Bach.

Tue, Oct 10 • 6 PM TEACHER APPRECIATION NIGHT—free Fellowship, refreshments, and Indian music performed by Nirmala Rajasekar in Schubert Club Museum, RSVP required: 651.292.3266 Thu, Oct 12 • 12 PM COURTROOM CONCERT—free Linda Chatterton, flute, Matthew McCright, piano, and guest Alison Young in a program called A Little Tango in Her Blood, music for Flute and Piano from Argentina. Thu, Oct 12 • 7:30 PM SCHUBERT CLUB MIX (at Aria) “Alehouse Sessions” Barokksolistene & Bjarte Eike An energetic evening of English 17th-century tavern music with the virtuoso Scandinavian ensemble Barokksolistene led by violinist Bjarte Eike. Mon, Oct 16 • 7:30 PM ACCORDO Minnesota's "dream team" of chamber music inaugurates their celebration of Dvorak with his Viola Quintet in E-flat. Also, music of Barber and Respighi. Tue, Oct 17 • 7:30 PM ACCORDO AT ICEHOUSE Highlights of Monday night's concert in a casual restaurant/ bar music venue.

Dover Quartet

NOVEMBER 2017 Thu, Nov 2 • 12 PM COURTROOM CONCERT—free Madeline Island Chamber Music Fellowship Quartet perform string quartets by Debussy and Haydn. Thu, Nov 2 • 4-8 PM FIRST THURSDAYS—free On the first Thursday of each month, the Schubert Club Museum stays open until 8 PM with hands-on fun, musicmaking, trivia, demonstrations, drawings for tickets, and guided tours. Wed, Nov 8 • 10:30 AM KIDSJAM Chamber music of Schumann, Hindemith, and Brahms performed by current and former principal players of the SPCO and Minnesota Orchestra.

Thu, Oct 19 • 12 PM COURTROOM CONCERT—free Clea Galhano, recorder, Nerea Berraondo, mezzo soprano, Donald Livingston, harpsichord, Tulio Rondon, baroque cello & viola da gamba In a program of Baroque music. Sun, Oct 22 • 3 PM SPHINX VIRTUOSI One of the nation’s most dynamic professional chamber orchestras, Sphinx Virtuosi is composed of 18 of the nation’s top Black and Latino classical soloists, who come together each fall as cultural ambassadors to reach new audiences.

Thu, Nov 9 • 12 PM COURTROOM CONCERT—free Music of Minnesota composer Abbie Betinis.

Thu, Oct 26 • 12 PM COURTROOM CONCERT—free Music of Ann Millikan, with Tracey Engleman, soprano with large ensemble performing music especially re-orchestrated for her by the composer.

Mon, Nov 27 • 7:30 PM ACCORDO Music of Martinů, Kirchner, and Novacek, plus Dvořák's American Quartet performed by Minnesota's all-star string ensemble.

Sun, Nov 12 • 4 PM MUSIC IN THE PARK SERIES Dover Quartet with David Shifrin, clarinet “The young American string quartet of the moment,” (New Yorker), Dover Quartet brings a program of mostly American music. Thu, Nov 16 • 12 PM COURTROOM CONCERT—free Minneapolis-based Lux String Quartet perform an eclectic program, including Smetana's Quartet No. 1.


Hill House Chamber Players

Mondays, October 2 & 9, 2017, 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 with guest Craig Johnson “IN FLANDERS FIELDS,” Music Prevails Claude Debussy (1862–1918) Sonata for Violin and Piano Allegro vivo Intermède: Fantasque et léger Finale: Très animé Erik Satie (1866–1925) Gymnopedie No. 1, arr. Koncz, for String Quartet

Intermission Ernő Dohnányi (1877–1960) Piano Quintet No. 2 in E flat Minor, Opus 26 Allegro non troppo Intermezzo: Allegretto Moderato - Tempo del primo pezzo

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 Sonata for Violin and Piano Claude Debussy (b. Saint-Germain-en-Laye, 1862; d. Paris, 1918) It is ironic that Debussy became such a huge force in French music; he was the son of poor shopkeepers who never went to school and was taught to read and write by his mother. It was only when his aunt suggested he had some musical talent did six yearold Claude begin piano lessons. In his twenties, after

winning some big prizes for his early pieces, he and his friends—other artists, poets, and musicians—set out to remake the sound of French music, asking the existential question: “what does it mean to be ‘French’”? As the core of musical tradition was predominantly German at this point in history, they had a big job on their hands. Debussy’s answer was that to be French in all things musical essentially meant rejecting all things German: "predictable" four-bar phrases, schubert.org

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PROGRAM NOTES CONTINUED the Roma street fiddlers common in Paris at the time. Regardless, Debussy’s patriotism and pride were stated unambiguously at the end of the manuscript, which he signed “Claude Debussy, musicien Français”.

Gymnopedie No. 1, arr. Koncz, for String Quartet Erik Satie 1866, (b. Honfleur, 1866; d. Arcuell, 1925) Frenchman Erik Satie, a colorful, eccentric figure in the 20th century avant-garde movement in Paris, was reluctant to label himself a "musician", preferring instead the label "phonometrician", or "one who measures sound", this after having been called "a clumsy but subtle technician" in a book on contemporary French composers. Claude Debussy holding an umbrella on a beach. conventional harmonies and traditional forms, all things that he saw as shackles to his creativity. It is perhaps no coincidence that Debussy came of age at the same time as the French impressionist painters who wanted to depict atmosphere and emotion, not form and substance. His music is filled with constantly shifting harmonies, only brief snatches of melody here and there, and a kaleidoscope of tonal colors. In 1914, when Germany declared war on Debussy’s beloved France and began shelling Paris, he packed everything (including his many cats) and moved to the country to find sanctuary. But what he faced was essentially two wars; World War I and his battle with colon cancer that would take him within four years. Throwing himself into his work, Debussy decided to write a series of six sonatas for different instruments and set to work like a madman, saying “I want to work to give proof, however small it may be, that not even 30 million Germans can defeat French thought”.

Although he composed dozens of works in all genres—from orchestral to opera to ballet—his musical legacy rests primarily on three short piano pieces, which he titled Gymnopédie, published in 1888 when he was just 22. They were probably inspired by the poetry of his friend J. P. Contamine de Latour, a Spanish poet living in Paris who wrote Les Antiques (The Ancients), a poem containing these lines: Slanting and shadow-cutting a bursting stream Trickled in gusts of gold on the shiny flagstone Where the amber atoms in the fire gleaming Mingled their sarabande with the gymnopaedia. So what connotations did Satie intend to convey with his three short, atmospheric works that seem to conjure a studied air of nonchalance and whimsy? Satie claimed his Gymnopédies were inspired by reading Gustave Flaubert's novel Salammbô. However, it has also been posited that Puvis de Chavannes' symbolist paintings may have been an inspiration for the atmosphere Satie wanted to evoke.

His violin sonata—the third and unfortunately the last piece he was to complete of the six—was premiered in Paris with Debussy himself at the piano, his last public performance. The violin sonata’s “French-ness,” however, is colored by influences from other cultures as well. Spanish, Asian, and gypsy musical gestures are apparent, as Debussy’s meeting with a gypsy violinist in Budapest in 1910 left a significant impression on him. Indeed, the Finale exhibits the capricious, passionate gypsy style, often heard by

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Satie and Debussy having a smoke


Whatever the source of his inspiration, Satie produced three brief works, all in 3/4 time, that each contained specific instructions, such as “slowly and painfully” (Lent et douloureux) in the case of the Gymnopédie No. 1. Listen for the alternating accompanimental harmonies that rock back and forth with mild dissonance against the melody, resulting in a peaceful, melancholic feel that is never in a hurry to go anywhere. Whatever his stated intent, this is music that requires us to stop and be present in the moment, savoring the simplicity in the spare texture of the writing.

Piano Quintet No. 2 in E flat Minor, Opus 26 Ernő Dohnányi (b. Bratislava, Slovakia, 1877; d. New York City, 1960) Exactly 100 years ago, Ernst von Dohnányi was for all intents and purposes the architect of Hungary’s musical life. By the age of 30, he was everywhere: as a virtuoso pianist, the Director of the Budapest Academy, the Chief Conductor of the Budapest Philharmonic, and a respected teacher of composition and piano. In the concert season of 1921, for example, he gave a remarkable 120 concerts in Budapest alone.

Perhaps the least recognized name among the trio of Hungarian musicians who had enormous impact on 20th century music—the others being Zoltán Kodály and Béla Bartók—Dohnányi’s reputation as a composer rests on about a dozen unjustly neglected pieces out of a catalogue of nearly 80 works in all genres. That he had time to compose at all might be among his greatest achievements! Now imagine what it must have been like for Dohnányi in 1914, composing during Europe’s rapidly deteriorating political situation prior to World War I; in fact, his Piano Quintet No. 2 reflects much of the turmoil going on in the world around him with its intense, dramatic gestures, melancholic melodies, and volatile moods. Dohnányi’s legacy is also that of a man who was highly principled, known for his professional ethics and moral integrity. As one of the most outspoken critics of Nazi anti-Semitic policies in Hungary, for example, he opted to disband the entire Budapest Philharmonic orchestra rather than fire musicians based on racial or religious grounds. Further, he resigned his position as Director of the Budapest Academy rather than submit to anti-Jewish legislation. During the war, he spent a brief time in England, then Argentina, before his final move to Tallahassee, Florida in 1949, where he taught at Florida State University until his death in 1960 at the age of 83. Program notes © 2017 by Michael Adams

Ernő Dohnányi, Hungarian conductor, composer, and pianist

schubert.org

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Sunday, October 8, 4:00 PM Saint Anthony Park United Church of Christ Pre-concert conversation one hour before the performance

Simon Blendis, violin • Douglas Paterson, viola Jane Salmon, cello • Peter Buckoke double bass William Howard, piano

The Whole Earth Dances for Piano Quintet (2016)

Ralph Vaughan Williams (1872–1958) Piano Quintet in C Minor Allegro con fuoco Andante Fantasia quasi variazioni: Moderato

Intermission Franz Schubert (1797–1828) Piano Quintet in A Major, D. 667, Trout Allegro vivace Andante Scherzo: Presto Andantino (Thema con variationi)—Allegretto Finale: Allegro giusto

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Music in the Park Series

Cheryl Frances-Hoad (b. 1980)

Schubert Club •

SCHUBERT ENSEMBLE OF LONDON


Since its first concert in January 1983, the Schubert Ensemble has become widely recognized as one of the world’s leading exponents of music for piano and strings. The ensemble has performed in over 40 different countries, has over 80 commissions to its name, has recorded over 30 critically acclaimed CDs, and is familiar to British audiences through regular broadcasts on BBC Radio 3. In 1998, the Ensemble’s contribution to British musical life was recognized by the Royal Philharmonic Society when it presented the group with the Best Chamber Ensemble Award, for which it was shortlisted again in 2010. In the past few years, the Ensemble has enjoyed a busy international schedule, with performances in Bermuda, Canada, the Czech Republic, China, Italy, the Netherlands, Norway, Romania, Spain, the United Arab Emirates, and the USA. The Ensemble has also

Plans for the coming months include the premiere of a piano quartet, Zustände, by Charlotte Bray at the Wiltshire Music Centre, the recording for Champs Hill Records of another recent commission, Cheryl Frances-Hoad’s The Whole Earth Dances, and several visits to Birmingham Conservatoire, where the Ensemble is enjoying the ninth year of a residency. The Ensemble has decided to bring its 35-year career to a close at the end of June 2018. It will see out its final season in celebratory style, with around fifty concerts planned in the UK and abroad, including return visits to Romania and Luxembourg, and two tours of the USA. The final two concerts of the Ensemble’s piano quintet series, Quintessentials at Kings Place, will take place on October 12 and November 9, 2017, and its final concert at Wigmore Hall will be on March 21, 2018.

PROGRAM NOTES The Whole Earth Dances Cheryl Frances-Hoad (b. 1980) Cheryl Frances-Hoad was born in Essex, and wrote her first piece within weeks of taking up the cello at age seven. She received her musical education at the Yehudi Menuhin School, Gonville and Caius College, Cambridge, and Kings College London. Her works include a piano concerto, cello concerto (Katharsis), three piano trios, and an opera. They have garnered many awards, from the BBC Lloyds Bank Composer of the Year award when she was just fifteen to more recent awards like the Mendelssohn Scholarship, The Bliss Prize, The Robert Helps International Composition Prize (USA), and The Sun River Prize (China).

Photo © Brant Tilds Photography

Photo: Caroline Bittencourt

SCHUBERT ENSEMBLE OF LONDON

released recordings for the Chandos label of works by Martinů, Fauré, Enescu, and Dvořák, all of which have been widely praised. The Dvořák disc and the most recent of two Enescu discs were each chosen as CD of the month by the BBC Music Magazine. It has recently released a new recording of piano quartets by Chausson and Saint-Saëns which received a double 5-star review in BBC Music Magazine. Engagements in 2015–16 included tours to Bermuda, the USA, Holland, and Italy, and performances at the Cambridge, Petworth, Spitalfields, Buxton, Gower, Tetbury, and Bath Mozart Festivals, as well as a twoconcert Fauré/Schumann series at London’s Wigmore Hall.

Cheryl Frances-Hoad

Cheryl's fourth CD of chamber-orchestral music, Stolen Rhythm, has been released on the Champs schubert.org

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PROGRAM NOTES CONTINUED Hill Records label. 2015 saw Cheryl's BBC Proms debut with a new work for the Cardinall's Musick. Future projects include a piano concerto for Ivana Gavric and the Southbank Sinfonia and a work for the Covent Garden Chamber Orchestra. Ms. Frances-Hoad introduces The Whole Earth Dances: I am lucky to have a wonderful park just ten minutes walk from my house: I can leave home and be back within the hour, having walked around a lake and under what I imagine to be vaulted roofs made only from trees. I like to walk the same path every time I go, paying attention to the many changes that can occur suddenly (such as the weather) and gradually (such as the changing color of the leaves). Today, when much of the Earth is being polluted, fracked, and deforested, it seems particularly important to notice and respect the land, to feel a connection to it. Two poems by Ted Hughes, “Thistles” and “Ferns” (from Wodwo), inspired my work and added a resonance to the thistles and ferns that I see nearly every time I walk. The Whole Earth Dances is a single, slow movement divided into five continuous parts: thistles, ferns, thistles, ferns, thistles. Hughes’s description of the former (“Every one a revengeful burst of resurrection”) and the latter (“Here is the fern’s frond, unfurling a gesture”) influence all the musical material in the work, and I have tried to imbue the piece with the sense of timelessness that I feel when walking with his poems (with their allusions to Vikings and “warriors returning”) in my head. The Whole Earth Dances is dedicated to the memory of my friend Becs Andrews, a fiercely talented stage designer and visual artist who passed away at the beginning of 2016. This piece was commissioned by The Schubert Ensemble and premiered at Spitalfields Music Festival on June 13, 2016. It was supported by The Schubert Ensemble Trust, Spitalfields Festival New Music Commission Fund, and The Steel Charitable Trust.

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Piano Quintet in C Minor Ralph Vaughan Williams (b. Down Ampney, 1872; d. London, 1958) For many listeners, a love of the music of Vaughan Williams begins with his post-war pastoral romance, The Lark Ascending, or perhaps with the song “Silent Noon.” What a delight then to discover an early piano quintet that combines chamber music savoir with direct lyricism and tight structural thinking. That this is a double-bass quintet adds a novel twist. But although the quintet received its premiere in 1905, it was never published. Before he wrote nine symphonies, Vaughan Williams was primarily a vocal composer. Cycles like Songs of Travel (1901–1904) and The House of Life (1903) represent the best in English song of the period and have retained their popularity with singers and audiences alike, but it took the composer a while to find his compositional voice.

Young Ralph Vaughan Williams After studying with Bruch in Berlin (1897) and Ravel in Paris (1908), he found that voice close to home, in Elizabethan music and the folk music of his fair isle. And several years editing the English Hymnal sharpened his ear for a good tune. The first minutes of the piano quintet are full of energy and rich in possibility, in a surging triple meter. The way the rhythm quickens proportionately is a modernist trait in an otherwise Brahmsian soundscape. The bridge theme is tinged with the modality of folk song, but the music is RVW’s own. A second theme, stated first by strings, then by piano, has an Elgarian breadth. The tough closing theme, with strings pitted against piano, will be explored in the finale. The bass’s unique tones below the cello’s low C add somber meaning to the coda.


The Andante brings echoes of “Silent Noon” and its lyric: “Your hands lie open in the long wet grass.” Throughout, notice the piano’s hard forte contrasted with strings, piano, teneramente (tenderly). The finale’s irregular theme is presented by strings, then answered by piano. Vaughan Williams would return to this theme fifty years later in one of his last chamber works, the Violin Sonata in A minor. There is sonorous chordal string writing for the strings, and if the pulsing piano textures sound thoroughly romantic, there is a hard, clean modernism in the development of the theme, and an urgent optimism in the coda’s descending bass as exultation gives way to quiet joy.

Franz Schubert in repose

Piano Quintet in A Major, D. 667, Trout Franz Schubert (b. Vienna, 1797; d. Vienna, 1828)

C.F.D. Schubart

The piece has a divertimento quality, due partly to the five-movement design, partly to the shortcuts that Schubert took in working quickly, and certainly due to the unusual instrumentation. But even in this light-hearted work, inspiration is at play. What sounds like an introduction in slow tempo is actually part of the main body of the movement, in itself a forwardlooking idea. There are rich duets inside the texture for viola and cello, and Schubert’s piano sparkles like a mountain stream. One can even reconstruct through the fourth-movement variations the song’s chase-scenario: a clear stream; the “merry little fish”; a dastardly angler muddying the water; the catch; the observer’s raging blood, and finally the song itself, with its distinctive leaping-trout figure. TPT viewers may recognize the Finale’s theme as the signature tune of the BBC sitcom Waiting for God. Program notes copyright © 2017 by David Evan Thomas

The beloved Trout Quintet is scored for an ensemble invented by Hummel for his Opus 87: piano and one of each member of the string family. Each timbre is distinct, and the double bass, all too rare in chamber music, has an independent part to play. Schubert set C.F.D. Schubart’s poem “Die Forelle” in 1817. The song’s fame preceded him to the Austrian town of Steyr, where two years later Sylvester Paumgartner, an amateur cellist and friend of the baritone Michael Vogl, commissioned a chamber work incorporating the song. Schubert responded in short order with this quintet, the first of several songinspired works that include the Death and the Maiden String Quartet (1824), Variations on “Trockne Blumen” for flute and piano (1824), and the 1827 Fantasy in C for violin and piano, which incorporates “Sei mir gegrüsst.” schubert.org

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

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Thank you to all those

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who gave to the new

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Deborah McKnight

Anthony Thein

Music in the Park Series Endowment Fund. Please see page 38.

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

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From the Schubert Club's Education Director

My second mission results from the sad reality that school music programs continue to diminish, or even be eliminated completely. However, as our Minnesota advocacy group, Music Makes Us Whole, puts it, music in our schools IS important and necessary because: •M  usic provides a way for students to express themselves and explore creativity. •M  usic learning supports brain development, student engagement in schools, academic achievement, and the skills sought after in workplaces of teamwork, communication, and problem-solving. Students visiting the Schubert Club Museum

As I bicycled down Summit Avenue last week, a group of jubilant children waiting for their school bus reminded me of the excitement I experienced as a student—and later as a mom and a teacher—as the school year started again each September. It was a time for anticipation—of learning, growth, and new friendships. As a teacher, I wanted that jubilant spirit to continue beyond the first week. I made it my goal to ensure that learning was joyful, meaningful, and purposeful so that my students loved coming to school! Now as Education Director at Schubert Club, I am excited to embark on some new projects this season to contribute to a meaningful school year for all. A successful school year and happy student begins with the classroom teacher. We all know the important role teachers play in fostering the development of our children. With this in mind, the Schubert Club will recognize and celebrate all of these incredible individuals with our up-coming Teacher Appreciation night on October 10. We have invited teachers to our Schubert Club Museum to hear the vibrant melodies and rhythms of South India performed by Nirmala Rajasekar, experience the wonderful Schubert Club Museum, reflect with educator and author Barbara Cox on new tools for bringing music into the classroom, enjoy the fellowship of their peers, and appreciate good wine and food. I am looking forward to this evening and hope to make it an annual Schubert Club tradition honoring teachers.

Schubert Club is working to turn the Schubert Club Museum into a classroom where students can grow their love for music. As they explore our fascinating museum collections, they can be engaged in fun, hands-on learning. Students are able to hear, experiment with, and compare the sounds of our historical instruments and replicas. They can also step back in time as they read our original autographed letters, delving into the lives of great composers like Mozart and Haydn, whose artistic works have shaped our culture. This season we are thrilled to provide supplemental classroom materials to reinforce what students learn during their museum visit and to provide opportunities for them to apply what they experience to their core curriculum. They can, for example, apply what they see towards scientific inquiry into the way different musical instruments vibrate to create sound waves. They can relive historical events that influenced and were influenced by music. They can learn about the many regions and cultures of the world that contributed to our musical history. Talking about our educational programs and mission at Schubert Club in this 2017–18 season is creating that same level of excitement for me once again this school year. I wish all of our students, teachers, and parents a year filled with learning, inspiration and growth.

Kate Cooper Director of Education & Museum schubert.org

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Plymouth Congregational Church

ACCORDO Susie Park, violin • Ruggero Allifranchini, violin • Maiya Papach, viola • Rebecca Albers, viola Ronald Thomas, cello • Adriana Zabala, mezzo-soprano

Accordo

Samuel Barber (1910–1981) Dover Beach, Opus 3 for Voice and Quartet Ottorino Respighi (1879–1936) Il Tramonto (The Sunset) for Voice and Quartet

Intermission Antonín Dvořák (1841–1904) String Quintet in E-flat, Opus 97, American Allegro non tanto Allegro vivo Larghetto Finale. Allegro giusto

PROGRAM NOTES Dover Beach, Opus 3 for Voice and Quartet Samuel Barber (b. West Chester, 1910; d. New York City, 1981) Composer Ralph Vaughan Williams, who heard Samuel Barber’s Dover Beach performed in 1932, was impressed, confessing to Barber, “I tried several times to set Dover Beach, but you really got it!” Barber was still a student in 1931 when he was inspired by the English Victorian poet Matthew Arnold’s poem Dover Beach, describing the austere, stoic beauty of the English coast. Indeed, Arnold’s poem reflects a worldview that is quite pessimistic; that the sound of the sea was an "eternal note of sadness" for example, where the Dover Cliffs are beautiful but unreal; a dreamscape. To Arnold, the real world is one of darkness, "where ignorant armies clash by night." He further alludes to human misery, isolation, and a loss of faith, topics

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Schubert Club •

Monday, October 16, 2017, 7:30 PM

that seemed to attract the moody and often isolated Barber during a difficult period in his transition from student to “adult” composer. In fact, Samuel Barber followed an unusual career path for a composer, starting as a singer rather than an instrumentalist. At the Curtis Institute of Music in Philadelphia, he was first interested in training his baritone voice; he sang a lot in public recitals and even once on NBC radio. But his clear talent as a composer won out—before graduation for example, he won a $1,200 prize for the overture to The School for Scandal, Op. 5, still a concert favorite. For listeners that know his iconic Adagio for Strings for example, it is clear that his vocal training influenced his composing— as evidenced by the long lyrical lines that characterize most of his music. Because of this lyrical gift, coupled with his conservative harmonic language, Barber has often been


string writing can be just as eloquent. For example, he captures perfectly the change in tone that occurs just after the beginning of the second stanza, describing the young couple’s night of love. Abruptly, the woman awakes to find her lover dead in her arms, marked by a stunning cello solo to accompany the line, “The Lady found her lover dead and cold”.

Samuel Barber in his early twenties

called the last of the American romantics. Among his colleagues, Barber was respected for his elegant craftsmanship, refined taste, and mastery of instrumental color. He won many honors—two Pulitzer prizes among them—as well as commissions from the Metropolitan Opera, Martha Graham, the Boston Symphony, the New York City Ballet, and the Library of Congress. It was Barber himself who sang in the first recording of Dover Beach. Il Tramonto (The Sunset) for Voice and Quartet Ottorino Respighi (b. Bologna, 1879; d. Rome, 1936) It is difficult to find an exception to the cliché that “all great Italian composers wrote opera” circa 1900, especially one who composed chamber music about sunsets and nature! Ottorino Respighi was an odd duck, but such a talented one that his works for his favorite genre—orchestral showpieces, brilliantly orchestrated—established him as one of Italy’s most important composers of the 20th century. But the intimate, expressive qualities of his 1914 "lyric poem" Il Tramanto for female voice and string quartet might surprise listeners only acquainted with Respighi’s vivid depictions of Roman life in The Pines of Rome, for example. It was an Italian translation of Percy Bysshe Shelly’s The Sunset of 1816 that inspired Respighi; it’s a dark, macabre affair, written in a gothic style, about two lovers, separated by fate—in this case his untimely death from malevolent unknown forces—as they await to view their idealized sunset. Renata Scotto, the famous opera singer who loved Respighi and often sang this piece, says about Il Tramanto: “Here, the sunset has two faces. It is a song of the dusk of love, which must follow love’s fulfillment, and the dusk of the sun itself.” The vocal part tells the story of course, but Respighi’s

In fact, Respighi’s expertise at writing for strings—he started his career as a concert violinist— explains why he devoted himself to writing so much string chamber music: six quartets, a quintet, and a double quartet, as well as two violin sonatas. The beginning of an unconventional career path began when the 21-year-old Respighi accepted the position of Principal Viola in the Russian Imperial Theater in St. Petersburg in 1900. It was there that he had the good fortune to study orchestration with composer Nikolai Rimsky-Korsakov, followed by lessons with Max Bruch in Berlin. When offered a position in the Mugellini Quintet, a touring ensemble, Respighi moved home to Italy, where before long, he turned his attention entirely to composition. Later, his musicology interests drew Respighi to old Italian music, inspiring his three sets of Ancient Airs and Dances for chamber orchestra, which along with his popular trilogy of orchestral showpieces—Roman Festivals, The Pines of Rome, and The Fountains of Rome, account for the majority of Respighi’s concert hall performances today. String Quintet in E-flat, Opus 97, American Antonín Dvořák (b. Nelahozeves, Czech Republic, 1841; d. Prague, 1904) Dvořák's only stated goal in his Op. 97 string quintet was "to write something really melodious and simple", which he succeeds at beautifully, beginning with the opening melody in the viola that sets a charming tone for the entire piece. Dvořák—a violist himself—makes effective use of the warmer, darker sound color the ensemble takes on as a result of the added viola.

Percy Bysshe Shelley by Alfred Clint (1819) schubert.org

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PROGRAM NOTES CONTINUED Although Dvořák penned the piece in 1893, its story begins two years earlier, when Dvořák—already one of the most famous composers in all of Europe— received a very intriguing letter from a wealthy New York socialite inviting him to be the head of her newly founded National Conservatory of Music. Jeanette Thurber had the idealistic notion of a new conservatory where talented students of all races could study and she wanted Dvořák to help establish an "American" school of composition. So Dvořák and family picked up stakes and moved from Prague to Manhattan, where soon he had some serious students and notable successes conducting his music with orchestras in New York and Chicago. But Dvořák was quick to grow homesick for the language, food, and culture of Bohemia. So he accepted an invitation to spend the summer with a colony of Czech farmers in Spillville, Iowa, where Dvořák was thrilled to hear Czech spoken all around him along with familiar food and games. In a letter to a friend, Dvořák wrote, “We like it very much here and, thank God, I am working hard and I’m healthy and in good spirits.” As evidence, he sketched a new string quartet—the one known popularly as the American—in just three days’ time. He then immediately began work on this string quintet, also known by the nickname American.

Jeanette Thurber, who brought Dvořák to New York And just as he did in his American quartet and the earlier symphony From the New World, the quintet integrated some of the music he absorbed while traveling here. He was the first breed of the new "nationalist" style of composing; a strong believer that composers should use the music of their own culture, region, or country as an inspiration for their work.

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Mary A. Jones Thomas and Susan Kafka Dwayne King Mike Klevay and Christine Schwab 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 Marge and Ed Senninger Emily and Dan Shapiro Gale Sharpe Judith and Bruce Tennebaum Timothy and Carol Wahl Marguerite P. Wilson Debbie and Max Zarling

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For example, while in America, he observed Indian drumming ceremonies, negro spirituals, bird calls, and nature sounds and wove them into his music. But it is the overall manner of the music here that merits the American nickname in that it reflects the America Dvořák found in Spillville: pastoral, untroubled, openhearted, accessible, and simple in the best sense of the word. The quintet is tuneful and straightforward in a way that music had hardly known since Schubert. Listen in the slow movement for the way the theme for the set of variations was cut to fit the rhythm of “My Country ’tis of Thee”—the result of Dvořák’s abortive effort to compose a new national anthem to those familiar words. There is one Minnesota angle to Dvořák’s summer in Spillville: He once took the train up to Minneapolis, at the invitation of some local Czech musicians. When his greeting party took him to see Minnehaha Falls, he was so inspired with the beauty of the place that he began composing, but was forced to write melodies on his shirtsleeve since he didn’t have any music paper. These melodies later became the basis for his Sonatina for Violin and Piano Op. 100. Program notes © 2017 by Michael Adams

Dvořák and Family in New York in 1893

Schubert Club Museum

Landmark Center 75 West 5th Street Saint Paul

Open late 12–8 PM on

2017–2018

First Thursdays

October 5 • November 2 December 7 • January 4 February 1 • March 1 April 5 • May 3 • June 7

FREE

Hands-on fun, music-making, demonstrations, trivia, complimentary refreshments, drawings for tickets, and guided tours. schubert.org/firstthursday

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SIR ANDRÁS SCHIFF, PIANO Felix Mendelssohn-Bartholdy (1809–1847) Fantasy in F-sharp minor, Opus 28 Con moto agitato—Andante Allegro con moto Presto

International Artist Series

Ludwig van Beethoven (1770–1827) Sonata in F-sharp Major, Opus 78 Adagio cantabile—Allegro ma non troppo Allegro vivace Johannes Brahms (1833–1897) Eight Piano Pieces, Opus 76 Capriccio in F-sharp minor Capriccio in B minor Intermezzo in A-flat major Intermezzo in B-flat major Capriccio in C-sharp minor Intermezzo in A major Intermezzo in A minor Capriccio in C major

Intermission Brahms Seven Fantasies, Opus 116 Capriccio in D minor Intermezzo in A minor Capriccio in G minor Intermezzo in E major Intermezzo in E minor Intermezzo in E major Capriccio D minor J. S. Bach (1685–1750) English Suite No. 6 in D Minor, BWV 811 Prelude Allemande Courante Sarabande Double Gavotte I Gavotte II Gigue

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This afternoon's recital is dedicated to the memory of Thomas G. Mairs by his family and Schubert Club with gratitude and warm appreciation Sir András Schiff's recordings are available on the Decca/London, Teldec/Warner and ECM labels.

Maud Moon Weyerhaeuser Sanborn

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

Schubert Club •

Sunday, October 29, 3:00 PM


Photo: Joanna Bergin

SIR ANDRÁS SCHIFF is world-renowned and critically acclaimed as a pianist, conductor, pedagogue, and lecturer. Born in Budapest, Hungary, in 1953, he started piano lessons at age five with Elisabeth Vadász. He continued his musical studies at the Ferenc Liszt Academy with Professor Pál Kadosa, György Kurtág, and Ferenc Rados, and in London with George Malcolm. The son of Holocaust survivors, this Hungarianborn, British-based virtuoso believes it is “the responsibility of every politically informed artist to speak out against racial injustice and persecution.” Growing up in communist-occupied Budapest as a Jew, Schiff was exposed to political oppression and social discrimination at an early age, conditions which helped shape his musical career. Schiff found an oasis studying at the Budapest Academy, where music became a source of expression. He recalls that when the pianist Sviatoslav Richter came to play, “the police had to be called in to exercise classical music crowd control.” In 2012, Schiff exiled himself

from his native Hungary due to his views on the political climate. “I have been threatened,” Schiff later explained in an interview with the BBC, “if I return to Hungary, they will cut off both of my hands.” Still, the master pianist continues to play, using his music to inspire others to speak up against tyranny, valuing the “wonderful experience” of live performance for the audience and the artist. “Together for those two hours, we can somehow change the world into a better place.” He is an Honorary Member of the Beethoven House in Bonn in recognition of his interpretations of Beethoven’s works, has received the Wigmore Hall Medal in appreciation of 30 years of music making at Wigmore Hall, the Schumann Prize awarded by the city of Zwickau, the Golden Mozart-Medaille by the International Stiftung Mozarteum, the Order Pour le Mérite for Sciences and Arts, the Grosse Verdienstkreuz mit Stern der Bundesrepublik Deutschland, and was made a Member of Honour of Vienna Konzerthaus. He was given The Royal Philharmonic Society’s Gold Medal, has been made a Special Supernumerary Fellow of Balliol College (Oxford, UK), and received honorary degrees from Leeds University and music schools in Budapest, Detmold, and Munich. In June 2014, he was awarded a Knighthood by Her Majesty Queen Elizabeth II in the 2014 Birthday Honours.

PROGRAM NOTES Fantasy in F-sharp minor (Sonata écossaise), Opus 28 Felix Mendelssohn-Bartholdy (b. Hamburg, 1809; d. Leipzig, 1847) Fantasy springs from the subconscious mind. Imagination is the fuel and dream the vehicle on an uncharted trip through a land where logic and gravity loosen their grip. The piano is an ideal medium for fantasy, because a single player can conjure magic from its hammers and wires. In this program, Sir András Schiff explores the world of the keyboard fantasy as dreamed by Mendelssohn, Brahms, and Bach. A great literary hoax inspired Mendelssohn’s Opus 28. In 1762, Scottish writer James Macpherson

Drawing by Mendelssohn of the bridge at Dunkeld, from the diary of his 1829 Scottish journey (1736–96) published Fingal, purportedly written by the legendary Celtic poet-harper Ossian and “collected in the Highlands.” The work was a sensation, figuring famously in Goethe’s novel The Sorrows of Young Werther. But the bard turned out to be Macpherson himself. Not everyone was duped; Samuel Johnson publicly denounced Macpherson as “a mountebank, a liar, and a fraud.” But Felix Mendelssohn was schubert.org

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James Macpherson, "Ossian,'"portrait by Sir Joshua Reynolds

convinced enough to make an 1829 pilgrimage to Scotland. Several “Ossianic” works followed, including the F-sharp minor Fantasy (Scottish Sonata) and the Scottish Symphony. Beethoven’s Moonlight Sonata is the model here. A lone, subterranean F-sharp bubbles up into a wintery andante lament. “Several stylistic features betray Felix’s attempt to capture a Scottish mood,” writes Mendelssohn biographer R. Larry Todd. “There are widely spaced chords and open-fifth sonorities, turbulent crescendos, and misty applications of open pedal, as at the end of the first movement, where the brooding first theme echoes among vestigial wisps of arpeggiations, anticipating the magical close of The Hebrides.” The first chord of the second movement is an upbeat, lending that movement a jovial character. Winds blow hard and chill in the finale’s running sixteenths, and the second theme from the previous movement reappears. Sonata No. 24 in F-sharp major, Opus 78 Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827) In September 1809, Beethoven agreed to write three piano sonatas for the publisher Breitkopf and Härtel, a promise he fulfilled the following February with the sonatas, Opp. 78, 79, and 81a, Les adieux. It had been four years since his last sonata, the great Appassionata. Beethoven was ready for something completely different. He chose the two-movement design he had used in Opus 54 and Opus 90, and the unusual key of six sharps. Four placid introductory bars stand in for a slow movement and are never heard again, but its threenote ascending motive subtly influences what follows. This music is a precursor of Mendelssohn’s andante lament, but mirrored: major instead of minor; ascending instead of descending. The playful second movement begins with a fillip, and two-note slurs spread like 26

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wildfire between the hands. Does the answering phrase sound familiar? Beethoven had written variations on “Rule, Britannia” in 1803. The reference here may be a light-hearted appeal to the market of his English publisher Clementi. Throughout, note the play of contrasts: loud with soft; major and minor. Opus 78 was a favorite of Beethoven’s, suggests Maynard Solomon, “because of its serenity, economy of form, and songful expressiveness.” It is sometimes called “à Thérèse” because it was written for Thérèse von Brunsvik. We don’t know whether there was love between Brunsvik and Beethoven. But as Sir András Schiff observes, “the work shows that Beethoven is not just the composer of the Appassionata and the Eroica. He was also capable of the greatest tenderness and lyricism.”

1808 sketch of Beethoven by Ludwig Schnorr von Carelfeld

Eight Piano Pieces, Opus 76 Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1897) Brahms’s first set of character pieces in the tradition of Schumann and Mendelssohn was written in 1878, around the time of the Violin Concerto. The neutral title Klavierstücke (Piano pieces) suggests that he regarded it as a collection, not a cycle. Brahms had used Intermezzo as a title once before, for the third of the four Ballades, Opus 10. Here the intermezzos provide relief and reflection between four muscular capriccios. The opening Capriccio begins on the same deep F-sharp and in the same key as Mendelssohn’s Fantasy. Brahms gave it to Clara Schumann in 1871 on the 31st anniversary of her marriage to Robert Schumann (1810–1854). Clara called the piece “dreadfully difficult, but so wonderful, so tender and melancholy, that when I play it, joy and sadness always surround my heart.” This significant piece is related to Brahms’s song “Alte Liebe” (Old Love). The song quotes the theme that appears


Clara Schumann in 1878, oil sketch by Franz von Lenbach

after the piano piece’s turbulent introduction, setting it to the words “An old dream takes hold of me and leads me along its path.” The Capriccio in B minor is the soubrette of the group, combining a descending chromatic bass with Hungarian vigor and Schubertian lightness. Brahms suggested to conductor Hans von Bülow that he serenade his bride with the graceful and expressive Intermezzo in A-flat major. The textures of the Intermezzo in B-flat major remind us that Brahms edited the keyboard works of Couperin. Interplay of three notes against two is a common rhythmic feature in these works, but in the Capriccio in C-sharp minor it becomes a generative force. One hears the opening material in three different forms. Fans of the “other” Intermezzo in A major—Opus 118, No. 2—will find a kindred spirit in No. 6, a dialogue with a graceful middle section in the relative minor. There is no easy Brahms, but the A-minor Intermezzo, with its overlapping voices, is many a young pianist’s portal into Brahms’s meditative realm.

Brahms in later years. Seven Fantasies, Opus 116 Brahms The rich, late harvest of piano pieces, Opp. 116–119, contains some of Brahms’s most intimate musical thoughts. The concept of “developing variation” is key to understanding this music. “Brahms continually presents the main theme in different shapes,” writes Carl Dahlhaus, “without ever going back to an earlier version where, according to the scheme of sonata form, we would expect him to.”

Seven Fantasies was complete by 1892, when Brahms was not quite 60. As in Opus 78, he used only two generic titles—capriccio and intermezzo— recalling Schumann’s duality of impetuous Florestan and dreamy Eusebius. “What he meant to signify by Phantasien remains provocative or obscure,” writes Laurence Wallach in The Compleat Brahms. “It may point at a seriousness, a ‘purely music’ intention in [the] sense of fantasy as the ‘true aesthetic moment of music.’ At the same time, it hearkens back to the world of E.T.A. Hoffmann and of Schumann, whose works Brahms was editing at the time.” Is Opus 116 a collection of disparate numbers or a “multi-piece”? A set of seven, it balances on the central Intermezzo in E major, which was originally called Notturno. And this nocturne does indeed suggest a balcony scene: one voice reaches up, the other down, and they mingle. Here we find another reference to a Brahms song—“Es träumte mir,” from Opus 57. “I dreamed I was dear to you, but to wake up I hardly dared, for in the dream I already understood that it was only a dream.”

English Suite No. 6 in D minor, BWV 811 J.S. Bach (b. Eisenach, 1685, d. Leipzig, 1750) Bach served the Calvinist court of Prince Leopold of Anhalt-Cöthen from 1717–1723. With little call for church music, Bach composed many of his bestknown instrumental works, including the Brandenburg Concertos and two sets of six suites for harpsichord. The baroque suite was an assortment of dances in a common key, usually arranged allemande-courantesarabande-gigue, with additional movements inserted before the gigue. Why one of Bach’s sets came to be called English is not completely clear. (Bach simply referred to them as “Suites with Preludes.”) It may have something to do with his model, the Six Suites—with preludes—dedicated to the Countess of Sandwich by Charles Dieupart, a Frenchman active in London. Bach copied Dieupart’s suites out by hand, a standard (and necessary) practice in the days before carbons and photocopiers. By contrast, the French Suites start with an allemande. The expansive Prelude of Suite No. 6 begins with an arpeggiated fantasy and breaks into fugal texture with an up-running theme. The Italian word fuga means “flight,” and indeed, the voices chase each other all schubert.org

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over the place. As massive as this Allegro seems, it’s a clear A-B-A form: repeated notes mark the middle section and a literal repeat of the beginning concludes. Enjoy the giddy trills that lead to the Courante’s cadences. The Double simply ornaments the Sarabande. The charming Gavotte I runs about in the bass like a marvelous toy, while Gavotte II, the only major-mode movement in the suite, chimes like a music box. The Gigue is compact, chromatic and surprisingly stern. Its second half inverts the subject and careens like a Harley around the curves to its destination.

Bach's employer, Prince Leopold of Anhalt-Cöthen (18th-century portrait by an unknown painter)

Program notes © 2017 by David Evan Thomas

INTERNATIONAL ARTIST SERIES

Eric Owens bass-baritone

Susanna Phillips soprano Wed, Dec 6, 10:30 AM Thu, Dec 7, 7:30 PM

Concerts at the Ordway 345 Washington Street Saint Paul photos: Zachary Maxwell, Paul Sirochman

schubert.org


Schubert Club •

Thursday, October 12, 2017, Noon Landmark Center

Linda Chatterton, flute; Matthew McCright, piano with special guest Alison Young

Courtroom Concert Series

Fuga y misterio—Astor Piazzolla Milonga de dos hermanos—Carlos Guastavino Pastoral Calchaquí—Héctor Gallac Don Agustín Bardi—Horacio Salgán Suite Argentina—Salgán Milonga sin Palabras—Piazzolla Chiquilín de Bachín—Piazzolla El Desbande—Piazzolla Lo que vendrá—Piazzolla

Following Alison Young’s noted concert tour of Argentina and the release of her CD of music from Argentina, her newly released publication pulls together for the first time her arrangements and editions of music for flute and piano the title “A Little Tango in Her Blood” lifted directly from a review. The book includes tangos, milongas, the popular “Fuga y misterio” by Astor Piazzolla, as well as a full-length Suite of native dances written by tango legend, Maestro Horacio Salgán.

Linda Chatterton has performed in New York

Matthew McCright has performed extensively

at Carnegie and Alice Tully halls, was a featured recitalist on the prestigious Dame Myra Hess series in Chicago, and has been heard throughout the US many times on National Public Radio’s Performance Today. Ms. Chatterton has performed with numerous groups, including the Minnesota Orchestra, and she tours regularly as a duo performer with both harp and piano. As a concerto soloist, highlights include many performances of traditional and contemporary repertoire in the US and Europe. She has served as a US State Department Arts Ambassador overseas, and is a regular performer and lecturer at the National Flute Association’s and British Flute Society’s conferences.

throughout the United States, Europe, Asia, and the South Pacific as piano soloist and chamber musician. A native of Pennsylvania, McCright now resides in Minneapolis, Minnesota, and is a member of the piano faculty of Carleton College. McCright has released five solo recordings: three albums on Innova Recordings (Second Childhood, A Waltz through the Vapor, and Blender), a 2011 release of the piano works of Gene Gutchë on Centaur Records, and a 2015 release on Albany Records of the piano music of Olivier Messiaen. His solo touring shows include Evening Preludes, The People’s Music, Contemplations: the Music of Messiaen, Connecting Flights, and Endurance.

She is a two-time recipient and the only flute soloist

McCright has performed at festivals such as Bang on a Can at Mass MOCA, Printing House Festival of New Music (Dublin), Late Music Festival (UK), HampdenSydney Chamber Music Festival, Engelbach-Hart, Kodály Institute, Perilous Night, Fringe, Bridge, Spark Festival of Electronic Music, Seward Arts, Music 2000, CCM Village Opening, and Minnesota Composers Alliance. McCright completed his Doctor of Musical Arts Degree in Piano Performance from the University of Minnesota, Master of Music Degree in Piano from the College-Conservatory of Music at the University of Cincinnati, and earned his Bachelor of Music Degree in Piano Performance, Magna Cum Laude, from Westminster College. His past teachers include Lydia Artymiw, Nancy Zipay DeSalvo, Lisa Moore, and Richard Morris. He is represented by Proper Canary Artist Services.

to win a McKnight Artist Fellowship for Performing Musicians, and she has received many prizes and awards from the Jerome Foundation, the Minnesota State Arts Board, and the American Composers Forum. In addition to her concert schedule, Ms. Chatterton is highly regarded for her insightful master classes, and she has served as a mentor to music students at the University of Minnesota’s College of Liberal Arts. In a related realm, Ms. Chatterton often can be heard giving her “It Sounded Better at Home!” workshop series based on her extensive work on the psychology of optimum performance. She received her Master of Music degree from the University of Minnesota and her Bachelor of Music degree from the Eastman School of Music as a scholarship student of Bonita Boyd.

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Landmark Center

Clea Galhano, recorder; Nerea Berraondo, mezzo soprano Donald Livingston, harpsichord; Tulio Rondon, baroque cello & viola da gamba

Brazilian recorder player Cléa Galhano is an internationally renowned performer of early, contemporary, and Brazilian music. Cléa has given concerts at Wigmore Hall, London, Weill Hall at Carnegie Hall, New York, and Palazzo Santa Croce in Rome. Ms. Galhano recently received the McKnight Fellowship Award, MSAB Cultural Collaborative, and MSAB Arts Initiative. She is the Music Director of the Recorder Orchestra of the Midwest, the Executive Artistic Director of the St. Paul Conservatory of Music, and a faculty member at Macalester College. She has eight recordings available, and she is the recipient of the National Arts Associate of Sigma Alpha Iota.

Nerea Berraondo has performed principal opera roles such as Adrastro and Creusa in Demofonte (Gluck) at Theatre an der Wien in Vienna; Lucio in Catone in Utica (Vivaldi) at Théâtre des Champs-Élysées in Paris. Ms. Berraondo has worked with early music conductors and orchestras including Eduardo López Banzo, Rinaldo Alessandrini, Alan Curtis, Marcello di Lisa, Josetxu Obregón, and Marian Rosa Montagut. Recently, she has recorded Biagio Marini’s vocal music with her ensemble Aldatu on the Arsis recording label, and Demofonte with Il Complesso Barocco conducted by Alan Curtis. Ms. Berraondo has won international prizes and competitions, including Juventudes Musicales de España and Julián Gayarre International Singing Competition. In 2012, she was bestowed a Merit Award by the Centro Nacional de Difusión Musical (CNDM). She shared that season with soloists Ceclia Bartoli and Jordi Savall.

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Donald Livingston is Director of Ensemble Sprezzatura, and host of the HausMusik House Concerts series. He has been associate director of Consortium Carissimi and has performed with such ensembles as Bach Sinfonia, Musica Antigua, La Donna Musicale, Lyra Baroque, the Bach Society of Minnesota, Glorious Revolution Baroque, Minnesota Orchestra and the St. Paul Chamber Orchestra, as well as with soloists and collaborators Cléa Galhano, Maria Jette, Fernando Bustos, Immanuel Davis, and Jacques Ogg. His current endeavors are focused on developing the Twin Cities Early Music Festival, which had its inaugural festival in 2014. He studied Early Keyboard at the Historical Performance Institute of the Jacobs School of Music at Indiana University. He is adjunct professor of harpsichord at Concordia University-St. Paul.

Tulio Rondón, performs throughout the United States, Europe, and North and South America as a soloist and chamber musician. He started his professional life early, as principal cellist of the Aragua Symphony Orchestra in Venezuela, which he helped found at the age of fifteen. He was appointed adjunct professor of cello at the Simón Bolivar Conservatory of Music (Maracay, Venezuela) at just seventeen, the youngest to teach there. Since then, Tulio Rondón’s performance career has taken him all over the world, sharing the stage with internationally celebrated artists such as Gil Shaham, Paul Katz, James Tocco, the Hagen String Quartet, Pacifica String Quartet, and the Miro String Quartet.

Courtroom Concert Series

Canzon a doi Basso e soprano—Bartolomeo de Selma The Plaint “Let me Weep,” from Fairy Queen—Henry Purcell Sinfonia—Alessandro Stradella Stabat Mater, a cura di Jolando Scarpa—Giovanni E. Sances Pensieri notturni di Filli (Recitative, Allegro, Recitative, Allegro)—G.F. Handel

Schubert Club •

Thursday, October 19, 2017, Noon


Thursday, October 26, 2017, Noon Landmark Center

MUSIC OF ANN MILLIKAN with Tracey Engleman, soprano

Abstrações (2012), text by Ann Millikan Aria from Swede Hollow opera (2012, 2016), libretto by Ann Millikan Water From Your Spring (2001), text by Jalaluddin Rumi, translated by Coleman Barks

Ann Millikan received her MFA in Composition from

Tracey Engleman was recently awarded the 2016

CalArts where her mentors were Mel Powell, Morton Subotnick, and Stephen L. Mosko, and her BA in Music–Jazz from San Jose State University. Her works have been performed in Europe, South America, and throughout the United States by Orchestra Filarmonica di Torino, Orchestra Sinfonica della Provincia di Bari, Emanuele Arciuli, ABSTRAI Ensemble, California EAR Unit, Zeitgeist, No Exit, Mankato Symphony Orchestra, Citywinds, New Century Players, Oregon Repertory Singers, Grace Cathedral Men’s Choir, and Joan La Barbara, among others. Her music is featured on radio broadcasts nationally and internationally.

McKnight Artist Fellowship for Musicians. Ms. Engleman has performed operatic roles with the Minnesota Opera, Minnesota Concert Opera, Skylark Opera, Music by the Lake, and the Los Angeles Philharmonic. Oratorio and concert engagements include solo performances with the Minnesota Orchestra, the La Crosse Symphony Orchestra, Milwaukee Bel Canto Chorus, the Valley Chamber Chorale, Minnesota Choral Union, the Cannon Valley Orchestra, and the Rochester Choral Arts.

Ann Millikan is a recipient of the McKnight Composer Fellowship. She has garnered awards from the City of Saint Paul, Minnesota State Arts Board, California Arts Council, American Music Center, ASCAP, American Composers Forum, Meet The Composer, Argosy Foundation Contemporary Music Fund, Jerome Foundation, Zellerbach Family Fund, Berkeley Civic Arts Program, and Waging Peace Through Singing (Highest Honors). Millikan is a freelance composer based in Saint Paul. Her orchestral and chamber music is on Innova Recordings, and her opera Swede Hollow is available from CD Baby.

PLEASE SILENCE ALL ELECTRONIC DEVICES

As a proponent of art song and as a frequent recitalist, she has performed in recital at Orchestra Hall, Hope College, the National Association of Teachers of Singing National Convention, Source Song Festival, and as part of the Schubert Club Courtroom Concert Series. An alumni of the Tanglewood Music Center and the Art Song Festival of Cleveland, Ms. Engleman’s awards include Regional Finalist in the Metropolitan Opera Competition, 1st place and “Audience Choice” winner in the Austin Lyric Opera Young Artist Competition, finalist in the Sun Valley Opera Competition, recipient of the Minnesota NATS Artist Award, and winner of the Milwaukee Bel Canto Chorus Regional Artist Competition. Ms. Engleman earned B.M. Performance and Music Education degrees from St. Olaf College and M.M. and D.M.A. degrees from the University of Minnesota, and is Assistant Professor of Music at St. Olaf College.

schubert.org

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Landmark Center

MADELINE ISLAND CHAMBER MUSIC FELLOWSHIP QUARTET Gabriel Maffuz-Anker, violin • Adam Dorn, violin Emily Edelstein, viola • Dan Blumhard, cello

String Quartet in C Major Opus 76, No. 3—Joseph Haydn Allegro Poco adagio cantabille Menuetto allegro—Trio Finale. Presto

Madeline Island Chamber Music The Madeline Island Music Camp was founded in 1985 as a one-week chamber music program for twenty students from Minnesota. Today activities include a three-week program for thirtytwo talented young string players, a five-week program for sixteen advanced fellowship string players, and a one-week seminar for twenty-five woodwind musicians. These students come from across the country and around the world to study chamber music with a distinguished faculty and resident string quartets. In 2016, the Music Camp transitioned its name to Madeline Island Chamber Music – an inclusive umbrella for all of our programs that carries forward our strong history and mission.

Thursday, November 9, 2017, Noon Landmark Center

MUSIC OF ABBIE BETINIS Composer Abbie Betinis (b. 1980) writes music called "inventive, richly melodic" (The New York Times) and “superb… whirling, soaring” (Tacoma News Tribune). A 2015 McKnight Artist Fellow, and listed in NPR Music's “100 Composers Under Forty,” she has written over 60 commissioned pieces and has served as composer-in-residence with the Schubert Club, The Rose Ensemble, and The Singers--Minnesota Choral Artists. She lives in Minnesota, where she is adjunct professor of composition at Concordia University–St. Paul.

PLEASE SILENCE ALL ELECTRONIC DEVICES 32

SCHUBERT CLUB

An die Musik

Courtroom Concert Series

String Quartet in G Minor, Opus 1—Claude Debussy Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré

Schubert Club •

Thursday, November 2, 2017, Noon


Schubert Club Annual Contributors AMBASSADOR

$20,000 AND ABOVE Patrick and Aimee Butler Family Foundation Rosemary and David Good Family Foundation Anna M. Heilmaier Charitable Foundation

BENEFACTOR

$2,500–$4,999 Suzanne Asher and Thomas Ducker Arts Midwest Touring Fund James and Karen Ashe Lynne and Bruce Beck The Burnham Foundation Cecil and Penny Chally

Estate of Thelma Hunter

Dee Ann and Kent Crossley

Lucy R. Jones and James E. Johnson

Maureen Curran

Art and Martha Kaemmer Fund of

Dorsey & Whitney Foundation

HRK Foundation

Michael and Dawn Georgieff

MAHADH Fund of HRK Foundation

Mark and Diane Gorder

The McKnight Foundation

Hardenbergh Foundation

Minnesota State Arts Board

Kyle Kossol and Tom Becker

Gilman and Marge Ordway

Chris and Marion Levy

Target Foundation

Roy and Dorothy Ode Mayeske McCarthy-Bjorklund Foundation

SCHUBERT CIRCLE $10,000–$19,999

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

and Alexandra O. Bjorklund Peter and Karla Myers Alice M. O’Brien Foundation Paul D. Olson and Mark L. Baumgartner Richard and Nancy Nicholson

Alfred P. and Ann M. Moore

Fund of The Nicholson

George Reid

Family Foundation

Michael and Shirley Santoro

Public Welfare Foundation

Thrivent Financial

John and Barbara Rice

Trillium Family Foundation

Lois and John Rogers

Charles A. Weyerhaeuser

Securian Foundation

Memorial Foundation and

Anthony Thein

Robert J. Sivertsen

Jill and John Thompson

The Wurtele Foundation

Travelers Foundation

PATRON

GUARANTOR

The Allegro Fund of

Allianz

$5,000–$9,999

$1,000–$2,499

The Saint Paul Foundation

Suzanne Ammerman

and Gayle and Tim Ober

Aria

Mark Anema

Paul J. Aslanian

Nina Archabal

J. Michael Barone and Lise Schmidt

Boss Foundation

Eileen M. Baumgartner

Julia W. Dayton

Dorothea Burns

Terry Devitt

James Callahan

Greystone Foundation

Deanna L. Carlson

and Walt McCartay and Clara Ueland

Rachelle Chase and John Feldman

Hélène Houle and John Nasseff

David and Catherine Cooper

Barry and Cheryl Kempton

John and Marilyn Dan

Ford and Catherine Nicholson

Dellwood Foundation

Sita Ohanessian

Joan R. Duddingston

Red Pine Fund of The Saint Paul

Anna Marie Ettel

Foundation and Marjorie and

Adele and Richard Evidon

Ted Kolderie

Joan and William Gacki

Kim Severson and Philip Jemielita

Dick Geyerman

Fred and Gloria Sewell

Anders and Julie Himmelstrup

Katherine and Douglas Skor

Jack and Linda Hoeschler

Wenger Foundation

Barbara Hoese

Nancy and Ted Weyerhaeuser

John Holmquist and Alma Marin Anne and Stephen Hunter Ruth and John Huss

Phyllis and Donald Kahn

Gloria Kittleson

Philanthropic Fund of the

William Klein

Jewish Communal Fund

James and Gail LaFave

Lyndel and Blaine King Lois and Richard King

Frederick Langendorf and Marian Rubenfeld

Mary Bigelow McMillan

Jeffrey H. Lin and Sarah Bronson

Sandy and Bob Morris

Hinda Litman

David Morrison

Susanna and Tim Lodge

Elizabeth B. Myers

Sarah Lutman and Rob Rudolph

The Philip and Katherine Nason

Paul Markwardt and

Fund of The Saint Paul Foundation

Richard Allendorf Laura McCarten

Robert M. Olafson

Margot McKinney

William and Suzanne Payne

Medtronic Foundation

Walter Pickhardt and

Gerald A. Meigs

Sandra Resnick The William and Nancy Podas

John B. Noyd Patricia O’Gorman

aRt&D Fund

Amaria and Patrick O’Leary

and Christine Podas-Larson and

Scott and Judy Olsen

Kent Larson

Heather J. Palmer

Betty Pomeroy

Mary and Terry Patton

August Rivera, Jr.

Kay Phillips and

Ken and Nina Rothchild Saint Anthony Park Community Foundation

Jill Mortensen Fund of The Minneapolis Foundation Sidney and Decima Phillips

Saint Anthony Park Home

David and Judy Ranheim

Alma Jean and Leon Satran

Jana Sackmeister

Ann and Paul Schulte

Bill and Susan Scott

John Seltz and Catherine Furry

Dan and Emily Shapiro

Vania Stefanova

Conrad Soderholm and

John and Bonnie Treacy

Mary Tingerthal

Kathleen van Bergen

Michael Steffes

Carl Voss

Jon and Lea Theobald

Deborah Wexler and Michael Mann

Stephanie Van D’Elden

Mike Wright

David L. Ward Wells Fargo Foundation Minnesota

SPONSOR

$500–$999

Katherine Wells and Stephen Willging Timothy Wicker and Carolyn Deters

Anonymous Mary and Bill Bakeman Jeanne B. Baldy

PARTNER

Bank of America

$250–$499

Adrienne Banks

Kathy and Jim Andrews

Tom Baxter and

Thomas and Jill Barland

Aimee Richcreek Baxter

Jerry and Caroline Benser

Carline Bengtsson

Joan and Carl Brookins

Fred and Sylvia Berndt

Ellen and Philip Bruner

Daniel Bonilla

Mark Bunker

Susan Brewster and

Janet Carlson

Edwin McCarthy

David Christensen

Carol and Michael Bromer

Maryse and David Fan

Gretchen Carlson

Nancy and Jack Garland

Carolyn and Andrew Collins

Mary, Peg and Liz Glynn

Sheldon Damberg

Marsha and Richard Gould

Ruth S. Donhowe

Sandra and Richard Haines

IBM Matching Gifts Program

Melissa Harl

Elizabeth J. Indihar

Mary Beth Henderson

Ray Jacobsen

Stuart Holland and Doug Federhart

Ann Juergens and Jay Weiner

Elizabeth Holden

Nancy P. Jones

John and Patty Hren-Rowan

Garrison Keillor and Jenny Nilsson

schubert.org

33


Fritz Jean-Noel

Bush Foundation

Mark and Becky Lystig

Arturo L. Steely

Morton and Merle Kane

Mary Carlsen and Peter Dahlen

King W. and Nancy Ma

Cynthia Stokes

John and Kristine Kaplan

Don and Inger Dahlin

Richard and Finette Magnuson

Monika Stumpf

Martha and Ed Karels

Ruth and Alan Carp

Helen and Bob Mairs

Janet and Craig Swan

Donald and Carol Jo Kelsey

Jo and H.H. Cheng

Thomas and Marsha Mann

John and Dru Sweetser

Youngki and Youngsun Lee Kim

David and Michelle Christianson

Ron and Mary Mattson

Lillian Tan

Anthony Kiorpes and Farrel Rich

Joann Cierniak

Joan L. Maynard

Tim Thorson

Lehmann Family Fund of

Joanna Cortright

Polly McCormack

Susan Travis

Mary E. and William Cunningham

Nancy McKinley

Chuck Ullery and Elsa Nilsson

Doug and Mary Logeland

Garvin and Bernice Davenport

Deborah McKnight and James Alt

Rev. Robert L. Valit

Mary Lundberg-Johnson

Joy L. Davis

Anne McKinsey

Joy R. Van

Holly MacDonald

Shirley I. Decker

James and Sally McLaughlin

Vargo Family Charitable Fund

Pamela and Stephen Desnick

Ralph and Barbara Menk

M. K. Volk

Kristina and Ben MacKenzie

Karyn and John Diehl

John Michel and Berit Midelfort

Stuart and Mary Weitzman

Kathryn Madson

Rita and David Docter

David Miller and Mary Dew

Beverly and David Wickstrom

Rhoda and Don Mains

Marybeth Dorn and Robert Behrens

Amy Mino

Nancy Wiggers and Frank Zebot

Sylvia and John McCallister

Thomas E. Dosdall

Patricia Mitchell

Christopher and Julie Williams

Christopher and Cheryl McHugh

Janet and Kevin Duggins

Susan Moore

Dr. Lawrence A. Wilson

James and Carol Moller

Jayne and Jim Early

Martha and Jonathan Morgan

Peggy R. Wolfe

Jack and Jane Moran

George Ehrenberg

Elizabeth A. Murray

Paul and Judy Woodward

William Myers and Virginia Dudley

Peter Eisenberg and Mary Cajacob

Judy and David Myers

Alison Young and Richard Rasch

J. Shipley and Helen Newlin

Maryse and David Fan

Nicholas Nash and Karen Lundholm

Max and Debbie Zarling

Lowell and Sonja Noteboom

Nancy Feinthel

Michael Nation and Janet Sauers

Rick and Suzanne Pepin

Judith Flahavan

Kathleen Newell

James and Kirsten Peterson

John Floberg and Martha Hickner

Sheryl and Steve Newman

Janet V. Peterson

Jack Flynn and Deborah Pile

Ann and Robert Niedringhaus

$1–$99

Sidney and Decima Phillips

Gerald Foley

Gerald Nolte

Association of Professional Piano

Laura Sewell and Peter Freeman

Barbara and John Fox

Polly O’Brien

Mariana and Craig Shulstad

Salvatore Franco

Tom O’Connell

Cigale Ahlquist

Harvey Smith

Patricia Freeburg

Sally O’Reilly

Carole Anderson

Ron Spiegel

Jane Frazee

Vivian Orey

Renner and Martha Anderson

Eileen V. Stack

Patricia Gaarder

Clara and Joseph Osowski

Claire and Donald Aronson

Tom Swain

General Mills Foundation

Elizabeth M. Parker

Julie Ayer and Carl Nashan

John and Joyce Tester

Barbara Gershan and Jim Gillman

Lyudmila and Mikhail Pekurovsky

Anita Bealer

Kipling Thacker and Kevyn Riley

Ramsis and Norma Gobran

Patricia Penovich and

Bara Berg

Mike and Linda Thompson

Katherine Goodrich

Jean Thomson

Anne and George Green

James and Donna Peter

Roger Bolz

Jane and Dobson West

Betsy and Mike Halvorson

Janet V. Peterson

Marge and Ted Bowman

Robert and Janet Hanafin

Lee Ann Pfannmueller and

Robert Brokopp

The Saint Paul Foundation

and John Orbison

Christina Hart

CONTRIBUTOR

Hegman Family Foundation

$100–$249

Stefan and Lonnie Helgeson

Arlene Alm

Family Charitable Fund

Gerald Moriarty

Gary Seim Philip Portoghese and Margaret Houck

FRIENDS Instructors and Rachel Hass

Michelle Blaeser

Charles D. Brookbank Cheryl Brown Richard and Judy Brownlee

Sydney M. Phillips

Andrea Bubula

Elaine Alper

Joan Hershbell and Gary Johnson

Dr. Paul and Betty Quie

Elizabeth Buschor

Mrs. Dorothy Alshouse

Beverly L. Hlavac

Mindy Ratner

Sherri Buss

Edwin D. Andersen

Nancy Huart

Rhoda and Paul Redleaf

Joan and Allen Carrier

Beverly S. Anderson

David L. Hunter

Gladys and Roger Reiling

Francis Carter

David and Gretchen Anderson

Ideagroup Mailing Service and

Roger and Elizabeth Ricketts

Elaine and Edwin Challacombe

Karen Robinson

John Chamberlain

Ora Itkin

Mary and Richard Rogers

Colleen Chandler

Veronica Ivans

Tamara Root

Christina Clark

Lydia Artymiw and David Grayson

Paul Jansen

Diane Rosenwald

Elly Clark

Kay and Ron Bach

Carol A. Johnson

Barbara Roy

Deborah K. Clayton

Karen Bachman

Pamela and Kevin Johnson

Donald C. Ryberg

Barbara Cohen

Megen Balda and Jon Kjarum

Mary A. Jones

Dr. Steven Savitt

Roberta Cole

Benjamin and Mary Jane Barnard

Suzanne Kennedy

Noel Schenker

Jonathan Coltz

Carol E. Barnett

Charlyn Kerr

Paul L. Schroeder

Shelby Couch

Roger Battreall

Robert Kieft

A. Truman and Beverly Schwartz

Phyllis Conlin

Carolyn and Kit Bingham

Robin and Gwenn Kirby

Sylvia J. Schwendiman

Irene Coran

Ann-Marie Bjornson

Karen Koepp

Estelle Sell

Margaret H. Cords

Lisa and Rolf Bjornson

Marek Kokoszka

Gale Sharpe

Barbara Cracraft

Dorothy Boen

Judy and Brian Krasnow

Nan C. Shepard

Margaret Dean

Tanya and Alex Braginsky

Larkin Hoffman Daly &

Rebecca and John Shockley

Lisa Daniels

Marilynn and Arthur Skantz

Alma and Donald Derauf

Anonymous (2)

Steve Butler

Mary A. Arneson and Dale E. Hammerschmidt

Barbara Ann Brown

Lindgren Ltd Foundation

Philip and Carolyn Brunelle

David Larson

Darroll and Marie Skilling

Theresa Dixon

Roger F. Burg

Mary and David Lundberg-Johnson

Nance Olson Skoglund

Karen and David Dudley

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SCHUBERT CLUB

An die Musik


Heidi Eales

Fred Knudsen

Dennis and Turid Ormseth

Robert Solotaroff

Katherine and Kent Eklund

Krystal Kohler

Elisabeth Paper

Rosemary W. Soltis

Hilde and John Flynn

Jane and David Kostik

Merrell Peters

Patricia and Arne Sorenson

Lea Foli

Christine Kraft

Dorothy Peterson

Andrea K. Specht

Kenneth Ford

Dave and Linnea Krahn

Hans-Olaf Pfannkuch

Stammtisch Deutsch

Kylie Foss

Jill and Thomas Krick

James L. Phelps

Shirley Friberg

Dawn Kuzma and James Houlding

Jonathan and Mary Preus

Beverly and Norton Stillman

Stan and Di Ann Fure

Elizabeth Lamin

Jo Prouty

Helen Stub

ClĂŠa Galhano

Helen and Tryg Larsen

Benjamin Ratzlaff

Kent Sulem

Celia Gershenson

Karla Larsen

Robert Reilly

Ross Sutter

Sue Gibson and Neill Merck

Kenyon S. Latham, Jr.

Andrea Retterath

Ruthann Swanson

Nanette Goldman

DeeDee Lee

Amanda Richardson

Bruce and Judith Tennebaum

Graciela Gonzalez

Kim Lewis

Ann and Joan Richter

Supiya Thathachary

Deb Griesing

Gary Lidster

Laurence Risser

Mary Theisen

David Griffin and Margie Hogan

Michael Litman

Drs. W.P. and Nancy W. Rodman

David Evan Thomas

Yvonne Grover

Jeff Lotz

Bonnie Rolstad

Bruce and Marilyn Thompson

Thomas Guglielmi

Elizabeth Lukanen

Peter Romig

Keith and Mary Thompson

Katherine Hage

Carol G. Lundquist

Jane Rosemarin

Karen Titrud

Kay and Daniel Halvorsen

Lurie LLP

Steven Rosenberg

Charles and Anna Lisa Tooker

Michelle Hackett

Beatrice Magee

Stewart Rosoff

Rica and Jeffrey Van

Dr. Dan and Kay Halvorsen

Al Maleson

Kurt and Lesley Rusterholz

Louise A. Viste-Ross

Anne Hanley

Kate Maple

Sandra Sandell

Sarah and Thomas Voigt

Eugene and Joyce Haselmann

Karen and James Markert

Mary E. Savina

Karen L. Volk

Alan J. Heider

Jeffrey Masco

Linda Schloff

Nan and Jim Youngerman

Don and Sandralee Henry

David McClung

John Schmidt

Timothy and Carol Wahl

Elizabeth Hinz

Jane E. Mercier and Mark Taylor

Ralph J. Schnorr

Mark Walbran

Kathleen and Lowell Holden

Robert and Greta Michaels

Christine K. Schwab

Helen H. Wang

Marian and Warren Hoffman

Dina and Igor Mikhailenko

Alyssa Scott

William K. Wangensteen

Ken Holmen

Donna Saul Millen

Steve Seltz and Sheryl Widme

E. Wattenberg

Gladys Howell

John W. Miller, Jr.

Marge and Ed Senninger

Betsy Wattenberg and John Wike

Emi Ito

Margaret Mindrum

Kathryn and Jay Severance

Tammie Weinfurtner

Carolyn Jackson

Stacy Minutolo

Anne Paolini Shaw

Cynthia N. Werner

Bernard Jacob

Elizabeth Mishler

Nancy and Ray Shows

Eva and Peter Weyandt

Stephen and Bonnie Johnson

Steven Mittelholtz

Brian and Stella Sick

Victoria Wilgocki and

Tessa and Ryan Jones

Marjorie Moody

Mary and Mark Sigmond

Thomas and Susan Kafka

Ingrid Nelson

Deborah Skinner

Alex and Marguerite Wilson

Shirley Kaplan

Rebecca Njaa

Regina Slindalovsky

Zaw Win

Barbara Kattner

Jonathan O’Conner

Darryl Smith

Kathleen Winters

Susannah Smith

Aaron Wulff

Nancy Sogabe-Engelmayer

Tim Wulling and Marilyn Benson

Dwayne King Pamela E. King

and Eric Schlotterbeck Debbie and John Orenstein

Amerikanisher Club

Lowell Prescott

Eileen Zurek

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

schubert.org

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Memorials and Tributes

In honor of the special birthday of

Richard Geyerman

Dick and Elaine Phillips

In honor of Nathan Pommeranz

Jeanne Baldy

Peg and Liz Glynn and Mary Glynn

Phil Portoghese and Peg Houck

Board Service

Rhoda and Donald Mains

Diane and Mark Gorder

Betty and Paul Quie

Allianz

Kiki and Warren Gore

Judy and David Ranheim

In honor of Kate Cooper

George and Anne Green

Barbara and John Rice

In memory of John Archabal

Joanna Cortright

Sandra and Richard Haines

Bill and Shannon Sadler

Catherine Furry and John Seltz

Dale Hamerschmidt

Saint Anthony Park Home and

Julie and Anders Himmelstrup

A commissioning fund in honor of

and Mary Arneson

John Barker

Julie Himmelstrup’s 80th birthday

Hella Mears Hueg

Shirley and Michael Santoro

(as of September, 2017)

Joan Hershbell

Mary Ellen and Carl Schmider

Beverly Anderson

Anders Himmelstrup

Jon Schumacher and Mary Briggs

Emily Andersen

Lisa Himmelstrup and Dan Liljedahl

Estelle Sell

Nina Archabal

Linda and Jack Hoeschler

Kim Severson and Phil Jemielita

Dominick Argento

Marian and Warren Hoffman

Gloria and Fred Sewell

Marilyn Arny

Dorothy Horns

Emily and Daniel Shapiro

Donald and Claire Aronson

and James Richardson

Cheryl and Barry Kempton Paul D. Olson and Mark L. Baumgartner Barbara and John Rice In memory of Avery and Wally Brookins Carl Brookins

John Shardlow

Lydia Artymiw

Anne and Steve Hunter

Suzanne Asher

David Hunter and Janet Legler

Elizabeth P. Shippee

Ruth and John Huss

Phil Shively

Adrienne Banks

Lucy Jones and James Johnson

Mary and Mark Sigmond

In memory of Dr. John Davis

John Barker

Nancy Jones

Barbara and Bill Sippel

August Rivera Jr.

Carol Barnett

Tessa Retterath Jones

Ann and Wayne Sisel

Lynne and Bruce Beck

Stan Kaufman

Marie and Darrol Skilling

In memory of Knowles Dougherty

Marilyn Benson

Donald and Carol Kelsey

Doug and Kathy Skor

Julie and Anders Himmestrup

Cheryl and Barry Kempton

Harvey Smith

Anders and Judie Bjorling

Lois and Richard King

Conrad Soderholm

Rolf Bjornson

Mary Beth and David Koehler

Ann-Marie Bjornson

Kyle Kossol and Tom Becker

Eileen Stack

Dorothy Boen

Gretchen Kreuter

Norton Stillman

In memory of Jim Frazee

Linda Boss

Karen Kustritz

Cynthia Stokes

Conrad Soderholm

Ted Bowman and

Christine Podas-Larson and

Ann and Jim Stout

and Thomas Ducker

and Thomas Wulling

Marge Grahn-Bowman

Kent Larson

and Marilyn Fritz Shardlow

and Mary Tingerthal

In memory of Clifton W. Burns Dorothea Burns

In memory of Bruce Doughman Julie and Anders Himmestrup

and Mary Tingerthal

Monika Stumpf

Carl and Jean Brookins

Maren J. Leonard

Vern Sutton

In memory of Eric Giere

Ellen and Philip Bruner

Marion and Chris Levy

Barbara Swadburg and James Kurle

Ebner Decker Family

James Callahan

Sarah Lutman and Robert Rudolph

Joyce and John Tester

Beatrice Giere

Alan Carp

Finette and Richard Magnuson

Anthony Thein

Phyllis Casper

Joan O. Mason

David Evan Thomas

In memory of Leon R. Goodrich

Penny and Cecil Chally

Sylvia and John McCallister

Butch Thompson

Megan and Daniel Goodrich

Kate and Dave Cooper

Ann and Steve McCormick

Dee Ann and Kent Crossley

Deborah McKnight

Tom Swain

Mary and Bill Cunningham

Neill Merck and Sue Gibson

Anna Lisa Tooker

In memory of Manuel P. Guerrero

Peter Dahlen and Mary Carlsen

Robert and Greta Michaels

Bonnie and John Treacy

August Rivera

Donald and Inger Dahlin

James and Carol Moller

Mimi Tung

Joy Davis

Marjorie Moody

Clara Ueland and Walter McCarthy

In memory of Mary Brock Hess,

Shirley Decker

Nick Nash and Karen Lundholm

Chuck Ullery and Elsa Nilsson

sister of Beth Villaume

Karyn Diehl

Catherine and Ford Nicholson

David Vincent

Bush Foundation

Rita and David Docter

John B. Noyd

Jay Weiner and Ann Juergens

Ruth Donhowe

John L. Nuechterlein

Mary and Stuart Weitzman

In memory of Donald Kahn

Anna Marie Ettel

Polly O’Brien

Nancy and Ted Weyerhaeuser

Stephen and Hilde Gasiorowicz

Catherine and Gerald Fischer

Christina Ogata

Judy and Paul Woodward

Phyllis Kahn

Mina Fisher and Fritz Nelson

Paul D. Olson

Dr. Lawrence Wilson

Roxana Freese

and Mark Baumgartner

Catherine Furry and John Seltz

Dennis and Turid Ormseth

Dawn and Michael Georgieff

Mary and Terry Patton

36

SCHUBERT CLUB

An die Musik

and Mary Ellen Niedenfuer

Peggy Wolfe Ann Wynia

Katherine Goodrich


In memory of Thomas G. Mairs

In memory of Jeanette

In memory of Jeanne Shepard

Thomas E. Dosdall

Maxwell Rivera

Nan Shepard

Kay and Daniel Halvorsen

August Rivera Jr. In memory of Nancy Shepard

The Knitting Group:

Nan Shepard

Joan Maynard

In memory of Sara Ann Sexton

Paula Devroy

Edwin D. Andersen

Mary Jo Schiavoni

Roberta Cole

In memory of Charlotte Straka

Joan Panepinto

Stan and Di Ann Fure

Suzanne Kennedy

Nancy Hodapp

Katherine Hage

Jean Huxmann

Kathleen and Lowell Holden

In memory of Herb Wright

Lurie LLP

Barbara Kattner

Mary and Bill Cunningham

The Saint Paul Foundation

Dorothy and Roy Mayeske

Julie and Anders Himmelstrup

Andrea K. Specht

Laurence Risser

Vania Stefanova

Jill and John Thompson

Donald C. Ryberg

Nancy and Ted Weyerhaeuser

Helen Stub

Nan and Jim Youngerman

Mary Theisen

Jill and John Thompson

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

schubert.org 651.292.3270

policy or retirement account. Talk to our Development Department about other options.

schubert.org

37


Schubert Club Endowment and Legacy Society

SCHUBERT CLUB ENDOWMENT The Schubert Club Endowment was started in the 1920s. Today, our endowment provides more than one-quarter of our annual budget, allowing us to offer free and affordable performances, education programs, and museum experiences for our community. Several endowment funds have been established to support education and performance programs, including the International Artist Series with special funding by the family of Maud Moon Weyerhaeuser Sanborn in her memory. We thank the following donors who have made commitments to our endowment funds: The Eleanor J. Andersen Scholarship and Education Fund The Rose Anderson Scholarship Fund Edward Brooks, Jr. The Eileen Bigelow Memorial The Helen Blomquist Visiting Artist Fund The Clara and Frieda Claussen Fund Catherine M. Davis The Arlene Didier Scholarship Fund The Elizabeth Dorsey Bequest The Berta C. Eisberg and John F. Eisberg Fund The Helen Memorial Fund “Making melody unto the Lord in her very last moment.” – The MAHADH Fund of HRK Foundation The Julia Herl Education Fund Hella and Bill Hueg/Somerset Foundation 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

38

SCHUBERT CLUB

An die Musik

MUSIC IN THE PARK SERIES FUND OF THE SCHUBERT CLUB ENDOWMENT Music in the Park Series was established by Julie Himmelstrup in 1979. In 2010, Music in the Park Series merged into the Schubert Club and continues as a highly sought-after chamber music series in our community. In celebration of the 35th Anniversary of Music in the Park Series and its founder Julie Himmelstrup in 2014, we created the Music in the Park Series Fund of the Schubert Club Endowment to help ensure long-term stability of the Series. Thank you to Dorothy Mattson and all of the generous contributors who helped start this new fund: Meredith Alden Nina and John Archabal Lydia Artymiw and David Grayson Carol E. Barnett Lynne and Bruce Beck Harlan Boss Foundation Linda L. Boss Jean and Carl Brookins Mary Carlsen and Peter Dahlen Penny and Cecil Chally Don and Inger Dahlin Bernice and Garvin Davenport Adele and Richard Evidon Maryse and David Fan Roxana Freese Gail Froncek Catherine Furry and John Seltz Richard Geyerman Julie and Anders Himmelstrup Cynthia and Russell Hobbie Peg Houck and Philip S. Portoghese Thelma Hunter Lucy Jones and James Johnson Ann Juergens and Jay Weiner Phyllis and Donald Kahn Barry and Cheryl Kempton Marion and Chris Levy Estate of Dorothy Mattson Wendy and Malcolm McLean Marjorie Moody Mary and Terry Patton Donna and James Peter Paul and Betty Quie Barbara and John Rice Shirley and Michael Santoro Mary Ellen and Carl Schmider Sewell Family Foundation Katherine and Douglas Skor Eileen V. Stack Cynthia Stokes Ann and Jim Stout Joyce and John Tester Thrivent Financial Matching Gift Program Clara Ueland and Walter McCarthy

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

THE LEGACY SOCIETY The Legacy Society honors the dedicated patrons who have generously chosen to leave a gift through a will or estate plan. Add your name to the list and leave a lasting legacy of the musical arts for future generations. Anonymous Frances C. Ames* Rose Anderson* Margaret Baxtresser* Mrs. Harvey O. Beek* Helen T. Blomquist* Dr. Lee A. Borah, Jr.* Raymond J. Bradley* James Callahan Lois Knowles Clark* Margaret L. Day* Terry Devitt and Michael Hoffman Harry Drake* James E. Ericksen* Mary Ann Feldman John and Hilde Flynn Salvatore Franco Richard Geyerman Anne and George Green Marion B. Gutsche* Anders and Julie Himmelstrup Thelma Hunter* Lois and Richard King Florence Koch* Judith and Brian Krasnow Dorothy Mattson* Thomas G. Mairs* John McKay Mary Bigelow McMillan Jane Matteson* Elizabeth Musser* Heather Palmer Mary E. Savina Helen McMeen Smith* Eileen Stack Anthony Thein Jill and John Thompson Lee S. and Dorothy N. Whitson* Timothy Wicker and Carolyn Deters Richard A. Zgodava* Joseph Zins and Jo Anne Link *in remembrance

Become a member of The Legacy Society by making a gift in your will or estate plan. For further informatIon, please contact Paul D. Olson at 651.292.3270 or polson@schubert.org


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

Janet Peterson, Finance Manager

Maximillian Carlson, Program & Production Coordinator

Kelsey Norton, Marketing Intern

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

Composer-in-Residence: Reinaldo Moya

Tessa Retterath Jones, Director of Marketing

Schubert Club Museum Interpretive Guides:

Joanna Kirby, Project CHEER Director, Martin Luther King Center

Gabriel Glissmeyer, Hannah Peterson Green, Jessica Johnston,

David Morrison, Graphics Manager & Museum Associate

Katie Johnston, Alan Kolderie, Sherry Ladig, Rachel Olson,

Paul D. Olson, Director of Development

Kirsten Peterson Project CHEER Instructors: Joe Christensen, Omid Farzin Huttar

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

schubert.org

39


FEIN

Spreading the

Good News Great Music

STRINGED INSTRUMENTS

through

Dealers, Repairers and Makers of Violins,Violas, Cellos and Bows Andrew Fein

GREAT INSTRUMENTS

• •

On-Line & On Grand Avenue

Jan Gilbertson, Director of Music Bill Chouinard, Organist

www.FineViolins.com 1850 Grand Ave. / St. Paul, MN 55105 651.228.0783 / 800.347.9172

Choirs of all ages, orchestra and 108-rank Casavant organ at Traditional Worship Award-winning musicians at Contemporary Worship Concerts that feature the SPCO and other premier artists

Mahtomedi, Minnesota saintandrews.org/music | 651.426.3261

We Have Frames No One Else Has. st paul chamber orchestra ad 2.indd 2

8/18/2016

spectacleshop.com


Jeffrey Stirling, Music Director

An Autumn Journey

Potions & Passions

SUNDAY, OCT. 22 •  1PM Landmark Center, St. Paul

SUNDAY, DEC. 3 •  3PM King of Kings Lutheran, Woodbury

Brahms — Symphony No. 3 with music by Adams, Sibelius, Takemitsu, and Rimsky-Korsakov

Wagner — Prelude & Liebestod from “Tristan & Isolde”, plus music by Rautavaara and Nielsen

F R E E A D M I SS I O N   •   S P C S M U S I C .O R G

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South Africa, Camer altics, oon B , , Ko nd a l rea a Ze ,

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2017-2018 Schedule

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Global Windows: How the World Sings Singers in Accord Choral Ensemble featuring guest conductor Dr. Angela Broeker and performances by Cameroon Choir, Mila Vocal Ensemble, and Minnesota Korean Women’s Choir and BeyondUs

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 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

Nov. 11, 7:30 pm • Nov. 12, 4:00 pm Good Samaritan United Methodist Church • Edina Tickets • singersinaccord.org • 612-597-5483 This activity is made possible by the voters of Minnesota through a grant from the Metropolitan Regional Arts Council, thanks to a legislative appropriation from the arts and cultural heritage fund.

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


Richard Lange, D.M.A. Coordinator of Piano Studies Professor of Music

Think. Perform. Worship. Lead.

Paul Wirth, D.M. Artist-in-Residence Gravity-based Piano Technique – DVD

Pamela Sohriakoff, M.M. Adjunct Piano, Worship Leader

SCHOLARSHIP AUDITION DATES

Feb. 3 & 17, 2018 Application deadline, Jan. 3

Sonja Grimes, M.M. Adjunct Class Piano, Student Accompanist Coordinator

unwsp.edu/music | 651-631-5218 | music@unwsp.edu


A Season of Welcome

Welcome the People THE MUSICAL LEGACY OF THE REFORMATION  In this exciting collaboration with one of the world’s finest consort of Renaissance wind instruments, we present works by first-generation Reformation composers Johann Walther, Leonhard Lechner, and Michael Praetorius, as well as our ground-breaking reconstruction of a 1616 royal baptismal mass.

OCT 30

Concordia College

OCT 31

Zumbro Lutheran Church

NOV 2

Calvary Lutheran Church

NOV 3*

Augsburg University Hoversten Chapel

Moorhead | 7:30pm

WITH SPECIAL GUEST

Rochester | 7:00pm

THE RENAISSANCE BAND

Alexandria | 7:00pm

Minneapolis | 7:30pm

NOV 4*

Augsburg University Hoversten Chapel Minneapolis | 7:30pm

NOV 5*

Ordway Center for the Performing Arts Saint Paul | 3:00pm

* Join Artistic Director Jordan Sramek for an enlightening discussion 65 minutes before the performance This production is made possible in part by the John S. and James L. Knight Foundation.

Additional Information and Tickets: ROSEENSEMBLE.ORG | 651.225.4340 This activity is made possible by the voters of Minnesota through the Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund.


Holiday Concerts Merry and Bright

NEW!

Home for the Holidays

A Big, Brassy Christmas with Charles Lazarus* Fri Dec 1 8pm

A Minnesota Orchestra Christmas Thu Dec 21 11am (Coffee Concert) & 7:30pm

Charles Lazarus, trumpet / The Lazarus Brass

A Christmas Oratorio

Sarah Hicks, conductor / Written by Kevin Kling Conceived and directed by Peter Rothstein

Sat Dec 9 8pm Sun Dec 10 2pm (Coffee Concert)

An Evening with George Winston*

Helmuth Rilling, conductor / Minnesota Chorale

Fri Dec 22 8pm

Sarah Hicks, Principal Conductor of Live at Orchestra Hall

* Please note: The Minnesota Orchestra does not perform on this program.

4 CONCERTOS / 6 SYMPHONIES / 8 DAYS

Symphonies No. 2 and 5

A New Year Celebration

Piano Concerto No. 1

Sat Jan 6 & Jan 12 8pm

Sun Dec 31 8:30pm

Osmo Vänskä, conductor / Anthony Ross, cello

(includes post-concert party and countdown to New Year)

Mon Jan 1 2pm (Coffee Concert) Osmo Vänskä, conductor Inon Barnatan, piano / Minnesota Dance Theatre

Symphony No. 3 and Piano Concerto No. 3 Thu Jan 11 11am (Coffee Concert) Osmo Vänskä, conductor / Adam Neiman, piano

Symphony No. 4 Fri Jan 5 8pm

Symphony No. 6

Osmo Vänskä, conductor / Kyle Orth, piano

Sat Jan 13 8pm Sun Jan 14 2pm (Coffee Concert) Osmo Vänskä, conductor / James Ehnes, violin

612-371-5656 PHOTOS Hicks: Travis Anderson Photography

/

minnesotaorchestra.org

/

Orchestra Hall Media Partner:

An die Musik Oct 2 - Nov 9, 2017  

The Schubert Club's program book for October 2 - November 9, 2017. Featuring Andras Schiff, Schubert Ensemble of London, Accordo, Hill House...

An die Musik Oct 2 - Nov 9, 2017  

The Schubert Club's program book for October 2 - November 9, 2017. Featuring Andras Schiff, Schubert Ensemble of London, Accordo, Hill House...

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