Date post: | 07-Apr-2016 |
Category: |
Documents |
Upload: | schubert-club |
View: | 236 times |
Download: | 11 times |
January 8 – March 4, 2015
An die MusikThe Schubert Club • schubert.org
You can get there. We can help.
schubert.org 3
You can get there. We can help.
ofTHE ELIX
IR
DONIZETTI MANCHUR
IAN
CANDIDATE
THE
WORLD PREMIERE
mnopera.org 612-333-6669
TICKETS START AT JUST $25!
JAN 24 – FEB 1
An effervescent comedy bubbling with charm
MAR 7 – 15
A taut and suspenseful thriller
F E A T U R I N G A M A N D A H E A R S T W E A R I N G T H E TA V E N E R , P H O T O G R A P H E D A T T H E H E A R S T C A S T L E
NEW BRIGHTON2050 SILVER LAKE ROAD
NEW BRIGHTON, MN 55112651.636.3434
BURNSVILLE2001 BURNSVILLE CENTERBURNSVILLE, MN 55306
952.892.6666
MINNEAPOLIS2405 HENNEPIN AVENUEMINNEAPOLIS, MN 55408
612.584.4142
SAINT PAUL1089 GRAND AVENUE
SAINT PAUL, MN 55105651.797.4834
4 THE SCHUBERT CLUB An die Musik
1004 Marquette avenue Suite 205 MinneapoliS, Mn 55403800.279.4323 612.375.0708 www.givenSviolinS.coM
C L A I R E G I V E N S V I O L I N S , I N C .
Dealers, Makers & Restorers of Fine Violins, Violas, Cellos & Bows
Established 1977
a creativeagency for the arts
Proud to partner with The Schubert Club
An die MusikJanuary 8 – March 4, 2015
Table of Contents
6 President's & Artistic and Executive Director's Welcome
9 Calendar of Events: January – April
10 Hill House Chamber Players
13 Family Fun in The Schubert Club Museum
14 Schubert Ensemble of London
20 Benjamin Grosvenor
26 Courtroom Concerts
32 Intervals: Alumni News of The Schubert Club Scholarship Competition
33 The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
34 The Schubert Club Annual Contributors: Thank you for your generosity and support
Hilary Hahn violinCory Smythepiano
at the Ordway
April 15, 2015
schubert.org
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.
There is no need to mail in your tickets. Thank you!
The Schubert Club Ticket Office:
651.292.3268 • schubert.org/turnback
The Schubert Club75 West 5th Street, Suite 302Saint Paul, Minnesota 55102schubert.org
cover: Benjamin Grosvenor
Phot
o: M
icha
el P
atri
ck O
'Lea
ry
6 THE SCHUBERT CLUB An die Musik
President's and Artistic and Executive Director's Welcome
Nina ArchabalPresident
Barry KemptonArtistic and Executive Director
Welcome to The Schubert Club.
And a Happy New Year to you! We look forward to another year of glorious music-making by artists and ensembles, both
from around the world and within our own local community. Whether you attend our International Artist Series at the
Ordway, Schubert Club Mix, Music in the Park Series, or one of our other presentations or musical events, may live music
bring joy and meaning to our lives during these cold months of the year.
We are excited about the imminent opening of the new Ordway Concert Hall and encourage you to attend one or more
of the opening performances we’re calling Rock the Ordway. There is a wide range of music to choose from–something for
every musical taste; and in a concert venue which promises to have outstanding acoustics. As The Schubert Club is one
of four partner organizations of the Arts Partnership which has made this renovation of the Ordway possible, we wish
to thank everyone in this extraordinary Twin Cities community who has contributed to the campaign. There has been
vital State and City support as well as leadership gifts from distinguished individuals and families providing the solid
foundation to our fundraising. But the full list of contributors is broad and includes many of you. We encourage you to
view the donor wall and thank those who have made it possible. We thank also the tireless Campaign Committee and its
leadership of Gus Blanchard, Lowell Noteboom, and former Schubert Club Board President Lucy Rosenberry Jones for their
direction and endless energy which has enabled us to complete our campaign goal.
We believe music has a bright future and an important role to play in our community. We thank you for being part of our
Schubert Club family.
An die Musik!
Thank you to all individual donors and organizations
whose generous support
makes our programs possible.
The Schubert ClubCONCERTS • EDUCATION • MUSEUM
schubert.org 7
“Top for romance.” – GOURMET
“As good as it looks.” – ST. PAUL PIONEER PRESS
“One of the outstanding wine lists in the world.” – WINE SPECTATOR
Up-to-the-minute cuisine served in a turn-of-the-century landmark.
Feel the warmth of Frost.HISTORIC CATHEDRAL HILL • SELBY & WESTERN, ST. PAUL • 651.224.5715 • WWW.WAFROST.COM
LUNCH & DINNER DAILY • SUNDAY BRUNCH • PRIVATE PARTIES • AWARD-WINNING WINE LIST
A modern musical masterpiece, this fairytale mash-up is packed with comedy, magic and wisdom. Featuring Sondheim’s memorable
songs “Children Will Listen,” “Giants in the Sky” and “No One is Alone.”
MARCH 4–29 | THE RITZ THEATER345 13TH AVENUE NE, MINNEAPOLIS, MN
TICKETS ON SALE NOW! LATTEDA.ORG or 612-339-3003
Featuring Twin Cities vocal powerhouse Greta Oglesby as The Witch and
City Pages Best Emerging Actor 2014 David Darrow as The Baker
PHOT
O BY
HEI
DI B
OHNE
NKAM
P
INTO THE WOODSMUSIC AND LYRICS BY STEPHEN SONDHEIM
BOOK BY JAMES LAPINEDIRECTED BY PETER ROTHSTEIN
MUSICAL DIRECTION BY JASON HANSEN
8 THE SCHUBERT CLUB An die Musik
schubert.org 9
More information at schubert.orgBox office 651.292.3268
Calendar of EventsJanuary – April
January 2015Sunday, January 18 • 7:00 PM Aria
Schubert Club Mix
Brooklyn Rider & Greg Saunier, drums
Tuesday, January 22 • 7:30 PM Landmark Center
Live at the Museum
Music and Tales from the Manuscripts (all new)
with Vern Sutton & Maria Jette
February 2015Mondays, February 2 & 9 • 7:30 PM James J. Hill House
Hill House Chamber Players
"Last Words"
Sunday, February 15 • 4:00 PM St. Anthony Park UCC
Music in the Park Series
Schubert Ensemble of London
Tuesday, February 24 • 7:30 PM Ordway Center
International Artist Series
Benjamin Grosvenor, piano
Friday, February 27 • 6:00 & 7:15 PM St. Matthew's Episcopal
Music in the Park Series Family Concerts
Artaria String Quartet: "Making Friends through Music"
March 2015Sunday, March 8 • 2:00 PM Ordway Concert Hall
Rock the Ordway
Pekka Kuusisto, violin & Dermot Dunne, accordion
Tuesday, March 10 • 7:30 PM Aria
Schubert Club Mix
Pekka Kuusisto, violin & Jay Gilligan, juggler
Thurs & Fri , March 12 & 13 • 10:30 AM Landmark Center
KidsJam Workshop: "Jigs 'n Jam with Northern Gael"
Ross Sutter, Laura MacKenzie & Danielle Enblom
Friday, March 13 • 6:00 & 7:15 PM St. Matthew's Episcopal
Music in the Park Series Family Concerts
Northern Gael (Ross Sutter, Laura MacKenzie & Danielle Enblom)
Friday, March 20 • 7:30 PM Ordway Concert Hall
Rock the Ordway
"Love Songs" Michelle Arezaga, soprano, Tamara Mumford,
mezzo-soprano, Paul Appleby, tenor, Kelly Markgraf, baritone
Gilbert Kalish, piano, Wu Han, piano
Sunday, March 22 • 1:00 PM Ordway Concert Hall
Rock the Ordway
Bruce P. Carlson Scholarship Competition
Winners Recital
April 2015Thurs & Fri , April 9 & 10 • 10:30 AM Landmark Center
KidsJam Workshop: "Latin American Folkloric Music"
Leo & Kathy Lara
Friday, April 10 • 6:00 & 7:15 PM St. Matthew's Episcopal
Music in the Park Series Family Concerts
Leo & Kathy Lara: "Latin American Folkloric Music"
Wednesday, April 15 • 7:30 PM Ordway Music Theater
International Artist Series
Hilary Hahn, violin & Cory Smythe, piano
Sunday, April 19 • 4:00 PM St. Anthony Park UCC
Music in the Park Series
St. Lawrence String Quartet
Monday, April 20 • 7:30 PM Christ Church Lutheran
Accordo
Tuesday, April 21 • 7:30 PM Landmark Center
Live at the Museum
“Samuel Barber, In Words and Song”
Florestan Recital Project
Friday, April 24 • 7:30 PM Bedlam Lowertown
Schubert Club Mix
Stephen Prutsman, piano
Monday, April 27 • 7:30 PM James J. Hill House
Hill House Chamber Players
“Fandango”
St. Lawrence String Quartet
Phot
o: E
ric
Chen
g
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: Karin Wolverton, soprano • Helen Chang Haertzen, violin
Mondays, February 2 & 9, 2015 • 7:30 PM
"Last Words"
Intermission
Quartet in D minor, Opus 103 (Hob. III: 83) Joseph Haydn
Andante grazioso Menuet ma non troppo presto
Four Last Songs Richard Strauss (arr. Scott Tisdel)
Frühling (Spring) September Beim Schlafengehn (While Going to Sleep) Im Abendrot (Evening Glow)
Transitions for Violin and Guitar Jeffrey Van
Carry My Hope Dreams (17th-c. lullaby, arr. Van) Musing and Remembrance Uncertainty Supplications The Winds of Change Release (Oh, Freedom, trad., arr. Van) Floating A Flower of the Field
from String Quartet No. 13 in B-flat, Opus 130 Ludwig van Beethoven
Cavatina: Adagio molto espressivo Finale: Allegro
schubert.org 11
“Mozart, Mozart!” were the last words of Gustav Mahler,
according to his wife Alma. Legend has it that Goethe cried
“More light!,” which amounts to the same thing. While child
prodigies like Mendelssohn and Korngold were celebrated in
their salad days, less attention is paid to artists at the end of
life. And dessert should be savored.
There are 68 string quartets by Joseph Haydn (1732–1809),
a treasury of technical and expressive invention. But Haydn
was only able to complete two of six projected Opus 77
quartets, leaving the torso of a prospective quartet in D
minor. What was published as Opus 103 is a pair of middle
movements. The Andantino explores a wilderness of distant
keys. Haydn asked his publisher to print at the end of the
Menuetto—part explanation, part apology—a phrase from
his song “The Old Man”: “Gone is all my strength; old and
weak am I.” But Quartet No. 68 is still clearly the work of
a master.
Hill House Chamber PlayersMondays, February 2 & 9, 2015 • 7:30 PM • James J. Hill House
As a guitarist, Jeffrey Van (b. 1941) has premiered over 50
works, among them five concertos and Argento’s Letters
from Composers. He has also composed music for chorus,
including the recently-premiered Reaping the Whirlwind/
The Harvest of War, and many guitar chamber works. As
Van tells us, “Transitions represents a selection, expansion
and reworking of short themes and movements originally
composed for the Minnesota Public Television productions
Honoring Choices, which explored time-honored and
changing traditions and rituals of individuals and
communities. The present suite for violin and guitar reflects
the atmosphere, moods, musings and mindsets revealed
and experienced through traversing and embracing the
various stages of life.”
Strauss wrote to the great Norwegian soprano Kirsten Flagstad, expressing his hope that she would premiere his Four Last Songs.
continued next page.
Richard Strauss (1864–1949) wrote over 200 songs in
the course of his long creative life. His wife Pauline was a
formidable soprano (and personality). As a wedding present
in 1894, Strauss gave her a garland that included the now-
beloved songs “Morgen” and “Cäcilie.” He returned to the
genre in 1948 to crown his oeuvre with Four Last Songs for
soprano and large orchestra, meditations on time of day,
time of year and time of life. Three poems are by 1946 Nobel
laureate Hermann Hesse (1877–1962); the last is by Joseph
von Eichendorff (1788–1857), one of the great lyric poets
of his age. The Four Last Songs are presented here in an
arrangement for soprano and string quartet by Scott Tisdel,
associate principal cello of the Milwaukee Symphony.
Strauss’s late music speaks a language little changed from
a century before. But the style is uncommonly spacious and
lyrical, spinning out long melismas in “Frühling.” The violin
interlude in the magical “Beim Schlafengehn” suggests
the unfettered soul in flight. “September” glows like the
embers of Wagner’s Magic Fire. “Im Abendrot” portrays an
elderly couple at sunset, a pair of larks trilling overhead. The
question “Is this perhaps death?” prompts a phrase from
Strauss’s own Death and Transfiguration, composed 60 years
earlier. Said Strauss on his deathbed: “Dying is just the way I
composed it.” Neither he nor Pauline lived to hear the
Four Last Songs.
A phrase from Haydn's song "The Old Man" used on his calling card
Program notescontinued
Sounds of Earth, the golden record sent on the Voyager spacecraft in 1977, includes a recording by the Budapest String Quartet of Beethoven's Opus 130 Cavatina.
A cavatina is a short operatic aria, but the title is also
used for songful instrumental pieces. In the Cavatina
from Beethoven’s Quartet in B-flat, violin sings a deeply
heartfelt melody which is echoed—assented to, really—by
the other strings. In the extraordinary middle section, the
violin, marked beklemmt (suffocated) breaks down into sobs
that reach beyond music into pure feeling. According to
Beethoven’s friend Karl Holz, the composer was so moved
by his own Cavatina that the mere thought of it would
bring tears.
Beethoven’s original Finale to Opus 130 is longer than all the
other movements put together. Called Grosse Fuge (Great
Fugue), it is a complete piece in itself, difficult to play and
frightfully intense. Beethoven’s publisher convinced him to
write a more manageable last movement, publishing the
Fugue separately as Opus 133. This second finale, written
in 1826 and the last music Beethoven (1770–1827) wrote,
is the one heard tonight. The G of the Cavatina’s final chord
becomes a vamp to a theme that is part Haydn, part folk
and all Beethoven. Three repeated notes figure prominently.
As if to say “Here’s what you missed!” the lyrical second
theme ends with a reference to the theme of the Great
Fugue. Beethoven thus disproves George Bernard Shaw’s
ultima verba: “Dying is easy, comedy is hard.”
Program notes © 2014 by David Evan Thomas
The Schubert
Club
schubert.org
651.292.3268
Love SongsFriday, March 207:30 PM
Featuring vocal soloists of the
Chamber Music Society of Lincoln
Center with Artistic Director
Wu Han and Gilbert Kalish, this
program will be a dedication to
affairs of the heart featuring
lieder from Brahms, Schubert,
Schumann, and Berg.
Michelle Arezaga, soprano
Tamara Mumford, mezzo
Paul Appleby, tenor
Kelly Markgraf, baritone
Gilbert Kalish, piano
Wu Han, piano
Winners RecitalSunday, March 22
1 PM
The Bruce P. Carlson Student
Scholarship Competition awards
$50,000 annually to young
musicians. This special, free
concert features the talented
young winners from the 2015
competition.
Pekka Kuusisto &Dermot DunneSunday, March 82 PM
Creative Finnish violinist, Pekka
Kuusisto is joined by Dermot
Dunne, accordion, in a program
of J. S. Bach Violin Partitas
interspersed with
Scandinavian traditional tunes.
Ordway COnCert Hall
Grand OpeninG COnCerts
schubert.org 13
The Schubert Club is delighted to announce KidsJam, a new
program for families this spring! KidsJam is our name for a
series of family friendly workshops, designed for kids ages
4-12 where they can play, listen, learn and create with music.
Led by a diverse array of musicians and performing artists,
children and the grown-ups they love will experience live
music, get involved through creative activities and move-
ment, and learn about the people, cultures and sounds
behind the music.
Each 75-minute workshops is tailored for different age
groups of children with their families. Participating kids will
receive a KidsJam membership badge, plus free admission to
the Friday evening Family Concert.
Our 2015 launch will feature the following two programs:
March 12 and 13 – Jigs ‘n Jam with Northern Gael, with Ross
Sutter, Laura MacKenzie, and Danielle Enbloom, featuring
music and dance from the Irish and Scottish Countrysides
April 9 and 10 – Latin American Folkloric Music
with Leo and Kathy Lara, featuring the traditional songs
Family Fun in The Schubert Club Museumand Saint Paul Community
and rhythms of Latin America using a wide assortment of
authentic instruments.
KidsJam will offer two weekday workshops in The Schubert
Club Museum, one for Early Childhood ages 4-6 and the
other for Home School students Ages 6-12 along with the
adults who accompany them.
In addition, The Schubert Club will bring the KidsJam pro-
gram to various Twin Cities neighborhood venues.
For more information visit schubert.org/education/kidsjam
Making Friends Through MusicArtaria String Quartet
Friday, February 27, 2015 • 6:00 & 7:15 PM • St. Matthew's Episcopal Church"Minnesota's foremost teaching and performing quartet." – St. Paul Pioneer Press
Special performance by students of the Artaria Chamber Music School
schubert.org • 651.292.3268
Music in the Park Series Family Concerts
illu
stra
tion
: Rob
yn B
eth
Pri
estl
y
14 THE SCHUBERT CLUB An die Musik
Goerne Program Page
The Schubert Club
Music in the Park Series
presents
The Schubert Ensemble of London
William Howard, piano • Simon Blendis, violin
Douglas Paterson, viola • Jane Salmon, cello
Sunday, February 15, 2015 • 4:00 PM
Pre-concert conversation at 3:00 PM
Piano Quartet (2012) Huw Watkins
Piano Quartet No. 1 in C minor, Opus 15 Gabriel Fauré
Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto
Piano Quartet No. 2 in E-flat major, Opus 87 Antonín Dvorák
Allegro con fuoco Lento Allegro moderato, grazioso Finale. Allegro ma non troppo
Intermission
Please silence all electronic devices
schubert.org 15
Music in the Park SeriesSunday, February 15, 2015 • 4:00 PM • Saint Anthony Park United Church of Christ
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 CaféSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketThrivent Financial Matching Gift ProgramTrillium Foundation
INDIVIDUALSMeredith AldenArlene AlmNina and John ArchabalAdrienne BanksLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinGarvin and Bernice DavenportShirley I. DeckerKnowles DoughertyBruce DoughmanDavid and Maryse FanLisl GaalDick GeyermanDawn and Michael GeorgieffSandra and Richard HainesEugene and Joyce Haselmann
Sandy and Don HenryAnders and Julie HimmelstrupPeter and Gladys HowellWarren and Marian HoffmanGary M. Johnson and Joan G. HershbellMichael JordanAnn Juergens and Jay WeinerChris and Marion LevyRichard H. and Finette L. MagnusonDorothy Mattson EstateDeborah McKnightGreta and Robert MichaelsJames and Carol MollerMarjorie MoodyJack and Jane MoranDavid and Judy MyersGerald NolteJohn NoydKathleen NewellSallie O'Brien
James 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 Schubert Ensemble has established itself over thirty
years as one of the world’s leading exponents of music for
piano and strings. Regularly giving over fifty concerts a year,
the ensemble has performed in over forty different countries. It
has over 80 commissions to its name, has recorded over thirty
CDs and is familiar to British audiences through regular broad-
casts on BBC Radio 3. In 1998 the Ensemble’s contribution to
British musical life was recognized by the Royal Philharmonic
Society when it presented the group with the Best Chamber
Ensemble Award, for which it was short-listed again in 2010.
In the past three seasons the Ensemble has performed in the
Czech Republic, Norway, Gibraltar, Spain, Holland, Canada and
the USA, and made first visits to China, Bermuda and the Unit-
ed Arab Emirates. In this period the Ensemble has also released
three recordings for the Chandos label, of works by Fauré,
Enescu and Dvorák. It has curated two festivals at London’s
Kings Place – Finding Fauré in 2009 and Saint-Saens’s Paris
in 2010, part of which was broadcast on BBC Radio 3, and
gave a three-concert Enescu/Dvorák series at Wigmore
Hall in 2010–11. It was also invited by Leeds City council to
programme its 2010–11 International Chamber Series, for
which it devised a Viennese season with the title
Transfigured Night. The Ensemble started 2012 with a trip to
Amsterdam, where it performed in the Concertgebouw Hall
on New Year’s Day.
The Ensemble has established a reputation for innovation
in the fields of new music, education and audience develop-
ment. This year will see the Ensemble continue its Residency
at the Birmingham Conservatoire as well as giving work-
shops and masterclasses at Clare College, Cambridge and
the Royal Welsh College of Music and Drama.
The past few years have also seen a succession of new com-
missions. In 2009 the Ensemble gave the world premiere of
a Piano Quintet by Jonathan Dove at the Spitalfields Festival,
and July 2010 saw the premiere of a new Piano Quartet by
Joe Cutler at the Cheltenham Festival, which was broadcast
on BBC Radio 3. In May 2011, it gave the world premiere of
Pavel Novák’s Unisono (Homage to the Bach family) for piano
quintet at the Newbury Festival and in June 2012 it gave the
world premiere of a Piano Quartet by Huw Watkins at the
Spitalfields Festival.
2013 was the Ensemble’s 30th Anniversary and celebrations
included a series of three concerts at Kings Place in March,
an anniversary concert at Wigmore Hall in November, a
major tour to the USA in February, and new commissions by
Edward Rushton and Colin Matthews.
Thank you to all those who gave to the new Music in the Park Series Endowment Fund. Please see page 38.
16 THE SCHUBERT CLUB An die Musik
Program Notes
Piano Quartet (2012) Huw Watkins (b. Wales, 1976)
A century ago, Walter Willson Cobbett, the founder of the Scandinavia Belting Company and an amateur violist, poured his retirement energies into chamber music, establishing a prize for what he called “phantasy” compositions, harking back to the fantasies for viols by Purcell and his contemporaries. The phantasy was to be a one-movement form with sections varying in tempo and rhythm, lasting at most about twelve minutes. Brit-ish composers, among them Britten, Bridge, Walton and Vaughan Williams, answered the call with substantial works of this type. Huw Watkins’s Piano Quartet is also such a piece.
Chamber music has always been central to Watkins’ output. Among his two dozen chamber works are three string quartets. Five Larkin Songs won the Vocal category of the 2011 British Composer Awards. Watkins’s orches-tral music has been performed by the London Symphony Orchestra and at the 2005 BBC Proms. In 2002, Watkins appeared as soloist in his own Piano Concerto with the BBC National Orchestra of Wales. His five concer-tos include a Violin Concerto written in 2010 for Alina Ibragimova. 2014 saw the premiere of On The Other Hand – Concerto for Brass Band and Two Jazz Trumpets, com-missioned for the National Youth Brass Band of Wales. Born in Wales in 1976, Huw Watkins read Music at Kings College, Cambridge and completed graduate study in composition at the Royal College of Music. His teachers have included Julian Anderson, Robin Holloway and Alexander Goehr. Watkins is currently Professor of Composition at the Royal College of Music, London.
“I wrote my Piano Quartet in 2012 for the Schubert Ensemble, which gave the first performance at London's Spitalfields Festival,” Watkins writes. “It is a single-move-
ment work which lasts around ten minutes. It begins quietly and simply, the piano initially silent. A jolt from the piano leads into a much faster, more restless section. There is a return to the tranquil opening material, before a final reappearance of the faster music, leading to an unexpectedly serene conclusion.” The Quartet was com-missioned by The Schubert Ensemble and Spitalfields Music with funds gratefully received from The Leche Trust, The Schubert Ensemble Trust and the Spitalfields Music New Music Commission Fund.
Welsh composer Huw Watkins
Piano Quartet No. 1 in C minor, Opus 15 Gabriel Fauré (b. Pamiers, 1845; d. Paris, 1924)
Gabriel Fauré was the most forward-looking member of a generation of French composers that included Saint-Saëns, Bizet and Massenet. He was also the most historically conscious. Fauré was born in southern France, halfway between the ancient city of Carcassonne and the Pyrenees. When he was nine, his father enrolled him at the École de Musique Classique et Religieuse run by Louis Niedermeyer. “I was the sixth child in the family,” noted the composer, “and my father couldn’t afford to take risks.” The wisest vocational choice seemed to be that of choirmaster and organist. The modal music of chant—very much a part of that training—would tint his harmonies for the rest of his life and set him apart from his contemporaries.
Pauline Viardot, the famous mezzo-soprano and friend of Chopin, gives us a glimpse of the young Fauré: “He’s an excellent composer,” she wrote to a friend. “What’s more he has a good sense of humor and he’s mad about dancing. We’re very fond of him.” In the summer of 1877, 32-year-old Fauré became engaged to Viardot’s daughter
Gabriel Fauré in 1875
schubert.org 17
Marianne, who at 23 was a singer like her mother. Many of Fauré’s best-known mélodies, such as “Notre amour” and “Nell,” come from this period. When Marianne broke off the engagement, Fauré was heartbroken. “It took him months, perhaps years, to get over it,” wrote Fauré’s son Philippe. The wound was entombed in the elegiac song “Après un rève,” with its lament by Bussine: “I dreamed of happiness, passionate illusion.” It also left its mark on the Adagio of the C-minor Piano Quartet.
Even as France recovered from its defeat in the Franco-Prussian War of 1870, a new era in French chamber music was dawning with the launch of the Société nationale de musique. A founding member, Fauré had great success with the Violin Sonata in A major, which was published by Breitkopf and Härtel (although Fauré saw not a sou from it). The Piano Quartet in C minor was written between 1876 and 1879, around the time Fauré assumed the post of maître de chapelle at Paris’s Church of the Madeleine. It was premiered at the Société on February 14, 1880.
In a generally laudatory 1924 article, “Gabriel Fauré, a Neglected Master,” Aaron Copland, fresh from his studies in France, praised the work as “one of Fauré’s most delightful compositions.” But he found the first movement too conventional: “What a pity to have made the recapitulation an almost exact repetition of the exposition.” But a listener may welcome the repetition, for only then does the ear fully appreciate Fauré’s metric subtleties. The Quartet begins in 3/4 meter, but that’s not clear until the ninth measure.
In the Scherzo’s delightful play of pizzicato chords and piano whisps one may overlook Fauré’s masterful com-mand of phrase-structure, as successive phrases grow longer, then overlap. By placing the scherzo second, Fauré shifts emphasis to the funereal Adagio. That movement makes telling use of the common register of the stringed instruments, the octave or so around middle C that when played in unison is so heart-piercingly intense.
The 1880 version of the finale was criticized by Fauré’s friends; he revised it for performance in 1884. The result is driving, brilliant and wholly effective. As lovely as the second theme of this movement is, the high point may be the remarkable five-layer rhythmic texture of the development: eighth-notes in the pianist’s left hand,
Dvorák in 1894
half-notes in the right, a waltz tune in the viola, martial violin rhythms, and gong tones in the cello. Debussy is noted for his receptivity to gamelan music, but a decade before the Paris Exposition of 1889, Fauré was already thinking in such complex contrapuntal terms.
Piano Quartet No. 2 in E-flat major, Opus 87 Antonín Dvorák (b. near Prague, 1841; d. Prague, 1904)
Antonìn Dvorák was the most versatile of composers. Brahms never composed for the stage; there are no Wagner concertos; Liszt left little chamber music of substance. But, as Brahms wrote to publisher Simrock, “Dvorák has written all manner of things: operas (Czech), symphonies, quartets, piano pieces. In any case, he is a very talented man.”
Dvorák’s Piano Quartet in E-flat was composed in the summer of 1889, around the time of the glowing Eighth Symphony and just before his three-year sojourn in the U.S. Piano provides a foil to the strings’ strenuous unison theme. The fourth note of that idea—a B-natural in E-flat major—tweaks the ear. Viola states a lovely second theme in the distant key of G major. All the instruments have interesting parts in this work, but the viola stands out. That’s only natural: Dvorák was a violist. The B-natural is consequential, instigating the move to E minor for the development. Later, B major hosts the return of the second subject.
The cello’s role in the spacious Lento anticipates the concerto Dvorák will write for that instrument in America. While there are agitated moments, stillness reigns in this movement, particularly in a memorable central episode of delicate piano octaves over gently breathing strings and pizzicato cello.
continued on next page
18 THE SCHUBERT CLUB An die Musik
Program Notescontinued
The third movement is rich in thematic material, as dancing strings are answered by the piano in contrasting folk styles. A motive of three descend-ing notes is inflected three different ways: subtle changes, but with great effect. The middle section, or “Trio,” maintains the three-beat meter and eight-bar phrase, but you’d never know it, so varied and un-expected is the rhythmic treatment. Brahms would have enjoyed the canons in this movement, and would also have admired the way his Czech friend evokes the cimbalom and makes the piano sparkle.
Viola states both themes in the Finale. There are hi-larious trips around the circle of fifths. In the closing bars, Dvorák reaches back to that sportive B, corrects it and makes an affirmative conclusion.
Program notes © 2014 by David Evan Thomas
612-333-0313 thursdaymusical.org
2014
-201
5
THU
RSDA
Y M
USI
CAL
SEPT
EMBE
R –
APRI
L
Presenting Minnesota’s Finest Classical Musicians in Concert Season Tickets and Membership on Sale Now!
$10 off Membership for new members
(determined by a three-year lapse) Use coupon code: member 10
schubert.org 19
ROCKTHE
ORDWAY
HALEY BONARWED MAR 18 7:30PMTICKETS START AT $16 ORDWAY.ORG
RTO 7x4.875_schubert.indd 1 12/8/14 2:56 PM
Experience the World’s Finest Choirs at the Cathedral of Saint Paul
Choir of King’s College, Cambridge Monday, March 23, 2015, 7:30 p.m.
St. Paul’s Cathedral Choir of London Tuesday, April 28, 2015, 7:30 p.m.
Purchase tickets at 651-290-1200 or etix.com.
20 THE SCHUBERT CLUB An die Musik
Goerne Program Page
The Schubert Club
presents
Benjamin Grosvenor, pianoTuesday, February 24, 2015 • 7:30 PM
Pre-concert talk hosted by Mark Mazullo at 6:45 PM
Gavotte and Variations in A minor Jean-Philippe Rameau
Chaconne for Violin Solo, from BWV 1004 J.S. Bach, arr. Busoni
Prelude, Chorale and Fugue, M.21 César Franck
Intermission
This evening's concert is dedicated to the memory of Catherine M. Davis.
Barcarolle in F-sharp major, Opus 60 Frédéric Chopin Mazurka in F minor, Opus 63, No. 2 Mazurka in C-sharp minor, Opus 30, No. 4 Ballade No. 3 in A-flat major, Opus 47
Three Pieces from Goyescas Enrique Granados
Quejas, ó la maja y el ruiseñor El amor y la muerte El pelele
Please silence all electronic devices
schubert.org 21
British pianist Benjamin Grosvenor, internationally recognized for his electrifying performances and penetrating interpretations, makes his International Artist Series debut this season. Grosvenor first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven. An exquisite technique and ingenious flair for tonal color are the hallmarks which make him one of the most sought-after young pianists in the world.
Benjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven. Since then, he has become an internationally regarded pianist performing with orchestras including the London Philharmonic, RAI Torino, New York Philharmonic, Philharmonia, Tokyo Symphony, and in venues such as the Royal Festival Hall, Barbican Centre, Singapore’s Victoria Hall, The Frick Collection and Carnegie Hall (at the age of thirteen). Benjamin has worked with numerous esteemed conductors including Vladimir Ashkenazy, Semyon Bychkov, Andrey Boreyko and Vladimir Jurowski.
At just nineteen, Benjamin performed with the BBC Symphony Orchestra on the First Night of the 2011 BBC Proms to a sold-out Royal Albert Hall. Benjamin returned to the BBC Proms in 2012, performing with the Royal Philharmonic Orchestra and Charles Dutoit. Recent and future highlights include engagements with the National Symphony Orchestra, San Francisco Symphony
Orchestra, Cleveland Orchestra, Konzerthausorchester Berlin and Orquesta de Euskadi, as well as recital debuts at the Boston Celebrity Piano Series, Club Musical de Québec, Salle Gaveau, Theatre des Champs-Elysees and Southbank Centre, London. Benjamin continues to incorporate chamber music collaborations into his schedule, including a performance at the Queen Elizabeth Hall’s International Chamber Music Series with the Endellion String Quartet, alongside further collabora-tions with the Escher String Quartet and Elias Quartet.
In 2011 Benjamin signed to Decca Classics, and in doing so has become the youngest British musician ever to sign to the label, and the first British pianist to sign to the label in almost 60 years. Recorded with the Royal Liverpool Philharmonic Orchestra and James Judd, Benjamin’s most recent recording for Decca includes Saint Saëns’s Piano Concerto No. 2, Gershwin’s Rhapsody in Blue and Ravel’s Piano Concerto in G Major, interspersed with transcriptions by Godowsky and Percy Grainger. The recording has been top of the Specialist Classical Charts. During his brief, but sensational career to date, Benjamin has received Gramophone’s ‘Young Artist of the Year and ‘Instrumental Award’, a Classic Brits Critics’ Award’, UK ‘Critics’ Circle Award’ for Exceptional Young Talent and a Diapason d’Or ‘Jeune Talent’ Award.
He has been featured in two BBC television documentaries, BBC Breakfast, The Andrew Marr Show, CNN’s Human to Hero series and has recently signed a three year agreement with EFG International (EFG), the widely respected global private banking group. The youngest of five brothers, Benjamin began playing the piano aged 6. In July 2012, he graduated from the Royal Academy of Music, where he was awarded ‘The Queen’s commendation for excellence’. Benjamin has had lessons with Christopher Elton, Leif Ove Andsnes, Stephen Hough, and Arnaldo Cohen among others.
Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, February 24, 2015 • 7:30 PM • Ordway Center
22 THE SCHUBERT CLUB An die Musik
Program Notes
Gavotte and Variations in A minor Jean-Philippe Rameau (b. Dijon, 1683; d. Paris, 1764)
Like J. S. Bach, Handel and Scarlatti, all of whom were born in 1685, Jean-Philippe Rameau was the leading composer of his nation. 2014 was the 250th anniversary of the death of Rameau, and the French are still celebrat-ing at www.rameau2014.fr. In a long and varied career, Rameau made his mark as a keyboard composer, published a revolutionary harmony treatise, and at the age of 50 reinvented himself as an opera composer.
Rameau published three collections of harpsichord piec-es. The third, Nouvelles suites de pièces de clavecin, came out around 1729, and is a landmark in keyboard history. The Gavotte and Variations, also called Gavotte with Six Doubles, concludes the first suite. The gavotte is a Baroque-era couples dance in two-part form that begins with an upbeat. A “double” is a type of variation in which the melody is decorated with “divisions,” each melody note spawning two or more others. Rameau highlights his innovations in a preface: the batteries of variation 4, where notes are struck—battered—by alternating hands (one on each of the French harpsichord’s two manuals); the stretches of variation 5, where the hand leaps twice in the same direction. Rameau demonstrates handily that anything one hand does can be imitated by the other.
Chaconne in D minor (from Partita No. 2 ) J. S. Bach (1685–1750), arr. Busoni
J. S. Bach needs no introduction, but a few words about Ferruccio Busoni: his father, a clarinetist, was so convinced of his son’s destiny that he christened him Ferruccio-Dante-Michelangelo-Benvenuto; the boy played Mozart’s C-minor Piano Concerto at seven and gave his first full recital at nine; Busoni’s recitals often included Bach transcriptions like this one, made around 1897; his name became so entwined with Bach’s that Busoni’s wife, during a stay in New York, was often addressed as “Mrs. Bach-Busoni.”
A chaconne is a set of variations, usually in triple meter, on a repeated bass line or harmony. It was a favorite vehicle for improvisation in the Baroque era. Michael Steinberg has described Bach’s chaconne as ”a compendium of string possibilities, much as the Goldberg Variations are an encyclopedic compendium of keyboard technique. But more marvelous still is Bach’s mastery of architecture: this is one of those pieces—the opening choruses of the Saint Matthew Passion and the B-minor Mass are others—where he works on a scale never before attempted, creating a line that creates incredibly powerful cycles of tension and release.”
Busoni proceeds with reverence and no little temerity to move Bach from the string medium to the keyboard. Although one misses the singing power of the violin, in other ways—dynamic range, pitch spectrum—the move is enriching. In places, Bach simply writes the instruction arpeggio over some chords, intending the player to improvise a texture. Here, Busoni’s pianistic Jean Philippe Rameau, by Jean-Jacques Caffieri
Ferruccio Busoni
schubert.org 23
solutions are ingenious and dazzling. At the still point, a poetic move to D major, Busoni adds quasi tromboni, evidence of the “piano orchestration” for which he was famous. Two variations later, that same trombone line reappears, added by Busoni, but completely appropriate. And where Bach ends his D-minor Chaconne with a unison, Busoni chooses a ringing major chord.
Prelude, Chorale and Fugue, M.21 César Franck (b. Liège, 1822; d. Paris, 1890)
Cesar Franck was born in the Walloon District, the French-speaking Eastern region of what is now Belgium, where within a hundred miles one could hear four dis-tinct languages spoken. His father, who was unemployed when the boy was born, dreamed of a virtuoso career for the child. Although the boy was undeniably precocious, he received a good education despite his father’s efforts rather than because of them.
Franck established a reputation as a master of improvisa-tion on the fine new Cavaillé-Coll organ at the renovated Basilica of Ste Clotilde, where he enjoyed a 32-year tenure as organist. From 1872 he was also professor of organ at the Paris Conservatoire, where he taught composition in the context of the organ studio. He left an enduring legacy in La bande à Franck: dedicated students like Chausson, Chabrier, Duparc, Dukas and Vincent d’Indy, who would later write a fawning biography of his
César Franck
The basilica of Ste Clotilde in Paris where Franck was organist from 1859 to 1890.
maître. Franck was a late-bloomer. His creativity surged in the 1880s with the controversial Symphony in D minor and three major chamber works: the Piano Quintet (1880), the Sonata for Violin and Piano (1886), and a String Quartet (1889). And he combined his love of Bach, the rigor of Schumann and the élan of Liszt in the Prélude, choral et fugue (1884), the most significant French piano work of its day.
Franck begins with frankly Bachian textures magnified for the piano. The right-hand melody is slightly off-the-beat, its accented notes seeming to point toward the heights from which the Choral will sound. This toccata material alternates with a more recitative-like strain. The piano is hardly the ideal chorale medium, as anyone who has accompanied hymns can attest. (Indeed, Saint-Saëns took exception to the Prélude, choral et fugue, saying “the choral is not a choral at all, and the fugue is not a fugue.”) But one should ask what meaning “choral” holds for Franck. He further explored the idea in his final work, the Trois chorals for organ, not chorales in the Protestant sense so much as a personal form in which lyric material is contrasted and synthesized. In any case, Franck here invents a sonorous and showy presentation for a familiar, archaic progression, an echo of the bells of Parsifal. The B-minor fugue subject bears a Franckian melodic thumb-print: two small gestures that combine to make a third longer one. Its working out and combination with the Prélude material and Choral make for dazzling pyrotechnics as well as supremely satisfying counter-point. And the final peal is especially gratifying. Father Franck—the poet of Ste Clotilde—had a theatrical sense after all.
24 THE SCHUBERT CLUB An die Musik
Program Notescontinued
Four PiecesFrédéric Chopin (b. Zelazowa Wola, near Warsaw, 1810; d. Paris, 1849)
Chopin often draws on popular genres, investing them with uncommon depth and profundity. His larger struc-tures, like the Ballade and Barcarolle, are goal-directed in a way Classic-period works are not. “Above all the structure is end-weighted,” writes Chopin scholar Jim Samson, “with a rising intensity curve culminating in a reprise which is more apotheosis than synthesis.” This has something to do with the virtuoso tradition of the time. Pianists like Hummel, Weber and Thalberg sported a brilliant technique, and a big finish paid off, literally.
Dr. Charles Burney, visiting Venice in 1771, observed that “if two of the common people walk together arm in arm, they are always singing, and seem to converse in song; if there is company on the water, in a gondola, it is the same; a mere melody, unaccompanied with a second part, is not to be heard in this city.” The Barcarolle, Opus 60 is such a boat-song. Winding thirds and sixths suggest a couple in cozy conversation. When a wander-ing solo line seems to propose a fugue, Chopin, who would never flaunt craft so nakedly, offers a second theme in A major instead. This idea will return at the apotheosis. The reprise of the main theme is ushered in by a lovely, rhapsodic passage marked sfogato, a special kind of expression suggesting a bel canto singer of great range and agility. A sublime pedal point—a sustained bass note—closes this great work, as the harmony
Frédéric Chopin in 1835 (age 25) by Maria Wodzinska
deepens and we drift down the canal into the sunset. But two notes, and we are back on solid ground.
Chopin’s fifty-odd mazurkas are varied beyond descrip-tion, but they share triple meter, an emphasis on the second beat of the bar, and characteristic Polish dotted rhythms. They are stylized, not actual folk dances; they dance, but they aren’t for dancing. The languid Mazurka in F minor, composed in 1846, is one of Three Mazurkas dedicated to Countess Laura Czosnowska, who was a guest at George Sand’s house in Nohant that summer. Sand was quite catty about the Countess, but Chopin was fond of her. The skittish Mazurka in C-sharp minor is the last of a set of four composed in 1837 and dedicated to Maria Wirtemberska (1768-1854), a Polish noble, writer and philanthropist. The harmonic deflation in its closing bars would have astonished guests at her Paris salon.
Chopin’s four Ballades are matched by four Scherzos. But where the Scherzos explore permutations of sonata form, the Ballades have more to do with good, old-fashioned story-telling. The ballade was one of the poetic forms of the Medieval Ars nova. By the early nineteenth century it had evolved into a type of song; Schubert’s Erlkönig is a ballade. The title signifies no particular program, writes Samson, “but it does invite the listener to interpret musical relationships at least partly in the terms of a literary narrative, even if this can only be at the level of metaphor.”
Like a legendary tale, the 1841 Ballade No. 3 begins in the middle of things. Two sweet themes, one in A-flat, one in C major, are followed by a third waltzing idea that capers all over the place. Like a great spinner of yarns, Chopin knows how to hold back the very thing you want or expect. The climax suffuses the opening phrase with intense, brilliant light.
Three Pieces from GoyescasEnrique Granados(Born in Lerida, Catalonia, 1867; died at sea, 1916)
Catalan by birth, cosmopolitan in outlook, largely self-taught as a composer, Granados was one of the finest pianists of his day, a performer rather than an academic, a frequent partner of Casals, and a brilliant improviser. The French critic Jean-Aubry described his temperament
schubert.org 25
in dualities: listless ardor; passionate languor. “The spirit of Granados is inextricably bound up with European Romanticism,” notes Alicia de Larrocha, “with an adoration of Schumann and with the soul of Spain’s immemorial folkloric traditions, which he knew how to transform with his instinctive musical genius.”
Beginning in 1775, Francisco Goya (1746 –1828) painted a series of cartoons for the Spanish Royal Tapestry Factory. Not the famous “black” paintings on violent subjects—those came later—but witty depictions of eighteenth-century stock characters meant for the walls of the Prado or Escorial palaces. Like Verlaine in his treatment of Watteau’s Fêtes galantes, Granados created a series of “Goya-esque” scenes. These Goyescas do not depict specific paintings, but a world. Central are the majos—affected, honey-tongued dandies, and the majas—brazen, alluring creatures who, one Frenchman observed, “promise at least pleasure if they do not inspire love.”
Goyescas: Los majos enamorados (Pieces in the Style of Goya: Youth in Love) was written in two books of three pieces between 1909 and 1912. Each of the set’s six movements is dedicated to a different keyboard luminary, among them Emil Sauer, Ricardo Viñes, Harold Bauer and Alfred Cortot. The English critic Ernest Newman called it “the finest pianoforte music of our day,” and Granados was encouraged to turn the work into a one-act opera. It’s a familiar story:
The scene is set outside the Royal Chapel of San Antonio de la Florida, famous for its frescos and dome painted by Goya, who is buried there. A high-born lady, Rosario, is approached by Paquito, a toreador, arousing the jealousy of her lover, Fernando, an officer. Fernando insults Paquito, who proposes a duel later that night. Alone, Rosario asks, “Why does the nightingale in the gloom
El pelele (the puppet), one of Goya's cartones de tapices, paintings created as tapestry patterns.
Granados in 1915 or 1916
pour out her soul in amorous song?” In the sword fight, Fernando is mortally wounded. He dies in Rosario’s arms.
We hear the two culminating movements of the suite with a bonus. Granados quotes a Valencian folk song in the fourth movement, “Quejas o la maja y el ruiseñor” (Complaint, or the girl and the nightingale). It in turn inspired the 1944 Jimmy Dorsey hit “Bésame mucho.” One must wait for the F-sharp major flourish of birdsong at the end. “El amor y la muerte” (Ballad of love and death) was inspired by the tenth of Goya’s Caprichos. Its music recalls many of the themes of the suite-opera. “El pelele” was not part of the original piano suite, but comes from the opera’s opening chorus. As in Goya’s painting of the same name, several men and women are tossing a pelele (a stuffed figure) in a blanket.
With the outbreak of World War One, a planned Paris premiere of the opera Goyescas was postponed. In 1916, Granados and his wife crossed the Atlantic to hear it performed at the Metropolitan Opera, where, as the first Spanish-language opera given at that house, it was heard five times. An impromptu White House invitation from President Wilson prompted Granados to extend his American visit and re-book passage though London, with a Channel crossing. When the SS Sussex was torpedoed by a German U-boat on a sunny March after-noon, Granados, his wife and 50 others drowned. That evening, unawares, Artur Rubinstein played “La maja y el ruiseñor” at a recital in Barcelona.
Program notes © 2014 by David Evan Thomas
26 THE SCHUBERT CLUB An die Musik
The Mill City String Quartet was founded by Angela Hanson and Erika Hoogeveen
(violins), Huldah Niles (viola), and John Eadie (cello) in the fall of 2007 with the intention of
studying and performing the major works of the classical repertoire. In addition to our season
of public concerts, they also perform at private events, frequently collaborate with the singers
of Kantorei, and have worked with music students in Monticello, Andover, and Stillwater. This
season, they were chosen as a 2014-15 Artist-in-Residence throughout southern Minnesota
through Minnesota Public Radio's Class Notes program. In addition to creating a
curriculum for the school music teachers, they performed and taught a world music program
at seven elementary schools in early October. Through a generous grant from the Mankato Symphony and the Prairie Lakes Regional Arts
Council, they toured through small communities throughout southern Minnesota in the 2013-14 season. These thirteen performances
were made possible the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund.
Courtroom ConcertJanuary 8, 2015 • Noon • Landmark Center
Clara Osowski, mezzo sopranoMill City String Quartet; Jessica Schroeder, piano
Hailed for her artistry and rich mezzo color, Clara Osowski was a 2012 Metropolitan Opera National Council
Upper-Midwest Regional Finalist, runner-up in the 2012 Schubert Club Bruce P. Carlson Scholarship Competition, and
was named the winner of the 2014 Bel Canto Chorus Regional Artists Competition in Milwaukee, Wisconsin. Active
as a recitalist with pianist Mark Bilyeu, she recently completed the Vancouver International Song Institute, Académie
Francis Poulenc, and was also featured at the 2014 Baldwin-Wallace Art Song Festival, in Berea, Ohio. The duo will also
be competing in "Das Lied" art song competition in Berlin, Germany this February. Highlights in 2015 include
Dominick Argento’s Casa Guidi with the Metropolitan Symphony Orchestra of Minneapolis, and Bach’s St. Matthew
Passion with the Bel Canto Chorus of Milwaukee. Clara is an Adjunct Faculty of Voice at the University of
Minnesota-Morris, and is the Associate Artistic Director of Source Song Festival, the Twin Cities new festival devoted to art song composers,
performers, and enthusiasts.
Originally from Seattle, Jessica Schroeder has performed internationally in Austria, Italy, and Vancouver, B.C. She
has collaborated in performances with singers and instrumentalists, and is a founding member of the Antithesis
Project, based in the Twin Cities. Jessica holds a Bachelor of Music in piano performance from Western Washington
University, a Master of Music in collaborative piano from the University of Oregon, and a Doctor of Musical Arts in
collaborative piano and vocal coaching from the University of Minnesota.
Courage – Charles Arthur Ridgway
La Mort D’Ophélie – Hector Berlioz
3 songs from Songs on Letters of John and Abigail Adams – James Kallembach
Banquo’s Buried – Alison Bauld
We’ll Find a Way – Paul Rudoi
schubert.org 27
Courtroom ConcertJanuary 15, 2015 • Noon • Landmark Center
MPLS (imPulse) Choral EnsembleSamuel Grace, Founding Artistic Director
“imPulse Happy Hour”
The Drunken Sailor - Sea Shanty arr. Robert Sund (b. 1942)
The Inn: A Ballad on Lithuanian Folksongs - Algimantas Bražinskas (b. 1937)
A Celtic Triptych - Ron Jeffers (b. 1943)
II. A Drinking Song
III. A Plea For Old Friends
Color Madrigals - Joshua Shank (b. 1980)
Purple Stainéd Mouth
Yellow Brooms and Cold Mushrooms
O Potores Exquisiti - Eduardo Andrés Malachevsky (b. 1960)
Four Temperance Songs - arr. and ed. Ralph Hunter (1921-2002)
I. O, Join the Army
II. Clear the Track!
III. Sparkling Water
IV. Sign Tonight
God’s Bottles - Randall Thompson (1899-1984)
Chili con Carne - Anders Edenroth (b. 1963)
All For Me Grog - Stephen Hatfield (b. 1956)
MPLS (imPulse) is a 24-voice festival chamber chorus based in Minneapolis, Minnesota. Founded in 2014 by Samuel Grace, the
ensemble seeks to re-imagine traditional conventions in choral music and to engage audiences with eclectic music in diverse spaces.
Artists in MPLS (imPulse) prepare music in advance of scheduled festival appearances where the ensemble rehearses, builds community,
and presents a series of concerts throughout the region.
Minneapolis-based conductor Samuel Grace is quickly gaining recognition in the Twin Cities for his work as a
conductor and choral musician. In addition to his role with MPLS (imPulse), Samuel is also Artistic Director of The
Elizabethan Syngers and Director of Music at Calvin Presbyterian Church in Long Lake. In his free time, Samuel enjoys
riding his bike, homebrewing, visiting friends, and playing trivia games. Samuel holds degrees from Gustavus Adolphus
College and The University of Minnesota.
28 THE SCHUBERT CLUB An die Musik
Courtroom ConcertJanuary 22, 2015, 2014 • Noon • Landmark Center
Music of Jocelyn HagenCarrie Henneman Shaw, soprano; Matthew Williams, viola
Jocelyn Hagen, piano; Trio Matisse: Linda Chatterton, flute
Joel Salvo, cello; Rachel Brandwein, harp
KISS
I. in the dreamed of places
II. how to bone a fish
III. your hands
IV. on more
Carrie Henneman Shaw, soprano •Jocelyn Hagen, piano
Frostbite
Linda Chatterton, flute • Jocelyn Hagen, piano
Silver Wing, from Test Pilot
Carrie Henneman Shaw, soprano • Matthew Williams, viola
Poem
I. she is
II. running through
III. sleeping cascades
IV. of fire
Trio Matisse
Jocelyn Hagen (b.1980), a native of Valley City, North Dakota, composes music that has been described as “dramatic and deeply
moving” (Star Tribune). Her first forays into composition were via songwriting, and this is very evident in her work. The majority of her
compositional output is for voice: solo, chamber and choral. In 2012 she collaborated with choreographer Penelope Freeh to create
“Slippery Fish,” a quartet for two dancers, soprano and viola, and the piece was reviewed as “completely original in all respects.” (Star
Tribune). Currently she is Artist-in-Residence at the North Dakota State University School of Music, where she teaches, writes curriculum
and brings in collaborators to perform her work.
Jocelyn holds degrees in Theory, Composition, and Vocal Music Education from St. Olaf College, as well as a Masters degree in
Composition from the University of Minnesota. She is the proud recipient of two McKnight artist fellowships in 2010 and 2014. As a
performer, Jocelyn began piano lessons at the age of three and became a professional accompanist by the age of 15. In 2000 she won first
place in the Klatzkin Contemporary Keyboard Competition at Arizona State University (Alexina Louie, “Music for Piano”), and in 2003
soloed with the St. Olaf Orchestra (Francis Poulenc, “Piano Concerto, first movement”). For several years she specialized in the perfor-
mance of 20th and 21st century art song, performing and touring with soprano Jennifer Kult as the Linden Duo. Jocelyn has received
grants and awards from ASCAP, the American Composers Forum, Minnesota Music Educators Association, the McKnight Foundation, the
Jerome Foundation, VocalEssence, the Yale Glee Club, the Lotte Lehman Foundation, the Sorel Medallion Competition, the Cincinnati
Camerata, the University of Minnesota, and the San Francisco Song Festival. Her commissions include the American Choral Directors
Association, Texas, Georgia and Connecticut Choral Directors Associations, the North Dakota Music Teacher’s Association, The Singers –
Minnesota Choral Artists, Trio Callisto, the Murasaki Duo, Cantus, the Houston Chamber Choir, the Metropolitan Symphony Orchestra,
the St. Olaf Band, NDSU Gold Star Band, the ND Army Band, and the Copper Street Brass Quintet. Her music is independently published
through her website as well as through Graphite Publishing, Santa Barbara Music Publishing, and Boosey and Hawkes.
(top left) Carrie Henneman Shaw, Matthew Williams,
Jocelyn Hagen, Trio Matisse: Linda Chatterton,
Rachel Brandwein, Joel Salvo
schubert.org 29
Courtroom ConcertFebruary 5, 2015 • Noon • Landmark Center
Flying FormsMarc Levine, violin • Tulio Rondón, cello • Tami Morse, harpsichord
with Cléa Galhano, recorder; Alan Kolderie, recorder
and Spencer Martin, violin; Miriam Scholz-Carlson, violin
Elizabeth York, viola; Sara Thompson, bass
Brandenburg Concerto IV in G major, BWV 1049 – Johann Sebastian Bach
Allegro • Andante • Presto
Cello Concerto in C minor, R401 – Antonio Vivaldi
Allegro non molto • Adagio •Allegro ma non molto
Brandenburg Concerto V in D major, BWV 1050 – J.S. Bach
Allegro • Affetuoso • Allegro
Flying Forms is a baroque chamber music ensemble that has quickly established its presence in America's early music scene. Formed
out of a passion for performing early chamber music, Flying Forms collaborates with prominent musicians, musicologists, and baroque
dancers in a wide variety of programs from traditional to experimental. Based in Saint Paul, MN, the group is currently in residence at The
Baroque Room, a performance space the group created and manages, where it presents a concert series of classic repertoire. Flying Forms
keeps a regular concert schedule and also teaches at Lawrence University, University of Wisconsin at Eau Claire, and with Minnesota
Youth Symphonies. Past performances have included concerts at the Metropolitan Museum of Art, Yale University, Symphony Space, (le)
Poisson Rouge, and Stony Brook University where the group presented a concert of seven new works commissioned for period
instruments. Committed to performing music of our time, Flying Forms recently released the recording, New Music for Old Instruments,
featuring commissioned works by composer Nissim Schaul. Also of note is Flying Forms' second appearance at the Boston Early Music
Festival in June of 2009 where the group produced and performed, as part of a New York/Boston tour, a fully staged and critically
acclaimed production of Henry Purcell's Dido and Aeneas. Hailed by harpsichordist Arthur Haas as "the bright future of early music," Flying
Forms is committed to being a presence that transforms communities and inspires expression through excellence in performance,
innovative education and creative collaboration.
(top left) Marc Levine, Tulia Rondón
Tami Morse, Cléa Galhano
30 THE SCHUBERT CLUB An die Musik
Courtroom ConcertFebruary 12, 2015 • Noon • Landmark Center
Irina and Julia Elkina, duo piano
The Dawn – Beatrice Ohanessian
Larghetto and Allegro for Two Pianos in E flat Major – W. A. Mozart (reconstructed by F. Beyer)
Sonata for Two Pianos in D major, K. 448 – Mozart
I. Allegro con spirito
II. Andante
III. Allegro molto
Duettino Concertante nach Mozart – F. Busoni
Reminicences de Don Juan, Fantasy for Two Pianos – Mozart/Liszt
Having played together since the age of five, Russian-born identical twins Julia and Irina Elkina are praised for their “truly remark-
able oneness” by critics who also recognize that “each is a formidable pianist in her own right.” The Elkina twins won the top prize in The
Fourth Murray Dranoff International Two Piano Competition. They have performed throughout the United States, making their New York
debut in 1996 and playing return engagements there and in San Francisco, Chicago, Minneapolis/Saint Paul, Miami and New Orleans, just
to name a few. The twins have appeared at numerous festivals including Ravinia, the Gilmore Keyboard Festival, the Oregon Bach Festival
and the Minnesota Orchestra’s Sommerfest, and have performed with such conductors as Hugh Wolff and Bobby McFerrin. The Elkinas
have been heard on National Public Radio, including the weekly series Saint Paul Sunday, Performance Today, and A Prairie Home
Companion. Irina and Julia collaborated with the acclaimed Basil Twist’s puppet production Petrouchka, which returned for a much-
awaited engagement at New York’s Lincoln Center in 2008 and performances in Boston, Philadelphia, and Washington DC. In 2014 the
Elkinas collaborated locally with In the Heart of the Beast Puppet and Mask Theatre on a new production of Petrouchka. Irina recently
performed in the play 33 Variations at the Park Square Theater in St. Paul. The sisters studied under Professor Alexander Braginsky at the
University of Minnesota, where they earned their Doctoral Degrees in Piano Performance. They both are currently on the piano faculty
of MacPhail Center for Music. In 2014 Julia joined the music faculty of Century College.
schubert.org 31
Courtroom ConcertFebruary 19, 2015 • Noon • Landmark Center
Nancy Paddleford, piano
Hannah Peterson, flute & Joe Trucano, piano
Simples Coletânea – Heitor Villa-Lobos
I. Valsa Mística • II. Num Berço Encantado • III. Rodante
Preludes, Opus 11 – Alexander Scriabin
No. 1. Vivace
No. 2. Allegretto
No. 22. Lento
No. 21. Andante
No. 14. Presto
Sonata for Flute and Piano, Opus 23 – Lowell Liebermann
I. Lento • II. Presto
Five Pieces from Album for the Young for Flute and Piano, Opus 79 – Liebermann
I. Ostinato • II. Starry Night • III. Melancholy
IV. Hommage à Fauré • V. Hommage à Alkan
Nancy Paddleford (B.M. and M.M., Indiana University and D.M.A., University of Minnesota) is the senior member of the Department
of Music of St. Olaf College. Nancy’s teaching areas include piano performance, chamber music, theory skills, and piano pedagogy. Her
research emphases have been Hispanic music, piano pedagogy, and memorization techniques. Her teachers included Gyorgy Sebok,
Alfonso Montecino, and Bernhard Weiser for piano performance, and for the performance of chamber music, Janos Starker, Joseph
Gingold, William Primrose, and Franco Gulli. Her training led to a career as a chamber and solo recitalist, and an adjudicator at piano
competitions in the United States and Central America. The breadth of her interests in the fine arts and beyond resulted in her
receiving awards for encouraging cross-cultural understanding between the U.S. and Latin America, as well as her appointment by
Governor Dayton to the Board of Directors of the Perpich Center for Arts Education. A fluent speaker of Spanish she has lectured and given
master classes in Spanish before Spanish-speaking audiences. At one time she was an artist-in-residence at the University of Costa Rica
and a performer in major venues in that country.
Hannah Peterson is a former Schubert Club intern and Scholarship Competition winner. She holds a Bachelor of Music degree in
Flute Performance from the University of Cincinnati. Hannah currently works for the Minnesota Opera in addition to maintaining a
private flute studio and freelance performance schedule.
Joseph Trucano is currently pursuing his Master’s of Music Degree in organ performance at Eastman School of Music. Joseph
graduated in 2011 from Concordia College in Moorhead where he studied organ with Peter Nygaard. At Concordia, he was an active
performer on both organ and cello. He accompanied the Concordia Choir (under the direction of René Clausen) on their 2011 domestic
tour, served as featured soloist with the Concordia College Orchestra on their 2009 international tour, and was the first student in
Concordia’s history to be honored with two solo performances accompanied by the Concordia Orchestra on organ and cello. In addition
to performing, Joseph helped research and develop a new aural skills curriculum for Concordia. He is currently organist at Penfield
Presbyterian Church.
32 THE SCHUBERT CLUB An die Musik
Courtroom ConcertFebruary 26, 2015 • Noon • Landmark Center
Katia Tesarczyk, violinArek Tesarczyk, celloClaudia Chen, piano
Variations on the theme "Bei Männern, welche Liebe fühlen" from Mozart's Magic Flute, for Cello and Piano – Ludwig van Beethoven
Allemande, from Partita in D minor for Solo Violin – J.S. Bach
Finale, from Concerto in G minor, Opus 26 for Violin – Max Bruch
Andante, from Sonata for Cello and Piano in G minor, Opus 19 – Sergei Rachmaninoff
Menuetto and Trio, and Finale, from Trio in C minor, Opus 1, No. 3 for Piano, Violin and Cello – Beethoven
Katia Tesarczyk, 13, has been studying the violin since she was 4 1/2 years old. She is a
student of Professor Sally O’Reilly (University of Minnesota). She has been a scholarship winner of
the Schubert Club and Mary West Competitions. This January, she will represent Minnesota in the
Junior Strings Division of the MTNA West Central Division Competition (eight states including
Minnesota). In November, 2014 she performed in Santiago, Chile. Katia’s violin (Alceste Bulfari of
Cremona, Italy), is provided by a Scholarship grant from the Virtu Foundation.
Cellist Arek Tesarczyk joined the Minnesota Orchestra in 2004 and made his solo debut with the
Orchestra in 2006, performing Beethoven’s Triple Concerto. He gave the world premiere
performances of Rautovaara’s Cello Concerto No.2, Towards the Horizon, under the baton Osmo
Vanska in 2010. He was a winner of the 2008 McKnight Fellowship for Performing Musicians. Before
joining the Minnesota Orchestra, Arek was Principal Cellist of the Winnipeg Symphony Orchestra.
He performed widely with his wife, pianist Claudia Chen, giving recitals in the U.S., Canada, Chile,
and Poland.
Pianist Claudia Chen enjoys an active career as performer and teacher. She has performed as
soloist and chamber musician in the USA, Canada, Eastern Europe and Chile. She has been a
frequent guest on the chamber music series of the Minnesota Orchestra at MacPhail and Sommer-
fest. Her performances have been aired nationally in Canada on CBC and in the USA on National
Public Radio. She received degrees from the Peabody Conservatory of Music and the U. of Minnesota
under Julian Martin and Margo Garrett; and aditionally with Leon Fleisher, Lydia Artymiw, and
John Perry.
schubert.org 33schubert.org 33
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
Tirzah Blair, Ticketing & Development Associate
Max Carlson, Program Associate
Kate Cooper, Education & Museum Manager
Julie Himmelstrup, Artistic Director, Music in the Park Series
Megan Lutz, Social Media & Marketing Intern
Tessa Retterath Jones, Marketing & Ticketing Manager
Joanna Kirby, Project CHEER Director, Martin Luther King Center
David Morrison, Museum Associate & Graphics Manager
StaffPaul D. Olson, Director of Development
Kate Walsh, Executive Assistant
Kathy Wells, Controller
Composers in Residence:
Abbie Betinis, Edie Hill
The Schubert Club Museum Interpretive Guides:
Sarah Church, Zach Forstrom, Aly Fulton, Paul Johnson,
Alan Kolderie, Sherry Ladig, Kirsten Peterson,
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.
34 THE SCHUBERT CLUB An die Musik
The Schubert Club Annual ContributorsThank you for your generosity and support
Ambassador$20,000 and abovePatrick and Aimee Butler Family
Foundation
Anna 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 – $19,999Rosemary 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
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
Marjorie and Ted Kolderie
Luther I. Replogle Foundation
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
Richard and Adele Evidon
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
Peter and Karla Myers
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
Michael and Shirley Santoro
Securian Foundation
Kim Severson and Philip Jemielita
Charles and Carrie Shaw
Katherine and Douglas Skor
Wenger Foundation
Nancy and Ted Weyerhaeuser
Guarantor$1,000 – $2,499Anonymous
Mahfuza and Zaki Ali
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
William and Bonita Frels
Dick Geyerman
Jill Harmon and Frank Fairman
Anders and Julie Himmelstrup
Anne and Stephen Hunter
Susanna and Tim Lodge
The Thomas Mairs and
Marjorie Mairs Fund of
The Saint Paul Foundation
Roy and Dorothy Ode Mayeske
Laura McCarten
Sandy and Bob Morris
David Morrison
Elizabeth B. 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
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
Ruth S. Donhowe
Anna Marie Ettel
David and Maryse Fan
Joan and William Gacki
Mary Kay Hicks
Andrew Hisey and Chandy John
Judith K. Healey
Frederick J. Hey, Jr.
Cynthia and Russell Hobbie
Peg Houck and Philip S. Portoghese
Gloria Kittleson
William Klein
Lehmann Family Fund of
The Saint Paul Foundation
Jeffrey H. Lin and Sarah Bronson
Wendell Maddox
Paul Markwardt
and Richard Allendorf
Lucia P. May and Bruce Coppock
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
Richard Rose
Juliana Kaufman Rupert
John Sandbo and Jean Thomson
Kay Savik and Joseph Tashjian
Estelle Sell
William and Althea Sell
John Seltz and Catherine Furry
Dan and Emily Shapiro
Helen McMeen Smith
John and Joyce Tester
Stephanie Van D’Elden
David L. Ward
Katherine Wells
and Stephen Willging
Jane and Dobson West
Peggy R. Wolfe
Mark W. Ylvisaker
Partner$250 – $499Anonymous (3)
Meredith B. Alden
Arlene Alm
Kathy and Jim Andrews
Lydia Artymiw and David Grayson
Adrienne B. Banks
schubert.org 35
Jerry and Caroline Benser
Christopher and Carolyn Bingham
Jean and Carl Brookins
Philip and Ellen Bruner
Mark Bunker
Gretchen Carlson
Joann Cierniak
Marybeth Dorn and Robert Behrens
Roxana Freese
General Mills Foundation
Jennifer Gross and Jerry LaFavre
Mary Beth Henderson
Joan Hershbell and Gary Johnson
Mary Abbe 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
Sarah Kinney
Arnold and Karen Kustritz
Frederick Langendorf
and Marian Rubenfeld
Sarah Lutman and Rob Rudolph
Frank Mayers
Sylvia and John McCallister
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
Sidney and Decima Phillips
Barbara Pinaire and William Lough
Anastasia Porou and George Deden
Karen Robinson
Connie Ryberg
Saint Anthony Park Home
Mary E. Savina
Paul L. Schroeder
Marilynn and Arthur Skantz
Conrad Soderholm
and Mary Tingerthal
Eileen V. Stack
Richard and Jill Stever-Zeitlin
Hazel Stoeckeler and Alvin Weber
Arlene and Tom 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
Beverly S. Anderson
Mary A. Arneson
and Dale E. Hammerschmidt
Kay C. Bach
Robert Ball
Gene and Peggy Bard
Thomas and Jill Barland
Benjamin and Mary Jane Barnard
Carol E. Barnett
Roger Battreall
Carline Bengtsson
Fred and Sylvia Berndt
Ann-Marie Bjornson
Phillip Bohl and Janet Bartels
Philip and Carolyn Brunelle
Roger F. Burg
James and Janet Carlson
Alan and Ruth Carp
Carter Avenue Frame Shop
Adam Chelseth
Jo and H.H. Cheng
David and Michelle Christianson
John and Brigitte Christianson
Mary Louise and Bradley Clary
Mary Sue Comfort
Como Rose Travel
Jeanne and John Cound
Charles and Kathryn Cunningham
Lisa and Cliff Dahlberg
Don and Inger Dahlin
Shirley I. Decker
Pamela and Stephen Desnick
Janet and Kevin Duggins
Jayne and Jim Early
George Ehrenberg
Peter Eisenberg and Mary Cajacob
Steve Farsht
Flowers on the Park
Jack Flynn and Deborah Pile
John W. Fox
Salvatore Franco
Patricia Freeburg
Richard and Brigitte Frase
Jane Frazee
Gail A. Froncek
Lisl Gaal
Nancy and Jack Garland
David J. Gerdes
Ramsis and Norma Gobran
Phyllis and Bob Goff
Daniel Goodrich
M. Graciela Gonzalez
Ramsis and Norma Goran
Katherine and Harley Grantham
Carol L. and Walter Griffin
Bonnie Grzeskowiak
Sandra and Richard Haines
Ken and Suanne Hallberg
Betsy and Mike Halvorson
Hegman Family Foundation
Rosemary J. Heinitz
Stefan and Lonnie Helgeson
Anne Hesselroth
Beverly L. Hlavac
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
Veronica Ivans
Paul W. Jansen
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
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
Libby Larsen and Jim Reece
David G. Larson
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
Gretchen Piper
Deborah and Ralph Powell
Dr. Paul and Betty Quie
Mindy Ratner
Rhoda and Paul Redleaf
Tanya Remenikova and Alex
Braginsky
Karen Robinson
Richard Rogers
Peter Romig
Michael and Tamara Root
Diane Rosenwald
David Schaaf
Mary Ellen and Carl Schmider
Russell G. Schroedl
A. Truman and Beverly Schwartz
Sylvia J. Schwendiman
Bill and Susan Scott
Buddy Scroggins
and Kelly Schroeder
Sara Ann Sexton
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
Tour de Chocolat and Mina Fisher
Susan Travis
Karen and David Trudeau
Rev. Robert L. Valit
Joy R. Van
Osmo Vanska
Harlan Verke and Richard Reynen
Mary K. Volk
Maxine H. Wallin
Kathleen Walsh
Beverly and David Wickstrom
Lori Wilcox and Stephen Creasey
36 THE SCHUBERT CLUB An die Musik
Victoria Wilgocki
and Lowell Prescott
Christopher N. Williams
Dr. Lawrence A. Wilson
Paul and Judy Woodward
Ann Wynia
Alison Young
Friends$1 – $99Anonymous (7)
Cigale Ahlquist
Renner and Martha Anderson
Susan and Brian Anderson
Karen Ashe
Bruce and Lucinda Backberg
Barbara A. Bailey
Megen Balda and Jon Kjarum
Dr. Roger and Joan Ballou
Anita Bealer
Verna H. Beaver
Janet M. Belisle
Brian O. Berggren
Abbie Betinis
Roger Bolz
Cecelia Boone
David and Elaine Borsheim
Thomas K. Brandt
Charles D. Brookbank
Barbara Ann Brown
Richard and Judy Brownlee
Christopher Brunelle
Elizabeth Buschor
Dr. Magda Bushara
Allen and Joan Carrier
J.J. and Debra Cascalenda
Ed Challacombe
Katha Chamberlain
Chapter R PEO
Kenneth Chin-Purcell
Kristi M. Christman
Christina Clark
Anne E. Commers
Irene Coran
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
Cléa Galhano
Frieda Gardner
John and Sarah Garrett
Dr. and Mrs. Robert Geist
Celia and Hillel Gershenson
Girl Scouts MN, WI 14249
Ruth E. Glarner
Mary M. Glynn
William R. Goetz
A. Nancy Goldstein
Paul Greene
Alexandra Grin
Peg Guilfoyle
Lisa Gulbranson
Michelle Hackett
Phillip and Alice Handy
Deborah L. Hanson
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
Fritz Jean-Noel
Angela Jenks
Maria Jette
Max Jodeit
Kara M. Johansson
Daniel Johnson
Stephen and Bonnie Johnson
Thelma Johnson
Mary A. Jones
Tessa Retterath Jones
Dr. Robert Jordan
Amy and Randy Karger
Stanley Kaufman
Carol R. Kelly
Charlyn Kerr
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
David 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
Mary and David Lundberg-Johnson
Carol G. Lundquist
Roderick and Susan Macpherson
Samir Mangalick
Eva Mach
Kristina MacKenzie
Vernon Maetzold
Theodore T. Malm
Rachel Mann
Carol K. March
Karen R. Markert
Chapman Mayo
David Mayo
Judy and Martin McCleery
Mary McDiarmid
Kara McGuire
James McLaughlin
Dr. Alejandro Mendez
Jane E. Mercier
Jeffrey Messerich
Robert and Greta Michaels
Dina and Igor Mikhailenko
Donna Millen
Dan Miller and Beth Haukebo
John W. Miller, Jr.
Margaret Mindrum
Pantea Moghimi
Marjorie Moody
Anne and John Munholland
Sandra Murphy
Shannon Neeser
Stephen C. Nelson
Amy Newton
Sarah L. Nagle
Jane A. Nichols
Polly O’Brien
Tom O’Connell
Jonathan OConner
Erin O’Neill and Caitlin Serrano
Glad and Baiba Olinger
Ilene A. Olson
Dennis and Turid Ormseth
Thomas W. Osborn
Melanie Ounsworth
Elisabeth Paper
H.W. and Mary Park
Rick Penning
Dorothy Peterson
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
Ray and Nancy Shows
Brian and Stella Sick
Bill and Celeste Slobotski
Susannah Smith
and Matthew Sobek
Emma Small
Robert Sourile
Nancy Sponaugle
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
Kipling Thacker
Bruce and Marilyn Thompson
Karen Titrud
Robert Tomaschko
Charles D. Townes
Ann Treacy and Aine O'Donnell
Chuck Ullery and Elsa Nilsson
Jean O. VanHeel
Erik Vankuijk and Virginia Brooke
Gordon Vogt
Sarah M. Voigt
Karen Volk
Carol and Tim Wahl
William K. Wangensteen
Helen H. Wang
Betty and Clifton Ware
Betsy Wattenberg and John Wike
Stuart and Mary Weitzman
Hope Wellner
Melinda and Steven Wellvang
Cynthia Werner
Eva Weyandt
Deborah Wheeler
Kurt and Vickie Wheeler
Alex and Marguerite Wilson
Roger and Barbara Wistrcill
Yea-Hwey Wu
Tim Wulling and Marilyn Benson
Janis Zeltins
John Ziegenhagen
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
In honor of the Elkina Sisters
Rebecca Shockley
In honor of Alice Hanson, Professor
of Music, St. Olaf College
Kristina MacKenzie
In honor of Julie Himmelstrup’s
leadership
Carl and Mary Ellen Schmider
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 William Ammerman
Marilyn and John Dan
In memory of Clifton W. Burns
Dorothea Burns
In memory of Dr. John Davis
August Rivera, Jr.
In memory of Edna Rask Erickson
Richard and Jill Stever-Zeitlin
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
Helen M. Smith
In memory of Dorothy Mattson
Penny and Cecil Chally
In memory of Laura Platt
Meredith Alden
In memory of Nancy Pohren
Sandra and Richard Haines
In memory of Jeanette Maxwell Rivera
August Rivera, Jr.
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 M. 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
38 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 her children
The John and Elizabeth Musser Fund
To honor Catherine and John Neimeyer
By Nancy and Ted Weyerhaeuser
In memory of Charlotte P. Ordway
By her children
The Gilman Ordway Fund
The I. A. O’Shaughnessy Fund
The Ethelwyn Power Fund
The Felice Crowl Reid Memorial
The Frederick and Margaret L.
Weyerhaeuser Foundation
The Maud Moon Weyerhaeuser Sanborn
Memorial
The Wurtele Family Fund
Music in the Park Series Fundof 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
612.371.5656 / minnesotaorchestra.org / Orchestra HallPHOTOS Vänskä: Lisa Mazzucco, Paasikivi: Rami Lappalainen, Dowling: Joan Marcus, Shaham: Luke Ratray Media Partner:
Star-Crossed LoversThe Music of Romeo and JulietThu Jan 29 7:30pm*Fri Jan 30 & Sat Jan 31 8pm
Osmo Vänskä, conductor
Romeo and Juliet—never was a story of more woe! Osmo Vänskä leads the Orchestra in Tchaikovsky’s Fantasy-Overture, Prokofiev’s richly dark ballet melodies and Bernstein’s retelling of the tale in West Side Story, leaving us hopeful that love endures, “Somewhere.”
*Thursday’s performance is approximately one hour, with tickets at just $29
All the World’s a StageMidsummer Night’s Dream and MoreThu Feb 12 11am / Fri Feb 13 8pmSat Feb 14 8pm / Northrop
Yan Pascal Tortelier, conductor Gil Shaham, violin
Here’s a wonderful drama! Our concert begins with young Mendelssohn’s lyrical Overture to A Midsummer Night’s Dream. Gil Shaham then plays the lush Violin Concerto of Korngold, masterful in both movies and concert music, and we close with Ravel’s timeless Daphnis and Chloe.
THE GREAT AMERICAN MUSICALRodgers and Hammerstein’s CarouselThu Mar 19 11am Fri Mar 20 & Sat Mar 21 8pm Sun Mar 22 2pm
Sarah Hicks, conductor Robert Neu, stage director
As carnival barker Billy Bigelow woos and weds Julie Jordan, their heartrending story unfolds in one unforgettable song after another. Revel in music performed by a full symphony orchestra—and see one of musical theater’s greatest, most soul-stirring masterpieces!
Chivalry and RomanceBruckner’s Fourth SymphonyThu Jan 22 11am Fri Jan 23 & Sat Jan 24 8pm
Mark Wigglesworth, conductor Samuel West, narrator
The curtain rises to the soundtrack of William Walton’s score for the film Henry V. Mark Wigglesworth then guides our star musicians into the medieval forest of Bruckner’s romantic Fourth Symphony.
A Winter’s TaleDvořák’s New World SymphonyThu Feb 5 11am / Fri Feb 6 8pm
Christopher Warren-Green, conductor Augustin Hadelich, violin
A lyrical Scandinavian take on Shakespeare opens the concert: the charming Winter’s Tale by Lars-Erik Larsson. Augustin Hadelich next solos in the majestic Tchaikovsky Violin Concerto, and we journey home to the stirring New World Symphony of Dvořák.
The TempestWith Narration by Joe DowlingThu Feb 19 11am Fri Feb 20 & Sat Feb 21 8pm
Osmo Vänskä, conductor Lilli Paasikivi, mezzo / Joe Dowling, narrator
The Winterfest concludes grandly with The Tempest, as interpreted by Sibelius and Osmo Vänskä, leading the premiere of his own arrangement of this Suite, with narration by Joe Dowling, Director of the Guthrie Theater.
Osmo Vänskä /// Music Director
SHAKESPEAREWinterfestJan 22–Feb 21
OSMO VÄNSKÄ JOE DOWLING
GIL SHAHAM LILLI PAASIKIVI
Concerts:
COMINGSOON