September 30 – October 29, 2014
An die MusikThe Schubert Club • schubert.org
A very special thanks to our friends at the Schubert Club for bringing Soprano Carrie Henneman Shaw and Composer Abbie Betinas to our continuing Live Music and Dance partnership with the premiere of RIBCAGE at the Cowles Center. GUY NOIR: THE BALLET, our wry take on Garrison’s famous detective rounds out the program. Hope to see you at the Cowles Center as we launch or 21st Season.
In collaboration with
October 24 – November 2The Goodale Theater at The Cowles Center
Guy Noir: The Ballet& Rib CageWorld premiere
Tickets: jsballet.org
A very special thanks to our friends at the Schubert Club for bringing Soprano Carrie Henneman Shaw and Composer Abbie Betinas to our continuing Live Music and Dance partnership with the premiere of RIBCAGE at the Cowles Center. GUY NOIR: THE BALLET, our wry take on Garrison’s famous detective rounds out the program. Hope to see you at the Cowles Center as we launch or 21st Season.
In collaboration with
October 24 – November 2The Goodale Theater at The Cowles Center
Guy Noir: The Ballet& Rib CageWorld premiere
Tickets: jsballet.org
Sunday, November 9, 2014 - 4pmSundin Music Hall • Saint Paul
Buy Tickets Today!www.chambermusicmn.org
651.450.0527
In a program featuring Arnold Schoenberg’siconic string sextet “Verklärte Nacht”,
Johaness Brahms’s String Sextet in B-flat major,and Ludwig van Beethoven’s
Variations for cello and piano.
presents
Peter Wiley, legendary cellistof the Beaux Arts Trio
and Guarneri String Quartet
With Society Artists
Ariana Kim, violinYoung-Nam Kim, violinSally Chisholm, violaDanny Kim, violaTony Ross, celloTimothy Lovelace, piano
for all ages & levels
CALL (612) 521-2600VISIT lundstrumcenter.org
NOW ENROLLINGPrivate Lessons & Audition Coaching
a creativeagency for the arts
Proud to partner with The Schubert Club
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to by C
urtis Johnso
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528 HENNEPIN AVE., 8TH FLOOR, MINNEAPOLIS, MN
612.339.4944 | ILLUSIONTHEATER.ORGOctober 2 - 25, 2014TICKETS: $15–30
WRITTEN & PERFORMED BY Jeffrey HatcherDIRECTED BY Michael Robins
CELEBRATING
40YEARS
1974 –
2014
An die MusikSeptember 30 – October 29, 2014
Turning back unneeded tickets:If you will be unable to attend a performance, please notify our
ticket office as soon as possible. Donating unneeded tickets en-
titles you to a tax-deductible contribution for their face value
and allows others to experience the performance in your seats.
Turnbacks must be received one hour prior to the performance.
Thank you!
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The Schubert Club75 West 5th Street, Suite 302Saint Paul, Minnesota 55102schubert.org
cover: Nathan Gunnphoto: M. Sharkey
Table of Contents
6 President's Welcome Artistic and Executive Director's Welcome
9 Calendar of Events: September – December
10 Nathan Gunn & Julie Jordan Gunn
18 The Danish String Quartet
23 Intervals: Alumni News of The Schubert Club Scholarship Competition
24 Accordo
26 Hill House Chamber Players
29 The Schubert Club Museum: New Exhibits
30 Miami String Quartet & Lydia Artymiw
35 The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
36 Courtroom Concerts
38 The Schubert Club Annual Contributors: Thank you for your generosity and support
Phot
o: K
aapo
Kam
u
Pekka Kuusisto, violinJay Gilligan, jugglerat Aria in Minneapolis
March 10, 2015
schubert.org/mix
Phot
o: K
aapo
Kam
u
6 THE SCHUBERT CLUB An die Musik
President's Welcome Artistic and Executive Director's Welcome
A warm welcome to you as we begin The Schubert
Club’s 132nd year. The organization began as a
women’s “Musical Society” in 1882. We have been
presenting concerts since 1893; our first music
education program began in 1911. Our Museum
in Landmark Center is a relative youngster having
opened in 1980!
These three areas of activity continue as the focus
of The Schubert Club to this day. We are thrilled
to welcome back baritone Nathan Gunn (with
collaborating pianist Julie Jordan Gunn) to open
the International Artist Series. Among other things,
Nathan’s status as one of America’s leading vocal
recitalists is built on his commitment to American
art song. His Ordway recital features a combination
of outstanding songs by European and
American composers.
Music in the Park Series opens its 36th season in St.
Anthony Park with a performance of Scandinavian
chamber music by the young and charismatic Danish
String Quartet. Later in October we’re delighted to
welcome back the Miami String Quartet with long-
time pianist friend Lydia Artymiw.
Other programs during September and October
2014 feature local ensembles Accordo and the Hill
House Chamber Players in their respective series.
Accordo have added a less conventional appearance
at Amsterdam Bar and Hall hosted by Minnesota
Orchestra violist Sam Bergman. And I’m personally
thrilled to launch our second Schubert Club Mix
series with a performance by piano duo Greg
Anderson & Elizabeth Joy Roe in Bedlam Lowertown
(Saint Paul).
Whichever events you are attending, I’m delighted
that you have chosen The Schubert Club. I trust that
the music you hear lifts your spirit and fills your
heart with joy.
Nina ArchabalPresident
Barry KemptonArtistic and Executive Director
If you are reading this note, chances are you are
attending one of our many Schubert Club concerts.
From the International Artist Series to Schubert Club
Mix, there is something for everyone.
Music lovers throughout our community look forward
to the opening of the new Ordway Concert Hall next
March and to the wonderful program of inaugural
concerts including several offerings by The
Schubert Club.
What you may not be aware of is the many ways
in which The Schubert Club is developing the next
generation of concert goers. Among these are Project
CHEER, the program of free music lessons led by
Joanna Kirby for more than 25 years at Saint Paul’s
Martin Luther King Center, the annual scholarship
competition, which attracts over 200 young people,
some of whom go on to perform professionally, and
the annual selection of four young composers to
receive coaching from composer Edie Hill. Several of
the chamber groups that perform in the Music in the
Park Series perform special family concerts and serve
local children with performances in our schools. And,
there is a new exhibit in the Schubert Club Museum
featuring some truly unique instruments for young
people of any age to play. These are only a few of the
ways in which The Schubert Club is building audiences
for the future.
While the lament about the graying of classical music
lovers is a constant theme, The Schubert Club is busy
finding ways to ensure that there will always be
enthusiastic audiences for concerts like the one you
are attending today.
An die Musik!
schubert.org 7
8 THE SCHUBERT CLUB An die Musik
These concerts are made possible through the financial assistance from the Cathedral Heritage Foundation, a community-based 501(c)(3) organization.
The Cathedral of Saint Paul invites you to this free concert in celebration of the completed organ restoration project which drew support from more than 800 donors. Cathedral of Saint Paul 239 Selby Avenue, Saint Paul. 651-228-1766 www.cathedralsaintpaul.org
Jean-Baptiste RobinOrganist, Palace of Versailles; Titular Organist, Cathedral of Saint-Pierre, Poitiers, France7:30 PM THURS., OCT. 30, 2014
FRENCH ORGANIST to conclude Inaugural Year of Organ Concerts
www.cathedralheritagefoundation.org
O R I G I N A L W A T E R C O L O R
HomePortraits
Painted on site.
J E A N N E K O S F E L D6 5 1 . 2 7 8 . 9 8 2 8jeannekosfeld@gmail .com
HomePortraitsAd2.25x4.875.indd 1 7/14/14 9:07 AM
61 2.340.0155
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schubert.org 9
More information at schubert.orgBox office 651.292.3268
Calendar of EventsSeptember – December
September 2014Tuesday, September 30 • 7:30 PM Ordway Center
International Artist Series
Nathan Gunn, baritone & Julie Jordan Gunn, piano
October 2014Friday, October 3 • 7:30 PM Bedlam Lowertown
Schubert Club Mix
Anderson & Roe, piano duo
Sunday, October 12 • 4 PM St. Anthony Park UCC
Music in the Park Series
The Danish String Quartet
Monday, October 13 • 7:30 PM Christ Church Lutheran
Accordo with Zachary Cohen, double bass
Tuesday, October 14 • 7:30 PM Amsterdam Bar & Hall
Accordo at Amsterdam
Thursdays, Oct 16 – Apr 30 • 12 PM Landmark Center
Courtroom Concerts(No concerts Nov 27, Dec 4, Dec 25, Jan 1, Jan 29)
Monday, October 20 • 7:30 PM James J. Hill House
Hill House Chamber Players"Eine Geburtstagsfeier"
Sunday, October 26 • 4 PM St. Anthony Park UCC
Music in the Park Series
Miami String Quartet & Lydia Artymiw, piano
Monday, October 27 • 7:30 PM James J. Hill House
Hill House Chamber Players"Eine Geburtstagsfeier"
November 2014Tuesday, November 11 • 7:30 PM Ordway Center
International Artist Series
Richard Goode, piano
Tuesday, November 18 • 7:30 PM Landmark Center
Live at the Museum
CRASH, with Mary Ellen Childs
Sunday, November 23 • 4 PM St. Anthony Park UCC
Music in the Park Series
Ensemble Caprice
December 2014Monday, December 8 • 7:30 PM Christ Church Lutheran
Accordo
Tuesday, December 9 • 7:30 PM Amsterdam Bar & Hall
Accordo at Amsterdam
Richard Goode, piano
Ensemble Caprice
Goerne Program Page
The Schubert Club
presents
Nathan Gunn, baritoneJulie Jordan Gunn, piano
Tuesday, September 30, 2014 • 7:30 PM
pre-concert talk hosted by David Evan Thomas at 6:45 in the Marzitelli Foyer
Robert SchumannDichterliebe, Opus 48
Im wunderschönen Monat Mai • Aus meinen Tränen spriessen
Die Rose, die Lilie, die Taube, die Sonne • Wenn ich in deine Augen seh’
Ich will meine Seele tauchen • Im Rhein, im heiligen Strome
Ich grolle nicht, und wenn das Herz auch bricht • Und wüßten’s die Blumen, die kleinen
Das ist ein Flöten und Geigen • Hör’ ich das Liedchen klingen
Ein Jüngling liebt ein Mädchen • Am leuchtenden Sommermorgen
Ich hab’ im Traum geweinet • Allnächtlich im Traume seh’ ich dich
Aus alten Märchen winkt es • Die alten, bösen Lieder
Samuel BarberChurch Bell at Night • The Heavenly Banquet
The Monk and his Cat • The Desire for Hermitage
I Hear an Army
Intermission
This evening's concert is dedicated in memory of Charlotte P. Ordway, by her children.
Franz SchubertDie Taubenpost • Im Walde
Auf der Bruck
Hugo WolfDer Musikant • Auf dem grünen Balkon
Verschwiegene Liebe • Nachtzauber
Der Rattenfänger
Charles IvesGeneral William Booth Enters into Heaven
The Things our Fathers Loved (and the greatest of these was liberty)
Two Little Flowers (and dedicated to them)
Down East • Tom Sails Away
The Circus Band
Please hold your applause until the end of each set of songs
schubert.org 11
Nathan Gunn has made
a reputation as one of
the most exciting and
in-demand baritones of
the day.
He has appeared in
internationally renowned
opera houses such as the
Metropolitan Opera, San
Francisco Opera, Lyric
Opera of Chicago, Royal
Opera House, Paris Opera,
Bayerische Staatsoper,
Glyndebourne Opera
Festival, Theater an der Wien, Teatro Real in Madrid, and the
Théâtre Royal de la Monnaie. His many roles include the title
roles in Billy Budd, Eugene Onegin, Il Barbiere di Siviglia, and
Hamlet; Guglielmo in Cosí fan tutte, the Count in Le Nozze di
Figaro, Malatesta in Don Pasquale, Belcore in L’Elisir d’Amore,
Ottone in L’incoronazione di Poppea, Tarquinius in The Rape
of Lucetia, and The Lodger in The Aspern Papers.
A noted supporter of new works, Mr. Gunn most recently
created the roles James Dalton in Iain Bell's The Harlot's
Progress at the Theater an der Wien and Yeshua in Mark
Adamo’s The Gospel of Mary Magdalene at the San Francisco
Opera. He also created the roles of Paul in Daron Hagen’s
Amelia at the Seattle Opera, Alec Harvey in André Previn’s
Brief Encounter at the Houston Grand Opera, Father Delura
in Peter Eötvös’ Love and Other Demons at the Glynde-
bourne Opera Festival, and Clyde Griffiths in Tobias Picker’s
An American Tragedy at the Metropolitan Opera. Because
of this dedication to new works, Mr. Gunn was recently
named Director of the American Repertoire Council at the
Opera Company of Philadelphia, a steering council focused
on advancing the company’s American Repertoire Program
which is committed to produce a new American work in 10
consecutive seasons.
Also a distinguished concert performer, Mr. Gunn has ap-
peared with the New York Philharmonic, Boston Symphony
Orchestra, Chicago Symphony Orchestra, San Francisco
Symphony, Pittsburgh Symphony Orchestra, Cleveland Or-
chestra, Minnesota Orchestra, London Symphony Orchestra,
Münchner Rundfunkorchester, and the Rotterdam Philhar-
monic Orchestra. The many conductors with whom he has
worked include Sir Andrew Davis, Sir Colin Davis, Christoph
von Dohnányi, Christoph Eschenbach, Alan Gilbert, Daniel
Harding, James Levine, Kurt Masur, Kent Nagano, Antonio
Pappano, David Robertson, Donald Runnicles, Esa-Pekka
Salonen, Robert Spano, Michael Tilson Thomas, and
Mark Wigglesworth.
A frequent recitalist, Mr. Gunn has been presented in recital
at Alice Tully Hall and by Carnegie Hall at Zankel Hall. He has
also been presented by Roy Thomson Hall, Cal Performances,
The Schubert Club, the Philadelphia Chamber Music Society,
the Vocal Arts Society in Washington, DC, the University of
Chicago, the Krannert Center, the Wigmore Hall, and the
Théâtre Royal de la Monnaie. As a student, he performed
in a series of recitals with his teacher and mentor John
Wustman that celebrated the 200th anniversary of Franz
Schubert’s birth.
Mr. Gunn has recently ventured outside the standard opera
repertoire with appearances in performances of Camelot
and Carousel with the New York Philharmonic (both broad-
casted on PBS) and Show Boat at Carnegie Hall and the
Lyric Opera of Chicago. He also appeared in the New York
Philharmonic’s 80th birthday gala celebration for Stephen
Sondheim and appeared with the orchestra in an evening
of Broadway classics with Kelli O’Hara. Other engagements
have included appearances with Mandy Patinkin in Roch-
ester, performances at the Krannert Center and the Ravinia
festival, a tour of Australia and New Zealand, a series of
cabaret shows at the famed Cafe Carlyle in New York City
and at the Sergerstrom Center for the Arts in Orange County,
performing as a special guest artist in the Mormon Taber-
nacle Choir and Orchestra at Temple Square, and a perfor-
mance of Sting and Trudie Styler’s work, Twin Spirits in the
Allen Room at Jazz at Lincoln Center
Mr. Gunn’s solo album, Just Before Sunrise, was released
on Sony/BMG Masterworks. Other recordings include the
title role in Billy Budd with Daniel Harding and the London
Symphony Orchestra (Virgin Classics), which won the 2010
Grammy Award; the first complete recording of Rodgers
& Hammerstein’s Allegro (Sony’s Masterworks Broadway);
Peter Grimes with Sir Colin Davis and London Symphony
Orchestra (LSO Live!), which was nominated for a 2005
Grammy Award; Il Barbiere di Siviglia (SONY Classics);
Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, September 30, 2014 • 7:30 PM • Ordway Center
Phot
o: M
. Sh
arke
y
12 THE SCHUBERT CLUB An die Musik
Kullervo with the Atlanta Symphony Orchestra (Telarc); and
American Anthem (EMI). He also starred as Buzz Aldrin in
Man on the Moon, an opera written specifically for televi-
sion and broadcast on the BBC in the UK. The program was
awarded the Golden Rose Award for Opera at the Montreux
Festival in Lucerne.
This season, Mr. Gunn returns to the Metropolitan Opera for
a new production of The Merry Widow, the Theater an der
Wien for The Pearl Fishers, and the Houston Grand Opera for
the title role in Sweeney Todd. He also appears in concert at
Notre Dame and UNC and appears in recital at The Schubert
Club in St. Paul, MN, Brigham Young University, and the Lone
Tree Arts Center in Colorado. In the summer of 2015, he will
return to the Santa Fe Opera for the premiere of Jennifer
Higdon’s Cold Mountain.
Mr. Gunn was the recipient of the first annual Beverly Sills
Artist Award and was awarded the Pittsburgh Opera Renais-
sance Award. He is an alumnus of the Metropolitan Opera
Lindemann Young Artists Program and winner of the 1994
Metropolitan Opera National Council Competition. Mr. Gunn
is also an alumnus of the University of Illinois at Cham-
paign-Urbana where he is currently a professor of voice and
was recently named General Director of the Lyric
Theater @ Illinois.
Julie Gunn is a pianist,
music director, vocal coach,
and song arranger. She has
appeared on many presti-
gious recital series including
the Carnegie Hall Pure Voice
Series, Lincoln Center Great
Performers, Boston’s Jordan
Hall, Brussels’ Theatre de la
Monnaie, San Francisco’s
Herz Hall, the 92nd Street Y,
Toronto’s Roy Thompson Hall,
University of Chicago Presents,
San Francisco Performances, Oberlin College, Cincinnati
Conservatory of Music, the Krannert Center for the Perform-
ing Arts, the Ravinia Festival, Manhattan’s legendary Café
Carlyle, the Sydney Opera House, and the United States
Supreme Court. She has been heard in recital with William
Burden, Richard Croft, Elizabeth Futral, Isabel Leonard, Stefan
Milenkovich, Mandy Patinkin, Yvonne Gonzales Redman,
Michelle De Young, the Pacifica Quartet, and Nathan Gunn.
This season, she looks forward to concerts with Kelli O’Hara
in Evanston, IL and with Nathan Gunn in Denver, Salt Lake
City, and Saint Paul.
In her faculty appointment at the University of Illinois,
she works with singers, pianists, chamber musicians, and
songwriters as the Director of Lyric Theatre Studies. She has
served on the music staff at the Metropolitan Opera Young
Artist Program, Wolf Trap Opera, St. Louis Opera Theatre,
Southern Methodist University, Opera North, Highlands Op-
era Studio, Theaterworks, Chicago Opera Theater, and Illinois
Opera Theater and has given master classes at universi-
ties and young artists’ programs all over the United States
including the Ryan Young Artists’ Program, Houston Grand
Opera Studio, and the Cincinnati Conservatory of Music,
Santa Fe Opera, the Aspen Festival, the Interlochen Center
for the Arts, and the Metropolitan Opera Guild. Gunn has
also served as artist-in-residence at Cincinnati Opera and
the Glimmerglass Festival.
Dr. Gunn serves as the Assistant Director for Development
and Public Engagement at the School of Music. She works
as an advocate for state and local arts organizations in the
development of projects ranging from constructing arts
buildings to mentoring inner-city high schoolers interested
in the arts. She is the founder and director of the Illinois
School of Music Academy, a program for talented pre-college
chamber musicians and composers.
On a national level, she solicits and programs the work of
emerging and established American songwriters on recitals,
and is proud to have been the music director of her husband
Nathan Gunn’s solo disc, Just before Sunrise, released by
Sony/BMG records, which included arrangements of songs
by Gene Scheer, Ben Moore, Joe Thalken, Billy Joel, Sting,
and Charles Ives. Her orchestral arrangements of traditional
American songs and standards have been heard at the
Kennedy Center, Chicago’s Symphony Center, and London’s
Queen Elizabeth Hall.
Dr. Gunn lives in Champaign with her husband and
five children.
Nathan Gunn (right) as Figaro with Alessandro Corbelli in Il Barbiere di Siviglia (2014).
schubert.org 13
Program Notes
Dichterliebe (Poet’s Love), Opus 48
Robert Schumann (b. Zwickau, 1810; d. near Bonn, 1856)
In his comprehensive study, The Romantic Generation,
Charles Rosen observes that the song cycle, like landscape
poetry and painting, realized one of the ideals of the
Romantic age, giving “the lyrical expression of Nature an
epic status, a genuine monumentality, without losing the
apparent simplicity of a personal expression.” The song cycle
also elevated the Lied genre to the status of weighty instru-
mental forms like symphony and sonata. Beethoven’s An die
ferne Geliebte (1816) is often considered to be the first song
cycle. Its six songs are interdependent, linked by transitions.
With Die schöne Müllerin and Winterreise, Schubert cre-
ated concert-length works with a sustained dramatic arc.
Heinrich Heine’s Book of Songs appeared in 1823. In his last
years, Schubert set six of Heine’s poems; they are some of
his finest songs. (We will hear “Die Taubenpost” later in this
program.) As part of the rich harvest of 1840, his “Lieder-
jahr,” Robert Schumann composed Dichterliebe, acknowledg-
ing the importance of the poet by calling it a “Song Cycle
from the Book of Songs by Heinrich Heine.” Schumann chose
twenty poems from the Lyric Intermezzo section of Heine’s
volume, finally settling on sixteen to describe the arc of a
love affair from the poet’s perspective.
Dichterliebe, observes Rosen, “moves from the awaken-
ing of desire, through love, deception, rage, and despair, to
a bittersweet ending of cynicism and regret.” The songs,
often very short, begin in one place and end in another, or
dissolve into the next song. Many Romantic emblems are
here: flowers, streams, nightingales. And poet Heine wields
a powerful irony to color them. But nature is not the focus;
it’s the vehicle. Schumann twirls his own color-wheel. No key
is touched more than once.
The cycle begins in mid-year, in mid-sentence, with bitter-
sweet harmony that points toward the minor mode. But the
voice enters and the heart is lifted into major. The ascending
arpeggios of May reverse direction with No. 6, which paints
Cologne’s Cathedral reflected in the waters of the Rhine. A
dramatic peak is reached in No. 7, “Ich grolle nicht,” as the
speaker bitterly denies his feelings. But more frightening
are the wheeling flutes and violins of No. 9. In No. 12, falling
arpeggios return, and the flowers address the “sorrowful,
pale man” in an eloquent postlude. The poet ultimately
renounces Romanticism, packing the old poems and songs
off in a heavy barge: “I have sunk within it my love and my
sorrow.” But as Rosen notes, “neither the love nor the sorrow
ever comes to an end.” The final postlude, a Schumann hall-
mark, brings the memory of the eloquent flowers of No. 12.
Dichterliebe ends with a kind of resolve, a clarity that only
experience can bring.
Heinrich Heine, by Moritz Daniel Oppenheim, 1797
14 THE SCHUBERT CLUB An die Musik
Program Notes
From Hermit Songs, Opus 29
Church Bell at Night
The Heavenly Banquet
The Monk and his Cat
The Desire for Hermitage
I hear an Army, Opus 10, No. 3
Samuel Barber
(b. West Chester, PA, 1910; d. New York City, 1981)
Song was in Samuel Barber’s blood. His aunt was Metropoli-
tan Opera contralto Louise Homer; his uncle was the distin-
guished song composer Sidney Homer, who shaped young
Barber’s development and offered much sage advice. Barber
was a singer himself, possessing a fine, natural baritone.
“I have come across some poems of the tenth century trans-
lated into modern English by various people,” Barber wrote
to his uncle. “These were extraordinary men, monks or her-
mits or what not, and they wrote these little poems on the
corners of manuscripts they were illuminating or just copy-
ing. I find them very direct, unspoiled and often curiously
contemporaneous in feeling.” Barber’s editor Paul Wittke
suggests that the medieval experience of time is expressed
by the absence of meter signatures in the cycle. He adds
that the songs “may also be interpreted as examples of the
isolated lonely life of an artist as well as a religious.” Soprano
Leontyne Price gave the premiere on October 30, 1953 at the
Library of Congress with Barber at the piano.
Barber set James Joyce more often than any other poet
except “Anonymous.” “I Hear an Army,” the last of the Three
Songs, Opus 10, comes from Joyce’s Chamber Music (1907).
The poem does not refer to any specific army, but the
galloping rhythms and the ambiguous, metallic quality of
the lowest note on the keyboard evoke a legendary, possibly
Homeric world. Composing the song in the picture-book
Austrian town of St. Wolfgang in 1936, Barber may have
sensed the forces of war mustering about him.
Three songs
Franz Schubert (b. Vienna, 1797; d. there, 1828)
Three songs of wandering illustrate Schubert’s achievement
in the modified strophic song.
“Die Taubenpost,” is Schubert’s last love song. It was in-
cluded by publisher Haslinger in the posthumous collection
Schwanengesang, D. 957. Schubert’s setting is a delightful
meeting of the pictorial and the metaphorical. A young
man blithely tells us about the carrier-pigeon in his employ,
and one can hear the occasional fluttering of wings. But his
direct address to the listener—“Do you know her/it?”—goes
straight to the heart, for the name of the bird is Sehnsucht:
longing. Johann Gabriel Seidl was a close friend of Schubert.
He memorialized the composer in an elegy composed on the
eve of his funeral:
The gentle sounds have ceased.
The wings are quiet once more.
Yet in the spirit, still aching,
Sweet songs echo.
Schubert considered writing an opera based on Ernst
Schulze’s The Enchanted Rose, but a suitable libretto never
materialized. Schulze (1789-1817) conceived a love for two
sisters, both of whom rejected him. In a Winterreise vein, the
speaker of “Im Walde,” D. 834, is alienated from nature, and
the sight of bees attending the flowers fills his eyes with
tears. The final couplet of each stanza develops through
feverish repetitions.
“Auf der Bruck,” D. 853, refers, not to a bridge, but to an over-
look near Göttingen, where Schulze was a lecturer at the
University. Schubert vividly conveys the force of a galloping
horse on a three-day, broken-hearted ride.
Samuel Barber
schubert.org 15
Program Notes
Five songs
Hugo Wolf (b. Windischgraz, Styria [now Slovenjgradec,
Slovenia], 1860; d. Vienna, 1903)
In the summer of 1888, Hugo Wolf was working at white
heat. After composing a setting of Eichendorff's Ver-
schwiegene Liebe, he dashed off twelve more songs by the
poet in the last half of September. Then he wrote nothing
for a couple of years, tried his hand at opera and at 37 began
a descent into madness, a by-product of syphilis. But in
the 200 songs he wrote from 1888 to 1891, he achieved an
unparalleled unity of word and tone.
Wolf’s cheerful tune is at odds with Eichendorff’s portrayal
of a cold, shoeless itinerant in “Der Musikant.” “Auf dem
grünen Balkon,“ from the Spanish Songbook, presents a
young man’s dilemma. “She winks at me, but her finger tells
me: ‘No!’” The music’s cadences are likewise contradictory.
The idea that “Thoughts are free” goes back to antiquity. A
folk-song in the eighteenth century, “Die Gedanke sind frei”
was given political meaning in the nineteenth to protest
repression. But “Verschwiegene Liebe” is about the personal.
Where love may not be expressed, thoughts ascend, and
silence is a high, delicate dissonance in the night.
No one would guess the key or meter from the opening
measures of “Nachtzauber.” The left hand of the piano
suggests springs that deepen into lakes. And what magic
in the right hand’s expression of love’s deep wound, how
irresistable the final invitation! “We have all the sensuality
of Wagner's endless melody,” quips Ian Bostridge, “without
the endlessness.”
The shape-shifting Pied Piper is transformed by Goethe into
a singer and lutenist, a good-humored sport who catches
kids and girls as well as rats. Wolf finds harmonies folksy and
novel to suit, and with brilliant keyboard writing produces in
“Der Rattenfänger” a tour de force.
Hugo Wolf
Der Rattenfänger von Hameln, by Oskar Herrfurth
16 THE SCHUBERT CLUB An die Musik
Program Notes
Six Songs
Charles Ives (b. Danbury, CT, 1874; d. New York, 1954)
Not everyone will agree with J. Peter Burkholder’s New Grove
assessment of Charles Ives as “the leading American com-
poser of art music of the twentieth century.” But Ives was
certainly an original thinker. His world-view is inclusive. He
is a great democrat, a “Connecticut Yankee.” He takes incred-
ible chances in his art. He wrote his own texts for all but the
first song in this set. And he married a woman
named Harmony.
Ives is the Gandalf of American composers: tough but
loveable; visionary but nostalgic; powerful but tender. The
son of a Civil War vet and band leader, he was thoroughly
trained as a musician, and became a working organist in his
teens. His later success as an insurance executive should not
ring up as a discount. “An interest in any art-activity, from
poetry to baseball,” he wrote, “is better, if held as a part of
life, or of a life, than if it sets itself up as a whole.”
In nearly 200 songs, Ives redefined the genre in American
terms, freeing it from church and parlor, loosening its decla-
mation, broadening its subject matter. If you’ve ever heard
the sound of music across a lake, you know that any tones
so wafted are lovely, and you will have a feeling for Ives, for
his voice comes to us across the years as if across the water.
Memory is his great theme. In 1922, Ives assembled a grand
album he called 114 Songs, which he published at his own
expense. “It contains plenty of songs which have not been
and will not be asked for,” he wrote.
Vachel Lindsay’s ironic poem about the founder and first
General of The Salvation Army was set by Ives in 1914,
shortly after the poem came out. A popular poet of the
early twentieth century, Lindsay (1879 –1931) was known
for what he called “singing poetry,” in which the verse was
intoned as chant. Today we would call him a performance
artist. Ives takes Lindsay’s suggestion: “To be sung to the
tune of The Blood of the Lamb with indicated instrument.”
That instrument, the bass drum, is realized in the opening
chords. The young Ives often improvised drum sonorities at
the piano.
“The Things Our Fathers Loved (and the greatest of these
was Liberty)” (1917) opens softly with a rich but inert
C-major chord, and quotes “Come, Thou Fount of Every
Blessing” on its amazing journey back to a memory of
(perhaps) Decoration Day. Ives wrote tough piano parts, and
his ambition often led him to stretch the piano, as here. The
child’s voice reminds us: Hear the songs! Don’t worry about
the words. Only connect!
The “Two Little Flowers” are Ives’s adopted daughter Edith
and her friend Susannah. The simple tune of this 1921 song
is in 4/4 meter, and open fifths in the harmony suggest
innocence, but the accompaniment is in 7/8.
Sometimes it’s hard to tell whether Ives is quoting a song
or imitating a style. The piano part of “Down East” (1919) is
marked at first: “as a shadow to the voice.” Then the speaker
moves from the present into memory with the imitation of
a parlor song. That then slides easily into “Nearer, my God,
to Thee.”
“Tom Sails Away” was composed in 1917, but not performed
until 1963. The speaker is a child remembering his brother
sailing off to war. George M. Cohan’s rouser figures
prominently: “Over there, over there, Send the word, send
the word over there that the Yanks are coming. . . .” “The
Circus Band,” another little-boy song with a trombone
chorus and a drum-break by an amateur battery, is simply
one of most entertaining songs ever written.
Charles Ives’s 140th birthday is coming up. A modest
proposal: why not retire Columbus Day and declare October
20, Ives’s birthday, a national holiday? That would be
truly American!
Program notes © 2014 by David Evan Thomas
Charles Ives
NEW CONCERT HALL CELEBRATION
22 DAYS OF OPEN ING N IGHTS MARCH 2015
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RTO 7x10_SchubertProgram.indd 1 9/5/14 9:23 AM
Goerne Program Page
The Schubert Club
Music in the Park Series
presents
The Danish String QuartetFrederik Øland, violin • Rune Tonsgaard Sørensen, violin
Asbjørn Nørgaard, viola • Fredrik Schøyen Sjölin, celloSunday, October 12, 2014 • 4:00 PM
Pre-concert conversation at 3:00 PM
String Quartet No. 4 in F major, Opus 44 Carl Nielsen Allegro non tanto e comodo Adagio con sentimento religioso Allegro moderato ed innocente Finale: Molto allegro
String Quartet No. 7, The Extinguishable Thomas Agerfeldt Olesen
Selections from Wood Works Ye Honest Bridal Couple/Sønderho Bridal Trilogy
Sekstur from Vendsyssel/The Peat Dance
Vigstamoin
Waltz after Lasse in Lyby
Ribers No. 8
Five Sheep, Four Goats
O Fredrik, O Fredrik
Ack Värmeland, du sköna
Easter Sunday/Polsk after Rasmus Storm
Jässpodspolska
Old Reinlender from Sønndala
Today's performance is dedicated to the memory of Dorothy Mattson whose generous
bequest helped establish the Music in the Park Series Fund of The Schubert Club Endowment.
Dorothy was an ardent supporter of chamber music and a devoted member of
the Music in the Park Series Board of Directors.
Intermission
schubert.org 19
Music in the Park SeriesSunday, October 12, 2014 • 4:00 PM • Saint Anthony Park United Church of Christ
Phot
o: C
arol
ine
Bitt
enco
urt
A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:
INSTITUTIONALEleanor L. and Elmer Andersen FoundationArts Touring Fund of Arts Midwest Boss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMuffuletta CafeSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTrillium Foundation
INDIVIDUALSArlene AlmNina and John ArchabalLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortGarvin and Bernice DavenportShirley I. DeckerKnowles DoughertyBruce DoughmanDavid and Maryse FanLisl GaalDick GeyermanDawn and Michael GeorgieffEugene and Joyce HaselmannSandy and Don Henry
Anders and Julie HimmelstrupPeter and Gladys HowellGary M. Johnson and Joan G. HershbellMichael JordanChris and Marion LevyRichard H. and Finette L. MagnusonDorothy Mattson EstateDeborah McKnightJames and Carol MollerJack and Jane MoranDavid and Judy MyersGerald NolteJohn NoydKathleen NewellSallie O'BrienJames and Donna PeterRick Prescott and Victoria Wilgocki
Dr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroElizabeth ShippeeEileen V. StackCynthia Stokes James and Ann StoutJohn and Joyce TesterBruce and Marilyn ThompsonTim ThorsonMary Tingerthal and Conrad SoderholmDale and Ruth WarlandPeggy R. WolfeJudy and Paul WoodwardAnn Wynia
The Danish String Quartet has established a reputation
for possessing an integrated sound, impeccable intonation and
judicious balance. With its technical and interpretive talents
matched by an infectious joy for music-making, the quartet is
in demand worldwide by concert and festival presenters alike.
Since making its debut in 2002 at the Copenhagen Festival, the
group of musical friends has demonstrated a passion for Scan-
dinavian composers, whom they frequently incorporate into
adventurous contemporary programs while also proving skilled
and profound performers of the classical masters. Last season,
the New York Times selected their concert as a highlight of the
year: “One of the most powerful renditions of Beethoven’s
Opus 132 String Quartet that I’ve heard live or on a recording.”
This scope of talent has secured them a three-year appoint-
ment in the coveted Chamber Music Society of Lincoln Center’s
CMS Two Program beginning in the 2013–14 season and has
also earned them recognition as a BBC Radio 3 New Genera-
tion Artist for 2013–15.
Violinists Frederik Øland and Rune Tonsgaard Sørensen and
violist Asbjørn Nørgaard met as children at a music summer
camp where they played both football and music together,
eventually making the transition into a serious string
quartet in their teens and studying at Copenhagen’s Royal
Academy of Music. In 2008, the three Danes were joined by
Norwegian cellist Fredrik Schøyen Sjölin. The Danish String
Quartet was primarily taught and mentored by Professor
Tim Frederiksen and has participated in master classes with
the Tokyo and Emerson String Quartets, Alasdair Tait, Paul
Katz, Hugh Maguire, Levon Chilingirian, and Gábor
Takács-Nagy.
Phot
o: C
arol
ine
Bitt
enco
urt
20 THE SCHUBERT CLUB An die Musik
Program Notes
Quartet No. 4 in F major, Opus 44
Carl Nielsen (1865–1931)
(b. Sortelung, near Nørre Lyndelse, Funen, 1865;
d. Copenhagen, 1931)
Carl Nielsen was born the seventh of twelve children on the
island of Funen, sometimes called the “Garden of Denmark.”
After studying at the Royal Conservatory in Copenhagen, he
served as a second violinist in the Royal Chapel, the orches-
tra of the Royal Theatre. It may have been a frustrating job
for an aspiring composer, but Nielsen acquired a useful
perspective on the orchestra from the inside. And string
writing was to become a specialty, first displayed in his Little
Suite for Strings, Opus 1 but masterfully demonstrated in the
slow movements of the “Sinfonia espansiva” and Symphony
No. 4, “The Inextinguishable.” The latter, with its struggle per
aspera ad astra (urged on by two sets of antiphonal timpani)
serves as a point of departure for the Olesen work on
this program.
Nielsen wrote two unpublished quartets before publishing
four others, but he didn’t number his quartets, and his opus
numbers are chaotic. The F-major Quartet, Opus 44, was
written in 1906 and revised after World War One. Its original
subtitle, Piacevolezza, hints at its “pleasing” character, but
was ultimately too confining. “I wanted to protest against
the typical Danish soft smoothing over,” said Nielsen in 1908
of his maturing style. “I wanted stronger rhythms and more
advanced harmony.”
The listener who enjoys inventive tonal structures will
appreciate Nielsen’s music. The lyrical opening theme slips
out of F major in the fourth bar, opening up all kinds of
possibilities. That theme is stated by each instrument a
half-step higher, leading to a hopping second subject that
features four repeated notes. What sounds like a repeat of
the exposition is really the first phase of a
strenuous development.
The heart of the quartet is an Adagio “with religious feeling”
in A minor. Nielsen was not particularly religious, but his
thoughts here expand in a noble hymn with five stanzas, the
fourth climactic. Undulating thirds in pairs are memorable,
first soft, then forceful. Intervals were important to Nielsen.
One thinks of his comment: “The glutted must be taught to
regard a melodic third as a gift of God, a fourth as an experi-
ence, and a perfect fifth as the most sublime joy.”
An intermezzo marked by vivid contrasts bears Nielsen’s
favorite expressive marking: innocente. The suggestion of a
hurdy-gurdy (or nyckelharpa?) provokes sudden outbursts
like those in the Allegretto of Beethoven’s Eighth Symphony.
And there is a wealth of textures. Listen for extended canons
between first violin and viola, then cello and first violin.
The C-major chords that closed the hymn return to open the
finale, which is all high spirits. A second theme would be
at home in a John Ford western. That’s a compliment: such
open-hearted music deserves big skies.
Program note © 2014 by David Evan Thomas
String Quartet No. 7, The Extinguishable
Thomas Agerfeldt Olesen (b. 1969)
Thomas Agerfeldt Oleson was born in 1969 and attended
school in Århus. He began cello study with Göran Bergström
and later studied with Hans Erik Deckert and Harro Ruijse-
naars. He cites as early compositional influences Krzystof
Penderecki, Witold Lutosławski, and Franz Kafka. At the Royal
Conservatory, Oleson was a member of Ensemble 2000, a
new ensemble directed by Karl Aage Rasmussen. Among his
works are seven string quartets, several works for orches-
tra, and an opera, The Picture of Dorian Gray. His music is
published by William Hansen Edition. Of his compositional
approach he writes: “There is a dangerous path that many
composers of contemporary music are already aware of:
Carl Nielsen
schubert.org 21
untroubled, willy-nilly, post-modernist loaning from 800
years of musical history. But it strikes me as a bizarre idea to
see my justification as a composer in rejecting these funda-
mental musical discoveries, just for the cause of being able
to call myself ‘contemporary.’ If I am an attentive composer,
I will also be able to hear in directions that lead me to new
discoveries. One needs to be ‘mindful,’ as the expression
from cognitive psychology would have it.”
Oleson introduces the String Quartet No. 7:
The title “The Extinguishable” relates to the fact that it
was because of Carl Nielsen (who gave his Fourth Sym-
phony the subtitle “Inextinguishable”) that I met The
Danish String Quartet. In 2011, we were both awarded
the Carl Nielsen Prize, instituted on the basis of revenues
from Carl Nielsen’s works. I gave his poetic title a morbid
twist, since I am not convinced that either life or music
is inextinguishable, and that was originally Carl Nielsen’s
idea with his title. That lack of conviction is one of the
most fundamental things in my perspective, as a human
being and as a composer. Perhaps both life and music
are “extinguishable,” perhaps not. The thought was a
particularly strong background sense at the time when
I wrote the new quartet, and it crept into all aspects of
its formulation, both technical and sculptural: in the
conception of a music of memory—that something is
both familiar and unknown at the same time and thus
both has something in it that is dead and something
that is alive. In the introductory portrait of four music
types running in parallel (like four courses of life), the
life of the four music types is constantly interrupted at
various points in their progress and always leaves one
of the types alone until this last course of life too is cut
off. There are passages in the piece where the music
does not refer to such a meta-layer, but is itself. And thus
the perspective shifts now and then to being either "in
harmony with oneself"–perhaps one could say "without
ulterior motives"–or referring to the past or to ideas
perhaps comparable to living in the past "with
ulterior motives."
Thomas Agerfeldt Olesen
From the liner notes of Wood Works
Folk music is the music of all the small places. It is the local
music, but as such it is also the music of everywhere and
everyone. Like rivers, the melodies and dances have flowed
slowly from region to region: whenever a fiddler stumbled
on a melody, he would play it and make it his own before
passing it on. You don’t own a folk tune, you simply borrow
it for a while.
On this recording, we have borrowed and arranged a
selection of tunes that are all very close to our hearts. We
perform them as a string quartet, one of the most power-
ful musical vehicles we know of. The string quartet is a pure
construct: four simple instruments made of wood. But in
all its simplicity the string quartet is capable of expressing
a myriad of colours, nuances and emotions—just like folk
music. Our idea is to marry these two simple but powerful
things: the folk music and the string quartet. Normally, the
string quartet has been reserved for the classical masters.
Now we want to see what happens when we let the Nordic
folk music flow through the wooden instruments of the
string quartet. continued next page.
Album cover from DSQ's recording of arrangements of traditional Scandinavian folk music, Wood Works, released in September, 2014
22 THE SCHUBERT CLUB An die Musik
Program Notescontinued
Ye Honest Bridal Couple/Sønderho Bridal Trilogy
Part I: We set out in the fog covering the Faroe Islands.
A lonely violin plays a traditional Faroese wedding song.
After a while, we reach the Danish island of Fanø to im-
merse ourselves in Part I of the Sønderho Bridal Trilogy,
a set of three sønderhonings that dates back some four
hundred years.
Part II: Notice the exotic colour of this sønderhoning.
Some people believe that the people on Fanø learned
their melodic twists from visiting sailors.
Part III: This is dance music, but inspired by the unique
tonal colours of a very contemplative arrangement of
this final part of the Sonderho Bridal Trilogy made by
our good friend Nikolaj Busk. After all the excitement of
reels, polskas, sheep and goats, we are back at the island
of Fanø, disappearing into the Atlantic fog.
Sekstur from Vendsyssel/The Peat Dance
A Danish sekstur is a lively dance that closely resembles the
Irish jig. The Peat Dance is a Danish reel tune. Thus, this is a
Danish version of the traditional Irish jig-reel set.
Vigstamoin
Vigstamo was a small farm in the Gudbrand Valley in
Norway, and Vigstamoin was the man who lived there. This
tune is a springleik—a local version of what we in Denmark
call a polsk.
Waltz after Lasse in Lyby
Lasse lived in Lyby in Sweden’s Skåne region and he was a
traveling fiddler playing for food. He was known for often
playing this simple little waltz.
Ribers No. 8
Ribers No. 8 is a polka: a dance that originated in central
Europe and, somewhat confusingly, has nothing to do with
the polsk or polska. This is one of the happiest Danish tunes
that we know.
Five Sheep, Four Goats
Rune stumbled on this little Danish tune with its strange
name and liked it so much that he came up with an arrange-
ment for three string quartets.
O Fredrik, O Fredrik
Our cellist Fredrik is a tough Norwegian sailor. His childhood
friend Johannes Rusten wrote this catchy tune and
dedicated it to him.
Ack Värmeland, du sköna
An old Swedish folk song. The title was given in the 19th
century and celebrates the beauty of the Värmland region.
Easter Sunday/Polsk after Rasmus Storm
We pair a polsk from 1989 by Danish fiddler Poul Bjerager
with an old polsk we found in a handwritten collection of
tunes from the 1760s by Danish sailor and fiddler
Rasmus Storm.
Jässpodspolska
Here is a nice little polska (Swedish for polsk) from the
region of Dalarna in Sweden.
Old Reinlender from Sønndala
The title indicates that this dance came to Norway from the
Rhineland. In Denmark, we call this type of tune a schottis.
Did it come up north via Scotland or Germany? Not so
important, perhaps. The funky possibilities of the tune
inspired us to make this arrangement.
Sunday evening in a cottage in Dalarna, (Sweden)
Oil painting by Amalia Lindegren, 1860
Photos: Caroline Bittencourt
schubert.org 23
Michael Sutton is certainly a top contender for the
“Cuteness Award” for past Schubert Club Competition
winners. A photograph of him—the 6-year-old, overall-clad
violinist—made the cover of the American Suzuki Journal. In
fact, this adorable musician photo was later mass-produced
as a porcelain doll. However, there was much more to
Michael than just a cute smiling face: he was a Schubert
Club Senior High Strings winner in 1986 and 1987 (while
studying with violinist, Mark Bjork).
Michael studied for his Bachelor and Master's degrees at the
Manhatten School of Music. Summers were busy, traveling
to Aspen, Interlochen, Tanglewood, Waterloo, Grand Teton,
and the German Schleswig-Holstein Music Festivals. At
school, he was concertmaster for two school orchestras,
performed regularly in numerous chamber ensembles, and
was the concertmaster for the Manhattan Chamber Orches-
tra, which played a concert every month and recorded a CD
every two months!
After graduation Michael had a musically memorable
summer: eight weeks (half on the road) working with Sir
Georg Solti, Valery Gergiev, Semyon Bychkov, Marin Alsop,
and Carl St. Clair. It was very humbling when Solti befriend-
ed him and let Michael pick his brain over many dinners.
“Playing Shostakovich 5 and the Rite of Spring with Gergiev,
close enough to be in the path of his sweat, are still the
most memorable renditions of those pieces I have ever been
privileged to be a part of. During the tour to Spain, Italy,
Germany, and Austria, we did a conductorless encore of
Bernstein's Candide overture. It started with me standing up
and quieting the ebullient audience by pressing my finger
to my lips. Then I turned around and gave the orchestra two
beats, and I had just made my conducting debut!”
Next came the call to audition for the New World Symphony
where Michael became one of a few concertmasters there
under the direction of Michael Tilson Thomas. "He helped
me tremendously with his wisdom and interpretations. He
also sent me to study with a great teacher named Robert
Lipsett for two weeks. We worked on my intonation every
day playing nothing but scales. This was a massive
turning point for me, really learning to listen to myself.
Lipsett showed me how to hear the natural resonance of
the instrument and trained me to play precisely in tune."
Michael's last concert at the New World—after auditioning
for a job in the Minnesota Orchestra—was to sit in the hot-
seat for Zuckerman playing Mozart's 5th concerto. “Leading
an orchestra from the chair, no conductor, with a powerful
soloist, playing a masterwork, on his Strad, 5 feet away, for
your final performance is somewhat of a highlight.”
Now in his 18th year in the Minnesota Orchestra, Michael
is very happy as a rotating section second violin player in
his hometown orchestra. He highly values his colleagues
and the opportunity to do what he has been taught and
nurtured to do. Speaking of nurturing, Michael notes that
he was immersed in music from day one as a member of the
Sutton household. His mother Phyllis came to every violin
lesson and took copious notes for many, many years, as a
good Suzuki parent does. “And I don't mind being known as
Vern Sutton's son; He was here first!”
Violinist MIchael Sutton, age 6
Michael Suttonin a more recent photo
“I have been so fortunate and try to pay it forward as I
regularly coach the Greater Twin Cities Youth Symphonies
(of which I am an alumnus) and often adjudicate for local
competitions, including, of course, my beloved Schubert
Club. In that same vein, I have started coaching/teaching
violin at MacPhail Center for Music, where I started my
studies in 1971.
IntervalsAlumni News of The Schubert Club Scholarship Competitors
24 THE SCHUBERT CLUB An die Musik
Intermission
String Quartet No. 26 in G minor, Franz Joseph Haydn Opus 20, No. 3, Hob. III: 33
Allegro con spirito Minuet: Allegretto Poco adagio Finale: Allegro di molto
Waltzes (1981) Fred Lerdahl
Gracioso Con brio Cantabile Leggiero Valse triste Misterioso Amoroso Humoresque Vivace Lento Delicato Waltz-fugue
The Schubert Cluband
Kate Nordstrum Projects
present
AccordoRuggero Allifranchini, violin • Steven Copes, violin
Maiya Papach, viola • Anthony Ross, celloZachary Cohen, double bass
Monday, October 13, 2014 • 7:30 PM
String Quintet in G major, Opus 77 Antonín Dvorák Allegro con fuoco—Piu Scherzo—Trio Poco andante Finale: Allegro assai
Copes, Papach, Ross, Cohen
Allifranchini, Copes, Papach, Ross
Copes, Allifranchini, Papach, Ross, Cohen
Please join us in the Luther Lounge for complimentary drinks and small bites after the concert
schubert.org 25
AccordoMonday, October 13, 2014 • 7:30 PM • Christ Church Lutheran
A special thanks to the Accordo donors:
Performance SponsorsHella Mears HuegJohn and Ruth HussLucy Jones and James JohnsonJenny Nilsson and Garrison Keillor
Musician SponsorsNina and John ArchabalMary and Bill BakemanEileen Baumgartner Michael and Carol BromerTim and Barbara BrownRachelle Dockman Chase and John H. FeldmanPaul Markwardt and Richard AllendorfFred and Gloria SewellJoseph and Kay Tashjian
PatronsAnonymous (3)Beverly S. AndersonBarbara A. BaileyBrian O. BerggrenKit BinghamPhillip Bohl and Janet BartelsBarbara Ann BrownJudy and Richard BrownleeJohn and Birgitte ChristiansonPamela and Stephen DesnickGeorge EhrenbergCelia and Hillel GershensonMary Glynn, Peg and Liz GlynnBonnie GrzeskowiakMichelle HackettKen and Suanne Hallberg
Betsy and Michael HalvorsonPhillip and Alice HandyCarol A. JohnsonMary JonesRobert JordanErwin and Miriam KelenBarry and Cheryl KemptonChristine Kraft and Nelson CapesAlexandra KulijewiczThomas LogelandHelmut and Mary MaierRhoda and Don MainsRachel MannRon and Mary MattsonDeborah McKnight and James AltJane E. MercierElizabeth Myers
Kathleen NewellLowell and Sonja NoteboomJohn NoydChuck Ullery and Elsa NilssonPatricia O'GormanCarol Olig and Gregory TacikGlad and Baiba OlingerScott and Judy OlsenSydney M. PhillipsBill and Susan ScottBuddy Scroggins and Kelly SchroederEd and Marge SenningerDan and Emily ShapiroGale SharpeArne SorensonGregory Tacik and Carol OligAlex and Marguerite Wilson
Accordo (from left): Ruggero Allifranchini, Anthony Ross, Maiya Papach, Ronald Thomas, Erin Keefe, Rebecca Albers, Steven Copes, Kyu-Young Kim
Sponsors
Accordo, established in 2009, is a Minnesota-based chamber group made up of some of the very best instrumentalists in the country,
eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Their concerts are
held in the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by the
esteemed architect Eliel Saarinen and his son Eero Saarinen.
Accordo includes a string octet composed of Saint Paul Chamber Orchestra (SPCO) and Minnesota Orchestra current and former principal
players Rebecca Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim, Maiya Papach, Anthony Ross, and Ronald Thomas.
Zachary Cohen
Phot
o: C
amer
on W
itti
g
Accordo performs excerpts
from this program with guest
presenter Sam Bergman on
Tuesday, October 14 at
Amsterdam Bar & Hall
Phot
o: M
arco
Bor
ggre
ve
The Schubert Cluband
The Minnesota Historical Society
present
Hill House Chamber Players
Julie Ayer, violin and viola • Catherine Schubilske, violinThomas Turner, viola • Tanya Remenikova, cello • Jeffrey Van, guitar
Guest artists: Milana Reiche, violin • Marcia Peck, cello • Susan Billmeyer, keyboard
Mondays, October 20 & 27, 2014 • 7:30 PM
"Eine Geburtstagsfeier"(A Birthday Celebration)
Intermission
Trio Sonata in B-Flat major, W. 158 C.P.E. Bach
Allegretto Largo Allegro
Selections from Goldberg Variations, BWV 988 J.S. Bach, arr. Sitkovetsky
Sextet from Capriccio, Opus 85 (1942) Richard Strauss
Grande Sestetto concertante, W. A. Mozart, arr. after Sinfonia concertante, K. 364
Allegro Andante Finale: Presto
schubert.org 27
With these concerts we celebrate the tricentenary of Carl Philipp Emanuel Bach’s birth. The second surviving son of Johann Sebastian Bach and his first wife Maria Barbara, Emanuel was a leading musician of his day, first at the court of Frederick the Great from 1740-57, then as music director of the five principal Hamburg churches, a post previously held by Telemann. Not only did this Bach son compose over a thousand musical works, including some of the most important early keyboard sonatas, he authored a key treatise of the day, the Essay on the True Art of Playing Keyboard Instruments. To continue the celebration of C.P.E. Bach and his times, visit www.cpebach.de/en.
The trio-sonata texture was as common in the Baroque as our bass, rhythm, and lead. A basso continuo—often a cello paired with harpsichord or organ—provides the bass and harmonic foundation while two equal upper voices trade off in animated conversation. Note in each movement how both violins state the theme in its entirety before moving on. The slow movement is a striking example of Bach’s empfindsamer Stil (sensitive style), as the violins don mutes, play pizzicato, bill and coo.
Hill House Chamber PlayersMondays, October 20 & 27, 2014 • 7:30 PM • James J. Hill House
J.S. Bach’s first biographer Forkel told a fanciful and oft-quoted story about a sleepless Count and a willing harpsichordist named Goldberg. That tale may be so much wool-gathering, but this much is certain: Bach published his Aria with Diverse Variations, 30 variations on a bass line, as the fourth and concluding volume of his monumental Keyboard Practice. Written specifically for a harpsichord with two keyboards, the variations treat the Aria systematically: every third variation is a canon, beginning at the unison and proceeding to a ninth. In between, there are characteristic pieces—dances, fugues, an overture, etc.—and variations for two manuals. The set closes with a quodlibet which combines two popular tunes with the bass. In any case, the name Goldberg is now immortal, forever bound to this ne plus ultra of variation sets. In this program, we’ll hear the first third of the work, alternating the original keyboard version with a transcription for string trio by violinist Dmitri Sitkovetsky.
C.P.E. Bach.
Original title page for the Goldberg variations
St. Michael’s, one of the five principal Hamburg churches where C.P.E Bach was music director
continued next page.
28 THE SCHUBERT CLUB An die Musik
Capriccio, Richard Strauss’s last opera, was composed during the early years of World War Two, when Strauss seemed to need a diversion from world affairs. He called it a “conversation piece,” and the libretto is based on a Mozart-era comedy, Prima la musica, poi le parole (Music first, then words). The ten-minute Sextet that opens the opera has a double function; it’s an overture, but it serves a dramatic purpose as well. In a sense, the listener hears it “in quotes.” David Murray sets the scene in the New Grove Dictionary of Opera: “Before the curtain rises on Capriccio we hear a sextet, played by first-desk strings in the pit. It is the composer Flamand’s latest piece, sweetly serene in F at start and finish—with a theatrical eruption of passion in the middle, soon mollified (it fixes perfectly the urbane, nothing-too-serious manner of
the whole opera). In a garden salon in early afternoon Flamand watches the Countess Madeleine’s reaction to his sextet, continuing now in the next room—and so does Olivier, his rival for her affections, and the dozing theatre director La Roche.” “Word or tone?” asks the poet Olivier. “She must decide,” proposes Flamand. And so this singular opera begins.
Mozart’s Sinfonia concertante is a double concerto for violin, viola, and orchestra. It was not published during the composer’s lifetime. But when it saw the light in 1802, many arrangements of the piece appeared, not unlike the “covers” pop musicians make of others’ tunes today. The “Grand Sextet” was published anonymously in 1808, scored for pairs of violins, violas, and cellos. “This new version doesn’t simply transfer the solo lines to the first violinist and first violist,” notes Sarah Freiburg in Strings magazine. “The Sestetto arranger chooses to share the wealth of the original solo lines, so each instrument gets its moment to bask in glory.”
Program notes © 2014 by David Evan Thomas
Richard Strauss, by Ferdinand Schmutzer.
Program Notescontinued
Dear Friend!
. . . I am working hard on my new one act opera in
close collaboration with Clemens Kraus, the action of
the opera takes place in Paris in 1775 (the title of the
opera is not yet fixed.) The opera will be finished in a
month which means that the opening will take place
in summer 1942 . . .
I remain your dear and devoted friend
Richard Strauss
Garmish, 15.7.41
In this letter, Strauss mentions that he is working on an as-yet-untitled opera. As it happened, this was his last,
Capriccio, subtitled, A Conversation Piece for Music.
From The Schubert Club Museum:
schubert.org 29
A new exhibit in The Schubert Club Museum features
musical instruments that are decidedly not run of the mill.
Three kinetic sculptures, built around exercise bicycles by
Minnesota sculptor Norman Anderson, produce musical
sounds when pedaled. Anderson is known throughout the
country for his large-scale, outdoor, kinetic sculptures, many
of which also produce sounds. Two of his larger pieces are
installed locally in Minneapolis parks: Van Cleve Park at
15th and Como Southeast, and Fairview Park in
North Minneapolis.
Each of the sculptures on display in The Schubert Club
Museum feature a different means of sound production:
strings, percussion, and wind. One includes organ pipes and
tin whistles, the second has a mechanical xylophone, and
the third uses both plucked and bowed strings. All three
have options for the rider/performer to make changes in
pitch and rhythm, etc, while riding.
The instruments were a gift from composer Mary Ellen
Childs for whom they were made, and who wrote music for
them. A live video recording of her music for the instru-
ments by the ensemble CRASH can be seen in the exhibit.
CRASH will be performing on the instruments on November
18 as part of the "Live at the Museum" series (for tickets:
612-292-3268, or schubert.org/liveatthemuseum).
The Schubert Club MuseumNew Exhibits
Another interactive exhibit, new this summer, has proved
extremely popular with visitors. Graphologist Zubin Vevaina
was asked to examine three composer letters in the Gilman
Ordway Manuscript collection and describe the writers'
personalities based on characteristics of their handwriting.
Visitors are invited to write a sample phrase on a sticker,
analyze it with the guidelines provided, and compare their
own handwriting and personality traits to the composers'.
A large Venn-diagram-style poster in the exhibit is provided
for people to post their findings. In addition to viewing these
extraordinary letters, visitors can now enjoy sound recordings
of letters from Beethoven, Tchaikovsky, and Mozart read in
German, French and English, translations.
The Schubert Club Museum, located in Landmark
Center on Rice Park in Downtown Saint Paul, is open
Sunday through Friday noon to 4 PM. Admission is free.
The ensemble CRASH performing on the string-cercycle, one of Norman Anderson's musical kinetic sculptures
The Schubert Club Museum's 1791 Mozart letter. Gift of Gilman Ordway.
Goerne Program Page
The Schubert Club
Music in the Park Series
presents
Miami String QuartetLydia Artymiw, piano
Benny Kim, violin • Cathy Meng Robinson, violin
Scott Lee, viola • Keith Robinson, celloSunday, October 26, 2014 • 4:00 PM
Pre-concert conversation at 3:00 PM
Five Pieces for String Quartet Erwin Schulhoff
Alla Valse viennese (Allegro) Alla Serenata (Allegretto con moto) Alla Czeca (Molto allegro) Alla Tango milonga (Andante) Alla Tarantella (Prestissimo con fuoco)
Quintet No. 2 in E-flat minor for Piano and Strings Erno Dohnányi
Allegro non troppo Intermezzo: Allegretto – Presto Moderato
String Quartet No. 4 in E minor, Opus 44, No. 2 Felix Mendelssohn-Bartholdy
Allegro assai appassionato Scherzo: Allegro di molto Andante Presto agitato
Intermission
Today's performance is dedicated to the memory of Andy Boss, an inspired community leader and a champion of the arts. A long-time resident of St. Anthony Park, Andy was a
loyal supporter of Music in the Park Series for over three decades.
schubert.org 31
Music in the Park SeriesSunday, October 26, 2014 • 4:00 PM • Saint Anthony Park United Church of Christ
Phot
o: C
arol
ine
Bitt
enco
urt
A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:
INSTITUTIONALEleanor L. and Elmer Andersen FoundationArts Touring Fund of Arts Midwest Boss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMuffuletta CafeSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTrillium Foundation
INDIVIDUALSArlene AlmNina and John ArchabalLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortGarvin and Bernice DavenportShirley I. DeckerKnowles DoughertyBruce DoughmanDavid and Maryse FanLisl GaalDick GeyermanDawn and Michael GeorgieffEugene and Joyce HaselmannSandy and Don Henry
Anders and Julie HimmelstrupPeter and Gladys HowellGary M. Johnson and Joan G. HershbellMichael JordanChris and Marion LevyRichard H. and Finette L. MagnusonDorothy Mattson EstateDeborah McKnightJames and Carol MollerJack and Jane MoranDavid and Judy MyersGerald NolteJohn NoydKathleen NewellSallie O'BrienJames and Donna PeterRick Prescott and Victoria Wilgocki
Dr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroElizabeth ShippeeEileen V. StackCynthia Stokes James and Ann StoutJohn and Joyce TesterBruce and Marilyn ThompsonTim ThorsonMary Tingerthal and Conrad SoderholmDale and Ruth WarlandPeggy R. WolfeJudy and Paul WoodwardAnn Wynia
The Miami String Quartet, winners of the 2000
Cleveland Quartet Award presented by Chamber Music
America and Chamber Music Society Two ensemble of the
Chamber Music Society of Lincoln Center from 1999-2001, has
been in residence at Hugh A. Glauser School of Music at Kent
State University since 2004. They were Quartet in Residence at
the Hartt School in Hartford from 2003 to 2009. Other
previous residencies include Florida International University
and the New World School of the Arts in Miami, where the
group was founded in 1988.
The Miami String Quartet has appeared extensively through-
out the United States and Europe. Highlights of recent seasons
include performances in New York at Lincoln Center’s Alice
Tully Hall and the Kennedy Center in Washington, D.C., as well
as engagements in Boston, Indianapolis, Los Angeles, New
Orleans, San Francisco, Seattle, St. Paul, and its own concert
series in Palm Beach, Florida. International highlights include
appearances in Bern, Cologne, Amsterdam’s Concertgebouw,
Istanbul, Lausanne, Montreal, Rio de Janeiro, Hong Kong, Taipei,
and Paris. The Quartet has recently toured with the Chamber
Music Society of Lincoln Center, and they appear annually with
the Philadelphia Chamber Music Society.
The Miami String Quartet is in demand at many of the
country’s great festivals. For the last several years, the Quartet
has served as resident ensemble at the Kent/Blossom Music
Festival in Ohio and has appeared at Chamber Music North-
west, Mostly Mozart, Ravinia, the Brevard Festival, Rutgers
Summerfest, Music from Angel Fire, Virginia Arts Festival–
where it has been the resident ensemble–and at the festivals
of La Jolla, Santa Fe, and Pensacola.
The ensemble’s interest in new music has led to many commis-
sions and premieres. In 2009, the Quartet and the Kalischstein-
Laredo-Robinson Trio premiered Ellen Taaffe Zwilich’s Septet, a
work co-commissioned by a dozen organizations including the
92nd St. Y, Kennedy Center, Chamber Music Society of Detroit,
Kravis Center, Philharmonic Society of Orange County, Friends
of Chamber Music (Portland), Chamber Arts Society of Durham,
and Denver Friends of Chamber Music. In 2008, they and the
Imani Winds premiered Roberto Sierra’s Concierto da Cam-
era, commissioned by Chamber Music Northwest, Stanford
University, and Santa Fe Chamber Music Festival. Also in 2008,
the ensemble performed the premiere of Joan Tower’s Angels
(String Quartet No. 4), commissioned by Music from Angel Fire,
continued next page
32 THE SCHUBERT CLUB An die Musik
and premiered Ricky Ian Gordon’s Green Sneakers for
baritone and string quartet, commissioned by Bravo! Vail
festival in Colorado. Other recent commissions include a
new work by composer Annie Gosfield, commissioned by
the Santa Fe Chamber Music Festival; a joint commission-
ing by the Chamber Music Society of Lincoln Center and the
Virginia Arts Festival of a piano quintet by Bruce Adolphe;
and a new work by composer Stephen Jaffe, commissioned
by the Philadelphia Chamber Music Society.
In 2000, Miami String Quartet premiered Augusta Read
Thomas’s Invocations. In the 1997-98 season, the Quartet
presented the American premieres of Quartets Nos. 1 and
2 by Peteris Vasks, which were met with enormous acclaim
and subsequently recorded; Vasks’ Quartet No. 3 has since
become a signature piece for the ensemble. Among other
new music highlights are a commissioning grant from
Chamber Music America for a piano quintet from
Maurice Gardner, world premiere performances of the
quartet Whispers of Mortality by Bruce Adolphe, a quartet by
Philip Maneval, Maurice Gardner’s Quartet No. 2 and
Concertino, as well as premieres of Robert Starer’s Quartet
Nos. 2 and 3, and David Baker’s Summer Memories.
The Miami String Quartet’s first recording, the first two
quartets of Alberto Ginastera, was released in 1994. Their
second CD, Saint-Saëns Quartets Nos. 1 and 2 and Faure’s
String Quartet, was released in the fall of 1997 on BMG
Conifer. The aforementioned 1999 BMG recording of Peteris
Vasks’ Quartet Nos. 1, 2, and 3 garnered unqualified praise
on both sides of the Atlantic.
In 1992, the Miami String Quartet became the first string
quartet in a decade to win First Prize of the Concert Artists
Guild New York Competition. The Miami String Quartet has
also won recognition in competitions throughout the world:
as laureate of the 1993 Evian Competition, 1991 London
String Quartet Competition, and as the 1989 Grand Prize
Winner of the Fischoff Chamber Music Competition.
Music in the Park SeriesSunday, October 26, 2014 • 4:00 PM • Saint Anthony Park United Church of Christ
born Lydia Artymiw has performed
with over one hundred twenty
orchestras world-wide, with many of
the leading conductors of our time.
American orchestral appearances
include the Boston Symphony, Cleve-
land Orchestra, New York Philharmon-
ic, Philadelphia Orchestra, Los Angeles
Philharmonic, National Symphony,
and with the Cincinnati, Pittsburgh, Kansas City, St. Louis, San
Francisco, and Seattle Symphonies, and with the Orchestra of
St. Luke’s, Minnesota and St. Paul Chamber Orchestras. Solo
recital tours have taken her to all major American cities and
to important European music centers, and throughout the
Far East. Critics have acclaimed her seven solo recordings for
the Chandos label, and she has also recorded for Bridge, Cen-
taur, Pantheon, Artegra, and Naxos. Her debut recording for
Chandos (Variations) was a Gramophone Magazine “Critic’s
Choice,” her Mendelssohn CD was hailed by both Hi-Fi News
and the Monthly Guide to Recorded Music as “Best of the
Month,” and Ovation Magazine honored her Schubert record-
ing as “Recording of Distinction.” Her CD of the Tchaikovsky
Seasons (released by Chandos in 1982) is still in print and has
sold over 25,000 copies. Festival appearances include Aspen,
Bantry (Ireland), Bay Chamber, Bravo! Vail Valley, Caramoor,
Chamber Music Northwest, Chautauqua, Grand Canyon,
Marlboro, Montreal, Mostly Mozart, Seattle, and Tucson.
An acclaimed chamber musician, Artymiw has collaborated
with such celebrated artists as Yo-Yo Ma, Richard Stoltzman,
Alexander Fiterstein, Arnold Steinhardt, Michael Tree, Kim
Kashkashian, John Aler, Benita Valente, and the Guarneri,
Tokyo, American, Alexander, Borromeo, Daedalus, Orion, and
Shanghai Quartets, and has toured nationally with Music
from Marlboro groups. Along with Arnold Steinhardt (first
violinist of the Guarneri Quartet) and Jules Eskin (principal
cellist of the Boston Symphony), she was a member of the
Steinhardt-Artymiw-Eskin Trio for over ten years. A recipient
of top prizes in the 1976 Leventritt and the 1978 Leeds In-
ternational Competitions, she graduated from Philadelphia’s
University of the Arts and studied with distinguished concert
pianist and former Director of the Curtis Institute of Music,
Gary Graffman, for twelve years. Since 1990, Artymiw has ap-
peared numerous times for the Music in the Park Series with
the Guarneri, American, Miami, and Daedalus Quartets, the
Steinhardt-Artymiw-Eskin Trio, cellist Zuill Bailey, violists Kim
Kashkashian and Michael Tree, Ensemble Capriccio, and the
Fleezanis-Artymiw-Turner-Ross Quartet.
In 2014, pianist Lydia Artymiw celebrates her 25th year as
Distinguished McKnight Professor of Piano at the University
of Minnesota. Artymiw also received the “Dean’s Medal for
Outstanding Professor” in 2000.
“Lydia Artymiw has such a satisfying musical soul; she is a
pleasure to hear” wrote Bernard Holland in a recent New York
Times review. The recipient of an Avery Fisher Career Grant
and the Andrew Wolf Chamber Music Prize, Philadelphia-
schubert.org 33
Program Notes
Five Pieces for String Quartet
Erwin Schulhoff
(b. Prague, 1894; d. Wülzburg, 1942)
Erwin Schulhoff was one of the most
imaginative composers of the early
twentieth century. Born in Prague
of German descent, Schulhoff was a
child prodigy, encouraged by Dvorák,
influenced by Scriabin, and taught by
Max Reger. Drafted into the Austrian
army, his four-year service in World
War One made a Socialist of him.
Influenced at various times by the Berlin Dadaists, the Vien-
nese expressionists, the Stalinist doctrine of socialist real-
ism, the music of Janácek, and American jazz, Schulhoff’s
style is unpredictable, but concentration, high energy and
sonic clarity are characteristic. And there’s no denying that
the music is challenging to play and fun to listen to.
The eclectic Five Pieces—a Viennese waltz, a muted
serenade with a kick on the last eighth of each 5/8 bar, a
rhythmic Czech dance; an expressive tango, and a Bartókian
tarantella—are dedicated to Darius Milhaud. They were
premiered in Salzburg at the International Society for
Contemporary Music in 1924. Schulhoff’s First String
Quartet followed the next year.
As a Jew and a Czech, Schulhoff was deprived of livelihood
in Nazi-occupied Czechoslovakia; as a so-called “degener-
ate” artist interested in jazz and experimentation, he was
triply vulnerable. Though he tried to emigrate, Schulhoff
was deported in 1941 to a concentration camp in Wülzburg,
Bavaria where he died of tuberculosis the following year.
Quintet No. 2 in E-flat minor for Piano and Strings
Erno Dohnányi
(b. Pozsony [now Bratislava], 1877; d. New York, 1960)
Where have all the composer-pianists gone? A century
ago, giants like Rachmaninoff and Prokofieff commanded
attention on the stage as well as the page. In recent years,
the world has rediscovered Medtner and Enescu (best
known as a violinist, but a fine pianist as well). Add to that
list Erno Dohnányi. His students included Géza Anda, Boris
Goldowsky, and Georg Solti, not to mention his grandson,
Christoph von Dohnányi, the eminent conductor and former
music director of the Cleveland Orchestra. In his book The
Great Pianists, Harold Schonberg called Dohnányi “a thun-
dering virtuoso. . . . His playing had power and propulsion,
and extraordinary finesse.” It remains for Dohnányi to regain
the renown that was once his worldwide.
Dohnányi was born in the old city of Pozsony, called Press-
burg by its German population and now, as the capital of
Slovakia, Bratislava. He began piano study at six and started
to compose soon after. At seventeen, he entered the
Budapest Academy, where he studied piano with Thomán,
a pupil of Liszt, and composition with Koessler, a Brahms
devotee. Brahms himself paid young Dohnányi the compli-
ment of asking to see the score of his Piano Quintet No. 1.
When the famed Kneisel Quartet played it with Arthur
Nikisch, Brahms said: “I couldn’t have written it better
myself.” In 1920, Bartók wrote from turbulent Hungary:
“Musical life in Budapest today may be summed up in one
name—Dohnányi. In the hour of its great trouble, when
most other artists have left the country or ‘sulk in their
tents,’ Dohnányi heroically continues his various activities,
bringing comfort and joy to thousands of his countrymen.”
Dohnányi lost two sons in World War Two: one to the Nazis,
one to the Communists. Nevertheless, the composer was
falsely rumored to have Nazi sympathies, and the publicity
damaged his reputation. In communist Hungary, he was
black-listed. He emigrated to the U.S., teaching at Florida
State University in Tallahassee from 1949 until his death in
1960, taking American citizenship in 1955. In 1990, his
reputation restored, he was awarded posthumously the
Kossuth Prize, the most prestigious Hungarian cultural
award. Dohnányi was somewhat older than his compatriots
Bartók (1881–1945) and Zoltán Kodály (1882–1967). But
rather than treading folk paths or paving new roads, he
fully embraced Romanticism,
focusing his efforts, writes
Bálint Vázsonyi, on “expressing
the entire Romantic heritage
in the perfect forms of the
eighteenth century.” His lack
of modernity was once held
against him, but from today’s
vantage point, modernity is
a pane—more or less clear,
more or less clean—through
which to view musical ideas.
34 THE SCHUBERT CLUB An die Musik
Program Notescontinued
String Quartet No. 4 in E minor, Opus 44, No. 2
Felix Mendelssohn-Bartholdy
(b. Hamburg, 1809; d. Leipzig, 1847)
After Cécile Jeanrenaud’s wedding to Felix Mendelssohn
on March 28, 1837, the couple spent their wedding night
in Mainz at the Rheinisher Hof. Cécile confessed to their
honeymoon diary of “one agreeable thing which I will refrain
from mentioning!” Felix began to teach his wife English, and
April they spent in Freiburg and the Black Forest, where Felix
sketched the Quartet in E minor, one of three which would
be published as Opus 44. A child prodigy to rival or even
surpass Mozart, Mendelssohn may have had that composer
in mind when he conceived the opening of this Quartet.
The main theme of the Allegro assai rises through the tonic
chord like the finale of Mozart’s G-minor Symphony; its
accompaniment rustles beneath like that composer’s Piano
Concerto in D minor. Much agitation, then passion comes
from a unison swarm of sixteenth-notes. Prepared for a
second theme in B minor, we sidestep to G major.
Mendelssohn is known for fairy music, and the Scherzo
provides it in what may be the highlight of the quartet.
Opening with a Brrr!, its 3/4 meter only gradually becomes
clear. At the peak, we hear the first-movement theme as if
through chattering teeth, then a heart-tugging viola solo.
A “Song without Words” Adagio and earnest Presto agitato
conclude the work.
Program notes © 2014 by David Evan Thomas.
There are not quite 50 opus numbers in the Dohnányi
catalogue. The glowing Serenade for string trio is frequently
performed, and the sparkling Variations on a Nursery Song,
a splendid example of concerto wisdom as well as twinkling
wit, deserves to be on everyone’s playlist.
The Piano Quintet No. 2 was composed in 1914 and is clev-
erly constructed. The Allegro non troppo opens with a broad,
moody melody stated by unison strings. After a Russian-
sounding bridge passage, the melody returns in a concerto-
like exposition for piano. The aspiring second theme, stated
by first violin, will be heard in the next movement as well.
Dohnányi’s harmonies are rich; he often chooses chords a
third apart with no tones in common. Does a third theme
remind you of the Rosenkavalier Rose-motive? The develop-
ment doubles back to the Russian-sounding bridge. We are
plunged into a turbulent C-minor stream (the main theme
in double canon), but suddenly, after the briefest of pauses,
the stream runs clear, as viola plays the main theme twice as
slow, bobbing on pizzicato strings, with the piano scurrying
about. The economy of the design is breathtaking.
The Intermezzo is like a progressive party that moves from
room to room as various colorful characters step forward.
Brahms is the waltz model here, and in case we don’t get
the joke, Dohnányi repeats the material in a scrambling
Presto a la Brahms.
The Moderato opens with a gentle but somber fugato for
strings on a new theme. Piano responds with a deep chorale.
They join forces for some of the lushest sounds of the
Quintet. What follows—the return of the moody first-
movement theme, its combination with the fugue subject,
the ultimate resolution in major mode—is deeply satisfying.
As Donald Tovey wrote in 1929: “Dohnányi produces in his
Second Quintet a counterpoint in which every combination
is a masterpiece of tone-colour, and every masterpiece of
tone-colour is the result of fine counterpoint. This is the
relation of form and drama in another category.”
The eminent Liszt biographer Alan Walker has proposed the
establishment of a Dohnányi medal, to be given every few
years to the best composer-pianist. This tradition, of which
Dohnányi is the exemplar, should be rejunvenated.
schubert.org 35schubert.org 35
The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
OfficersPresident: Nina Archabal
President Elect: Kim A. Severson
Vice President Artistic: Lynne Beck
Vice President Audit & Compliance: Gerald Nolte
Vice President Education: Marilyn Dan
Vice President Finance & Investment: Craig Aase
Vice President Marketing & Development: Mark Anema
Vice President Museum: Ford Nicholson
Vice President Nominating & Governance: Kim A. Severson
Recording Secretary: Catherine Furry
Craig Aase
Mahfuza Ali
Mark Anema
Nina Archabal
Paul Aslanian
Lynne Beck
Carline Bengtsson
Board of DirectorsSchubert Club Board members, who serve in a voluntary capacity for three year terms, oversee the activities of the organization on behalf of the community.
Dorothea Burns
James Callahan
Carolyn Collins
Marilyn Dan
Anna Marie Ettel
Richard Evidon
Catherine Furry
Michael Georgieff
Elizabeth Holden
Dorothy Horns
Anne Hunter
Kyle Kossol
Chris Levy
Jeff Lin
Kristina MacKenzie
Peter Myers
Ford Nicholson
Gerald Nolte
Gayle Ober
David Ranheim
Ann Schulte
Kim A. Severson
Gloria Sewell
Anthony Thein
John Treacy
Allison Young
Barry Kempton, Artistic & Executive Director
Max Carlson, Program Associate
Kate Cooper, Education & Museum Manager
Lisa Dahlberg, Ticketing & Development Associate
Kate Eastwood, Executive Assistant
Julie Himmelstrup, Artistic Director, Music in the Park Series
Megan Lutz, Social Media & Marketing Intern
Tessa Retterath Jones, Marketing & Ticket Manager
Joanna Kirby, Project CHEER Director, Martin Luther King Center
StaffDavid Morrison, Museum Associate & Graphics Manager
Paul D. Olson, Director of Development
Kathy Wells, Controller
Composers in Residence:
Abbie Betinis, Edie Hill
The Schubert Club Museum Interpretive Guides:
Aly Fulton, Joe Iannazzo, Paul Johnson, Alan Kolderie, Sherry Ladig,
Hannah Peterson, Edna Rask-Erickson
Dorothy Alshouse
Mark Anema
Dominick Argento
Jeanne B. Baldy
Ellen C. Bruner
Carolyn S. Collins
Dee Ann Crossley
Josee Cung
Mary Cunningham
Joy Davis
Terry Devitt
Arlene Didier
Karyn Diehl
Ruth Donhowe
Anna Marie Ettel
Diane Gorder
Julie Himmelstrup
Hella Mears Hueg
Advisory Circle
Thelma Hunter
Ruth Huss
Lucy Rosenberry Jones
Richard King
Karen Kustritz
Libby Larsen
Sylvia McCallister
Dorothy Mayeske
Elizabeth B. Myers
Nicholas Nash
Richard Nicholson
Gilman Ordway
Stephen Paulus
Christine Podas-Larson
George Reid
Barbara Rice
Estelle Sell
Gloria Sewell
Katherine Skor
Tom Swain
Jill Thompson
Nancy Weyerhaeuser
Lawrence Wilson
Mike Wright
The Advisory Circle includes individuals from the community who meet occasionally throughout the year to provide insight and advice to The Schubert Club leadership.
36 THE SCHUBERT CLUB An die Musik
Courtroom ConcertOctober 16, 2014 • Noon • Landmark Center
Now in its 28th season, the Artaria String Quartet was recently lauded by Rob Hubbard of the St. Paul Pioneer Press: “Artaria
Quartet is likely to give eloquent voice to whatever work it tackles.” Artaria has served as MPR Artists-in-Residence and was
featured on Twin Cities Public Television as part of its Minnesota Original series. The quartet has appeared at major summer
festivals including the Banff Centre in Canada, Festival de L’Epau in France, and the Tanglewood Music Center in Lenox, MA. Artaria
is the recipient of a McKnight Fellowship for Performing Musicians as well as grants from the National Endowment for the Arts,
Chamber Music America, Midori's Partners in Performance, the Heartland Fund and the Southeast Minnesota Arts Council for
performance and educational outreach. Members of the quartet are founders and directors of the Artaria Chamber Music School,
a weekly chamber music program for young string players; Stringwood, a two-week summer festival held in Lanesboro, MN each
June; and the Saint Paul String Quartet Competition, an annual national event.
Artaria String QuartetRay Shows, violin • Nancy Oliveros, violin
Annalee Wolf, viola • Laura Sewell, cello
Ignaz Pleyel
String Quartet in G minor, B. 309
Adagio
Allegro assai
Grazioso
Wolfgang Amadeus Mozart
String Quartet in C major, K. 465, “Dissonance”
Adagio; Allegro
Andante cantabile
Minuetto: Allegro; Trio
Allegro
Artaria String Quartet
schubert.org 37
Courtroom ConcertOctober 23, 2014 • Noon • Landmark Center
Music of Elizabeth AlexanderAndrew Wilkowske, Kathleen Humphrey, Ruth MacKenzie, singers
Jacqueline Ultan, cello • Elizabeth Alexander, piano
Die Gedanken Sind Frei (16th c. German protest song / Translation & additional
lyrics by Elizabeth Alexander)
"Truth, God, Life & Passion"
Oath Taking (Opal Palmer Adisa)
The Eternal One (Ralph Waldo Emerson, adapted)
On the Edge of the Water (Elizabeth Alexander)
Trouble in a Minnesota Town (Neal Bowers)
"Selections from Nature Creature"
I. Come Soon (Lilian Moore)
II. Life Will Break You (Louise Erdrich)
No One Gets a Program (Dutch proverb / Additional lyrics by Elizabeth Alexander)
Elizabeth Alexander (b. 1962) grew up in the Carolinas and Appalachian Ohio, inheriting her love of music, language, and
challenging questions from her parents, a piano teacher and a minister/prison warden. These passions are reflected in her
catalogue of over 100 songs and choral works and a style which moves with ease between concert stage, choir loft, and jam
session. Critical reviews frequently mention “the close personal resonance between the composer and the words,” in reference to
her musical settings of both the poetry of others and the lyrics she crafts herself.
Her music has been described as “brilliantly innovative” (New York Concert Review), “truly inspired” (Boston Intelligencer),
“effective both visually and musically” (Ear Magazine), and “some of the most exquisite moments of the concert” (Kansas City
Metropolis). Her frequent commissions include works for orchestra, chamber ensembles, solo instruments, and voice, but she is
best known for her choral pieces, which have received over a dozen awards and have been performed by thousands of
choruses worldwide.
She studied composition with Steven Stucky, Jack Gallagher, Yehudi Wyner, and Karel Husa, receiving her doctorate in Music
Composition from Cornell University. A 2011 McKnight Composition Fellow, she has also received awards and fellowships from
the Jerome Foundation, New York Council on the Arts, Wisconsin Arts Board, National Orchestral Association, International League
of Women Composers, American Composers Forum, Meet the Composer, and ASCAP.
(from top) Elizabeth Alexander,
Andrew Wilkowske, Kathleen
Humphrey, Ruth MacKenzie,
Jacqueline Ultan
The commissioning of Nature Creature was underwritten by the American Composers
Forum with funds provided by the Jerome Foundation.
38 THE SCHUBERT CLUB An die Musik
The Schubert Club Annual ContributorsThank you for your generosity and support
Ambassador$20,000 and aboveAnna M. Heilmaier Charitable
Foundation
MAHADH Fund of HRK Foundation
Lucy Rosenberry Jones
The McKnight Foundation
Minnesota State Arts Board
Gilman and Marge Ordway
Target Foundation
Schubert Circle$10,000 – $19,999Patrick and Aimee Butler Family
Foundation
Rosemary and David Good
Family Foundation
Dorothy J. Horns, M.D. and
James P. Richardson
Phyllis and Donald Kahn
Philanthropic Fund
of the Jewish Communal Fund
George Reid
Robert J. Sivertsen
Patron$5,000 – $9,999The Allegro Fund of
The Saint Paul Foundation and
Gayle and Tim Ober
John and Nina Archabal
Boss Foundation
Julia W. Dayton
Terry Devitt
Katherine Goodrich
Hackensack Fund of
The Saint Paul Foundation
Harlan Boss Foundation
Hélène Houle and John Nasseff
Bill Hueg and Hella Mears Hueg
Art and Martha Kaemmer Fund
of The HRK Foundation
Barry and Cheryl Kempton
Walt McCarthy and Clara Ueland
and Greystone Foundation
Malcom and Wendy McLean
Sita Ohanessian
Luther I. Replogle Foundation
Michael and Shirley Santoro
Sewell Family Foundation
Fred and Gloria Sewell
Thrivent Financial for Lutherans
Foundation
Travelers Foundation
Trillium Family Foundation
Margaret and Angus Wurtele
Benefactor$2,500 – $4,999Anonymous
The Burnham Foundation
Dee Ann and Kent Crossley
Dorsey & Whitney Foundation
Michael and Dawn Georgieff
Mark and Diane Gorder
Thelma Hunter
John and Ruth Huss Fund
James E. Johnson
Lois and Richard King
Kyle Kossol and Tom Becker
Chris and Marion Levy
McCarthy-Bjorklund Foundation
and Alexandra O. Bjorklund
Alfred P. and Ann M. Moore
Alice M. O’Brien Foundation
Paul D. Olson
and Mark L. Baumgartner
Ford and Catherine Nicholson
Family Foundation
Richard and Nancy Nicholson Fund
of The Nicholson Family
Foundation
John and Barbara Rice
Lois and John Rogers
Saint Anthony Park
Community Foundation
Securian Foundation
Kim Severson and Philip Jemielita
Charles and Carrie Shaw
Katherine and Douglas Skor
3M Foundation
Wenger Foundation
Nancy and Ted Weyerhaeuser
Guarantor$1,000 – $2,499Anonymous
Mahfuza and Zaki Ali
William and Suzanne Ammerman
Elmer L. & Eleanor J. Andersen
Foundation
Suzanne Asher
Paul J. Aslanian
Craig and Elizabeth Aase
J. Michael Barone and Lise Schmidt
Eileen M. Baumgartner
Lynne and Bruce Beck
Dr. Lee A. Borah, Jr.
Dorothea Burns
James Callahan
Deanna L. Carlson
Cecil and Penny Chally
Rachelle Chase and John Feldman
John and Marilyn Dan
Cy and Paula DeCosse Fund of
The Minneapolis Foundation
Joy L. Davis
Dellwood Foundation
Joan R. Duddingston
Anna Marie Ettel
Richard and Adele Evidon
William and Bonita Frels
Dick Geyerman
Jill Harmon and Frank Fairman
Anders and Julie Himmelstrup
Susanna and Tim Lodge
The Thomas Mairs and
Marjorie Mairs Fund of
The Saint Paul Foundation
Roy and Dorothy Ode Mayeske
Sylvia and John McCallister
Laura McCarten
Sandy and Bob Morris
Elizabeth B. Myers
Peter and Karla Myers
The Philip and Katherine Nason
Fund of The Saint Paul Foundation
Robert M. Olafson
Oppenheimer Wolff & Donnelly LLP
Performing Arts Fund
of Arts Midwest
The William and Nancy Podas
aRt&D Fund
David and Judy Ranheim
August Rivera, Jr.
Dr. Leon and Alma Jean Satran
Ann and Paul Schulte
Anthony Thein
Jill and John Thompson
John and Bonnie Treacy
Wells Fargo Foundation Minnesota
Doborah Wexler M.D.
and Michael Mann
Michael and Catharine Wright
Sponsor$500 – $999Anonymous
Meredith B. Alden
Mary and Bill Bakeman
Jeanne B. Baldy
Susan Brewster
and Edwin McCarthy
Michael and Carol Bromer
Tim and Barbara Brown
David Christensen
Andrew and Carolyn Collins
David and Catherine Cooper
F. G. and Bernice Davenport
Arlene and Calvin Didier
David and Maryse Fan
Andrew Hisey and Chandy John
Judith K. Healey
Frederick J. Hey, Jr.
Cynthia and Russell Hobbie
Peg Houck and Philip S. Portoghese
Anne and Stephen Hunter
William Klein
Lehmann Family Fund of
The Saint Paul Foundation
Wendell Maddox
Paul Markwardt
and Richard Allendorf
Lucia P. May and Bruce Coppock
Sylvia and John McCallister
David Morrison
Kay Phillips and Jill Mortensen Fund
of The Minneapolis Foundation
Alan and Charlotte Murray
Lowell and Sonja Noteboom
John B. Noyd
Sallie O'Brien
Patricia O’Gorman
Mary and Terry Patton
William and Suzanne Payne
Walter Pickhardt
and Sandra Resnick
Christine Podas-Larson
and Kent Larson
Sarah Rockler
Juliana Kaufman Rupert
Saint Anthony Park Home
John Sandbo and Jean Thomson
Kay Savik and Joseph Tashjian
Mary Ellen and Carl Schmider
William and Althea Sell
John Seltz and Catherine Furry
Dan and Emily Shapiro
Helen McMeen Smith
John and Joyce Tester
David L. Ward
Katherine Wells
and Stephen Willging
Jane and Dobson West
Peggy R. Wolfe
Mark W. Ylvisaker
schubert.org 39
Partner$250 – $499Anonymous (3)
Arlene Alm
Beverly S. Anderson
Kathy and Jim Andrews
Lydia Artymiw and David Grayson
Adrienne and Bob Banks
Jerry and Caroline Benser
Christopher and Carolyn Bingham
Jean and Carl Brookins
Philip and Ellen Bruner
Mark Bunker
Gretchen Carlson
Joann Cierniak
Don and Inger Dahlin
Ruth S. Donhowe
Marybeth Dorn and Robert Behrens
Roxana Freese
General Mills Foundation
Jennifer Gross and Jerry Lafavre
Mary Beth Henderson
Joan Hershbell and Gary Johnson
Mary Hintz
Elizabeth Holden
Elizabeth J. Indihar
The International School
of Minnesota
Ray Jacobsen
Michael C. Jordan
Donald and Carol Jo Kelsey
Youngki and Youngsun Lee Kim
Gloria Kittleson
Arnold and Karen Kustritz
Frederick Langendorf
and Marian Rubenfeld
Jeffrey H. Lin and Sarah Bronson
Sarah Lutman and Rob Rudolph
Frank Mayers
Anne C. McElroy
Mary Bigelow McMillan
James and Carol Moller
Jack and Jane Moran
William Myers and Virginia Dudley
Nicholas Nash
Margaret Orandi
Heather J. Palmer
Richard and Suzanne Pepin
James and Donna Peter
Barbara Pinaire and William Lough
Anastasia Porou and George Deden
Dr. Paul and Betty Quie
Karen Robinson
Connie Ryberg
Mary E. Savina
Paul L. Schroeder
Estelle Sell
Marilynn and Arthur Skantz
Conrad Soderholm
and Mary Tingerthal
Eileen V. Stack
Hazel Stoeckeler and Alvin Weber
Tom H. Swain
Jon and Lea Theobald
Dale and Ruth Warland
Timothy Wicker and Carolyn Deters
Contributor$100 – $249Anonymous (7)
Carl Ahlberg
Elaine Alper
Mrs. Dorothy Alshouse
Mary A. Arneson
and Dale E. Hammerschmidt
Kay C. Bach
Robert Ball
Gene and Peggy Bard
Benjamin and Mary Jane Barnard
Carol E. Barnett
Carline Bengtsson
Fred and Sylvia Berndt
Ann-Marie Bjornson
Phillip Bohl and Janet Bartels
Tanya and Alexander Braginsky
Philip and Carolyn Brunelle
Roger F. Burg
Alan and Ruth Carp
Carter Avenue Frame Shop
David and Michelle Christianson
John and Brigitte Christianson
Mary Louise and Bradley Clary
Mary Sue Comfort
Como Rose Travel
John and Jeanne Cound
Charles and Kathryn Cunningham
Shirley I. Decker
Pamela and Stephen Desnick
Janet and Kevin Duggins
Jayne and Jim Early
Kathleen Walsh Eastwood
George Ehrenberg
Peter Eisenberg and Mary Cajacob
Steve Farsht
Mina Fisher
Flowers on the Park
Jack Flynn and Deborah Pile
Salvatore Franco
Patricia Freeburg
Richard and Brigitte Frase
Jane Frazee
Gail A. Froncek
Joan and William Gacki
Nancy and Jack Garland
David J. Gerdes
Phyllis and Bob Goff
Daniel Goodrich
M. Graciela Gonzalez
Katherine and Harley Grantham
Carol L. and Walter Griffin
Bonnie Grzeskowiak
Ken and Suanne Hallberg
Betsy and Mike Halvorson
Hegman Family Foundation
Rosemary J. Heinitz
Stefan and Lonnie Helgeson
Anne Hesselroth
Mary Kay Hicks
Dr. Kenneth and Linda Holmen
J. Michael Homan
Peter and Gladys Howell
Patty Hren-Rowan
IBM Matching Grants
Ideagroup Mailing Service
and Steve Butler
Ora Itkin
Ann Juergens and Jay Weiner
Carol A. Johnson
Craig Johnson
Pamela and Kevin Johnson
Ward and Shotsy Johnson
Nancy P. Jones
Joseph Catering
and George Kalogerson
John and Kristine Kaplan
Heidi and Bradley Keil
Erwin and Miriam Kelen
Sarah Kinney
Anthony L. Kiorpes and Farrel Rich
Jean W. Kirby
Robin and Gwenn Kirby
Karen Koepp
Marek Kokoszka
Mary and Leo Kottke
Dave and Linnea Krahn
Susan and Edward Laine
Landmark Center
Thelma Lareau
Gary M. Lidster
John and Nancy Lindahl
Thomas Logeland
Barbara Lund and Cathy Muldoon
Mark Lystig
Richard and Finette Magnuson
Mary and Helmut Maier
Rhoda and Don Mains
Helen and Bob Mairs
Danuta Malejka-Giganti
Ron and Mary Mattson
Polly McCormack
Deborah McKnight and James Alt
Gerald A. Meigs
John A. Michel
David Miller and Mary Dew
Patricia Mitchell
Steven Mittelholtz
Bradley H. Momsen
and Richard Buchholz
Susan Moore
Martha Morgan
Elizabeth A. Murray
Holace Nelson
Kathleen Newell
Jay Shipley and Helen Newlin
Jackie and Mark Nolan
Gerald Nolte
Tom O’Connell
Scott and Judy Olsen
Barbara and Daniel Opitz
Sally O’Reilly and Phoebe Dalton
Vivian Orey
Melanie L. Ounsworth
Elizabeth M. Parker
Patricia Penovich
and Gerald Moriarty
James and Kirsten Peterson
Sidney and Decima Phillips
Gretchen Piper
Deborah and Ralph Powell
Mindy Ratner
Rhoda and Paul Redleaf
Karen Robinson
Richard Rogers
Peter Romig
Michael and Tamara Root
Diane Rosenwald
David Schaaf
Russell G. Schroedl
A. Truman and Beverly Schwartz
Sylvia J. Schwendiman
Bill and Susan Scott
Buddy Scroggins
and Kelly Schroeder
Jonathan Siekmann
Gale Sharpe
Renate Sharp
Nan C. Shepard
Rebecca and John Shockley
Darroll and Marie Skilling
Nance Olson Skoglund
Patricia and Arne Sorenson
Carol Christine Southward
Arturo L. Steely
Michael Steffes
Ann and Jim Stout
Vern Sutton
Barbara Swadburg and James Kurle
Lillian Tan
David Evan Thomas
Tim Thorson
Charles and Anna Lisa Tooker
Jerrol and Alleen Tostrud
Susan Travis
Karen and David Trudeau
Rev. Robert L. Valit
Joy R. Van
Osmo Vanska
Harlan Verke and Richard Reynen
Mary K. Volk
Beverly and David Wickstrom
Lori Wilcox and Stephen Creasey
Victoria Wilgocki
and Lowell Prescott
Christopher N. Williams
Dr. Lawrence A. Wilson
Paul and Judy Woodward
Ann Wynia
40 THE SCHUBERT CLUB An die Musik
Every effort has been made to
ensure the accuracy in listing
our contributors. If your name
has been inadvertently omitted
or incorrectly listed, please
contact The Schubert Club at
651.292.3267
Friends$1 – $99Anonymous (7)
Cigale Ahlquist
Renner and Martha Anderson
Susan and Brian Anderson
Bruce and Lucinda Backberg
Barbara A. Bailey
Megan Balda and Jon Kjarum
Dr. Roger and Joan Ballou
Anita Bealer
Verna H. Beaver
Janet M. Belisle
Brian O. Berggren
Roger Bolz
David and Elaine Borsheim
Thomas K. Brandt
Charles D. Brookbank
Barbara Ann Brown
Richard and Judy Brownlee
Christopher Brunelle
Dr. Magda Bushara
James and Janet Carlson
Allen and Joan Carrier
J.J. and Debra Cascalenda
Ed Challacombe
Chapter R PEO
Kenneth Chin-Purcell
Christina Clark
Anne E. Commers
Irene Coran and Bruce Bernu
Barbara Cracraft
Ruth H. Crane
Cynthia L. Crist
Denise Nordling Cronin
Elizabeth R. Cummings
Mary E. and William Cunningham
Marybeth Cunningham
James Cupery
Kathleen A. Curtis
John Davenport
Rachel L. Davison
David Dayton
Gregg Downing
Margaret E. Durham
Suzanne Durkacs
Sue Ebertz
Kristi and Scott Eckert
Rita Eckert
Andrea Een
Katherine and Kent Eklund
Jim Ericson
Joseph Filipas
John Floberg and Martha Hickner
Susan Flaherty
John and Hilde Flynn
Dan and Kaye Freiberg
Michael George Freer
Lisl Gaal
Cléa Galhano
John and Sarah Garrett
Dr. and Mrs. Robert Geist
Celia and Hillel Gershenson
Ruth E. Glarner
Mary M. Glynn
William R. Goetz
A. Nancy Goldstein
Paul Greene
Alexandra Grin
Michelle Hackett
Phillip and Alice Handy
Eugene and Joyce Haselmann
Dr. James Hayes
Mary Ann Hecht
Marguerite Hedges
Alan J. Heider
Don and Sandralee Henry
Helen and Curt Hillstrom
Jack and Linda Hoeschler
Marian and Warren Hoffman
Dr. Charles W. Huff
Gloria and Jay Hutchinson
Paul Jansen
Fritz Jean-Noel
Angela Jenks
Maria Jette
Max Jodeit
Kara M. Johansson
Daniel Johnson
Thelma Johnson
Mary A. Jones
Dr. Robert Jordan
Amy and Randy Karger
Stanley Kaufman
Carol R. Kelly
Marla Kinney
Dr. Armen Kocharian
Krystal Kohler
Todd L. Kosovich
Jane and David Kostik
Christine Kraft and Nelson Capes
Judy and Brian Krasnow
Ingrid and Lee Krumpelmann
Erik van Kuijk
Alexandra Kulijewicz
Gloria Kumagai and Steven Savitt
Helen and Tryg Larsen
Kenyon S. Latham, Jr.
Karla Larsen
Margaret Laughton
Nowell and Julia Leitzke
Elaine Leonard
Amy Levine and Brian Horrigan
Archibald and Edith Leyasmeyer
Mary and James Litsheim
Malachi and Stephanie Long
John Longballa
Jeff Lotz
Rebecca Lund
Carol G. Lundquist
Roderick and Susan Macpherson
Samir Mangalick
Eva Mach
Vernon Maetzold
Theodore T. Malm
Rachel Mann
Carol K. March
Karen R. Markert
Chapman Mayo
David Mayo
Judy and Martin McCleery
Kara McGuire
James McLaughlin
Dr. Alejandro Mendez
Jane E. Mercier
Jeffrey Messerich
Dina Mikhailenko
Donna Millen
Dan Miller and Beth Haukebo
John W. Miller, Jr.
Margaret Mindrum
Marjorie Moody
Anne and John Munholland
Sandra Murphy
Shannon Neeser
Stephen C. Nelson
Sarah L. Nagle
Jane A. Nichols
Polly O’Brien
Tom O’Connell
Erin O’Neill and Caitlin Serrano
Glad and Baiba Olinger
Ilene A. Olson
Dennis and Turid Ormseth
Thomas W. Osborn
Melanie Ounsworth
H.W. and Mary Park
James L. Phelps
Sydney M. Phillips
Michael Rabe
Alberto and Alexandra Ricart
Drs. W.P. and Nancy W. Rodman
Steven Rosenberg
Stewart Rosoff
Nancy and Everett Rotenberry
Anne C. Russell
Sandra D. Sandell
Linda H. Schelin
Sarah M. Schloemer
Ralph J. Schnorr
Carl H. Schroeder
Jon J. Schumacher and Mary Briggs
Steven Seltz
Ed and Marge Senninger
Jay and Kathryn Severance
Shelly Sherman
Elizabeth Shippee
Brian and Stella Sick
Bill and Celeste Slobotski
Susannah Smith
and Matthew Sobek
Emma Small
Robert Sourile
Karen and Stan Stenson
Cynthia Stokes
James and Ann Stout
Ralph and Grace Sulerud
Benjamin H. Swanson
Ruthann Swanson
Gregory Tacik and Carol Olig
Bruce Tennebaum
Bruce and Marilyn Thompson
Karen Titrud
Robert Tomaschko
Charles D. Townes
Ann Treacy and Aine O'Donnell
Chuck Ullery and Elsa Nilsson
Gordon Vogt
Sarah M. Voigt
Carol and Tim Wahl
William K. Wangensteen
Helen H. Wang
Betsy Wattenberg and John Wike
Stuart and Mary Weitzman
Hope Wellner
Melinda and Steven Wellvang
Deborah Wheeler
Vickie Wheeler
Alex and Marguerite Wilson
Roger and Barbara Wistrcill
Yea-Hwey Wu
Tim Wulling and Marilyn Benson
Janis Zeltins
John Ziegenhagen
schubert.org 41
In honor of the marriage of Mark
Baumgartner and Paul D. Olson
Lucy Rosenberry Jones
and James Johnson
Barbara Lund and Cathy Muldoon
In honor of the Elkina Sisters
Rebecca Shockley
In honor of the marriage of Kyle
Kossol and Tom Becker
Mark Baumgartner and Paul Olson
Jonathan Siekmann
Rick Reynen and Harlan Verke
In honor of Lisa Niforopulos
Gretchen Piper
In memory of Hilda Haarstick
Elizabeth R. Cummins
In memory of Dr. John Davis
August Rivera, Jr.
In memory of Leon R. Goodrich
Bruce and Lucinda Backberg
J.J. and Debra Cascalenda
Bradley and Mary Louise Clary
Charles and Kathryn Cunningham
Kristi and Scott Eckert
Rita Eckert
Steve Farsht
John and Sarah Garrett
Ruth E. Glarner
Daniel Goodrich
Katherine Goodrich
The Family of Leon R. Goodrich
Ward and Shotsy Johnson
Amy and Randy Karger
Heidi and Bradley Keil
Ingrid and Lee Krumpelmann
Edward and Susan Laine
Richard and Thelma Lareau
John and Nancy Lindahl
Anne C. McElroy
Jeffrey Messerich
Metro Bridge Club
Dan Miller and Beth Haukebo
Erin O’Neill and Caitlin Serrano
Ilene A. Olson
Oppenheimer Wolff & Donnelly LLP
H.W. and Mary Park
Ann Treacy and Aine O'Donnell
Jerrol and Alleen Tostrud
Melinda and Steven Wellvang
Roger and Barbara Wistrcill
Jamie W. Witt
In memory of Manuel P. Guerrero
August Rivera, Jr.
In memory of Hilda Haarstick
Elizabeth Cummins
An endowment gift to
support the Thelma Hunter
Scholarship Prize in honor of
Thelma's 90th Birthday
Hella Mears Hueg and Bill Hueg
In memory of Hilary Kempton
Nina and John Archabal
Dorothea Burns
Dee Ann and Kent Crossley
Julie and Anders Himmelstrup
Megen Balda and Jon Kjarum
Paul D. Olson
and Mark L. Baumgartner
Judy and David Ranheim
Connie Ryberg
In memory of Dorothy Mattson
Penny and Cecil Chally
In memory of Jeanette Maxwell Rivera
August Rivera, Jr.
In memory of Jeanne Shepard
Nan C. Shepard
In memory of Nancy Shepard
Nan C. Shepard
In memory of Tom Stack
Eileen V. Stack
In memory of Catharine Wright
Nina and John Archabal
Dee Ann and Kent Crossley
Diane and Mark Gorder
Paul D. Olson
John and Barbara Rice
Helen McMeen Smith
Memorials and Tributes
This activity is made possible by the voters of Minnesota
through a Minnesota State Arts Board Operating Support
grant, thanks to a legislative appropriation from the arts
and cultural heritage fund, and a grant from the Wells Fargo
Foundation Minnesota.
The Schubert Club is a proud member of The Arts Partnership with The Saint Paul Chamber Orchestra, Minnesota Opera
and Ordway Center for the Performing Arts
Thank you to the following organizations
The Deco Catering is the preferred caterer of The Schubert Club
42 THE SCHUBERT CLUB An die Musik
The Schubert Club Endowment
The Schubert Club Endowment was started
in the 1920s. Today, our endowment
provides more than one-quarter of our
annual budget, allowing us to offer free
and affordable performances, education
programs, and museum experiences for
our community. Several endowment funds
have been established to support education
and performance programs, including the
International Artist Series with special
funding by the family of Maud Moon
Weyerhaeuser Sanborn in her memory. We
thank the following donors who have made
commitments to our endowment funds:
The Eleanor J. Andersen
Scholarship and Education Fund
The Rose Anderson
Scholarship Fund
Edward Brooks, Jr.
The Eileen Bigelow Memorial
The Helen Blomquist
Visiting Artist Fund
The Clara and Frieda Claussen Fund
Catherine M. Davis
The Arlene Didier Scholarship Fund
The Elizabeth Dorsey Bequest
The Berta C. Eisberg
and John F. Eisberg Fund
The Helen Memorial Fund
“Making melody unto the Lord in her very
last moment.” – The MAHADH Fund
of HRK Foundation
The Julia Herl Education Fund
Hella and Bill Hueg/Somerset
Foundation
The Daniel and Constance Kunin Fund
The Margaret MacLaren Bequest
The Dorothy Ode Mayeske
Scholarship Fund
In memory of Reine H. Myers
by the John Myers Family,
Paul Myers, Jr. Family
John Parish Family
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
Jean and Carl Brookins
Mary Carlsen and Peter Dahlen
Donald 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
Betty and Paul Quie
Barbara and John Rice
Shirley and Michael Santoro
Mary Ellen and Carl Schmider
Sewell Family Foundation
Katherine and Douglas Skor
Eileen V. Stack
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*
Timothy Wicker and Carolyn Deters
Harry Drake*
Mary Ann Feldman
John and Hilde Flynn
Salvatore Franco
Marion B. Gutsche*
Anders and Julie Himmelstrup
Thelma Hunter
Lois and Richard King
Florence Koch*
Dorothy Mattson*
John McKay
Mary Bigelow McMillan
Jane Matteson*
Elizabeth Musser*
Heather Palmer
Mary E. Savina
Lee S. and Dorothy N. Whitson*
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
The Schubert Club Endowment and Legacy Society
schubert.org 43
www.mndance.org
P E R F O R M A N C E SFri, Dec 19, 7:30 pm
Sat, Dec 20, 2:00 & 7:30 pm
Sun, Dec 21, 3:00 pm
Tue, Dec 23, 7:30 pm
Tickets available at the State Theatre Box O�ce or through Ticketmaster.com (800.982.2787)
P R E S E N T S
5 0 t h A N N I V E R S A R Y
RETURNS TO THE
STATE THEATRE !
Jonathan Biss
t h e
Arto fRussiathe art of Russia: energy and eleganceThu Nov 6 11am / Fri Nov 7 & Sat Nov 8 8pm
Courtney Lewis, conductor / Kirill Gerstein, piano
The phenomenal Kirill Gerstein takes the keyboard for two shining piano concertos by Shostakovich and Prokofiev-music inspired by Russian folk tales that salutes our partnership with the Museum of Russian Art.
the art of Russia: the slavic soulThu Nov 13 11am / Fri Nov 14 & Sat Nov 15 8pm
Hannu Lintu, conductor / Jonathan Biss, piano
Keyboard wonder Jonathan Biss brings out all the depth and operatic drama in this concerto from Mozart, then experience the lush scoring in Prokofiev’s Fifth Symphony.
Disney fantasia – Live in Concertwith the Minnesota orchestraSat Nov 29 8pm / Sun Nov 30 2pm
Sarah Hicks, conductor
Prepare to be spellbound by this celebration of historic animation with great orchestral music.
612.371.5656 / minnesotaorchestra.org / Orchestra Hall
navidad en Cuba: Christmas in havana Cathedralwith the Minnesota orchestra and the Rose ensembleSun Dec 14 2pm
Thrill to the sounds of a stunning rhythmic tradition that sparkles with energy and excitement—Feliz Navidad!
Jingle Bell Docwith the Minnesota orchestraFri Dec 19 8pm / Sun Dec 21 2pm
Doc Severinsen, conductor and trumpet / Minnesota Chorale
a scandinavian Christmas with the Minnesota orchestraSat Dec 20 2pm / Sun Dec 21 7pm
Christina Baldwin and Robb Asklof, vocals / Patrick Harison, accordionEthnic Dance Theatre / Minnesota Boychoir / Twin Cities Girls Chorus
new Year’s eve:sparkling Gershwin to Ring in the new Year!Wed Dec 31 7pm & 10pm
Osmo Vänskä, conductor / Sylvia McNair, soprano
Osmo Vänskä /// Music Director
kiRiLL GeRstein
Holiday concerts
*Please note: The Minnesota Orchestra does not perform on this program.PHOTOS Gerstein: Steve J. Sherman, Biss: Benjamin Ealovega, Christmas: Greg Helgeson, McNair: Roni Ely
the Rose enseMBLe
sCanDinavian ChRistMas
sYLvia McnaiR
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