An die Musik September 23â€”October 30, 2018
An die Musik
Pronounced “lah RON-dee-nay,” the title means “The Swallow” when translated to English.
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A nostalgic and wistful gem from the composer of La Bohème.
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An die Musik
An die Musik September 23–October 30, 2018
TABLE OF CONTENTS 6 Artistic & Executive Director and President's Welcome 10 Calendar of Events 12 Miró Quartet 16 Accordo
AN DIE MUSIK • TABLE OF CONTENTS
YOU ASKED, WE LISTENED! We hope you enjoy the larger font size in this program book, which has been a common request from our audience members. Please continue to share your feedback with us! Schubert Club Ticket Office: 651.292.3268 • schubert.org/turnback
19 Education Update 20 Hill House Chamber Players 22 Trio con Brio Copenhagen 26 Igor Levit 31 Courtroom Concerts 32 Schubert Club Annual Contributors: Thank you for your generosity and support
Schubert Club 75 West 5th Street, Suite 302 Saint Paul, Minnesota 55102 schubert.org On the cover: Igor Levit; photo: Robbie Lawrence
38 Schubert Club Officers, Board, Staff, and Advisory Circle
Welcome to the Schubert Club
GREETINGS FROM BARRY KEMPTON AND DOROTHY J. HORNS I am looking forward to the coming season with much anticipation. Pianist Igor Levit, recent winner of the Gilmore Artist Award, returns to open our International Artist Series just three years after his memorable Schubert Club debut. His program is a fascinating survey of 19thcentury piano music — both original works and arrangements. The stylish Miró Quartet opens the Julie Himmelstrup Music in the Park Series, and we welcome back Trio con Brio Copenhagen in October. String ensemble Accordo, celebrating its 10th anniversary, performs this season in the elegant new Westminster Hall (at Westminster Presbyterian Church) on Mondays and on Tuesday evenings at Icehouse on Nicollet Avenue. For the very first time in its 137 year history, Schubert Club has a Featured Artist for the season, something we plan to do annually going forward. Our first Featured Artist, Scottish violinist Nicola Benedetti, will be in residence with Schubert Club twice this season: in October and then again in January. Her October visit includes a performance of all three Brahms Violin Sonatas as part of Schubert Club Mix and a violin masterclass. In January, she plays recitals in the International Artist Series with pianist Alexei Grynyuk, and will spend a day coaching and then leading string musicians of Minnesota Youth Symphonies in school performances. A passionate advocate for giving all young people access to music, Nicola embodies the ideal Schubert Club Featured Artist, equally committed to performing on the world’s important concert hall stages and to sharing her passion for music with young people. I hope you all get to experience her extraordinary musical spirit sometime during the coming season.
Barry Kempton Artistic and Executive Director
Many of you in the audience have season tickets to Music in the Park Series, which merged with Schubert Club in 2010. But I bet a lot of you do not know Julie Himmelstrup. You should! Thirty-nine years ago, Julie, a force of nature, more or less single-handedly founded Music in the Park Series to present chamber music in the Twin Cities. Initially presenting local talent, the Series rapidly grew in stature. The finest national and international chamber groups have been presented over the decades. She has been aided and abetted by her wonderfully supportive husband, Anders, and an outstanding team of volunteer workers. How has Julie been able to build a nationally Julie Himmelstrup significant chamber music series in St. Anthony Park? Through her exquisite musical taste, discernment, enthusiasm, and vision, she has become a national force in chamber music. She is a rock star at the annual Chamber Music America Conference in New York! She can spot talent a mile away and has frequently nurtured young artists who want to return time and time again when they have established, prominent careers. Audiences love her because of her musical knowledge, ebullience, and charming post-intermission talks (“settle down.”) Julie retired last spring as artistic director of the series and was named Artistic Director Emerita of Music in the Park Series. In addition, the series has been renamed “the Julie Himmelstrup Music in the Park Series.” You can still find her in the concert halls enjoying the wonderful music we are lucky enough to hear in the Twin Cities. Barry Kempton has taken over the artistic planning duties of Music in the Park Series, so the high standard of concerts will continue.
Dorothy J. Horns Dorothy J. Horns President
September – November 2018
SEPTEMBER 2018 Sun, Sep 23 • 4 PM Music in the Park Series Miró Quartet • St. Anthony Park UCC Music in the Park Series opens with the return of Miró Quartet performing a program of Schumann, Mendelssohn, and Kevin Puts’s third string quartet entitled Credo. Miró Quartet
Calendar of Events
Tue, Oct 2 & Wed, Oct 3 • 10:30 AM KidsJam (for Homeschool Families) Trio Larsson - Strings Across The Ocean • Landmark Center CREATE a magical, mysterious, multi-instrument band with the musicians. LISTEN and LEARN as the trio introduces several stringed instruments in a short concert. PLAY the instruments and strike up your own string band! Tue, Oct 2 • 7:30 PM Schubert Club Mix Nicola Benedetti, violin & Alexei Grynyuk, piano • Aria Scottish violinist, Nicola Benedetti, Schubert Club’s first annual Featured Artist, explores the life of Brahms through the lens of his three violin sonatas. Thu, Oct 4 • 4–8 PM First Thursdays — free Schubert Club Museum stays open until 8 PM for guided tours, live demonstrations, interactive music-making, and more. Sat, Oct 6 • 10:30 AM Sensory-Friendly Family Concert — pay-as-able Trio Larsson (Anders Larsson, Maria Larsson, and Ross Sutter) Sensory-Friendly Family Concerts are inclusive, interactive concerts for families. These events allow audience members to enjoy an enriching concert experience in a sensory-friendly format.
Mon, Oct 8 • 7:30 PM Hill House Chamber Players James J. Hill House Music of Hummel, Bach, Clarke, and Beethoven. Tue, Oct 9 • 7:30 PM Accordo at Icehouse Highlights of Monday night's concert in a casual restaurant/bar music venue.
Photo: Simon Fowler
more info at schubert.org
Mon, Oct 8 • 7:30 PM Accordo Westminster Hall Minnesota's "dream team" of chamber music inaugurates their season titled “schubertiade” with a program featuring Cherubini and Schubert.
Schubert Club’s first annual Featured Artist, Nicola Benedetti
Sun, Oct 14 • 4 PM Music in the Park Series Trio con Brio Copenhagen • St. Anthony Park UCC With a welcome return to the series, Trio con Brio Copenhagen will perform piano trios by Brahms, Beethoven, and Smetana.
CALENDAR OF EVENTS Mon, Oct 15 • 7:30 PM Hill House Chamber Players James J. Hill House A repeat performance of last Monday’s concert.
Photo: Robbie Lawrence
Sun, Oct 28 • 3 PM Arts Partnership Co-Presentation Sphinx Virtuosi: Music Without Borders • Ordway A chamber ensemble comprised of the nation’s top Black and Latinx classical string soloists, the Sphinx Virtuosi returns to Saint Paul after acclaimed performances at the Ordway in 2016 and 2017.
Tue, Oct 30 • 7:30 PM International Artist Series Igor Levit, piano • Ordway Igor Levit, recent recipient of the prestigious Gilmore Artist Award, returns to the series with a program of Bach, Busoni, Schumann, Wagner, and Liszt.
NOVEMBER 2018 Thu, Nov 1 • 4–8 PM First Thursdays — free Schubert Club Museum stays open until 8 PM for guided tours, live demonstrations, interactive music-making, and more. Tue, Nov 6 & Wed, Nov 7 • 10:30 AM KidsJam (for Homeschool Families) Christian Adeti - Tales and Music from West Africa • Landmark Center LEARN the vibrant songs and dances of West Africa. CREATE your own West African instrument and PLAY rhythms together in a lively community gathering! LISTEN to stories of past and present West Africa with themes of change and hope.
Harlem String Quartet
Wed, Nov 7 • 7:30 PM Schubert Club Mix Harlem String Quartet • Summit Beer Hall The Harlem String Quartet brings a program featuring a distinct mixture of classical and jazz-influenced music to Summit Beer Hall.
Photo: Pia Clodi
Sun, Nov 18 • 4 PM Music in the Park Series Alexander Fiterstein and Friends • St. Anthony Park UCC Award-winning clarinetist, Alex Fiterstein, invites friends for a program featuring Mieczyslaw Weinberg’s Clarinet Sonata and Olivier Messiaen’s much-loved Quartet for the End of Time. Christopher Maltman
Thu, Nov 29 • 7:30 PM International Artist Series Christopher Maltman, baritone & Audrey Saint-Gil, piano • Ordway Fresh off of a world tour, as well as a premiere performance at the Met this fall, Christopher Maltman, accompanied by pianist Audrey Saint-Gil, performs a program titled “Carnival of the Animals.” schubert.org
Julie Himmelstrup Music in the Park Series
Sunday, September 23, 2018, 4:00 PM Saint Anthony Park United Church of Christ Pre-concert conversation one hour before the performance
MIRÓ QUARTET Daniel Ching, violin • William Fedkenheuer, violin John Largess, viola • Joshua Gindele, cello
String Quartet No. 1 in A minor, Op. 41 (1842) Introduzione: Andante espressivo – Allegro Scherzo. Presto – Intermezzo Adagio Presto String Quartet No. 3, Credo (2007) Credo I. The Violin Guru of Katonah Credo II. Infrastructure Credo III. Intermezzo: Learning to Dance Credo IV. Infrastructure Credo V. Credo
Robert Schumann (1810–1856)
Kevin Puts (b. 1972)
Intermission String Quartet No. 2 in A minor, Op. 13 (1827) Adagio – Allegro vivace Adagio non lento Intermezzo: Allegretto con moto – Allegro di molto Presto
PLEASE SILENCE ALL ELECTRONIC DEVICES
Felix Mendelssohn-Bartholdy (1809–1847)
MIRÓ QUARTET • MUSIC IN THE PARK SERIES
Photo: David White
Robert Schumann photographed here in 1850
String Quartet No. 1 in A minor, Op. 41 Robert Schumann (b. Zwickau, 1810; d. Endenich, Bonn 1856) Schumann tended to compose works in series. 1838 and 1839 were devoted to piano works poetic and fantastic. 1840 was the “Year of Songs,” celebrating his love for and marriage to Clara Wieck. 1842 was all about chamber music. He wrote six substantial works in as many months, including the Piano Quartet, Piano Quintet, and the Three String Quartets, Opus 41. That year also witnessed the first crisis in the Schumanns’ relationship, as the couple sought to balance Clara’s career as a virtuosa with what Robert considered his “undignified position.” The pair spent six weeks apart as Clara concertized on her own. Robert sought refuge in counterpoint and score study, communing with the spirits of Haydn, Mozart, and Beethoven. Schumann imagined the string quartet as “a by turns beautiful and even abstrusely woven conversation among four people.” In the A-minor Quartet, the abstrusity begins with a melancholy idea which is never heard again. But a fanfare clears the way for the lyrical main theme in F major. That tune nudges beat two, a syncopation that drives the entire movement. F major is an unexpected choice for a work ostensibly in A minor. But not only the first, but the third movement will inhabit that key. The scherzo nods to Mendelssohn, the quartet’s dedicatee, and at a gallop. Its figuration will return— legato—in the slow movement. If the Adagio rings a bell, you may be recalling three key notes from the slow movement of Beethoven’s Ninth Symphony. Schumann winks knowingly. Étude-like figuration abounds in the Finale, where, as in the Piano Quintet, contrapuntal mastery and compelling harmony drive the music inexorably. But wait! A rustic clarity settles on the scene before viola — molto animato — goes dashing through the snow to a joyful finish.
String Quartet No. 3, Credo Kevin Puts (b. 1972) Kevin Puts received the 2012 Pulitzer Prize in Music for his opera Silent Night, which was premiered by Minnesota Opera. Among his many other prizes are a Guggenheim and a Rome Prize. Puts’s music has been conducted by David Zinman and Marin Alsop and performed by Yo-Yo Ma and Renée Fleming. A native of St. Louis, Missouri, Mr. Puts received both his Bachelor’s Degree and his DMA from the Eastman School of Music, and his Master’s Degree from Yale University. He teaches at the Peabody Institute, and directs the Minnesota Orchestra Composer’s Institute. Kevin Puts introduces his work: When Daniel Ching of the Miró Quartet asked me to write a quartet for a program he was planning exploring “the lighter side of America,” I wasn’t sure I could deliver. One day on my weekly commute from New York to teach at the Peabody Conservatory, I noticed as the train pulled into Baltimore the word “BELIEVE” emblazoned across a building. I later learned this was part of a campaign by the city of Baltimore to do something about the fact that ten percent of its population is addicted to either heroin or cocaine. As one who relies little if at all on blind faith, I found this to be a rather alarming approach. On the other hand, sometimes it seems all you can do is believe. In the meantime, I have found solace in the strangest places:
MIRÓ QUARTET • MUSIC IN THE PARK SERIES
... in the workshop of a stringed instrument specialist in Katonah, New York, you can believe nothing in the world matters but the fragile art of violins and violas hanging serenely from the ceiling. He listens chin in hand as his clients play excerpts for him, then goes to work on their instruments with sagelike assuredness. . . ... o n t h e j o g g i n g p a t h a l o n g t h e Monongahela River in Pittsburgh, you encounter above and below you the steel girders, asphalt and railroad ties of infrastructure, an immovable network of towering bridges and highways engineered by some deific intelligence. . . ... from my apartment, I watched in a window across 106th Street a mother teaching her daughter how to dance. I w o u l d l i ke t o t h a n k A m y A n d e r s o n o f Chamber Music Monterey Bay f o r commissioning this piece and for her belief in my work. Credo is dedicated by Lowell Figan to the memory of Janie Figan, tireless environmentalist and devoted lover of chamber music.
Program note by Kevin Puts
An die Musik
String Quartet No. 2 in A minor, Op. 13 Felix Mendelssohn-Bartholdy (b. Hamburg, 1809; d. Leipzig, 1847) Think of your high-school sweetheart. To what lengths did you go to memorialize your affection? Carve initials on a tree? Write a poem? A song? 18-year-old Felix Mendelssohn did the last two, then fashioned a string quartet vessel for his music and lyrics. Composed two years after the astounding Octet for strings, the A-minor Quartet is hardly less impressive. And there are larger issues raised by this second of Mendelssohn’s six complete, mature quartets, making it, as Winston Churchill said of Russia, “a riddle, wrapped in a mystery, inside an enigma.” The summer of 1827 found Mendelssohn in Berlin, where he was studying aesthetics and geography at the University. On June 6 he composed a brief song, “Frage” (Question). “Is it true?” asks the poem. “Speak! Is it true, that you always wait for me by the vine-draped wall? That you consult the moonlight and the little stars about me, too?” When the song was published, its text was attributed to one J.N. Voss, but Mendelssohn’s nephew later revealed that Felix had written both music and words. The first movement of the Quartet in A minor followed on July 28. Later that summer, Mendelssohn made an extended trip through the Harz Mountains to Franconia, Bavaria, Stuttgart, then down the Rhine and back to Berlin. One destination beckoned especially: the village of Wernigerode, where Betty Pistor, a member of the choir Mendelssohn accompanied, was on holiday. “Did the Quartet, which quotes the Lied, symbolize their relationship?” asks Mendelssohn biographer R. Larry Todd. “The idea does not seem far-fetched.”
MIRÓ QUARTET • MUSIC IN THE PARK SERIES
Ferdinand David gave Mendelssohn a copy of Beethoven’s Quartet, Opus 127 for his birthday that year, and the influence of that composer, who had died on March 26, 1827, is a constant presence in this work. The Quartet is ostensibly in A minor — recalling Beethoven’s Opus 132 — but it begins and ends in A major. The listener will hear The Question — “Is it true?” — at the end of the slow introduction. Blustery winds lead to a dotted motive stated by all, but developed as a melody by violin. The second theme follows in E minor, stated again by violin. As the movement ends, the violin seems ready to break into speech. Beethoven’s presence is also felt in the Adagio, which takes its cue from Beethoven’s Cavatina in Opus 130. Mendelssohn develops an elegant fugue in two sections with a breathless interlude. The theme of the A-minor Intermezzo, given by violin against pizzicato strings, clearly echoes that fugue subject. It’s broken up by an airy, shivering
interlude. But with the Presto we are back at the opera, with tremolando strings and “ad libitum” violin recitative arriving eventually at an expressive theme in A minor. The final Adagio gives a full account of the Lied-Question, with its pregnant pauses. Returning to Churchhill’s conceit: the riddle, and perhaps the easiest question to answer, is the meaning of the Lied, “Ist es wahr?” The mystery is the influence of Beethoven. The enigma continues to fascinate composers: how can instrumental music express abstract ideas? To explore that, Mendelssohn would need to invent a new genre, the “song without words.” He would compose 48 of them in the years to come.
Program notes (Schumann, Mendelssohn) © 2018 by David Evan Thomas
A special thanks to the donors who designated their gift to MUSIC IN THE PARK SERIES: INSTITUTIONAL
Arts Touring Fund of Arts Midwest Boss Foundation Greystone Foundation and Walt McCarthy and Clara Ueland Phyllis Kahn Philanthropic Fund of the Jewish Communal Fund Minnesota State Arts Board Saint Anthony Park Community Foundation Saint Anthony Park Home Saint Olaf College Speedy Market Thrivent Financial Matching Gift Program Trillium Foundation
Martha and Renner Anderson Anonymous Nina Archabal Adrienne Banks Lynne and Bruce Beck Carolyn and Kit Bingham Rolf and Lisa Bjornson Linda L. Boss Alan and Ruth Carp Joan and Allen Carrier Penny and Cecil Chally Carol Chomsky and Steven Liss Don and Inger Dahlin Ruth Donhowe Maryse and David Fan Nancy and John Garland Mary, Peg and Liz Glynn Melissa Harl Curt and Helen Hillstrom Anders and Julie Himmelstrup Warren and Marian Hoffman Gladys Howell
Gary M. Johnson and Joan G. Hershbell Ann Juergens and Jay Weiner Chris and Marion Levy Richard and Finette Magnuson Deborah McKnight Marjorie Moody Jack Moran Kathleen Newell Gerald Nolte James and Donna Peter Elizabeth and Roger Ricketts Juliana Rupert Michael and Shirley Santoro Sylvia Schwendiman Dan and Emily Shapiro Wayne and Ann Sisel Marie and Darrol Skilling Kathy and Doug Skor Harvey Smith Robert Solotaroff Eileen V. Stack Cynthia Stokes
John and Joyce Tester Marilyn and Bruce Thompson Linda and Mike Thompson Mary Tingerthal and Conrad Soderholm Timothy Thorson Susan and Robert Ward Judy and Paul Woodword Ann Wynia
Thank you to all those who gave to the new Music in the Park Series Endowment Fund. Please see page 37.
Accordo Schubert Club •
Monday, October 8, 2018, 7:30 PM Westminster Hall at Westminster Presbyterian Church
ACCORDO Steven Copes, violin Rebecca Albers, viola Ronald Thomas, cello
Ruggero Allifranchini, violin Peter Wiley, cello
String Quintet in E minor (1837)
Luigi Cherubini (1760–1842)
Grave assai — Allegro comodo Andante Scherzo: Allegro ma non troppo Finale: Allegro Allifranchini, Copes, Albers, Thomas, Wiley
Intermission String Quintet in C major (1828)
Franz Schubert (1797–1828)
Allegro ma non troppo Adagio Scherzo: Presto. Trio. Andante sostenuto Allegretto Copes, Allifranchini, Albers, Wiley, Thomas
PLEASE SILENCE ALL ELECTRONIC DEVICES String Quintet in E minor Luigi Cherubini (b. Florence, 1760; d. Paris, 1842) Beethoven rarely gave compliments, but an important one was bestowed on Luigi Cherubini, when he declared him “the greatest of my contemporaries.” Unfortunately, history has not been as kind to Cherubini — perhaps unfairly — given that he was an incredibly creative and powerful figure in the Parisian musical world of the early 1800s; a popular composer from Marie Antoinette through Napoleon to the Bourbon Restoration, today hardly a footnote.
Born in Florence and trained exclusively in Italian conservatories, Cherubini made the unfortunate career decision to ply his trade during the period of transition from the Classical to the Romantic era. Public tastes were changing, especially when it came to Cherubini’s style of opera seria, the aristocratic style of 18th-century opera that had been all the rage in Paris for years. And here lies the paradox of Cherubini, who was inherently conservative but obliged to function in an era that was politically and musically revolutionary. This is where
ACCORDO Cherubini proved himself a musical chameleon, with an uncanny knack for reinventing himself when necessary. For example, when his operatic style fell out of fashion, Cherubini turned increasingly to church music, writing seven masses, two requiems, and many shorter pieces. But it was the fallout from the French Revolution that affected Cherubini until the end of his life. Postrevolution politics forced him to hide his old connections to Marie Antoinette and the aristocracy in order to seek a governmental appointment. Even though Napoleon had considered him too complex, Cherubini was for a short time appointed Director of Music in Vienna, conducting several of his major works there. One can imagine Cherubini, who the Viennese considered Paris’ greatest musical export, crossing paths with Beethoven, who might have paid Cherubini a courtesy call (although Beethoven was no paragon of courtesy). One of the first things to settle about Cherubini is what to call him. He had both French (Marie-Louis-CharlesZénobi-Salvador Cherubini) and Italian (Maria Luigi Carlo Zenobio Salvatore Cherubini) names, although the Italian version is preferred nowadays. Perhaps his greatest impact on Parisian musical life was as the director of the Paris Conservatory from 1822 until his death, where he had enormous influence on the training of the next generations of musicians. And that compliment from Beethoven? It went both ways apparently as Cherubini was perhaps the only important composer in France who believed Beethoven to be the greatest genius of his time. As such, he studied and admired Beethoven’s Middle and Late Quartets, which would have informed his chamber music writing in this delightful String Quintet.
String Quintet in C major Franz Schubert (b. Vienna, 1797; d. Vienna, 1828) Historians, whose job it is to illuminate the nuance and detail of the past, must surely cringe at the way human beings often paint historical figures with a simple, broad brush. For example, “George Washington never told a lie,” Abraham Lincoln was “Honest Abe” because he walked six miles to return change to an overcharged customer, Al Gore invented the internet. You get the picture. The full truth, as we know, is always more complicated. Franz Peter Schubert is one of those figures that is treated in the same way. For instance, there is a romantic narrative that Schubert and his buddies spent their days in Viennese coffee houses, sipping espresso and eating strudel while discussing music, art and poetry, and that melodies poured out of him as fast as he could write them down on scraps of paper. There are some grains of truth there — especially earlier in his life — but the reality of Schubert’s last year couldn’t be more different. When he finished his Cello Quintet, one month before he died at 31, he had been suffering terribly from the symptoms of both tuberculosis and advanced syphilis, coupled with heavy bouts of drinking. According to his journal, he endured fevers, terrible headaches, nausea, insomnia, giddiness, and chronic pain. Schubert’s last year really was a living hell, with no medical intervention — such as it was — to help him. In one letter he wrote “Every night when I go to bed, I hope and I pray that I not wake up.”
Yet through it all, he wrote music at a (no pun intended) feverish pace. In his last 11 months, some of the most incredible, sublime music poured out of him, as if he knew his time was running out: the “great” Ninth Symphony, the last three piano sonatas and maybe the best of all, the Cello Quintet. schubert.org
ACCORDO Amazingly, almost none of the music in the quintet reveals the personal hell he was going through, with just a few exceptions.
cadence that is highly irregular in the classical period, leaving a slightly bitter aftertaste, suggesting a tragic resignation to fate.
The Cello Quintet is famous above all for the heavenly Adagio movement (music that Thomas Mann chose to hear on his deathbed) and the first movement’s wistful, nostalgic duet for two cellos. The Adagio music, for example, suggests eternal weariness. One technique Schubert uses to achieves this is to use three static voices to sustain the harmonies in the background over which the melody soars. While listening to this music, bear in mind that players back in the middle 1800s did not use vibrato to color the sound like modern players do. In Schubert’s day, those three non-vibrato voices suggesting weariness would have sounded like three old viols from the 1600s. The Adagio’s trancelike stillness is shattered by the Sturm Und Drang of the “B” section – a disruption that returns again with eerie effect, in the movement’s closing bars.
Days after finishing the Cello Quintet, Schubert, his brother Ferdinand and two friends set off on a three-day walk to visit Haydn’s tomb in Eisenstadt. We can guess that the round trip of more than 50 miles left him exhausted. In his final month, he was still actively composing, in spite of worsening symptoms. He wrote to a friend: “I am ill. I have eaten nothing for 11 days and drunk nothing. I totter feebly and shakily from my chair to my bed and back again.” He died a week later. Schubert never got to hear the Cello Quintet performed and it remained unplayed for 22 years after he died. His publisher had not expressed any interest in it at all, as only Schubert’s songs and piano music were good sellers up to that point.
Yet by and large, the Quintet is in the sunny, joyful key of C major, traditionally one that is a symbol of affirmation. However, in the Finale, which is all energy and optimism, the piece ends with the equivalent of a black storm cloud of doom on the penultimate note, just when you would expect a bright sunny C-major cadence. The final two notes (a half step apart) form a
SPECIAL THANKS TO OUR ACCORDO DONORS PERFORMANCE SPONSORS
Eileen Baumgartner Dorothy J. Horns and James P. Richardson Ruth and John Huss Lucy R. Jones and James E. Johnson Phyllis Kahn
Barbara Amram Beverly S. Anderson Gretchen and David Anderson Dorothy Boen Carol and Michael Bromer Barbara Ann Brown Barbara Cohen Donald and Inger Dahlin Pamela and Stephen Desnick George Ehrenberg Sara and Karl Fiegenschuh John Floberg and Martha Hickner Gerald Foley Patricia Gaarder Nancy and Jack Garland Celia Gershenson Mary Glynn, Peg and Liz Glynn Katherine Goodrich Elly Grace Linda Grothe Michelle Hackett Mary Beth Henderson Elizabeth Hinz
MUSICIAN SPONSORS Susan L. Adamek Richard Allendorf and Paul Markwardt Nina Archabal Mary and Bill Bakeman, in support of Tony Ross James Callahan Sheldon Damberg Melissa Harl, in support of Rebecca Albers Margot McKinney Elizabeth Myers Patricia O’Gorman Susan and William Scott In support of Rebecca Albers Dan and Emily Shapiro
For musicians, this piece is considered to be a kind of sacred, holy relic. Not only is it very satisfying to play emotionally, but it is one of the handful of pieces that we all hungered to play early in our careers or at parties with musician friends back in high school and college. The privilege of playing it again and again as we go through life is one of the reminders of what is great about being a musician. Even on repeated hearings, it reveals deeper musical truths and meaning. It may be a warhorse to some, but it is easy to see why posterity has judged the Cello Quintet to be one of the great works of art, in any medium.
Program notes ©2018 by Michael Adams Brian Horrigan and Amy Levine Kate Hunt and Howard Miller Carol A. Johnson Mary A. Jones Thomas and Susan Kafka Dwayne King Richard and Joan Lentz Mary and Doug Logeland Suzanne Mahmoodi Marsha and Thomas L. Mann Kate Maple Mary and Ron Mattson Dorothy McClung David McClung and Chris Zickrick Nancy McKinley Anne McKinsey Deborah McKnight Barbara Menk John Michel and Berit Midelfort David Miller and Mary Dew James Miner J. Shipley and Helen Newlin Sonja and Lowell Noteboom Paul Ogren
Judy and Scott Olsen Clara and Joseph Osowski Sydney M. Phillips Ann and Joan Richter Dr. Steven Savitt Sylvia Schwendiman Marge and Ed Senninger Gale Sharpe Judith and Bruce Tennebaum Anthony Thein Charles Ullery and Elsa Nilsson Timothy and Carol Wahl Marguerite P. Wilson Debbie and Max Zarling
“Hello! My name is Josephine Richter. I am 12 years old and have been taking piano lessons here for six years.
Everyone has a different personality, and it’s like a puzzle. Each piece is a different part of you. For me, Project CHEER is one of those pieces, and without it, there would be a big hole, or in other words, I wouldn’t be who I am. Mrs. Joanna, my teacher, told me that Project CHEER is her family. I am part of that family. And to be part of that family means everything. When I play the piano I feel inspired, calm, confident, and happy! Thank you!”
Schubert Club is looking forward to celebrating 50 years of Project CHEER this 2018-19 season! As early as 1911, Schubert Club introduced numerous music education programs in Saint Paul neighborhoods as part of the “Schubert Club Music Schools,” meeting the educational needs of those who otherwise would not have the advantages of music tuition. In 1968, Project CHEER (Creative Help through Enrichment and Educational Resources) was launched with its name and focus established by its first director, Prentice Harris. Lessons in piano, violin, and guitar were offered free of charge at the Hallie Q. Brown / Martin Luther King (MLK) Center in Saint Paul’s Rondo neighborhood. Entering her 27th year, Program Director Joanna Kirby, along with her support team of committed music teachers, is an inspiration to young musicians. Project CHEER students in grades 1-12 study piano and/or guitar as well as participate in group musical activities where music literacy is advanced. Approximately 100 students who are not otherwise able to prioritize private music instruction participate weekly in dedicated Project CHEER teaching rooms at the MLK Center, making musical study an important and integral part of their after-school activities. Lessons are 15 minutes long and usually shared between two students. Students are able to take two lessons on each instrument weekly. They are also welcome to practice on extra keyboards before or after their scheduled lessons. Joanna is adored and respected by students, families, and all involved. Many participants are now working with Joanna as second-generation Project CHEER families. Last year, Joanna received a very touching tribute read by one of her students at the spring recital:
Schubert Club truly values the Project CHEER program, our wonderful students, and the exceptional partnership we have enjoyed with Hallie Q. Brown Center these past 50 years. This coming season, we are enthusiastic as we begin a new partnership with the East Side Boys and Girls Club in Saint Paul. Beginning in September, students of the Boys and Girls Club will be able to also participate in music lessons. This Boys and Girls Club is a thriving center with 1700 student members, ages 5-18. Their programs serve an average of 150 youth members daily, 1/3 of them teens, making it one of the largest in the region. We at Schubert Club look forward to another meaningful community collaboration and the fulfillment of seeing more youth and families enriched through the gift of music. Project CHEER is supported by: Patrick and Aimee Butler Family Foundation Alice M. O’Brien Foundation Minnesota State Arts Board
Kate Cooper Director of Education & Museum
Project CHEER: 50 Years of Community Music Lessons – and Growing
Hill House Chamber Players
Mondays, October 8 & 15, 2018, 7:30 PM James J. Hill House Pre-concert conversation at 6:45 PM
HILL HOUSE CHAMBER PLAYERS Julie Ayer, violin • Thomas Turner, viola Tanya Remenikova, cello • Mary Jo Gothmann, piano Three-part Inventions, BWV 787-801 (1720–23)
Piano Trio in E-flat major, Op. 96, No. 7 (1822) Allegro con spirito Andante quasi allegretto Andante alla russa
Johann Sebastian Bach (1685–1750) (arr. Wolfgang Link for String Trio)
Johann Nepomuk Hummel (1778–1837)
Intermission Dumka for violin, viola, and piano (1941)
Rebecca Clarke (1886–1979)
Trio in D major, Op. 70, No. 1, Ghost (1808) Allegro vivace e con brio Largo assai ed espressivo Presto
Ludwig van Beethoven (1770–1827)
Co-sponsored by the Minnesota Historical Society and Schubert Club
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Piano Trio in E-flat major, Op. 96, No. 7 Johann Nepomuk Hummel (b. Bratislava, 1778; d. Weimar, 1837) The “curse” of child prodigism has often proved fatal in music; for every great concert artist you’ve heard of there are probably one hundred more who burned out along the way. Those few who do survive the transition from wunderkind, to become mature, well-rounded musicians deserve special admiration. Such was the case of the remarkable Johann Nepomuk Hummel, who was called the greatest child prodigy since Mozart, a high bar indeed.
Mozart himself would attest to this, as he offered free lessons to the seven-yearold after hearing him play. After just two years of study with Mozart, Hummel made his first concert appearance at the age of nine, followed by his first European tour! He matured into a triple-threat musician: a n o t a b l e c o m p o s e r, a l e g e n d a r y performer and a respected teacher. Onstage, he was a dazzling player who was regarded as Europe’s leading pianist for more than two decades. Hummel is also credited with establishing European copyrights for composers.
HILL HOUSE CHAMBER PLAYERS Hummel’s music is an important link between the Classical and Romantic periods and his most important pieces are his piano works, all written with a virtuosic flair that was well suited to the light Viennese piano action of his day: nine sonatas, six concerti and seven wonderful piano trios. While his works are the very model of Classical period elegance, restraint, and refinement, they often lack the emotional depth and coherence seen in the works of Hummel’s great rival, Beethoven, with whom he managed an awkward friendship (he was a pallbearer at Beethoven’s funeral). Hummel succeeded Haydn as Kapellmeister to Prince Esterházy, a major post that he held for seven years before resuming the life of a touring virtuoso. He later held major positions as Kapellmeister at both Stuttgart and Weimar. As this fine piano trio will illustrate, Hummel has been unduly neglected given his obvious gifts and historical significance.
Dumka for violin, viola, and piano Rebecca Clarke (b. London, 1886; d. New York City, 1979) The viola has hardly had a more persuasive advocate than Rebecca Clarke, the English composer and violist known for her chamber music featuring her instrument. She was a highly respected performer, a skill that came in handy quite early, after being disowned by her father, whose Victorian-era cruelty is described in her memoir. Without financial support, she was forced to leave the Royal College of Music and supported herself through her viola playing. Clarke became one of the first female musicians invited to join a professional (and formerly all-male) ensemble, when Henry Wood admitted her to the Queen’s Hall Orchestra in 1912. Although her catalog of works is quite slim, all are of a uniformly high quality. Clarke came to America in 1916 where she attracted immediate attention. Her gender made her exotic — proper young ladies did not become professional musicians then — but it was her music that garnered the most respect, after twice placing second in a prestigious competition sponsored by arts patron Elizabeth Sprague Coolidge.
A “Dumka” is a lament, related to a Ukrainian epic ballad form, that suggests weariness and melancholy, a form commonly used by Dvořak and others to write music that seems to feel sorry for itself. Clarke’s notes also make reference to Dumka as a “duo concertante for violin, viola, and piano,” which accurately describes the viola and clarinet as the two main protagonists. Written around 1940, it looks both forward and back, by foreshadowing her lean, linear, modern works to come, and by paying homage to older styles, forms and composers. Listen for a strain from the gypsy-rondo finale of Brahms’ G-minor Piano Quartet, Op. 25, which echoes throughout the opening pages and is heard again in the piece’s remarkable conclusion.
Trio in D major, Op. 70, No. 1, Ghost Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827) Much of Beethoven’s music during his “middle” period is marked by alternating moods of optimism and despair. You’ll hear both of those traits throughout his Ghost piano trio, as it falls squarely in that period. Beethoven’s letters from that time offer some clues as to what was going on in his mind. He was 38 and coming to grips with the reality of his permanent deafness. Thinking his career as a composer might be over, Beethoven gradually realized that he was able to compose in spite of his handicap. One can hear this struggle played out in the music, an alternating duality of despair and triumph, as he realizes that his life as a musician will still have meaning, despite the huge burden he bears. The “ghost” moniker for this trio comes from the second movement. Beethoven originally planned to do an opera based on Shakespeare’s Macbeth, which he never finished, but he sketched music for a witch’s scene that he incorporated into the Trio. He creates a spooky atmosphere of tension and suspense in the opening, with a mood of general despair permeating the whole movement. And what a contrast the last movement becomes; you can almost sense the relief and serenity that one might feel after surviving a near disaster. It’s all bright spirits and warm sunshine, a fitting capstone to a gem of a work from one of Beethoven’s most fertile periods.
Program notes ©2018 by Michael Adams
Julie Himmelstrup Music in the Park Series
Sunday, October 14, 2018, 4:00 PM Saint Anthony Park United Church of Christ Pre-concert conversation one hour before the performance
TRIO CON BRIO COPENHAGEN Soo-Jin Hong, violin Soo-Kyung Hong, cello Jens Elvekjaer, piano Trio in D major, Op. 70 No. 1 Ghost (1808)
Ludwig van Beethoven (1770–1827)
Allegro vivace e con brio Largo assai ed espressivo Presto Trio in G minor, Op. 15 (1855)
Bedřich Smetana (1824–1884)
Moderato assai Allegro, ma non agitato—Andante—Maestoso Finale: Presto
Intermission Trio No. 1 in B major, Op. 8 (1854, rev. 1889)
Johannes Brahms (1833–1897)
Allegro con brio Scherzo: Allegro molto Adagio Allegro
The Trio con Brio Copenhagen appears by arrangement of Marianne Schmocker Artists International, USA
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Photo: Nikolaj Lund
Trio. They were enormously honoured that Per Norgard dedicated to them a new piece celebrating his 80th birthday in 2012. In January 2016 the trio presented the world premiere of Bent Sorensen’s Triple Concerto with the Danish National Orchestra, a work that won the prestigious Grawemeyer Award. They premiered Sven-David Sandstroem’s Triple Concerto, a work that marks his 70th birthday.
Trio con Brio Copenhagen
TRIO CON BRIO COPENHAGEN Acknowledged as one of the finest piano trios in the world, the Trio con Brio Copenhagen is about to enter a banner year: 2019 will mark their twentieth anniversary. For a group that views each new year as a call to deepen and enrich their interpretations, it seems a fitting time to take their measure of one of the supreme journeys a piano trio can take; starting in May 2018, Orchid Classics will be releasing their multi-volume traversal of the complete Beethoven Piano Trios. The Trio was born out of an idea of the coming together of “musical pairs” of the two Korean-born sisters, Soo-Kyung Hong (cello) and Soo-Jin Hong (violin), with Soo-Kyung and her husband, Danish pianist Jens Elvekjaer. They quickly gained a reputation for their fresh and contemporary approach to the core repertoire. “Works by Beethoven, Schubert, and Brahms are transformed in their hands into the alive-and-kicking music of today,” said Danish Broadcasting’s Esben Tange. Winning almost all of the major competitions for piano trio including the ARD (Munich), Vittorio Gui (Florence), Trondheim Competition (Norway), KalichsteinLaredo-Robinson (USA), Allianz Prize (Germany), and the prestigious “P2 Artists Prize” (Denmark), they are regularly heard at the world’s leading venues and concert series. Among these, Carnegie Hall, Lincoln Center, Wigmore Hall, Berlin Pierre BoulezSaal, Concertgebouw, Elphilharmonie Hamburg, Seoul Arts Centre, Louvre Paris, and of course their beloved “home venues,” the Royal Library and the Tivoli Concert Hall, in Copenhagen. Trio con Brio Copenhagen plays a central role in Scandinavia’s vibrant contemporary music scene. Leading composers have dedicated works to the
Reviews are fulsome. “One of the greatest performances of chamber music I’ve ever encountered,” praised American Record Guide. Gramophone wrote, “Superb . . . Any group would be hard-pressed to imitate this blend of verve and poise . . .” Their Mendelssohn album was chosen by the UK’s Classic FM as the Best Chamber Music Disc of the year: “Every phrase soars and pulsates with the excitement of a fresh discovery as the Copenhagen players go the full distance with playing of skin-rippling sensitivity . . . sensational playing . . .” Their Tchaikovsky and Smetana recording was hailed by The Guardian, “. . . Trio con Brio Copenhagen scale Tchaikovsky’s heights with the verve their name suggests . . .” The Trio are artistic directors of the Copenhagen Chamber Music Festival, the Chamber Music Festival on Lundsgaard Estate in Kerteminde and the Hellerup Chamber Music Society in Copenhagen. Soo-Jin plays an Andrea Guarneri violin, Soo-Kyung plays a Grancino cello, and Jens is Denmark’s first Steinway Artist. Both string players are endorsed by Jagar Strings and Thomastik-Infeld Vienna. Twenty years is a milestone in any ensemble and, says Jens Elvekjaer, they all knew right from the start that they would find their musical identities as a piano trio: “There is something about the configuration of a trio, about that triangle, that somehow focuses and amplifies the special understanding that we all have as people and as musicians. It is both a freedom and a fulfillment.”
Ludwig van Beethoven schubert.org
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PROGRAM NOTES Trio in D major, Op. 70, No. 1, Ghost Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827) Supported by the patronage of Prince Lichnowsky in the early 1800s, Beethoven was free to devote himself to the Muse, to grand projects like the opera Fidelio and a series of symphonies culminating in the Fifth and Sinfonia pastorale. But the stipend ended in 1806 or 1807, when the Prince’s caprices overtaxed the composer. Enter the Countess Erdödy, the dedicatee of the two trios, Opus 70. While probably not a romantic interest, the Countess took Beethoven in, advised him on business affairs and was close enough to be called his Beichtvater (father confessor). Composed in 1808, the trios were first performed at the Erdödy residence with Beethoven at the piano. Seldom has a nickname been so misleading. The Allegro vivace of Opus 70, No. 1 thrusts upward con brio at Eroica tempo — not quite one to the bar. The energy comes from the dum-chuck-a-dum rhythm, the power from the two-beat pattern that confuses the sense of meter. In the fifth measure the ascent is arrested by a held F, foreshadowing things to come. A little dolce idea provides much of the material for development. We are transported to the shadow world of D minor for the Largo, the heart of the work. The “Ghost” moniker — not Beethoven’s — is entirely apt here, for the pulse here is barely palpable and deathly slow. At this tempo, a quarter-note lasts nearly four seconds! Trills usually are played to the upper note, but here Beethoven reimagines the trill for the underworld, to the lower neighbor. Three spectral plucked notes end the movement. The sparkling and witty Presto restores the patient to life, as Maynard Solomon writes, “in a sweeping ascent from the depths of inwardness.”
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Bedřich Smetana circa 1878
Trio in G minor, Op. 15 Bedřich Smetana (b. Litomyšl, 1824; d. Prague, 1884) The Trio in G minor was born of nearly incomprehensible tragedy: three of Smetana’s young daughters died in the years 1854–56. The loss of “Fritzi,” his oldest daughter, was especially keen. “Of all his children,” writes Smetana biographer Brian Large, “she, a talented girl who could speak German at the age of two, sing with good intonation at three, and play simple pieces on the piano at four, was his favorite.” Chromaticism, the appearance of accidentals foreign to the scale of the prevailing key (e.g. C-sharp in the key of C), has always heightened emotion in music. In the opening soliloquy of the Trio in G minor, chromaticism has the effect of deep sorrow, and the raw quality of the violin’s open G string, the leaps from low register to high, the throbbing piano chords, all intensify the sense of grief. This is chamber music that holds nothing back. What a striking contrast then, the placid second theme for cello! And Smetana gives the piano space to breathe, calling to mind a contemporary account of his piano playing: “Smetana did not have a heavy hand, but a delicate, crystalline touch wedded to the bravura of Thalberg and the gentle poetry of Clara Schumann.” Combining aspects of slow movement and scherzo, Smetana presents a five-part middle movement with two contrasting Trios, called here “Alternativo.” The first sighs wistfully, the second is bold and noble in fortissimo. The Finale alternates two distinct ideas: trotting music drawn from Smetana’s 1846 Piano Sonata and a melting cello melody.
TRIO CON BRIO COPENHAGEN • MUSIC IN THE PARK SERIES suggests Sams, was to remove some of the more obvious themes and quotations, “telling no tales, betraying no secrets.”
Trio No. 1 in B major, Op. 8 Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1897) Brahms was riding a great wave in early 1854. At the age of 21, he had been discovered by Robert Schumann, one of the leading musicians in Germany. The previous October, Schumann had proclaimed him a “young eagle” in the pages of his New Music Magazine. “[Brahms] had prepared seven works for publication and was just putting the finishing touches on his Piano Trio in B major, Opus 8, when the thunderbolt struck,” writes Styra Avins in Brahms: Life and Letters. The thunderbolt was the news that Schumann had attempted suicide on February 27. Brahms rushed to Düsseldorf from his parents’ home in Hamburg when he heard the news. After releasing the B-major Trio as his first published chamber work, Avins notes, “there was silence for almost six years.” This Trio No. 1, Opus 8 could as well be called the Trio No. 4, Opus 111. 35 years after its first publication, Simrock bought the rights to the work. Brahms “revised” it — so completely reimagined it that the second version, the one heard today, is quite a different piece. The 1854 version of the Trio, with its allusions to songs by Schubert and Beethoven, has given rise to speculation. Eric Sams has identified hidden references to Schumann’s wife, Clara, suggesting that “the literary theme of the triangle became the musical themes of the 1854 trio.” ”What Brahms has done in his later version,” observes Donald Tovey, “is to take the broad openings of the first movement and finale and to use them as the openings of movements otherwise new: different in sentiment, in theme, in form, and, above all, in sense of movement.” There are other changes. The Scherzo is mostly intact, but the coda gets a bob. The sublime opening of the Adagio stands but the central episode is new. One reason for the revision,
Piano then cello open with two broad and expansive phrases, the second repeated. Notice the three ascending stepwise notes, which will be worked throughout the movement. Violin joins and leads to a climax. This much is unchanged from 1854. Clouds and thunder mark the transition, which adds mounting triplets. The second theme falls gently through a minor triad, stressing offbeats and effectively moving the bar-line by a beat, a favorite Brahms device. The closing theme introduces a lower-neighbor idea in staccato triplets. The recapitulation is a marvel: because the main theme and its tonic harmony don’t arrive at same time, it’s underway before you know it. Hunting horns sound throughout the furtive Scherzo and there are gremlins in the forest. Over this volatile music, a wheedling tune is heard that develops into the gemütlich Trio, swaying like a tipsy woodman. At the climax, writes Tovey, “the three instruments, finding themselves able to blaze away in the grandest style of a Viennese waltz-band, do so without the smallest scruple.” The last violin note of the Scherzo becomes the piano’s first note of the Adagio. The texture of this B-major movement is unlike anything else in chamber music: clear twilight reflected in the water, with strings an island suspended between. The nervy start of the final Allegro is searching and unpromising. But it sets up a strong second theme. Piano shouts “I’ve found it!” and describes a noble, triadic arch in D major. But the work that began in B major ends, inscrutably, in the parallel minor. “With what childish amusement I while away the beautiful summer days you will never guess,” wrote Brahms to Clara Schumann from Bad Ischl in 1889. “I have rewritten my B major Trio. It will not be so wild as it was before — but whether it will be better . . .?” Program notes © 2018 by David Evan Thomas
Maud Moon Weyerhaeuser Sanborn International Artist Series
Tuesday, October 30, 2018, 7:30 PM Ordway Concert Hall Pre-concert lecture one hour before the performance with Mark Mazullo
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This concert is dedicated in honor of Catherine and John Neimeyer by Nancy and Ted Weyerhaeuser.
Chaconne in D minor, after Partita for violin, BWV 1004 (1720) Johann Sebastian Bach (1685–1750) arr. Brahms
Fantasia after J.S. Bach, BV 253 (1909)
Ferruccio Busoni (1866–1924)
Theme with Variations in E-flat, WoO 24, Ghost Variations (1854) Robert Schumann (1810–1856)
Solemn March to the Holy Grail, from Parsifal, S. 450 (1882) Richard Wagner (1813–1883) arr. Liszt Fantasy and Fugue on the Chorale Ad nos, ad salutarem undam (1850) Franz Liszt (1811–1886) arr. Busoni
PLEASE SILENCE ALL ELECTRONIC DEVICES Mr. Levit’s worldwide representation: Kristin Schuster, IMG Artists LLC Mr. Levit records exclusively for Sony Classical International
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Liszt and Busoni were among the greatest masters of the piano, and in the era before recorded sound they freely transcribed and arranged music for the concert stage. Some of the works on this program of tributes and variations, like Brahms’ version of a familiar Bach showpiece, or Busoni’s arrangement of an imposing organ work are transcriptions. Liszt’s treatment of Wagner is a paraphrase, a term coined by Liszt himself. Scholar Alan Walker explains the difference: “Transcription is strict, literal, objective. It seeks to unfold the original work as accurately as possible, down to the smallest detail. A Paraphrase is a free variation on the original. Its purpose is metamorphosis. It can embrace the entire act of an opera, mixing and mingling the material en route.” At different times in this program, the piano becomes a violin, a cathedral organ, even an assembly of knights massing for Communion.
In 1877, Brahms was working on his Violin Concerto in close cooperation with violinist Joseph Joachim. Joachim was the one responsible for bringing Bach’s Chaconne into the concert repertory, and Brahms must have heard his friend play it often. That June, Brahms wrote to Clara Schumann from Pörtschach, where he was vacationing: “The Chaconne is for me one of the most wonderful, incomprehensible pieces of music. On a single staff, for a small instrument, the man writes a whole world of the deepest thoughts and the most powerful feelings. The piece provokes one to become involved with it in all possible ways. In one way only, I find, can I devise for myself a greatly diminished but comparable and absolutely pure enjoyment of the work—when I play it with the left hand alone! The similar difficulties, the type of technique, the arpeggios, they all combine—to make me feel like a violinist! “ Concertgoers often hear the Chaconne in a grand and sonorous arrangement by Busoni. Brahms’ treatment is different—it’s for the left hand alone, one of five études for piano he published based on the music of other composers. As it happened, Brahms sent the “étude” to Clara just as she had injured her right hand.
Johann Sebastian Bach
Chaconne in D minor, after Partita for violin, BWV 1004 Johann Sebastian Bach (b. Eisenach, 1685; d. Leipzig, 1750)
The first thing to note is that the music begins on beat two, a reflection of the Chaconne’s bond with the sarabande. The next thing is the jerky “dotted” rhythms characteristic of the dance. Then how each variation develops unique features, and how the momentum snowballs! Halfway through, Bach summarizes—and pauses. Sun-lit major mode brings affirmation and renewal, and even a return to the minor feels conclusive and satisfying.
By far the grandest movement in Bach’s Sonatas and Partitas is the Chaconne that caps Partita No. 2. A chaconne is a set of variations on a bass line. From its roots in sixteenth-century Latin America as a lively triple-time dance, it was carried back to the Old World, where it became a favorite vehicle for improvisation from Spain to the northern countries. Brahms was one of the most historically informed composers of his day. He edited the works of C.P.E. Bach, W.F. Bach, and François Couperin for publication and he counted the eminent musicologists Phillip Spitta and Friedrich Chrysander among his friends. Brahms served on the editorial board of the monumental 46-volume Bach-Gesellschaft edition and was a subscriber as well.
IGOR LEVIT • INTERNATIONAL ARTIST SERIES Fantasia after J.S. Bach, BV 253 Ferruccio Busoni (b. Empoli, 1866; d. Berlin, 1924) J. S. Bach needs no introduction, but Ferruccio Busoni may. Busoni’s father, a clarinetist, was so convinced of his son’s destiny that he named him Ferruccio-Dante-Michelangelo-Benvenuto. The boy played Mozart’s C-minor Concerto at seven and his first full recital at nine. But through a peripatetic childhood, he received only a scattershot education, studying for a time in Vienna and Leipzig. It was his early exposure to the music of Bach that set him on a path of selfeducation aided by distinguished friends like Delius, Mahler and Sibelius. By 1897, around the time he arranged Bach’s monumental Chaconne, he had lived in Helsinki, St. Petersburg and New York City and finally settled in Berlin, where he was acknowledged as a leading piano virtuoso. Recording was in its infancy, and transcriptions in concert performance were the means by which much music was experienced. Busoni’s recitals often included one of his many Bach transcriptions, which were published in a deluxe seven-volume edition during Busoni’s lifetime. Busoni’s name became so inseparable from Bach’s that Busoni’s wife, during a stay in New York, was often addressed as “Mrs. Bach Busoni.” As Busoni-the-pianist fades from memory, one still encounters Busoni-the-arranger in concert, but hearing Busoni’s own music on a program is less common. The Fantasia after J.S. Bach was composed in three days, May 10–12, 1909. It is dedicated to the composer’s father, who had just died. “The piece dedicated to the memory of Babbo is written from the heart,” wrote Busoni to his mother, “and all those who have heard it were moved to tears, without knowing its intimate destination.” Antony Beaumont, in his biography of Busoni, calls it a significant work in a new compositional category, the Nachdichtung, a German word Beaumont translates as “a reconstruction of an original text in another language or style.” In the first of seven sections, Beaumont tells us, “the progressions of the whole piece, from profound grief to reconciliation, are briefly exposed.” Over arpeggiation, three repeated notes sound a tolling “death motive.” Busoni would later associate this idea with the death of Faust in his unfinished opera, Doktor Faust. Three chorale 26
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treatments by J.S. Bach figure more or less literally in the development. The chorale partita, “Christ, You are the Bright Day,” BWV 766 is quoted “as if stuttering and interrupted by sighs, in the language of a soul begging for consolation,” in Busoni’s own words. Briefly the familiar Christmas tune “In dulci jubilo” is reorganized and expanded. Finally, we hear “Praise to the Almighty God,” from the Orgelbüchlein. The introduction returns in bell-like arpeggios marked “Reconciliato” and “Pax Ei!” The premiere of the Fantasia took place on October 10, 1909 in London’s Bechstein (now Wigmore) Hall in a program of transcriptions, of Bach, Beethoven, Paganini, and Liszt. The critic at that concert observed: “The piano was used to interpret and translate, not merely to reproduce.”
Theme with Variations in E-flat, WoO 24 Ghost Variations Robert Schumann (b. Zwickau, 1810; d. Endenich, Bonn 1856) The so-called “Ghost Variations” are Robert Schumann’s final work, composed in the weeks before his attempt to drown himself in the Rhine on February 27, 1854. Ruppert Becker, the new concertmaster of the Düsseldorf orchestra, visited Schumann on February 24: “During the hour I spent with him he spoke quite rationally, except when he told me that the spirit of Franz Schubert had sent him a wonderful melody that he had written down and on which he had composed variations.” But the very next day, as biographer John Daverio tells us, “the angelic voices had become the voices of demons, ‘tigers and hyenas’ who sang ‘hideous music’ and threatened to ‘hurl him into hell.’” Incredibly, on the day after his suicide attempt, Schumann sat down and wrote out a fair copy of the Geistervariationen.
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Richard Wagner with his son, Siegfried, photographed in 1880 The asylum where Schumann spent his last years, immediately after writing Ghost Variations
Solemn March to the Holy Grail from Parsifal, S. 450 Richard Wagner, arr. Franz Liszt (b. Leipzig, 1813; d. Venice 1883) The theme is marked “Leise”—softly or gently— and “innig,” a favorite marking of Schumann’s that means introspective. Note that it begins with an upbeat. The first half of the theme is rather more active than the second, which seems to expand in thought. There are five variations. In the first, a warbling inner line decorates the melody. The second is marked “Canonisch”; in this case, the left hand plays the melody an octave lower and a beat later than the right. The melody stays in the left hand for the next, faster variation. There’s a simple treatment in minor mode before the final variation, which sounds like a flowing river with swirling undercurrents. The work is dedicated to Robert’s wife, Clara, who was five months pregnant with their last child. Clara Schumann, the most prominent classical pianist of her time, guarded the works of her husband’s last years — and his reputation — carefully. It is now agreed that the probable cause of Schumann’s insanity was tertiary syphilis, but that was not known at the time. The Variations were not included in the Schumann Complete Edition and were not published until 1939. But they were well known to family and friends. Johannes Brahms treated the theme in his Variations on a Theme of Robert Schumann, Opus 23, for piano duet, a work that deserves to be better known. That piece is dedicated to Julie Schumann, the third Schumann daughter. In that touching work, Robert’s daughter is able to muse on his last music in the company of one who loved the entire family.
Parsifal was Wagner’s last opera, and in his mind it was less an opera than a “Festival Play for the Consecration of the Stage.” It was produced at Bayreuth in 1882, and Liszt’s paraphrase, his last Wagner homage, dates from that year. Because performance of Parsifal was reserved exclusively for Bayreuth until 1903, Liszt’s treatment would have made the music available to a wider audience. The opera takes place near the Castle of Monsalvat in the mountains of Spain. In the second scene of Act I, the Knights of the Holy Grail are preparing for Communion. As the Holy Grail—the chalice that holds the blood of Christ— is uncovered, it casts its glow about the hall. Wagner achieves unprecedented unity of word and tone by representing ideas through carefully fashioned leading-motives (Leitmotifs), musical ideas that represent a character, a place, or any specific ingredient in the drama. From Wagner’s many Leitmotifs, Liszt highlights four in his paraphrase: • The bells of Monsalvat call the pilgrims to worship. • A flowing theme accompanies the procession of The Knights of the Grail. • After a silence, a choir sings of The holy fool, made wise through pity. • In three increasingly grand statements, the “Dresden Amen” embodies The Grail itself.
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Franz Liszt photographed here in March of 1886, four months before his death
Fantasy and Fugue on the Chorale Ad nos, ad salutarem undam Franz Liszt, arr. Busoni (b. Raiding, 1811; d. Bayreuth, 1886) Busoni’s arrangement of Liszt’s Fantasy and Fugue on “Ad nos, ad salutarem undam” is the last link in a collaborative chain joining at least four composers of different eras. But if you had assumed — as did I — that the “chorale” has its source in plainchant, you’d be mistaken. The tangled sources of this first and grandest of Liszt’s organ works are as contradictory as Liszt the pianist-composermatinee idol-Abbé himself. The tune comes, not from the Roman Catholic liturgy, but from Giacomo Meyerbeer’s 1849 opera Le prophète, a work about John of Leiden and the Anabaptist uprising in 16th-century Holland. Meyerbeer was the most frequently performed opera composer of the nineteenth century, the composer of such hits as Robert le diable, Les Huguenots and L’africaine. He was considerably admired by Wagner early on, but his star has since set, though Le prophète has been performed by the Metropolitan Opera a hundred times, as recently as 1979. In Act I, Scene 2, three Anabaptist preachers sing “To us, to the saving waters, come again, o ye miserable people,” to a tune that unifies the act. Meyerbeer drew on his Jewish roots for the melody, one he had often heard as a boy, sung by the cantor in his wealthy uncle’s private synagogue. He must have enjoyed the irony of placing a Jewish melody in the mouths of Anabaptists in an opera about religious freedom!
Liszt, who had retired from touring at the age of 35, took up the position of Kapellmeister-inExtraordinary at the Weimar Court in 1848. It was only natural that he would be drawn to the music — and the instrument — of one of Weimar’s former luminaries, J.S. Bach. In transcribing six of Bach’s organ works for the piano, Liszt learned a lot about the organ. And in writing the “Ad nos” Fantasy he brought the organ into a concert setting. Liszt’s work unfolds as a three-section fantasy. A brilliant Toccata features roiling passagework and chromaticism that revels in instability. The Adagio moves the theme to Liszt’s “divine” key of F-sharp major. The Fugue dances a devilish mazurka. Meyerbeer cozied up to Liszt in a letter: “How happy I am that one of my songs impresses you as worthy to be used as a motif for one of your piano compositions, destined to be heard throughout Europe and intoxicate those who have the good fortune to hear them played by your wonderful, poetic fingers.” The “Ad nos” Fantasy was premiered by Liszt’s pupil Alexander Winterberger in 1855 at the dedication of the new four-manual organ in Merseburg, Germany, the world’s largest at the time. Busoni’s transcription tightens the structure while keeping the essence of the music. In the final bars, transcendent roulades compose out the organ’s inimitable ability to sustain. Program Notes © 2018 by David Evan Thomas
OCTOBER COURTROOM CONCERTS Thursday, October 11, 2018, Noon
Elkina Sisters, piano duo Sonata for Two Pianos in D Major, K.448 (1781) Allegro con spirito • Andante • Allegro molto
Wolfgang Amadeus Mozart (1756–1791)
Three Movements from Petrouchka (1911) Russian Dance • Petrouchka’s Room • The Shrovetide Fair I Got Rhythm Variations for Piano and Orchestra (1930)
Thursday, October 18, 2018, Noon
Igor Stravinsky (1882–1971) George Gershwin (1898–1937)
Ray Shows, violin; John Jensen, piano Sonata No. 4 in A minor, Op. 23 (1801) Ludwig van Beethoven (1770–1827) Presto • Andante scherzoso, più allegretto • Allegro molto Sonata No. 5 in F major, Op. 24, Spring (1801) Allegro • Adagio molto espressivo • Scherzo: Allegro molto • Rondo: Allegro ma non troppo
Thursday, October 25, 2018, Noon
I. Music of David Evan Thomas
Carrie Vecchione, oboe; Sarah Schmalenberger, horn; Gail Olszewski, piano Trio da camera (2017) Allegro rustico • Largo solennelle • Allegro amabile
David Evan Thomas (b. 1958)
II. Music of Linda Kachelmeier
Maria Jette, soprano & Ann DuHamel, piano From the Valley of the Wheat (selections) (2018) I. Among the Pines • IV. October Song • V. Springtide of the Soul I Give Voice to My Mother (2011) I. Inside a Gift (Prologue) • II. A Healing • III. Song • IV. Hands V. Cadence • VI. Some Mornings (Benediction)
Linda Kachelmeier (b. 1965) Kachelmeier
Upcoming Courtroom Concert Dates All performances in the Landmark Center
Thu, Nov 1st • Noon Madeline Island Chamber Music
Thu, Nov 8th • Noon I. Stephanie Arado, violin; Ora Itkin, piano II. Krista Costin, mezzo-soprano; Matthew Mindeman, viola; Steve Swanson, piano
Thu, Nov 15th • Noon Mark Mazullo, piano
Schubert Club Annual Contributors Thank you for your generosity and support AMBASSADOR $20,000 AND ABOVE
Patrick and Aimee Butler Family Foundation Rosemary and David Good Family Foundation Anna M. Heilmaier Charitable Foundation Lucy R. Jones and James E. Johnson Art and Martha Kaemmer Fund of HRK Foundation The McKnight Foundation Minnesota State Arts Board Gilman and Marge Ordway Target Foundation
Craig Aase through a grant of Public Welfare Foundation Suzanne Ammerman Arts Midwest Touring Fund James and Karen Ashe Paul Aslanian Eileen M. Baumgartner Lynne and Bruce Beck The Burnham Foundation James Callahan Cecil and Penny Chally Alexis and Michael Christie Dee Ann and Kent Crossley Dorsey & Whitney Foundation Joan R. Duddingston
SCHUBERT CIRCLE $10,000–$19,999 Julia W. Dayton Dorothy J. Horns, M.D. and James P. Richardson MAHADH Fund of HRK Foundation Ruth and John Huss Phyllis Kahn Thrivent Financial Charles A. Weyerhaeuser Memorial Foundation The Wurtele Foundation
PATRON $5,000–$9,999 Mark Anema Nina Archabal Boss Foundation Rebecca and Jay Debertin Terry Devitt Anna Marie Ettel Hélène Houle and John Nasseff Phyllis and Donald Kahn Philanthropic Fund of the Jewish Communal Fund Barry and Cheryl Kempton Marjorie and Ted Kolderie Alfred P. and Ann M. Moore Ford and Catherine Nicholson Gayle and Tim Ober Michael and Shirley Santoro Kim Severson and Philip Jemielita Fred and Gloria Sewell Katherine and Douglas Skor Trillium Family Foundation Wenger Foundation Nancy and Ted Weyerhaeuser
Michael and Dawn Georgieff Mark and Diane Gorder Greystone Foundation and Walt McCarthy and Clara Ueland Kyle Kossol and Tom Becker Chris and Marion Levy Roy and Dorothy Ode Mayeske McCarthy-Bjorklund Foundation and Alexandra O. Bjorklund Peter and Karla Myers Alice M. O’Brien Foundation Paul D. Olson and Mark L. Baumgartner John and Barbara Rice Saint Olaf College Securian Financial Shattuck-St. Mary’s School Anthony Thein Travelers Foundation Timothy Wicker and Carolyn Deters
GUARANTOR $1,000–$2,499 Allianz Suzanne Asher and Thomas Ducker Thomas and Jill Barland J. Michael Barone and Lise Schmidt Dorothea Burns Deanna L. Carlson John and Birgitte Christianson David and Catherine Cooper Maureen Curran John and Marilyn Dan Dellwood Foundation Adele and Richard Evidon Joan and William Gacki Judith Garcia Galiana Emily Galusha and Don McNeil Melissa Harl Anders and Julie Himmelstrup Jack and Linda Hoeschler Barbara Hoese John Holmquist and Alma Marin Anne and Stephen Hunter Elizabeth J. Indihar
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Lyndel and Blaine King Lois and Richard King Libby Larsen and Jim Reece Eric and Mary Lind The McMillan Family Endowment Fund Medtronic Foundation Fayneese Miller David Morrison Elizabeth B. Myers The Philip and Katherine Nason Fund of The Saint Paul Foundation Robert M. Olafson Kay Phillips and Jill Mortensen Fund of The Minneapolis Foundation
IBM Matching Gifts Program Ray Jacobsen Ann Juergens and Jay Weiner Nancy P. Jones Garrison Keillor and Jenny Nilsson William Klein and Hildy Bowbeer James and Gail LaFave Jon and Patricia Saiger Limbacher Jeffrey H. Lin and Sarah Bronson Hinda Litman Susanna and Tim Lodge Sarah Lutman and Rob Rudolph Helen and Bob Mairs Paul Markwardt and Richard Allendorf Laura McCarten Margot McKinney
Walter Pickhardt and Sandra Resnick The William and Nancy Podas aRt&D Fund and Christine Podas-Larson and Kent Larson Nathan Pommeranz and Aaron Brown August Rivera, Jr. Ken and Nina Rothchild Chris Sagstetter Saint Anthony Park Community Foundation Saint Anthony Park Home Alma Jean and Leon Satran Ann and Paul Schulte Estelle Sell John Seltz and Catherine Furry Dan and Emily Shapiro Arturo Steely Jill and John Thompson John and Bonnie Treacy Kathleen van Bergen Carl Voss David L. Ward Deborah Wexler and Michael Mann
Gerald A. Meigs Lowell and Sonja Noteboom John B. Noyd Patricia O’Gorman Amaria and Patrick O’Leary Megan M. O’Leary Scott and Judy Olsen Heather J. Palmer Mary and Terry Patton William and Suzanne Payne Sidney and Decima Phillips David and Judy Ranheim Juliana Rupert Jana Sackmeister Bill and Susan Scott Jon and Lea Theobald Mike and Linda Thompson Stephanie Van D’Elden Wells Fargo Foundation Minnesota Katherine Wells and Stephen Willging
SPONSOR $500–$999 Susan L. Adamek Emily E. Andersen Mary and Bill Bakeman Jeanne B. Baldy Bank of America Tom Baxter and Aimee Richcreek Baxter Carline Bengtsson Linda L. Boss Susan Brewster and Edwin McCarthy Gretchen Carlson Carolyn and Andrew Collins Sheldon Damberg Ruth S. Donhowe Marybeth Dorn and Robert Behrens Megan and Daniel Goodrich Gloria Horns
PARTNER $250–$499 Kathy and Jim Andrews Mary A. Arneson and Dale E. Hammerschmidt Fred and Sylvia Berndt Lisa and Rolf Bjornson Daniel Bonilla Barbara Ann Brown Ellen and Philip Bruner Mark Bunker Janet and James Carlson Joann Cierniak Peter Eisenberg and Mary Cajacob Maryse and David Fan John Floberg and Martha Hickner Richard and Marsha Gould Jennifer Gross Margaret Guilfoyle and John Baillie Stuart Holland and Doug Federhart Elizabeth Holden John and Patty Hren-Rowan Maria Jette Margo Garrett Kavalovski Carol Jo Kelsey
Youngki and Youngsun Lee Kim Anthony Kiorpes and Farrel Rich Frederick Langendorf and Marian Rubenfeld Lehmann Family Fund of The Saint Paul Foundation Doug and Mary Logeland Mary Lundberg-Johnson Holly MacDonald and John Orbison Kristina and Ben MacKenzie Kathryn Madson Rhoda and Don Mains Sylvia McCallister Christopher and Cheryl McHugh David Miller and Mary Dew James and Carol Moller William Myers and Virginia Dudley Michael and Janis Nash Alan and Dena Naylor James and Kirsten Peterson Sidney and Decima Phillips Mindy Ratner
David and Michelle Christianson Roger and Wallys Conhaim Joanna and Richard Cortright Mary E. and William Cunningham Don and Inger Dahlin Joy L. Davis Lionel B. Davis Pamela and Stephen Desnick Karyn and John Diehl Janet and Kevin Duggins George Ehrenberg Claudia Ernst Nancy Feinthel Fetzer Institute Jack Flynn and Deborah Pile Gerald Foley Salvatore Franco Patricia Freeburg Jane Frazee Jane Funk and Roger Battreall Patricia Gaarder Nancy and Jack Garland
Jon Lewis Edith Leyasmeyer Sharon Lovo Mary and David Lundberg-Johnson Mark and Becky Lystig King W. and Nancy Ma Richard and Finette Magnuson Thomas and Marsha Mann Carol March Ron and Mary Mattson David McClung and Chris Zickrick David McClung Dorothy McClung Tamara McConkey Nancy McKinley Anne McKinsey Deborah McKnight James and Sally McLaughlin John Michel and Berit Midelfort James Miner and John Easton Amy Mino Patricia Mitchell
Cynthia Stokes Vern Sutton Janet and Craig Swan John and Dru Sweetser Lillian Tan Bruce and Marilyn Thompson Timothy Thorson Susan Travis David Trudeau Chuck Ullery and Elsa Nilsson UnitedHealth Group Rev. Robert L. Valit Paul and Amy Vargo Fund of Fidelity Charitable Louise A. Viste-Ross Michael Walsh and Maureen Kucera-Walsh William K. Wangensteen Susan and Robert Ward Stuart and Mary Weitzman Beverly and David Wickstrom Nancy Wiggers and Frank Zebot
Gladys and Roger Reiling Mary E. Savina Dr. Steven Savitt Mariana and Craig Shulstad Harvey Smith Ron Spiegel Michael Steffes Monika T. Stumpf Tom Swain Kipling Thacker and Kevyn Riley Jean Thomson Osmo Vanska Cynthia N. Werner Jane and Dobson West Christopher and Julie Williams Max and Debbie Zarling
Robert Geist General Mills Foundation Mary, Peg and Liz Glynn Phyllis and Wanda Goldin Brown Graciela Gonzalez Katherine Goodrich David Griffin and Margie Hogan Sandra and Richard Haines Betsy and Mike Halvorson Robert and Janet Hanafin Christina Hart Hegman Family Foundation Stefan and Lonnie Helgeson Family Charitable Fund Alan J. Heider Joan Hershbell and Gary Johnson Beverly L. Hlavac Nancy J. Holland Brian Horrigan and Amy Levine Nancy Huart Kate Hunt and Howard Miller David L. Hunter Ideagroup Mailing Service and Steve Butler Ora Itkin Bernard Jacob Paul Jansen and Janet Hopper Carol A. Johnson Daniel and Isabelle Johnson Pamela and Kevin Johnson Mary A. Jones Marge Kazmierczak Suzanne Kennedy Charlyn Kerr Kendall King Robin and Gwenn Kirby Richard Knuth and Susan Albright Karen Koepp Marek Kokoszka Jane and David Kostik Judy and Brian Krasnow Robert and Barbara Kueppers Larkin Hoffman Daly & Lindgren Ltd Foundation David Larson Joan and Richard Lentz
Steven Mittelholtz Susan Moore Martha and Jonathan Morgan Elizabeth A. Murray Kathleen Newell J. Shipley and Helen Newlin Gerald Nolte Polly O’Brien Tom O’Connell Sally O’Reilly Vivian Orey Clara and Joseph Osowski Melanie Ounsworth Lyudmila and Mikhail Pekurovsky Patricia Penovich and Gerald Moriarty Fabrizio Perri James and Donna Peter Janet V. Peterson Sydney M. Phillips Paul and Betty Quie Ann Richter Karen Robinson Mary and Richard Rogers Jane Rosemarin Diane Rosenwald Barbara Roy Georgiana Ruzich Paul L. Schroeder A. Truman and Beverly Schwartz Sylvia J. Schwendiman Renate Sharpe Gale Sharpe Nan C. Shepard Rebecca and John Shockley Nancy and Ray Shows Mary and Mark Sigmond Darroll and Marie Skilling Tom and Liba Skillman Darryl L. Smith Sarah Snapp and Christian Davis Conrad Soderholm and Mary Tingerthal Sons of Norway St. Paul Synnove-Nordkap Lodge #8 Eileen V. Stack
Alex and Marguerite Wilson Dr. Lawrence A. Wilson Paul and Judy Woodward Ann Wynia Alison Young and Richard Rasch
CONTRIBUTOR $100–$249 Apple Valley Piano & Guitar Academy Arlene Alm Dorothy Alshouse Beverly S. Anderson David and Gretchen Anderson Anonymous (2) Claire and Donald Aronson Amy and Kurt Atkinson Julie Ayer and Carl Nashan Kay and Ron Bach Megen Balda and Jon Kjarum Benjamin and Mary Jane Barnard Carol E. Barnett Paul and Barbara Benn Jerry and Caroline Benser Carolyn and Kit Bingham Dorothy Boen Tanya and Alex Braginsky William and Heather Brands Raymond L. Brasch Joan and Carl Brookins Cheryl Brown Philip and Carolyn Brunelle Roger F. Burg Ruth and Alan Carp David Christensen
FRIENDS $1–$99 Cigale Ahlquist Mary Alden Amazon Smile Barbara Amram Jennifer Anderson Joseph Anderson Renner and Martha Anderson Annette Atkins Mary Baker Charles Baxter Anita Bealer Peter Beckman Bara Berg Roger Berg Michelle Blaeser Roger Bolz Marge and Ted Bowman Cheryl Brown Christopher Brunelle Andrea Bubula Steve Budas Andrew and Sherilyn Burgdorf Mary Callahan Bruce Carlson Joan and Allen Carrier Francis Carter David and Phyllis Casper Elaine and Edwin Challacombe Carol Chomsky and Steven Liss Elly Clark Deborah K. Clayton Barbara Cohen Phyllis Conlin Irene Coran Margaret H. Cords Barbara Cracraft Megan Dahlberg Margaret Dean
Dennis Dillon Rita and David Docter Karen and David Dudley Katherine and Kent Eklund Laura Elletson Sara and Karl Fiegenschuh Rebecca Flory Hilde and John Flynn Lea Foli Kathleen Franzen Charles J. Frisch ClĂŠa Galhano Barbara Gawtry Celia Gershenson Sue Gibson and Neill Merck A. Nancy Goldstein Elly Grace Anne and George Green Linda Grothe Yvonne Grover Michelle Hackett Rita and Mike Hample Eugene and Joyce Haselmann
Estelle Kalka Shirley Kaplan Barbara Kattner Robert Kieft Dwayne King Pamela King and Vining Sherman Kathryn Kloster Dave and Linnea Krahn Carol Lacey and Kristin Velicer Leanora Lange Jane Lanctot Karla Larsen Kenyon S. Latham, Jr. Larry Lee Richard Lentz Gary Lidster Kathleen Lindblad Elizabeth Lukanen Carol G. Lundquist Beatrice Magee Suzanne Mahmoodi B.C. Mansfield Kate Maple
Ingrid Nelson Eleanor Nickles Harry Nordstrom James Novotny Jonathan Oâ€™Conner and Eric Schlotterbeck Paul Ogren Barb and Dan Opitz Debbie and John Orenstein Kathy Park Joan Piorkowski Prudential Financial Inc. Rhoda and Paul Redleaf Amanda Richardson James and Judith Ritchart Roger and Elizabeth Ricketts Drs. W.P. and Nancy W. Rodman Tamara Root Steven Rosenberg Stewart Rosoff Sandra Sandell Margaret Schally Ralph J. Schnorr
Laura Stone-Jeraj Gregory Tacik Bruce and Judith Tennebaum John and Joyce Tester Supiya Thathachary David Evan Thomas Douglas Thomson Keith and Mary Thompson Karen Titrud Charles and Anna Lisa Tooker Mimi Tung Jean VanHeel Daniel Vogel Sarah and Thomas Voigt Karen L. Volk Timothy and Carol Wahl Mark Walbran David Walsh Clifton and Bettye Ware Betsy Wattenberg and John Wike Tammie Weinfurtner Hope Wellner Eva and Peter Weyandt
Katherine Heilman Daniel Hellrung Don and Sandy Henry Curt and Helen Hillstrom Elizabeth Hinz Mary Hintz Marian and Warren Hoffman Ken and Linda Holmen Gladys Howell Jason Huso Carolyn Jackson Mary and Max Jodeit Robert Johnson Stephen and Bonnie Johnson Thomas and Susan Kafka
Jeffrey Masco David Mayo Susan McCarthy Polly McCormack Mary McDiarmid John and Sandra McFarland Ralph and Barbara Menk John W. Miller, Jr. Margaret Mindrum Stacy Minutolo Patricia Moen Marjorie Moody Chloe Moriarty Sarah Nagle Janis Nash
Jon Schumacher and Mary Briggs Christine K. Schwab Steve Seltz and Sheryl Widme Marge and Ed Senninger Kathryn and Jay Severance Leslie Shank Wayne and Ann Sisel Deborah Skinner Regina Slindalovsky Darryl Smith Susannah Smith Robert Solotaroff Rosemary W. Soltis Stammtisch Deutsch Amerikanisher Club
Alex Wiebe Victoria Wilgocki and Lowell Prescott Sue Wiltgen Margaret Wimberley Zaw Win Kathleen Winters Margaret Wirth-Johnson and James Johnson
Thank you to the following organizations:
Schubert Club is a proud member
This activity is made possible by the voters
of The Arts Partnership with The
of Minnesota through a Minnesota State Arts
Saint Paul Chamber Orchestra,
Board Operating Support grant, thanks to a
Minnesota Opera, and Ordway
legislative appropriation from the arts and
Center for the Performing Arts
cultural heritage fund, and a grant from the Wells Fargo Foundation Minnesota.
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Memorials and Tributes In honor of Abbie Betinis and the Courtroom Concerts Phyllis and Wanda Goldin Brown In honor of Julie Himmelstrup Emily E. Andersen Anonymous Gene and Joyce Haselmann Finette and Richard Magnuson A commissioning fund in honor of Julie Himmelstrup’s 80th birthday Beverly Anderson Emily Andersen Nina Archabal Dominick Argento Marilyn Arny Donald and Claire Aronson Lydia Artymiw Suzanne Asher and Thomas Ducker Adrienne Banks John Barker Carol Barnett Lynne and Bruce Beck Marilyn Benson and Thomas Wulling Anders and Judie Bjorling Rolf Bjornson Ann-Marie Bjornson Dorothy Boen Linda Boss Ted Bowman and Marge Grahn-Bowman Carl and Jean Brookins Ellen and Philip Bruner James Callahan Alan Carp Phyllis Casper Penny and Cecil Chally Kate and Dave Cooper Dee Ann and Kent Crossley Mary and Bill Cunningham Peter Dahlen and Mary Carlsen Donald and Inger Dahlin Joy Davis Shirley Decker Karyn Diehl Rita and David Docter Ruth Donhowe Anna Marie Ettel Catherine and Gerald Fischer Mina Fisher and Fritz Nelson Roxana Freese Catherine Furry and John Seltz Dawn and Michael Georgieff Richard Geyerman Peg and Liz Glynn and Mary Glynn Diane and Mark Gorder Kiki and Warren Gore George and Anne Green Sandra and Richard Haines
Dale Hamerschmidt and Mary Arneson Hella Mears Hueg Joan Hershbell Anders Himmelstrup Lisa Himmelstrup and Dan Liljedahl Linda and Jack Hoeschler Marian and Warren Hoffman Dorothy Horns and James Richardson Anne and Steve Hunter David Hunter and Janet Legler Ruth and John Huss Lucy Jones and James Johnson Nancy Jones Tessa Retterath Jones Stan Kaufman Donald and Carol Kelsey Cheryl and Barry Kempton Lois and Richard King Mary Beth and David Koehler Kyle Kossol and Tom Becker Gretchen Kreuter Karen Kustritz Christine Podas-Larson and Kent Larson Maren J. Leonard Marion and Chris Levy Sarah Lutman and Robert Rudolph Finette and Richard Magnuson Joan O. Mason Sylvia and John McCallister Ann and Steve McCormick Deborah McKnight Neill Merck and Sue Gibson Robert and Greta Michaels James and Carol Moller Marjorie Moody Nick Nash and Karen Lundholm Catherine and Ford Nicholson John B. Noyd John L. Nuechterlein Polly O’Brien Christina Ogata Paul Olson and Mark Baumgartner Dennis and Turid Ormseth Mary and Terry Patton Dick and Elaine Phillips Phil Portoghese and Peg Houck Betty and Paul Quie Judy and David Ranheim Barbara and John Rice Bill and Shannon Sadler Saint Anthony Park Home and John Barker Shirley and Michael Santoro Mary Ellen and Carl Schmider Jon Schumacher and Mary Briggs Estelle Sell Kim Severson and Phil Jemielita Gloria and Fred Sewell
Emily and Daniel Shapiro John Shardlow and Marilyn Fritz Shardlow Elizabeth P. Shippee Phil Shively Mary and Mark Sigmond Barbara and Bill Sippel Ann and Wayne Sisel Marie and Darrol Skilling Doug and Kathy Skor Harvey Smith Conrad Soderholm and Mary Tingerthal Eileen Stack Norton Stillman Cynthia Stokes Ann and Jim Stout Monika Stumpf Vern Sutton Barbara Swadburg and James Kurle Joyce and John Tester Anthony Thein David Evan Thomas Butch Thompson and Mary Ellen Niedenfuer Tom Swain Anna Lisa Tooker Bonnie and John Treacy Mimi Tung Clara Ueland and Walter McCarthy Chuck Ullery and Elsa Nilsson David Vincent Jay Weiner and Ann Juergens Mary and Stuart Weitzman Nancy and Ted Weyerhaeuser Judy and Paul Woodward Dr. Lawrence Wilson Peggy Wolfe Ann Wynia In honor of Lucy R. Jones Edward and Beverly Phares In honor of Barry Kempton Julie and Anders Himmelstrup In honor of Tim Lovelace’s 50th Birthday Margo Garrett Kavalovski Fabrizio Perri Arturo Steely David Evan Thomas In honor of Barbara Nymark Rita and David Docter In honor of Paul Olson and Mark Baumgartner’s 25th Anniversary Laura Elletson Julie and Anders Himmelstrup Barry and Cheryl Kempton
In honor of Clara Osowski – Bravo! Cheryl Brown In honor of Nathan Pommeranz Board Service Allianz In honor of George Reid’s 90th Birthday John and Sandra McFarland In honor of the Schubert Club Staff John A. Michel In honor of my voice teachers: Mrs. Elizabeth Mannion, Ms. Audrey Stottler, Ms. Glenda Maurice, Ms. Lee Dougherty Ross and Ms. Rolliana Schekler Megan M. O’Leary In memory of Barbara Benn Tanya and Alex Braginsky In memory of Bruce Carlson Maria Jette In memory of Dr. John Davis August Rivera Jr. In memory of Shirley Decker Sandra and Richard Haines Julie and Anders Himmelstrup In memory of Leon R. Goodrich Megan and Daniel Goodrich Katherine Goodrich In memory of Manuel P. Guerrero August Rivera In memory of Dolly Hample Paul Olson and Mark Baumgartner In memory of Hero Ruth and John Huss In memory of Thelma Hunter Maria Jette In memory of Roz Jacob Bernard Jacob In memory of Donald Kahn Phyllis Kahn In memory of Donald Kelsey Julie and Anders Himmelstrup Marilyn and Bruce Thompson
Memorials and Tributes
In memory of Becky Klein Marge Kazmierczak In memory of Eleanore Mathison Rita and Mike Hample Paul Olson and Mark Baumgartner Barb and Dan Opitz In memory of Jeanette Maxwell Rivera August Rivera Jr. In memory of John L. McCallister Sylvia McCallister
ARTISTIC AND STRATEGIC OPPORTUNITIES FUND The Schubert Club Artistic & Strategic Opportunities Fund was established by the Board of Directors at its February 2017 meeting as an operating fund to support artistic initiatives and program development that are not part of the ongoing programming of Schubert Club. Examples include commissions, community partnerships, artistic or ensemble residency, purchase of instruments for the Schubert Club Museum, high tech productions, etc. Thank you to our generous donors who have given gifts above-and-beyond their annual giving to help make this fund a reality. New opportunities always present themselves, so you are encouraged to consider a special gift to this fund to allow for future projects. Contact Paul Olson for more information at 651-292-3270. (Donors through August 8, 2018)
In memory of Virginia Olson Maria Jette Lawrence Wilson In memory of George Reid Deanna Carlson Andrew and Carolyn Collins Emily Galusha and Don McNeil Barry and Cheryl Kempton Paul Olson and Mark Baumgartner Christine Podas-Larson and Kent Larson Susanna and Timothy Lodge Barbara and John Rice In memory of Jeanne Shepard Nan C. Shepard
Lucy Jones and James Johnson
Suzanne Asher and Thomas Ducker
Ann Juergens and Jay Wiener
Barry and Cheryl Kempton
Tom and Aimee Richcreek Baxter
Kyle Kossol and Tom Becker
Cecil and Penny Chally
Libby Larsen and Jim Reece
Rebecca and Jay Debertin
Chris and Marion Levy
Dorsey and Whitney
Peter and Karla Myers
Anna Marie Ettel
Kim Severson and Philip Jemielita
Richard and Adele Evidon
Gloria and Fred Sewell
In memory of Nancy Shepard Nan C. Shepard
Catherine Furry and John Seltz
Michael and Dawn Georgieff
Jill and John Thompson
In memory of Charlotte Straka Suzanne Kennedy
John Holmquist and Alma Marin
Timothy Wicker and Carolyn Deters
Dorothy J. Horns and James P. Richardson
In memory of Robert J. Sivertsen Lucy R. Jones
Ruth and John Huss
In memory of Angus Wurtele Margaret Wurtele
Give the gift of music
Schubert Club Legacy Society Photo: Brent Cline
Music changes lives. It speaks to everyone.
We invite you to join the Schubert Club Legacy Society and our commitment to sustaining music that inspires and enhances the quality of our lives . . . now and in the future.
MUSIC FOREVER Leave a gift to the Schubert Club in your will. Name Schubert Club as beneficiary on an insurance policy or retirement account. Talk to our Development Department about options. 34 SCHUBERT CLUBother An die Musik
Schubert Club Endowment and Legacy Society SCHUBERT CLUB ENDOWMENT: The Schubert Club Endowment was started i n t h e 1 9 2 0 s . To d a y, o u r e n d o w m e n t 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 ed uc atio n and p er fo rma nc e p ro g ra m s, including the International Artist Series with special funding by the family of Maud Moon Weyerhaeuser Sanborn in her memory. We thank the following donors who have made commitments to our endowment funds: The Eleanor J. Andersen Scholarship and Education Fund The Rose Anderson Scholarship Fund Edward Brooks, Jr. The Eileen Bigelow Memorial The Helen Blomquist Visiting Artist Fund The Estate of Dr. Lee A. Borah, Jr. The Clara and Frieda Claussen Fund Catherine M. Davis The Arlene Didier Scholarship Fund The Elizabeth Dorsey Bequest The Berta C. Eisberg and John F. Eisberg Fund The Helen Memorial Fund “Making melody unto the Lord in her very last moment.” – The MAHADH Fund of HRK Foundation The Julia Herl Education Fund Hella and Bill Hueg/Somerset Foundation Estate of Thelma Hunter The Daniel and Constance Kunin Fund The Margaret MacLaren Bequest Estate of Thomas G. Mairs The Dorothy Ode Mayeske Scholarship Fund In memory of Reine H. Myers by her children The John and Elizabeth Musser Fund To honor Catherine and John Neimeyer By Nancy and Ted Weyerhaeuser In memory of Charlotte P. Ordway By her children The Gilman Ordway Fund The I. A. O’Shaughnessy Fund The Ethelwyn Power Fund The Felice Crowl Reid Memorial The Frederick and Margaret L. Weyerhaeuser Foundation The Maud Moon Weyerhaeuser Sanborn Memorial The Wurtele Family Fund
MUSIC IN THE PARK SERIES FUND
OF THE SCHUBERT CLUB ENDOWMENT: Music in the Park Series was established by Julie Himmelstrup in 1979. In 2010, Music in the Park Series merged into the Schubert Club and continues as a highly sought-after chamber music series in our community. In celebration of the 35th Anniversary of Music in the Park Series and its founder Julie Himmelstrup in 2014, we created the Music in the Park Series Fund of the Schubert Club Endowment to help ensure long-term stability of the Series. Thank you to Dorothy Mattson and all of the generous contributors who helped start this new fund: Meredith Alden 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* Dale Hammerschmidt and Mary Arneson Anders and Julie Himmelstrup Thelma Hunter* Lois and Richard King Florence Koch* Judith and Brian Krasnow Dorothy Mattson* Thomas G. Mairs* John McKay Mary Bigelow McMillan* Jane Matteson* Elizabeth Musser* Heather J. 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 Leah Yotter Richard A. Zgodava* Joseph Zins and Jo Anne Link *in remembrance
Become a member of The Legacy Society by making a gift in your will or estate plan. For further information, please contact Paul D. Olson at 651.292.3270 or firstname.lastname@example.org
Schubert Club Officers, Board of Directors, Staff, and Advisory Circle OFFICERS President: Dorothy J. Horns
Vice President Finance & Investment: Eric Lind
President Elect: Anne Hunter
Vice President Marketing & Development: Suzanne Asher
Vice President Artistic: Lynne Beck
Vice President Museum: Lyndel King
Vice President Audit & Compliance: Mark Anema
Vice President Nominating & Governance: Ann Juergens
Vice President Education: Anne Hunter
Recording Secretary: Libby Holden
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.
Aimee Richcreek Baxter
Sook Jin Ong
Dorothy J. Horns
STAFF Barry Kempton, Artistic & Executive Director Maximillian Carlson, Program Editor & Production Coordinator Kate Cooper, Director of Education & Museum Emma Figgins, Education and Community Engagement Associate Galen Higgins, Graphics Designer Tessa Retterath Jones, Director of Marketing Joanna Kirby, Project CHEER Director, Martin Luther King Center Kelsey Norton, Patron Relations Manager
Schubert Club Museum Interpretive Guides: Gabriel Glissmeyer, Hannah Peterson Green, Katie Johnston, Alan Kolderie, Sherry Ladig, Rachel Olson, Kirsten Peterson
Project CHEER Instructor: Joe Christensen
Janet Peterson, Finance Manager Anna Torgerson, Executive Assistant & Artist Coordinator
Julie Himmelstrup, chair Craig Aase Dorothy Alshouse Mark Anema Nina Archabal Dominick Argento Paul Aslanian Jeanne B. Baldy Lynne Beck Ellen C. Bruner Dorothea Burns James Callahan
Marketing Intern: Laura Carver
Senior Museum Guide: Jessica Johnston
Paul D. Olson, Director of Development
Composer-in-Residence: Reinaldo Moya
The Advisory Circle includes individuals from the community who meet occasionally throughout the year to provide insight and advice to Schubert Club leadership.
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
Richard Evidon Catherine Furry Michael Georgieff Diane Gorder Elizabeth Ann Halden Anne Hunter Ruth Huss Lucy Rosenberry Jones Richard King Kyle Kossol Karen Kustritz Libby Larsen
Schubert Club is a proud member of
Dorothy Mayeske Sylvia McCallister Elizabeth B. Myers Peter Myers Nicholas Nash Ford Nicholson Richard Nicholson Gerald Nolte Gayle Ober Gilman Ordway Christine Podas-Larson David Ranheim
Barbara Rice Ann Schulte Estelle Sell Gloria Sewell Katherine Skor Tom Swain Anthony Thein Jill Thompson John Treacy Nancy Weyerhaeuser Lawrence Wilson Mike Wright
TH E BAKKEN TR IO 3 remarkable chamber concerts, bringing artists and audiences together
2018 | 2019
November 4, 2018 | 4 PM January 6, 2019 | 4 PM April 28, 2019 | 4 PM All concerts take place at MacPhail Center for Music 501 South 2nd Street, Minneapolis
Pitnarry Shin and Stephanie Arado Artistic Directors
For more information and tickets, please visit bakkentrio.org
She's a soul, funk, and jazz singer, a dancer and choreographer, and she's a Vinyasa yoga instructor in Minneapolis. Vie Boheme loves her Spectacle Shoppe glasses because they're every bit as unique as she is.
See Different Vie's latest single 'Take Cover' is available for purchase and live streaming on iTunes, Amazon.com, Spotify and SoundCloud. Her glasses are waiting for you at our store in Uptown, New Brighton, Burnsville Center and Grand Avenue in St Paul.
Oct 7 Oct 14 Oct 21 Oct 28 Nov 2 Nov 4 Nov 11 Nov 18 Nov 25 Dec 24/25 Dec 30 Jan 6 Jan 13 Jan 20 Jan 27 Feb 3 Feb 10 Feb 17 Feb 24 Mar 3 Apr 21 Apr 28 May 5 May 12 May 19 May 26 June 2 Jun 9
Mozart, Missa Brevis in D Haydn, Paukenmesse Mozart, Mass in C 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 Haydn, Theresienmesse Gounod, Saint Cecilia Mass Haydn, Kleine Orgelsolomesse Mozart, Missa Brevis in F Schubert, Mass in C Mozart, Spatzenmesse Haydn, Mariazellermesse Rheinberger, Mass in C Haydn, Grosse Orgelmesse Mozart, Coronation Mass Mozart, Credo Mass in C major Gounod, Saint Cecilia Mass Schubert, Mass in G Mozart, Trinitatis Mass Mozart, Missa Longa in C Haydn, Heiligmesse
Twin Cities Catholic Chorale & Orchestra directed by Dr. Robert L. Peterson
at the Church of Saint Agnes 548 Lafond Avenue Saint Paul, MN 55103 www.catholicchorale.org
Latin Mass at 10:00 a.m. Each Sunday
A crazy wild child of a rock’n’roll musical. Here comes a musical with an electric edge! Experience Jim Steinman’s smash-hit that celebrates the beloved songs of one of Meat Loaf’s most iconic and successful album, BAT OUT OF HELL. This new musical heats up the streets (and the stage) as young, rebellious leader Strat falls in love with Raven, the beautiful daughter of the most powerful man in post-apocalyptic Obsidian. With an award-winning creative team from the worlds of Theatre, Opera, Music and film, this is a can’tmiss production. DOLLY PARTON’S DOLLY PARTON’
ORDWAY A NEW WAY SAVE UP TO 20% WITH A 2018–2019 BROADWAY SEASON PACKAGE!
TM & © NEW LINE PRODUCTIONS, INC. ALL RIGHTS RESERVED. ILLUSTRATION BY HUGH SYME.
The Musical DEC 5–302018
JUL 23–AUG 112019 AN ORDWAY ORI GI NAL
ADD TO YOUR PREMIER PACKAGE TICKE T ONLY S
Love Can Tell A Million Stories Love Can Tell A Million FEB Stories
NOV 17–18, 2018
19–242019 ANTHONY RAPP
6 5 1 . 2 2 4 . 4 2 2 2
T T Y 6 5 1 . 2 8 2 . 3 1 0 0 Accessibility services are scheduled for select performances and available upon request. For more information visit Ordway.org/access
Elf sponsored by
Spamalot sponsored by
Generous support for 42nd Street is provided by Marcia L. Morris
Broadway Series sponsored by
Shaham Plays Prokofiev Thu Oct 18 11am / Fri Oct 19 8pm Santtu-Matias Rouvali, conductor Gil Shaham, violin
Acclaimed violinist Gil Shaham meets up with guest conductor Santtu-Matias Rouvali of the Gothenburg Symphony for a virtuoso take on Prokoﬁev’s dazzling First Concerto, followed by Brahms’ grandly imposing First Symphony.
Vänskä Conducts Mahler’s Seventh Fri Nov 2 & Sat Nov 3 8pm Osmo Vänskä, conductor
Mahler’s Symphony No. 7—a dazzling journey from night to day—receives a brilliant interpretation from our own esteemed Mahler expert, Osmo Vänskä.
U.S. Naval Academy Glee Club with the Minnesota Orchestra
Sat Nov 10 8pm Sarah Hicks, conductor
The United States Naval Academy Men’s and Women’s Glee Clubs join the Minnesota Orchestra for an inspiring and heartfelt salute to America’s armed forces and the 100th anniversary of Armistice Day with a rousing selection of patriotic songs, Broadway tunes and soaring choral excerpts.
Anthony Ross Plays Shostakovich Thu Nov 15 11am Fri Nov 16 & Sat Nov 17 8pm Brett Mitchell, conductor / Anthony Ross, cello
Kinetically joyful, Beethoven’s Seventh Symphony represents the composer at the height of his powers, while Shostakovich’s Second Cello Concerto comes to life for the ﬁrst time ever at Orchestra Hall.
U.S. Naval Academy Glee Club
PHOTOS Vänskä, Ross and Hicks: Travis Anderson Photo; Shaham: Luke Ratray
Orchestra Hall #mnorch
The Schubert Club's program book featuring Miro Quartet, Accordo, Hill House Chamber Players, Trio con Brio Copenhagen, Igor Levit, and Cour...
Published on Oct 31, 2018
The Schubert Club's program book featuring Miro Quartet, Accordo, Hill House Chamber Players, Trio con Brio Copenhagen, Igor Levit, and Cour...