Click here to load reader
Date post: | 27-Mar-2016 |
Category: |
Documents |
Upload: | schubert-club |
View: | 227 times |
Download: | 2 times |
Click here to load reader
Phot
o: F
elix
Bro
ede
Phot
o: G
iorg
ia B
erta
zzi
October 27–December 31, 2013
An die MusikThe Schubert Club • schubert.org
Christmas StoriesBUBUBUBURNRNRNRNSSVSSVILLLELE PPPERERFOFORMRMR INNGG ARARTSTSS CCCCCENENENENEENTETET RRRRSASASASATUTUUURDRDRDRDAYAYAYA , DEEEECC.C 222111 ANANANNDD DD SUSUNDDAAAYAYYY,, DEDDDEC.C.. 22222
ORDER YOUR TICKETS TODAY! ADMISSION: $20, $30, $35
Students: $10, $15, $17 Children 12 and under: $10 Seniors and Groups of 10 or more: $5 discount
www.ticketmaster.com | 651.454.4459 | www.GNUsings.comTickets also available at the BPAC box office
VISIT BOYCHOIR.ORG for upcoming performances, recordings
and audition information.
A freewill donation will be received at each performance.
ANNUAL WINTER CONCERT
Saturday, December 21 at 7:00 p.m.featuring Allegro, Cantabile, Cantando and Cantar Historic Wesley Center 101 East Grant Street | Minneapolis, 55403
Sunday, January 5 at 1:00 & 3:00 p.m.featuring Allegro, Cantabile, Cantando, Cantar, Adult Choir and AlumSingLandmark Center’s Musser Cortile 75 Fifth Street West | Saint Paul, 55102
The Minnesota Boychoir75 West Fifth Street, Suite 411, Saint Paul, MN 55102
boychoir.org | (651)292.3219 | [email protected]
Mark Johnson, Artistic Director
YOU WORK IN A CREATIVE COMMUNITY —now you can live in one!
Photo by Annie Mulligan
Artspace specializes in artist-led community
transformation; we develop and operate
affordable live/work space for artists.
LOCAL LIVE/WORK SPACES:> Northern Warehouse Artists’ Cooperative > Tilsner Artists’ Cooperative> 653 Artist Lofts (formerly Frogtown Family Lofts)
LOCAL STUDIO AND PERFORMANCE SPACES:> Grain Belt Studios> Traffic Zone Center for Visual Art> The Cowles Center for Dance &
the Performing Arts
Artists of all disciplines welcome — performers, musicians, designers, visual artists and more!
Loft-like open floor plans, high ceilings, large windows, in-unit washer/dryer
Income restrictions apply.
For additional information, updates and to obtain an application:ARTSPACE.ORG/JACKSONFLATS
A R T S P A C E . O R G
Artspace Jackson Flats
901 NE 18½ Ave | Minneapolis, MN 55418
NOW LEASINGAffordable 2 & 3-bedroom
live/work units in NE MPLS to artists with families.
www.mndance.org
Returns to the
State Theatre!
with the
Nutcracker Orchestra
December 20 at 7:30pmDecember 21 at 2:00pm & 7:30pmDecember 22 at 1:00pm & 6:30pmDecember 23 at NoonNutcracker TeaDecember 22 at 4:30pm
Tickets available at the State Theatre Box Office or through Ticketmaster.com (800.982.2787)
presents
Sweet & Sour Richfield – Made In China! finds Miss Richfield getting ready to take one final Greyhound bus trip, as the people of Richfield are cutting expenses.
Tickets: $30–$40612.339.4944 • illusiontheater.org
OPENING NIGHT: DECEMBER 6
DEC. 7 – DEC. 22Thursdays, Fridays, Saturdays at 8 PM; Sundays at 7 PM
SOLD OUT
a creative agency for the arts
let’s chat.
An die MusikOctober 27 – December 31, 2013
The Schubert Club • Saint Paul, Minnesota • schubert.org
schubert.org 5
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 entitles you to
a tax-deductible contribution for their face value and allows others to
experience the performance in your seats. Turnbacks must be received one
hour prior to the performance. Thank you!
The Schubert Club Ticket Offi ce: 651.292.3268or schubert.org/turnback
An die Musik
An die Musik
Du holde Kunst, in wieviel grauen Stunden,
Wo mich des Lebens wilder Kreis umstrickt,
Hast du mein Herz zu warmer Lieb entzunden,
Hast mich in eine beßre Welt entrückt!
Oft hat ein Seufzer, deiner Harf ’ entfl ossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
To Music
You noble art, in how many gray hours,
When life’s wild cycle has entangled me,
Have you enfl amed my heart to hotter love,
Have you carried me to a better world!
Often has a sigh, fl owing from your harp,
A sweeter, holier chord of yours,
Opened better times for me from Heaven,
You noble art, I thank you for that!
Franz von Schober,
Musical setting by Franz Schubert, 1817
Table of Contents
6 President's Welcome Artistic and Executive Director's Welcome
9 The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
10 Erin Keefe and Anna Polonsky
14 Music in the Park Series: 35 Years of Chamber Music in Saint Anthony Park
16 Hill House Chamber Players
18 Christian Tetzlaff and Lars Vogt
24 Schubert Club
26 Accordo
28 Calendar of Events
31 Intervals: Alumni news of The Schubert Club scholarship competitors
32 The Schubert Club Museum
34 Courtroom Concerts
40 The Schubert Club Annual Contributors: Thank you for your generosity and support
6 THE SCHUBERT CLUB An die Musik
The 2013–2014 Schubert Club season is off to a
brilliant start. It seems as if two anniversaries–our
130th last spring and our 35th this year for the Music
in the Park Series–are fueling a wave of excellence,
moving us toward the opening of the new concert hall
in spring 2015. The hole in the ground on 5th Street
promises a new era in the musical life of
our community.
As president of The Schubert Club, I marvel at the
diversity of our offerings. We cherish our audience
that attends the International Artist Series recitals,
and we are looking forward to welcoming new
audiences to our Schubert Club Mix concerts offered
for the fi rst time this season, starting in January.
If you attend our International Artist Series, do take
advantage of the pre-concert presentation offered in
the Ordway Lobby at 6:45 PM. It should help you to
gain a deeper understanding of the music you
will hear.
The Schubert Club is proud to be Minnesota’s oldest
musical organization, but it continues to thrive
as we adapt our recitals and other programs for
contemporary audiences. We know that great music
is timeless.
An die Musik!
President's Welcome Artistic and Executive Director's Welcome
November and December are fi lled with many musical
highlights at The Schubert Club. Friends and long-
time collaborators, Christian Tetzlaff and Lars Vogt
perform in November’s International Artist Series
presentation. We are thrilled that Christian, having
been forced to cancel his recital last year, not only
made the effort to return as soon as he could, but
returns with Lars Vogt, a fellow leading soloist
from Germany.
The Schubert Club is committed to featuring the
many talented musicians of our own community.
The string ensemble Accordo has invited Saint Paul
Chamber Orchestra principal fl utist Julia Bogorad-
Kogan to join them on December 9th, and music-
making in our Landmark Center Museum includes
three programs devised by pianist Ora Itkin pairing
chamber music with the paintings of the Spanish
master, Goya.
Most Thursdays at noon in Landmark Center, you
can hear free concerts in Courtroom 317, and if you
enjoy experiencing music and museums in a less
formal setting, do join us on November 14th anytime
between 5 PM and 7 PM for Cocktails with Culture in
Landmark Center, a relaxing happy hour presentation
of music with wood-turning demonstrations from our
co-presenters, AAW Gallery of Wood Art.
Nina ArchabalPresident
Barry KemptonArtistic and Executive Director
612.925.8408 l franandbarbdavis.com
Custom-built 7BR/8BA home on nearly four acres with tennis court, two ponds, indoor pool/spa, home theater. Truly a spectacular estate for formal and informal living. Call us today for your private showing.
11240 ALAMEDA COURT
schubert.org 9schubert.org 9
The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle
Craig Aase
Mahfuza Ali
Mark Anema
Nina Archabal
Paul Aslanian
Lynne Beck
Dorothea Burns
James Callahan
Carolyn Collins
Marilyn Dan
Arlene Didier
Anna Marie Ettel
Richard Evidon
Catherine Furry
Michael Georgieff
Elizabeth Holden
Dorothy Horns
Anne Hunter
Lucy Rosenberry Jones
Richard King
Kyle Kossol
Jeff Lin
Peter Myers
Ford Nicholson
Gerald Nolte
Gayle Ober
David Ranheim
Ann Schulte
Kim A. Severson
Gloria Sewell
Anthony Thein
John Treacy
Michael Wright
Board of Directors
Offi cersPresident: Nina Archabal
Immediate Past President: Lucy Rosenberry Jones
Vice President Artistic: Lynne Beck
Vice President Audit & Compliance: Richard King
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: David Ranheim
Recording Secretary: Catherine Furry
Assistant Recording Secretary: Arlene Didier
Barry Kempton, Artistic & Executive Director
Max Carlson, Program Associate
Kate Cooper, Education & Museum Manager
Lisa Dahlberg, Ticketing & Development Associate
Kate Eastwood, Executive Assistant
Julie Himmelstrup, Artistic Director, Music in the Park Series
Hannah Peterson, Social Media & Marketing Intern
Tessa Retterath Jones, Marketing & Audience Development Manager
Joanna Kirby, Project CHEER Director, Martin Luther King Center
David Morrison, Museum Associate & Graphics Manager
Paul D. Olson, Director of Development
Kathy Wells, Controller
Composers in Residence: Abbie Betinis, Edie Hill
The Schubert Club Museum Interpretive Guides:
Joe Iannazzo, Paul Johnson, Natalie Kennedy-Schuck,
Alan Kolderie, Sherry Ladig, Edna Rask-Erickson
Staff
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
Thelma Hunter
Ruth Huss
Lucy Rosenberry Jones
Karen Kustritz
Libby Larsen
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
Nancy Weyerhaeuser
Lawrence Wilson
Advisory Circle
10 THE SCHUBERT CLUB An die Musik
Goerne Program Page
The Schubert Club
Music in the Park Series
presents
Erin Keefe, violinAnna Polonsky, piano
Sunday, October 27, 2013 • 4:00 PM
Sonata No. 3 in E-fl at major, Opus 12, No. 3 Ludwig van Beethoven
Allegro con spirito Adagio con molta espressione Rondo: Allegro molto
Subito Witold Lutosławski
Z domoviny (From the Homeland), JB 1:118 Bedrich Smetana
Moderato Andantino—Moderato—Allegro vivo
Valentines (2009) David Evan Thomas
Sonata in E-fl at major, Opus 18 Richard Strauss
Allegro ma non troppo Andante cantabile Finale: Andante—Allegro
Intermission
This concert is dedicated to longtime patrons and donors, Linda and Andy Boss
schubert.org 11
Erin Keefe was recently named Concertmaster of the
Minnesota Orchestra and was awarded an Avery Fisher
Career Grant in 2006 as well as the 2009 Pro Musicis
International Award. She was also awarded the Grand
Prizes in the Valsesia Music International Violin
Competition, the Torun International Violin
Competition, the Schadt Competition and the Corpus
Christi International String Competition, and was the
Silver Medalist in the Carl Nielsen, Sendai, and
Gyeongnam International Violin Competitions.
Ms. Keefe has been an Artist Member of The Chamber
Music Society of Lincoln Center since 2010 after
previously being a member of the CMS Two program from
2006–2009. She has been featured on Live from Lincoln
Center three times with the Society. Ms. Keefe also
performs regularly with the Brooklyn and Boston Chamber
Music Societies.
In January of 2010, Ms. Keefe released her fi rst solo album
recorded with pianist Anna Polonsky.
Music in the Park SeriesSunday, October 27, 2013 • 4:00 PM
Saint Anthony Park United Church of Christ
Anna Polonsky has appeared with the Moscow Virtuosi,
the Buffalo Philharmonic, the Columbus Symphony
Orchestra, the Memphis Symphony, the Chamber
Orchestra of Philadelphia, the St. Luke's Chamber
Ensemble, and many others. A frequent guest at the
Chamber Music Society of Lincoln Center, she was a
member of the CMS Two program during 2002–2004.
In 2006 she took a part in the European Broadcasting
Union's project to record and broadcast all of Mozart's
keyboard sonatas, and in the spring of 2007 she
performed a solo recital at Carnegie Hall's Stern
Auditorium to inaugurate the Emerson Quartet's
Perspectives Series.
Ms. Polonsky was a recipient of the 2003 Borletti-Buitoni
Trust Fellowship, and of the 2011 Andrew Wolf Chamber
Music Award.
With the violist Michael Tree and clarinetist Anthony
McGill, she is a member of the Schumann Trio. Ms.
Polonsky also collaborates in a two-piano duo with her
husband, pianist Orion Weiss. In addition to performing,
she serves on the piano faculty of Vassar College.
Phot
o: L
isa-
Mar
ie M
azzu
cc
Ms. Keefe’s festival appearances have included the
Marlboro Music Festival, Music@Menlo, Mainly Mozart,
Music Academy of the West, Music from Angel Fire,
Ravinia, OK Mozart, Mimir, Bravo! Vail Valley, Colorado
College, Music in the Vineyards and Bridgehampton Cham-
ber Music Festivals.
She performs on a Nicolo Gagliano violin from 1732.
A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:
INSTITUTIONALTouring Fund of Arts Midwest Bibelot ShopsBoss FoundationCy and Paula DeCosse Fund of The Minneapolis FoundationWalt McCarthy and Clara Ueland and the Greystone FoundationMcKnight FoundationMuffuletta CafePark Perks of Sunrise BanksSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTrillium Foundation
INDIVIDUALSArlene AlmFrank and AnnLiv BaconLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyGarvin and Bernice DavenportShirley I. DeckerBruce DoughmanCraig J. Dunn and Candy HartDavid and Maryse FanLisl GaalDick Geyerman
Eugene and Joyce HaselmannSandy and Don HenryAnders and Julie HimmelstrupRussell and Cynthia HobbieGary M. Johnson and Joan G. HershbellMichael JordanRichard H. and Finette L. MagnusonDeborah McKnightDavid and Judy MyersJohn NoydKathleen NewellJames and Donna PeterDr. Paul and Elizabeth Quie
Michael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsEileen V. StackCynthia Stokes James and Ann StoutJohn and Joyce TesterTim ThorsonByron TwissDale and Ruth WarlandRick Prescott and Victoria Wilgocki Peggy R. WolfeJudy and Paul WoodwardAnn WyniaNancy Zingale and Bill Flanigan
Photo: Steve Riskin
d
12 THE SCHUBERT CLUB An die Musik
Program Notes
Subito
Witold Lutosławski (b. Warsaw, 1913; d. Warsaw, 1994)
2013 is the Lutosławski centenary, an opportunity to look back
on the extraordinary life and work of a Polish composer whose
style changed with the century, but whose personality remained
ever distinctive and powerful. Born on the eve of World War One,
Lutosławski grew up amid the turmoil of the Russian Revolution.
His father and uncle, advocates for an independent Poland, were
executed by the Bolsheviks in 1918. Rejecting the twelve-tone
system, but embracing the work of Szymanowski and Bartók
(and later, Cage), Lutosławski chose to approach composition
as a series of unique problems to be solved. And although
his mature music is not tonal in a traditional sense, there are
clear goals in mind. One always knows where the climax of a
Lutosławski piece is.
Any musician will recognize—and react to—the Italian word
subito. It means “now” or “immediately” and is most often
encountered in an expressive context, as in subito forte:
suddenly louder. Lutosławski does not write program music,
but he has cited Beethoven and Chopin as models for what he
calls “musical action,” noting that “pieces with no musical ‘plot’
are—more often than not—boring and static.” The action in this
work begins with the two instruments poles apart, one manic,
the other inert. Each time this music returns, it is unchanged.
Imagine approaching the same stop light from all four directions
in turn. Lutosławski works out the relationship of the two in a
rondo form, a dialogue between action and inaction.
Subito, Lutosławski’s last completed piece, was written for the
1994 Indianapolis International Violin Competition. He asked
that the concerto he was writing at the time of his death be
left unfi nished.
Z domoviny (From the Homeland), JB 1:118Bedrich Smetana (b. Litomyšl, 1824; d. Prague, 1884)
All are acquainted with Beethoven’s long struggle with deafness,
but Smetana’s was more acute. After suffering for months
with a rushing sound in his ears, Smetana awoke on October
20, 1874 to fi nd himself totally deaf. The treatment was brutal
and ineffective: a solitary month in a dark, muffl ed room with
repeated applications of mercury ointment. The cause of his
deafness is now recognized as syphilis, the disease that also
took Delius, Wolf, Scott Joplin and Schubert. Incredibly, and a
Sonata No. 3 in E-fl at major, Opus 12, No. 3
Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)
All three of Beethoven’s Opus 12 Sonatas are in three
movements, with brisk opening allegros and cheerful rondo
fi nales. The set, which was published around New Year’s Eve
1799, is dedicated to the Imperial and Royal Court Conductor
Antonio Salieri, who had not poisoned Mozart, but from whom
Beethoven had been taking useful instruction in vocal and
dramatic music since 1793, as indeed he would continue to
do until 1802. The autograph of these three sonatas is lost,
but we can be sure the music dates from 1797-1798. The
publisher Artaria’s title page calls the works TRE SONATE per il
Clavicembalo o Forte-Piano con un Violino. Listing the keyboard
instrument fi rst was customary then and remained so through
Brahms, and in Opus 12 the piano is indeed the dominant
partner much of the time. As for the designation “harpsichord
or piano,” that was simple shrewd salesmanship. Clearly, this is
piano music, but why, after all, put off those potential buyers
who had not yet converted to the new-fangled instrument?
The E-fl at-major Sonata is the biggest of the three in Opus
12 as well as the most overtly pianistic, the opening Allegro
con spirito especially abounding in wide-ranging, glittering
arpeggios and brilliant scales. Just once in this movement,
at the mysterious lead-back into the recapitulation, does
Beethoven stop to look inward. The slow movement, which is
the only true Adagio in this opus, is a rapturous duet for two
singers, both of whom must also double as an intuitive, alert,
and perfectly responsive accompanist. This is music for players
who love and understand opera. The fi nale is a rollicking dance,
though not without piquancies and shadows.
Copyright © 2000 by Michael Steinberg. Used by kind permission
of Jorja Fleezanis.
Antonio Salieri
schubert.org 13
testament to his talent and training, deafness did not prevent
Smetana from composing the epic cycle Má Vlast (My Country)
or the string quartet From my Life. As those titles suggest,
Smetana wears his heart and his national identity more on-
the-sleeve than contemporaries like Brahms or Franck. But
his training with Joseph Proksch at the Prague Conservatory
was progressive, and if Smetana did not quite realize his
early goal of becoming “a Liszt in technique and a Mozart in
composition,” he did pave the way for his countrymen Antonín
Dvorák (1841-1904) and Leoš Janácek (1854–1928).
Z domoviny (From the Homeland) is one of Smetana’s last
works. Note how the opening phrases of the wistful tune begin
in major mode and lapse into the minor. No. 2 wanders out
of doors, where it breaks into a skocná, a fast Czech dance in
duple meter, like the familiar “Dance of the Comedians” from
The Bartered Bride. As the violin ruminates on the skocná idea,
it often pauses at the height of the phrase, a bit verklempt. But
good feeling prevails in this poignant, autumnal offering.
Valentines (2009)
David Evan Thomas (b. Rochester, New York, 1958)
One tends to forget that any Strauss waltz—the Blue Danube,
for instance—is not one, but as many as fi ve waltzes of varied
key and texture, strung together as a garland. Valentines is
a similar posy of three almost-waltzes in the spirit of Fritz
Kreisler, the great Austrian violinist who gave us such gems as
Liebesfreud and Liebesleid. In the present work, a sentimental
theme with a prominent aspiring sixth (so Viennese!) is
the vine that twines between the other bitonal and bluesy
sections. I was delighted when my dear teacher Stephanie
Wendt suggested bartering piano lessons for a short concert
work to play with her fellow Australian (and at the time SPCO
member) Dale Barltrop. They gave the premiere on Valentine's
Day, 2009 on the Bethlehem Music Series in Minneapolis.
Sonata in E-fl at major, Opus 18
Richard Strauss (b. Munich, 1864; d. Garmisch-Partenkirchen, 1949)
Richard Strauss—no relation to the Waltz King—came from
middle-class stock. His mother was the daughter of brewery
owner Georg Pschorr. (Pschorr, founded in 1417, is one of the
oldest brands in the world.) His father, Franz Strauss, was a
horn player in the Munich Court Orchestra, a professor at the
Royal School of Music, and an infl uential fi gure in Munich’s
cultural life. Written in 1887, during young Strauss’s tenure as
third conductor at the Munich Court Opera, the Violin Sonata
stretches its frame, calling at times for an orchestral conception
on the part of both players. It was Strauss’s last independent
instrumental chamber work.
Strauss would explore the heroic ideal in symphonic poems
like Ein Heldenleben, and the antihero in Don Quixote. Here, he
also begins with a heroic theme, choosing the characteristic
horn tonality of E-fl at. Few composers write a better expository
paragraph, and indeed, one hears Franz Strauss’s horn all over
the place in his son’s melodic writing: the insistent triplets and
dotted rhythms, a tendency to favor the fi fth step of the scale,
and frequent “horn fi fths” (familiar as the right hand of Vince
Guaraldi’s “Linus and Lucy” theme). The closing theme of the
exposition is pure horn in conception, and it soars to the high
point in the movement.
The second movement, “Improvisation,” was published
separately and enjoyed a life as a salon piece. The subtitle refers
not to the thoughtful opening theme, which recalls the slow
movement of Beethoven’s Pathétique Sonata, but to the middle
section, which turns stormy, then lacy with delicate thirty-
second-notes. Bravura returns in the Finale, with the principal
theme sounded by the piano. Much of the movement is given
over to discussion between a noble idea that begins with three
repeated notes and a scampering scherzando motive, but there’s
also a memorable tune with sacred overtones.
Program notes (Lutosławski, Smetana, Thomas, Strauss) © 2013
by David Evan Thomas.
Bedrich Smetana Richard Strauss
14 THE SCHUBERT CLUB An die Musik
Music in the Park Series
35 Years of Chamber Music in Saint Anthony Park
A complete roster of musicians appearing on Music in the Park
Series in the past 35 years would more than fill these pages
with tiny print. The variety has been astonishing, from the
intimacy of solo recitalists to the sonic splendor of such large
groups as the Saint Paul Chamber Orchestra and the Rose
Ensemble. Performers have included the best local artists—
Thelma Hunter, Maria Jette, Michael Sutton, Julia Bogorad, and
many others—as well as such international musical luminaries
as the Guarneri, Pacifica, and Shanghai string quartets. The
music itself has ranged from early music (the Waverly Consort)
to masterpieces of the Classical and Romantic repertoire, with
occasional forays into the world of Jazz (Butch Thompson).
And let’s not forget to mention the numerous new works by
composers of the 20th and 21st centuries premiered on
the Series!
Since 1979, Music in the Park Series’s home for its chamber
music performances has been Saint Anthony Park United
Church of Christ. Through its outreach program, it has also
brought music to neighborhood school children, nursing home
residents, and for 24 years has cultivated the next generation
of music lovers with its Family Concerts.
How many of the artists shown on these pages do you
remember hearing?
In March 1999, the Weilerstein Trio performed. Young Alisa, on the left, has gone on to a solo career, which included a performance last season for The Schubert Club at the Ordway.
At left, Music in the Park Series founder and Artistic Director Julie Himmelstrup is flanked by the members of the Shanghai Quartet after their performance at the Saint Anthony Park Home.
Among the many pianists who have performed on Music in the Park Series are (from top left) Jon Kimura Parker, Lydia Artymiw, Menahem Pressler, Christopher O’Riley.
Photo: Baylin
Artists
schubert.org 15
Ned Rorem’s Nine Episodes for Four Players for clarinet, violin, cello, and piano, 2001, was premiered in May 2002 on the Music in the Park Series by Burt Hara, Stephen Copes, Anthony Ross and Pedja Muzijevic.
In April 2001, perennial favorites Wu Han, piano, and David Finckel, cello, performed a work composed for their anniversary: Couple by Bruce Adolphe.
Jorja Fleezanis, former concertmaster of the Minnesota Orchestra gave several recitals on the Series, including a Beethoven-Bloch-Bartók program in 1994.
Norwegians Leif Ove Andsnes, piano, and Truls Mørk, cello, performed as members of the Grieg Festival Quartet in a 1993 program honoring the 150th anniversary of the composer’s birth.
Danish recorder marvel Michala Petri appeared in 2001.
In 1998, Music in the Park Series hosted the first local performance of Aaron Jay Kernis’s Pulitzer Prize-winning Musica instrumentalis (commissioned by The Schubert Club) by the Lark Quartet, the group who premiered it in New York’s Merkin Hall.
Minnesota writer/composer Bill Holm, with cellist Laura Sewell and Peter Hendrickson, harpsichord, offered an afternoon of music and poetry in 1991.
Former Saint Paul Chamber Orchestra conductor Dennis Russell Davies and former concertmaster Romuald Tecco appeared in recital in November 1987.
Phot
o: Ö
zgü
r A
lbay
rak
Phot
o: C
hri
stia
n S
tein
er
Photo: Steph
anie de Bou
rgies/Virgin
Classics
Phot
o: B
rian
Pet
erso
n, S
tar T
ribu
ne
Photo: C
hristian
Steiner
Photo: Kim
Pluti for Parallel Produ
ctions
16 THE SCHUBERT CLUB An die Musik
Phot
o: M
arco
Bor
ggre
ve
The Schubert Cluband
The Minnesota Historical Society
present
Hill House Chamber Players
Julie Ayer, violin • Catherine Schubilske, violinThomas Turner, viola • Tanya Remenikova, cello • Jeffrey Van, guitar
Guest artists: Susan Billmeyer, piano • Craig Johnson, narrator
Mondays, November 18 & 25, 2013 • 7:30 PM
"Much Ado about Nothing"
Intermission
Piano Trio in D Major, Hob. XV Franz Joseph Haydn
Allegro
Andantino più tosto allegretto
Vivace assai
Suite from Much Ado About Nothing, Opus 11 Eric Wolfgang Korngold
Song Lyric: Sigh No More
In the Bridal Chamber
Constable Dogberry Addressed the Night Watchman
March of the Watch
Benedick Meditates on Love
Scene in the Garden
Benedick Duped into Love
Hornpipe
Waltz and Minuet Fernando Sor
Homenaje: pour “Le Tombeau de Claude Debussy” Manuel de Falla
Homenaje a Tárrega, Opus 69 Joaquín Turina Garrotín Soleares
Piano Trio in D, Opus 70, No. 1, Ghost Ludwig van Beethoven
Allegro vivace e con brio
Largo assai ed espressivo
Presto
schubert.org 17
Eric Wolfgang Korngold is often classed with Mozart and Mendelssohn as one of the great child prodigies. He began to compose at age six. When Korngold played his own cantata from memory for Gustav Mahler, the great composer-conductor declared him “a genius.” By the age of twelve, he was publishing works that Richard Strauss called “really astonishing.” Invited to Hollywood in 1938 to compose the music to The Adventures of Robin Hood, Korngold won an Academy Award for Best Original Score, but more importantly, he evaded the Nazis. The music for Much Ado About Nothing, Shakespeare’s comedy about the “merry war” between Beatrice and Benedick, is not for a fi lm, but for a stage production commissioned by
“Life is uncertain,” quipped South Dakotan Ernestine Ulmer. “Eat dessert fi rst.” So be it: this Hill House program begins with sweets, serves courses rich, savory and spicy, and fi nishes off with a tonic.
Joseph Haydn wrote almost as many trios as string quartets. Aimed at the amateur rather than the professional, the so-called “piano trios” are lighter in tone than a quartet, and in three rather than four movements. The D-major Trio is one of three conceived for fl ute—D is a fl uty key—though violin is an approved alternative. But the texture is not democratic; in fact, one could call this an “accompanied sonata,” for the keyboard part is enjoyable on its own, while the treble instrument lends melodic color, and the cello doubles the bass. The accompanying instruments are as essential to the sonority as a good cabernet is to a T-bone steak. The antique-sounding Andantino is particularly expressive in a courtly sort of way. Just as the listener has settled comfortably into a triplet division of the beat, riffl es of thirty-second notes lead without a break into a spirited rondo. Haydn treats us to a fl ight of four keys.
Hill House Chamber PlayersMondays, November 18 & 25, 2013 • 7:30 PM
James J. Hill House
the Vienna Volksbühne and premiered in Schönbrunn Palace’s baroque theater in 1920. Korngold was all of 23. It was such a hit that an orchestral suite followed, then an arrangement for violin and piano, which was taken up by Kreisler and Heifetz. Four pixie-chords take us into a Midsummer Night’s Dream-world, then into Hero’s bridal chamber. The Mahleresque “March of the Watch” sketches a company of bumbling night watchmen led by Dogberry and Verges. But the “Garden Scene” sings with a frank sweetness foreign to Mahler. As Benedick says: “I was not born under a rhyming planet,/nor I cannot woo in festival terms.” The Hornpipe, with its unexpected hitch-ups and grace notes, provides a suitably comic ending.
Jeffrey Van offers three works for solo guitar by Spanish composers. Fernando Sor, a contemporary of Paganini, wrote symphonies, string quartets, and ballets, but today is remembered for his 1830 Méthode pour la guitare and for many gracious dances in Viennese Classical style. Manuel de Falla’s homage to Claude Debussy appeared in a tombeau published after the French composer’s death in 1918, a collection which included works by Bartók, Ravel and Stravinsky. As Debussy had celebrated Spain in his orchestral triptych Ibéria, so Falla fêtes the Frenchman in a sad but dignifi ed meditation in habanera rhythm. The last bars—marked perdendosi (dying away)—quote Debussy’s piano piece Evening in Grenada. An Andalusian like Falla, Turina honors the guitarist-composer Francisco Tárrega (1852–1909), “the Sarasate of the guitar,” a key fi gure in the development of the modern instrument and composer of the famous, quavering Recuerdos de la Alhambra. Garrotín and soleares are forms of fl amenco, a folk music of Andalusia that combines song, dance, and guitar-playing.
Composed in 1808, Beethoven’s two trios, Opus 70, were fi rst performed at the Erdödy residence with Beethoven at the piano. The Allegro vivace of the “Ghost” Trio thrusts upward con brio at Eroica tempo, not quite one to the bar. The energy comes from the dum-chuck-a-dum rhythm, the power from the two-beat pattern that confuses the sense of meter. We are transported to the shadow world of D minor for the Largo heart of the work. The pulse is barely palpable and deathly slow, hence the Trio’s nickname. The sparkling and witty Presto restores the patient to life, as Maynard Solomon writes, “in a sweeping ascent from the depths of inwardness.”
Program notes © 2013 by David Evan Thomas
Schönbrunn Palace
18 THE SCHUBERT CLUB An die Musik
Goerne Program Page
The Schubert Club
presents
Christian Tetzlaff, violin Lars Vogt, piano
Tuesday, November 19, 2013 • 7:30 PM
Sonata in B-fl at major, K. 454 Wolfgang Amadeus Mozart
Largo – AllegroAndante
Allegretto
Sonata No. 1, Sz. 75 Béla Bartók
Allegro appassionato Adagio Allegro
Intermission
This evening's concert is dedicated to the memory of Catherine M. Davis.
From Signs, Games, and Messages Gyorgy Kurtág
Hommage à J.S.B.In memoriam Tamás Blum
Vivo Doloroso
Zank–Chromatisch
Sonata No. 7 in C minor, Opus 30, No. 2 Ludwig van Beethoven
Allegro con brio Adagio cantabile Scherzo: Allegro Finale: Allegro; Presto
Christian Tetzlaff, violin solo
schubert.org 19
Known for his musical integrity, technical assurance,
and compelling interpretations, Christian Tetzlaff is
internationally recognized as one of the most important
violinists performing today. He has been in demand as a
soloist with most of the world's leading orchestras and
conductors, establishing close artistic partnerships that
are renewed season after season.
From the outset of his career, Mr. Tetzlaff has performed
and recorded a broad spectrum of the repertoire,
ranging from Bach's unaccompanied sonatas and
partitas to world premieres of contemporary works. A
dedicated chamber musician, he frequently collaborates
with distinguished artists including Leif Ove Andsnes,
Lars Vogt, and Alexander Lonquich. He is the founder of
the Tetzlaff Quartet, which he formed in 1994.
Christian Tetzlaff was a 2010–2011 Carnegie Hall
Perspectives artist, an initiative in which musicians are
invited to curate a personal concert series in Carnegie
and Zankel Halls through collaborations with other
musicians and ensembles. Mr. Tetzlaff’s participation
included an appearance with the Boston Symphony
during which he played concertos by Mozart, Bartók in
addition to the New York premiere of a new concerto by
Harrison Birtwistle, a play/conduct performance with the
Orchestra of St. Luke’s, a performance with the Ensemble
ACJW led by Sir Simon Rattle, a concert with the Tetzlaff
Quartet, and a duo-recital with violinist Antje Weithaas.
Christian Tetzlaff currently performs on a violin modeled
after a Guarneri del Gesu made by the German violin
maker, Peter Greiner. In honor of his artistic
achievements, Musical America named Mr. Tetzlaff
"Instrumentalist of the Year" in 2005.
Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, November 19, 2013 • 7:30 PM
Ordway Center
Phot
o: G
iorg
ia B
erta
zzi
Lars Vogt has rapidly established himself as one of the
leading pianists of his generation. He fi rst came to public
attention when he won second prize at the 1990 Leeds
International Piano Competition and has since gone on
to give concerto and recital performances throughout
Europe, Asia, Australia, and North and South America.
Recent performance highlights include concerts with
the Leipzig Gewandhaus, appearances in Paris with the
Orchestre de Paris and the Orchestre National, a perfor-
mance of the Lutosławski Concerto with the Cleveland
Orchestra at the Edinburgh Festival, and a residency at
the Mozartwoche in Salzburg with the Vienna
Philharmonic. In London, he performed with the London
Philharmonic and London Symphony as well as
numerous times at the BBC Proms and in recital on the
International Piano Series. Lars Vogt’s special relationship
with the Berlin Philharmonic has continued with regular
collaborations following his appointment as their fi rst
ever “Pianist in Residence” in 2003–2004.
Mr. Vogt enjoys a high profi le as a chamber musician.
In June 1998, he founded his own festival in Heimbach,
Germany. Known as “Spannungen,” its huge success
has been marked by the release of ten live recordings on
EMI. He was recently appointed Professor of Piano at the
Hannover Conservatory of Music and in 2005 founded
“Rhapsody in School,” which has become a prominent
education project across Germany.
20 THE SCHUBERT CLUB An die Musik
concert, that the twenty-eight-year-old composer-
pianist had time to write his own part out only in a few
stenographic notations, that the two had never met for
a rehearsal, seems not to have fazed either of the two
musicians. The Sonata was received with tumultuous
applause and was offered to the public in print just two
and a half months later.
It is the only one of Mozart’s sonatas to indulge in the
splendid gesture of a slow introduction. Its initial
gestures are grand in a formal sort of way, but by the fi fth
bar, Mozart is writing throbbing accompaniments and
expansively songful lines that are altogether personal.
These commanding preparations introduce a rich and
beautifully poised Allegro, an uncommonly serious and
poignant slow movement (“Andante” being Mozart’s
second thought to replace his original direction of
“Adagio”), and a most delightful, varied and
glittering rondo.
Program Notes
Hungarian connections unite this program of works
for violin and piano. Jelly d’Arányi (1893-1966) was one
of the more beguiling violinists of the early twentieth
century. Born in Hungary, the youngest of three sisters
and the grand niece of Joseph Joachim, she settled in
England in 1913. Her fi ery technique inspired Bartók’s
sonatas and Ravel’s Tzigane. But she gave the cold
shoulder to amorous old Elgar, and ultimately to Bartók
as well. The two “B-works” on this program were often
featured in Arányi’s recitals with Bartók. In between, we
hear from Hungary’s most prominent living composer.
Sonata in B-fl at major, K. 454
Wolfgang Amadeus Mozart
(b. Salzburg, 1756; d. Vienna, 1791)
We owe the existence of this, Mozart’s grandest violin
sonata, to the Mantuan virtuosa Regina Strinasacchi,
who had the wit to commission a piece from Vienna’s
most ragingly successful composer for her fi rst series
of concerts in the Austrian capital. Praised by Mozart
as a player of taste and sensibility, she gave a concert in
Vienna on March 29, 1784 and another on April 29, and
it was the latter where this sonata was introduced, and
under circumstances to make any composer’s or
performer’s blood run cold—today, at any rate. That
Strinasacchi received her part barely in time for the
Austrian postage stamp from 1956 commemorating the 200th anniversaryof Mozart's birth
Jelly d’Arányi, portrait by Charles Geoffroy-Dechaume
schubert.org 21
Sonata No. 1, Sz. 75
Béla Bartók
(b. Sânnicolau Mare, now Romania, 1881;
d. New York, 1945)
As a student at the Academy of Music in Budapest, Bartók
often visited the Arányi house to give piano lessons to
Adila, the eldest daughter. “This Arányi family are very
interesting,” he wrote to his mother, “fi rst because they
are closely related to Joachim, second because German
is never spoken in this family.” Bartók was drawn to the
family’s Hungarian nationalism, and he was smitten with
Adila (or “Titi,” as she was called by her sister, Jelly).
Nearly twenty years later, in 1921, the Arányis made their
fi rst post-war visit to Hungary. Jelly (with a hard J) visited
the Bartóks. Béla had just turned forty; Jelly was not quite
thirty. Bartók needed money and suggested a
European tour, promising to write a work for her. The
world premiere was given in Vienna by Dickenson-Auner
and Steuermann in February, 1922. London performances
by Bartók and Arányi followed in March. From Paris,
Bartók wrote to his mother: “My recital on [April] 8 went
off well. I was invited to a dinner. . . which was attended
by over half the “leading composers of the world”
—i.e., Ravel, Szymanowski, Stravinsky—as well as a few
young (notorious) Frenchmen you would not know.”
Among those Frenchmen, Milhaud praised the Sonata as
“a noble, pure, and rugged piece.” And Poulenc
was appreciative.
But not everyone admired the piece. “The last word in
ugliness and incoherence,” the eminent British critic
Ernest Newman called it, “as if two people were
improvising against each other.” There is more than a
little truth here. Not only does the work’s athleticism
remind one of a match between two powerful and
tenacious opponents: each instrument has its own
material. Melodies don’t wander from the violin into the
piano. And the distinction between solo and accompani-
ment is done away with. This was modernism. T.S. Eliot
published The Waste Land in 1922; James Joyce came out
with Ulysses. Where Bartók’s earlier music had drawn on
folk sources and modal materials, by 1922 Bartók was
quite aware of the atonal “air of other planets”
wafting over from Vienna. He himself was toying with
what he primly called the “equality of rights of the
individual twelve tones.”
Still, Bartók thought of the Sonata No. 1 as in C-sharp
minor. The fi rst note is indeed C-sharp. But a passionate
theme is given to the violin, and it begins on a note you
don’t expect. The second theme area features a crunchy,
lurching piano idea. There are passages of relative repose,
particularly in the Adagio, where each instrument has
a soliloquy. The rising, minor piano chords are strongly
reminiscent of A London Symphony by Vaughan Williams.
When the instruments combine, those minor triads, with
emphatically not-triad tones in the violin, make an
exquisitely mournful blues. The rondo-fi nale draws on
the raw energy and jangling harmony of Romanian
folk song, punctuated with hair-raising piano rockets.
The violin’s slurred pairs are parodied later—very much
slower—by the piano.
Béla Bartók, portrait by Róbert Berény
22 THE SCHUBERT CLUB An die Musik
Hommage à J.S.B. explores the phenomenon of the
“compound line” as notes in different registers create
the illusion of polyphony so characteristic of Bach’s
unaccompanied works. Tamás Blum (1927-1992) was a
Hungarian conductor and noted translator of opera. His
homage moves from consonance to the highest level
of dissonance and back, with a postscript: “Tamás was
already out there waiting.” To Kurtág, doloroso denotes
inner pain; here, pauses defi ne fragments of melody. The
silences have a particular meaning for Kurtág.
“Caesura means to take measure of the next unit. Just
as in speech: you infl ect the sentence downward toward
the full stop . . . . Then you take stock of what you want to
say next.” Zank-Kromatisch is a frank, colorful quarrel.
Kurtág received the 2006 Grawemeyer Award for Music
Composition. He is highly regarded as a pianist, frequent-
ly performing with Marta, his wife of sixty-six years. And
he is revered as a coach for such artists as András Schiff,
and such ensembles as the Takács Quartet.
Sonata No. 7 in C minor, Opus 30, No. 2
Ludwig van Beethoven
(b. Bonn, 1770; d. Vienna, 1827)
1802 was the year in which the deafness that had begun
to trouble Beethoven in about 1798 began to progress
alarmingly. In Opus 30, only the C-minor Sonata refl ects
the mood this induced in him. But if Beethoven knew the
despair that speaks in the will he wrote at
Heiligenstadt in October 1802—”as the leaves of
autumn fall and wither—so likewise has my hope been
blighted. Even the high courage—which has so often
inspired me in the beautiful days of summer—has
vanished”—he also knew the state of mind in which he
declared he would “seize Fate by the throat.” The C-minor
Sonata, the dark sibling of this set, is music of strength
and defi ance as much as it is music of fury.
There is a recognizable Beethoven-in-C-minor mood,
most famously embodied in the fi rst movement of the
Fifth Symphony. This Sonata, with its turbulent fi rst and
Jelly d’Arányi’s collaboration with Bartók lasted only a
couple of years. “It is good and great that I should have
inspired that gorgeous sonata,” she wrote in her diary,
“but apparently a woman can’t inspire the soul of a man
without doing great harm.” Bartók divorced his fi rst wife,
Márta, in August 1923, and married Ditta Pásztory, a
student at the Academy.
From Signs, Games and Messages
Gyorgy Kurtág
(b. Lugoj, now Romania, 1926)
Gyorgy Kurtág’s terse style—“ice water for the mind,”
one critic called it—is often compared to Webern’s. But
the use of repetition and frequent references to music of
the past set it apart. “I am acutely aware of the impera-
tive need to safeguard freshness,” he says. Writer Annie
Dillard reminds us that modernist fi ction bares its
structural bones, adding: “Those bones had better be
good.” Musical “bones” may take the form of muted
chant fragments, bell tones, the open strings of the
violin, silence. This is music that invites close listening
and arouses deep emotions.
Kurtág has been contributing to Signs, Games and
Messages since 1989. It is a grab-bag: character pieces,
homages to artists as diverse as Bach and John Cage,
memorials, and glosses on music of the past. There are
solo versions for violin, viola, cello, and double bass, in
addition to an ensemble arrangement for string trio. In
spirit, it is much like Játékok (Games), his piano anthology.
Program Notescontinued
Gyorgy Kurtág
schubert.org 23
Beethoven's house in the Vienna suburb Heiligenstadt,etching by Wilhelm Landsmann
last movements, is another vintage example. Listening to
the fi rst movement, we are also struck by the originality
and concentration of Beethoven’s musical procedures:
the masterly sense of pace, something we sense immedi-
ately in the expansion that is built into the piano's initial
eight bars, the idea of bringing back the violin’s march
theme in the piano’s left hand rather than–more
obviously–in the treble, the economy that turns the
opening idea into an accompaniment for a new violin
theme, the way instrumental virtuosity is put to work
in the cause of fi ery expression. In this movement
Beethoven, so intent on urgent forward movement,
does not ask for the usual repeat of the exposition but
plunges straight into the swift-moving, adventurous
development. The moment of recapitulation is high-
lighted by some remarkable extensions. The coda starts
in major but ends in C-minor fury. It is big, amounting
virtually to a second development.
All four movements begin with the piano alone. The
slow movement is songlike; Beethoven in fact marks it
Adagio cantabile, something quite different from the
Adagio espressivo we fi nd in several of the other sonatas.
The melody, in Beethoven’s simplest manner, is one of
his most beautiful. The whole movement is beautifully
scored, Beethoven’s happy and ever more refi ned feeling
for texture being vividly manifest, for example, in the
rapid (128th-note!) scales that take the place of a more
conventional sort of accompaniment later on. We also
fi nd stunningly dramatic contrasts in the juxtaposition
of scales that are not just fortissimo but violently
fortissimo with the most hushed pianissimo.
Opus 30, No. 2 is one of the few four-movement sonatas
in the sonata cycle, and its “extra” movement, the
Scherzo, surprises us by being in C major, as though the
storms of the fi rst movement had never existed. With
its odd, offbeat accents, it is a feast of wit; the Trio, in
which the piano’s left hand imitates the violin with a
one-measure delay, almost sounds like a variation of the
Scherzo itself.
With the fi nale, Beethoven returns to his C-minor
tempests. Something that is striking here is his discovery
of the sinister expressive potential of the piano’s low
register—transparent as well as fi erce on the
instruments of his day. At the end, Beethoven fans the
fl ames by pushing the speed up to a fi ery presto.
Mozart, Beethoven notes copyright © 2000 by Michael
Steinberg. Used by kind permission of Jorja Fleezanis.
Bartók, Kurtág notes and introduction copyright © 2013
by David Evan Thomas.
Sunday, January 12 • 7PM HILARY HAHN & HAUSCHKA
Sunday, April 13 • 7PM ANTHONY DE MARE, PIANO
Tuesday, June 3 • 7:30PM ETHEL
All concerts at Aria • 105 North 1st Street, Minneapolis
SINGLE TICKETS & 3-CONCERT PACKAGES ON SALE NOWTickets: $25
Purchase 3-concert packages and single tickets online or call 651.292.3268
schubert.org/mix
Phot
o: D
G/M
arei
ka F
oeck
ing
Hauschka / Hilary Hahn
The Schubert Club is thrilled to announce a new series of concerts
starting January 2014 at Aria (formerly Theatre de la Jeune Lune). The combination of the stylish
warehouse architecture of Aria, informal seating, and a contemporary presentation style by guest
artists will give Schubert Club Mix presentations a relaxed and unconventional ambiance.
Refreshments will be available to enjoy during the performances.
“a new approach to classical music ”
Photo: James Ew
ing
ETHEL
26 THE SCHUBERT CLUB An die Musik
Intermission
Quartet No. 1 in D major, K. 285 Wolfgang Amadeus Mozart
Allegro Adagio
Rondeau
Syrinx for solo fl ute Claude Debussy
Trio for violin, viola, and cello Jean Françaix
Allegretto - Vivo Scherzo - Vivo Andante Rondo: Vivo
The Schubert Cluband
Kate Nordstrum Projects
present
AccordoSteven Copes, violin • Ruggero Allifranchini, violin
Maiya Papach, viola • Rebecca Albers, viola • Anthony Ross, cello
Guest Artist: Julia Bogorad-Kogan, fl ute
Monday, December 9, 2013 • 7:30 PM
Quintet No. 2 in B-fl at major, Opus 87 Felix Mendelssohn
Allegro vivace
Andante scherzando
Adagio e lento
Allegro molto vivace
Bogorad-Kogan, Copes, Papach, Ross
Bogorad-Kogan
Allifranchini, Albers, Ross
Allifranchini, Copes, Papach, Albers, Ross
schubert.org 27
AccordoMonday, December 9, 2013 • 7:30 PM
Christ Church Lutheran
A Special Thanks to the Accordo Donors
Performance Sponsors
Hella Mears HuegLucy Jones and James JohnsonAlfred P. and Ann M. MooreMusician Sponsors
Mary and Bill BakemanEileen Baumgartner Tim and Barbara BrownAlfred and Ingrid Lenz HarrisonJenny Nilsson and Garrison KeillorSandra SavikMarilee and Terry Stevens (sponsor-ing Kyu-Young Kim)Joseph and Kay Tashjian
Patrons
Anonymous (3)Beverly S. AndersonClaire and Donald AronsonDagny BilkadiMichael and Carol BromerJohn and Birgitte ChristiansonDon and Inger DahlinPamela and Stephen DesnickGeorge EhrenbergPeg and Liz GlynnMichelle HackettJon and Diane Hallberg
Ken and Suanne HallbergBetsy and Michael HalvorsonDr. Kenneth and Linda HolmenCarol A. JohnsonErwin and Miriam KelenThomas LogelandRhoda and Don MainsPaul. W. MarkwardtCarolyn and Jim NestingenKathleen NewellLowell and Sonja NoteboomJohn B. NoydChuck Ullery and Elsa Nilsson
Lynn and Jean PetersonJonathan and Mary PreusMichael and Tamara RootDiane RosenwaldJohn Sandbo and Jean ThomsonBuddy Scroggins and Kelly SchroederGary Seim and LeeAnn PfannmullerEd and Marge SenningerGale SharpeRebecca and John ShockleyGregory Tacik and Carol OligCarol and Tim WahlAlex and Marguerite WilsonDr. Max Zarling
Accordo (from left): Ruggero Allifranchini, Anthony Ross, Maiya Papach, Ronald Thomas, Erin Keefe, Rebecca Albers, Steven Copes, Kyu-Young Kim
Sponsors
Accordo, established in 2009, is a Minnesota-based chamber group made up of some of the very best instrumentalists in the country,
eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Their concerts are
held in the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by the
esteemed architect Eliel Saarinen and his son Eero Saarinen.
Accordo includes a string octet composed of Saint Paul Chamber Orchestra (SPCO) and Minnesota Orchestra current and former
principal players Rebecca Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim, Maiya Papach, Anthony Ross, and
Ronald Thomas.
Julia Bogorad-Kogan
Phot
o: C
amer
on W
itti
g
28 THE SCHUBERT CLUB An die Musik
Calendar of Events
October 2013
Thursdays, October 17 – April 24 • 12 PM
Courtroom Concerts Landmark Center
(No concerts November 28, December 5, December 26, January 30)
Sunday, October 27 • 4 PM St. Anthony Park UCC
Music in the Park Series
Erin Keefe, violin & Anna Polonsky, piano
Tuesday, October 29 • 7:30 PM Landmark Center
Live at the Museum
Goya: To Be . . . To Ask . . .(Part I)Karen Kim, violin; Tom Rosenberg, cello; Ora Itkin, piano
November 2013Tuesday, November 5 • 7:30 PM Landmark Center
Live at the Museum
Goya: To Be . . . To Fear . . .(Part II)Karen Kim, violin; Tom Rosenberg; cello, Ora Itkin, piano
Tuesday, November 12 • 7:30 PM Landmark Center
Live at the Museum
Goya: To Be . . . To Imagine . . .(Part III)Karen Kim, violin; Tom Rosenberg, cello; Ora Itkin, piano
Thursday, November 14 • 5 PM Landmark Center
Cocktails with Culture
Cocktails at Versailles, 1710Layton "Skip" James, harpsichord
Monday, November 18 • 7:30 PM James J. Hill House
Hill House Chamber PlayersMuch Ado About Nothing
Tuesday, November 19 • 7:30 PM Ordway Center
International Artist Series
Christian Tetzlaff, violin & Lars Vogt, piano
Monday, November 25 • 7:30 PM James J. Hill House
Hill House Chamber PlayersMuch Ado About Nothing
December 2013Monday, December 9 • 7:30 PM Christ Church Lutheran
Accordo with Julia Bogorad-Kogan, fl ute
January 2014Thursday, January 9 • 5 PM Landmark Center
Cocktails with Culture
International Novelty Gamelan
Sunday, January 12 • 7 PM Aria
Schubert Club Mix
Hilary Hahn, violin & Hauschka, piano: Silfra
Thursday, January 16 • 7:30 PM Landmark Center
Live at the Museum
An Evening with Layton "Skip" James, Keyboard Craftsman
Sunday, January 26 • 4 PM St. Anthony Park UCC
Music in the Park Series
Gryphon Trio
February 2014Saturday, February 8 • 7:30 PM Ordway Center
International Artist Series
Gidon Kremer, violin with Kremerata Baltica
Thursday, February 13 • 5 PM Landmark Center
Cocktails with Culture
It Takes Two . . . A Musical ValentineRolf Erdahl, double bass & Carrie Vecchione, oboe
Phot
o: D
G/M
arei
ke F
oeck
ing
HIlary Hahn & Hauschka
schubert.org 29
Friday, March 14 • 5:45 & 7 PM St. Matthew's Episcopal
Music in the Park Series Family Concert
Rose Ensemble
Thursday, March 27 • 7:30 PM Landmark Center
Live at the Museum
The Czar’s Clavichord: Music from the Palaces of St. Petersburg Henry Lebedinsky, clavichord
Sunday, March 30 • 4 PM St. Anthony Park UCC
Music in the Park Series
Miró Quartet
Gidon Kremer with Kremerata Baltica
More information at schubert.orgBox office 651.292.3268
Phot
o: L
isa-
Mar
ie M
azu
cco
Alessio BaxMonday, February 17 • 7:30 PM Christ Church Lutheran
Accordo with Alessio Bax, piano
Thursday, February 20 • 7:30 PM Landmark Center
Live at the Museum
Music and Tales from The Schubert Club ManuscriptsVern Sutton, tenor
Friday, February 21 • 5:45 & 7 PM St. Matthew's Episcopal
Music in the Park Series Family Concert
WindSync
Sunday, February 23 • 4 PM St. Anthony Park UCC
Music in the Park Series
WindSync
Monday, February 24 • 7:30 PM James J. Hill House
Hill House Chamber PlayersRussian Romantics
March 2014Monday, March 3 • 7:30 PM James J. Hill House
Hill House Chamber PlayersRussian Romantics
Tuesday, March 11 • 7:30 PM Ordway Center
International Artist Series
Valentina Lisitsa, piano
30 THE SCHUBERT CLUB An die Musik
April 2014Thursday, April 10 • 5 PM Landmark Center
Cocktails with Culture
Cuban ClassicalCharanga Tropical
Sunday, April 13 • 7 PM Aria
Schubert Club Mix
Anthony de Mare, piano: Re-imagining Sondheim
Thursday, April 24 • 7:30 PM Landmark Center
Live at the Museum
The Father, the Fugitive, and the Bachelor: Swedish Music from Three CenturiesStephanie Wendt, piano
Friday, April 25 • 5:45 & 7 PM St. Matthew's Episcopal
Music in the Park Series Family Concert
Cuarteto Latinoamericano
Sunday, April 27 • 4 PM St. Anthony Park UCC
Music in the Park Series
Cuarteto Latinoamericano
Monday, April 28 • 7:30 PM Christ Church Lutheran
Accordo with Mihae Lee, piano
Calendar of Events
ETHEL
Photo: Jam
es Ewin
g
Monday, April 28 • 7:30 PM James J. Hill House
Hill House Chamber PlayersFrom Vienna to Buenos Aires
May 2014Monday, May 5 • 7:30 PM James J. Hill House
Hill House Chamber PlayersFrom Vienna to Buenos Aires
Thursday, May 8 • 7:30 PM Landmark Center
New Age Salon: Fidelis Odozi
Monday, May 19 • 7:30 PM Ordway Center
International Artist Series
Dmitri Hvorostovsky, baritone & Ivari Ilja, piano
June 2014Monday, June 2 • 7:30 PM James J. Hill House
Hill House Chamber PlayersAn Evening with Schubert
Tuesday, June 3 • 7:30 PM Aria
Schubert Club Mix
ETHEL: Documerica
More information at schubert.orgBox office 651.292.3268
Valentina Lisitsa
Phot
o: Jo
ann
a Pa
ters
on
schubert.org 31
It was a great honor for mezzo-soprano Clara Osowski and
her superb colleague–pianist, Mark Bilyeu–to be selected to
perform this past August in Tours, France at the prestigious
Académie Francis Poulenc. They were the only Americans
represented at the event, participating with art song per-
formers from throughout the world. The program for these
talented musicians included ten days of master classes,
seminars, public performances and the opportunity to rub
shoulders with the great names in music, including baritone
François Le Roux, pianist Graham Johnson, and English
soprano Felicity Lott.
Clara, an enthusiast for the intimate world of art song
performance, said it was during a master class that she
realized “that art song is an extension of poetry that can
and should be interpreted in individual ways to develop
true civility and understanding in our society.” Particularly
satisfying to Clara is the French mélodie and the charming
quality of the French language. Clara tells her students, “I
feel more love in l’amour than l’amour in love.
The duo performed art songs from Poulenc, Britten, and
the late Noël Lee at the Académie, and more recently in
recital at the Weisman Art Museum. Also included was a
performance of Stephen Paulus’s moving piece, A Heartland
Portrait, a Schubert Club commission premiered by Thomas
Hampson on the International Artists Series in 2006.
Paulus transposed the piece to treble clef for mezzo-soprano
upon Clara’s request.
IntervalsAlumni News of The Schubert Club Scholarship Competitors
One of the memorable experiences while in Tours, which
incidentally is a Sister City of Minneapolis, was their visit to
Francis Poulenc’s estate where his relatives still live today.
They treated the musicians to family stories and invited
them to play on Poulenc’s very own piano on which he once
composed and performed.
If you have news of any former Schubert Club competitors,
please contact Kate Cooper at 651-292-3266
Clara Osowski, mezzo-soprano
“ I feel more love in l’amour than
l’amour in love." – Clara Osowski
Clara and Mark Bilyeu visit Francis Poulenc's home and give an impromptu performance with his piano
Clara was a 2012 second place winner in the Graduate Voice
level of The Schubert Club Scholarship Competition and
has performed at Schubert Club Courtroom Concerts. She
was also a Metropolitan Opera National Council Upper-
Midwest Regional Finalist in 2012. She earned her Bachelor
of Musical Arts degree from North Dakota State University
and her Master of Arts in Voice from the University of Iowa.
She shared her passion for contemporary music by premier-
ing song-cycles by numerous composers with the Center of
New Music at the University of Iowa.
She has studied with Adriana Zabala, Stephen Swanson and
Robert Jones and is currently teaching voice both privately in
Minneapolis and at the University of Minnesota–Morris.
32 THE SCHUBERT CLUB An die Musik
Among the changes in The Schubert Club Museum this season is the installation of an extraordinary 1935 Wurlitzer grand piano in the Schubert Club Recital Room. The piano was featured in the fi rst of this season’s free happy-hour music events, with Laura Caviani and Pete Whitman, in a program titled Jazz Standards from 1937.
This unusual Art Deco instrument was one of twelve designed and built for a 1937 national exhibition in Chicago. The manufacturer, Rudolph Wurlitzer, had begun business as an importer of musical instruments in Cincinnati in 1856. His company fl ourished through innovation: manufacturing coin-operated pianos in the 1880s, introducing the “Mighty Wurlitzer” theatre organ in 1910, juke-boxes from 1934 on, and electric reed organs in 1947.
Designed without a lid, the piano stands on a gracefully curved lucite base. A decorative, tailored fabric cover for the strings, and a matching roll of cloth to cover the keys complete the “Moderne” look. With its up-to-the-minute fl uorescent light built in to the music stand, the instrument was a showpiece of technical advancement in 1935.
Thursday, October 10
Jazz Standards from 1937Laura Caviani, piano & Pete Whitman, saxophone
Thursday, November 14
Cocktails at Versailles, 1710Layton “Skip” James, harpsichord
Thursday, January 9
New Music for Tuned PercussionInternational Novelty Gamelan
Thursday, February 13
It Takes Two . . . a Musical ValentineRolf Erdahl, double bass & Carrie Vecchione, oboe
Thursday, April 10
Cuban Music, Shades of ClassicalCharanga Tropical
In addition to live music by some of the best Twin Cities talent, these free happy hour events will feature woodturning demonstrations in the Second fl oor galleries in Landmark Center. Museum tours will be available.
Presented by the AAW Gallery of Wood Art, Landmark Center & The Schubert Club.
5-7 PM • Free • Drinks available for purchase
Landmark Center
Second fl oor museum galleries
COCKTAILS with CULTURE
The Schubert Club MuseumLandmark Center • Second floor
Open Sunday–Friday, Noon–4 PM
schubert.org 33
schubert.org/liveatthemuseum
The Schubert Club Museum comes to life!
On seven evenings this season, favorite local artists bring
live classical music and more to the galleries of Landmark Center.
October 29 November 5 & 12 Three different multimedia presentations of music and art celebrating the paintings of Francisco de Goya. Curated by Ora Itkin, piano. With Karen Kim, violin; Thomas Rosenberg, cello; Scott Winters, media
January 16 An Evening with Skip James—Keyboard CraftsmanFrom a world of improvisation and craftsmanship, Layton “Skip” James will share experiences of his art of playing music he makes up as he goes along on an instrument he made himself.
February 20 Music and Tales from The Schubert Club ManuscriptsRead between the lines of the Letters in the Schubert Club's manuscript collection as tenor Vern Sutton explores music and personalities involved. Hear live performances of those pieces with historically enlightened ears.
March 27 The Czar’s Clavichord: Music from the Palaces of St. PetersburgClavichordist Henry Lebedinsky takes you into the private musical lives of Russia's nobility in the age of Catherine the Great. Music by Russian composers performed on the most intimate and sensitive of all keyboard instruments.
April 24 The Father, the Fugitive, and the Bachelor. Pianist Stephanie Wendt plays charming music and illuminates the fascinating lives of three Swedish composers from three centuries: Johan Helmich Roman (1694–1758); Carl Jonas Love Almqvist (1793-1866) and Wilhelm Peterson-Berger (1867–1942).
Tickets: $12 advance / $16 at the door • Concerts at 7:30 PM schubert.org/liveatthemuseum/ • 651.292.3268Live at the Museum
Live at the Museum 2013–2014Landmark Center • The Schubert Club Museum
To Be… (Goya)
34 THE SCHUBERT CLUB An die Musik
Ensemble 61Carrie Henneman Shaw, soprano; Erik Barsness, percussion; Matthew McCright, piano
Soprano Carrie Henneman Shaw is a singer who weaves style and emotion into vivid performances of Ba-
roque and contemporary classical music. Winner of a McKnight Fellowship for Performing Musicians, she has been
praised as a “major musical force” (St. Paul Pioneer Press) and “consistently stylish” (Boston Globe). Shaw sings with
ensembles in Minnesota, Boston, and Chicago: Glorious Revolution Baroque, The Bach Society of MN, Ensemble
Dal Niente, and Baroque opera companies.
The Capacity of Calm Endurance
Kolokol
Night
From Propeller
A Frail Weight
And, Not Or
Mary Ellen Childs, who was named a United States Friends Fellows in 2011, composes concert work–often with a strong visual
element–for a variety of ensembles, including solo accordion, string quartets, chamber groups, and vocal works. The creator of many
multi-media works, Childs is well known for her “visual percussion” pieces for her percussion group CRASH, in which she incorporates the
movements of the bodies of the performers. Childs has received commissions from the Kronos Quartet, St. Paul Chamber Orchestra, The
Kitchen, the Walker Art Center, Other Minds, and Opera America, among others.
Courtroom ConcertSpotlight on Minnesota Composer, Mary Ellen ChildsOctober 31, 2013 • Noon • Landmark Center
Mary Ellen Childs
Ensemble 61 is a mixed chamber ensemble dedicated to the performing and recording of the music of our time. The group takes its
name from the Historic Highway that runs from Duluth to New Orleans and is the inspiration for many artists.
Pianist Matthew McCright has performed throughout the United States, Europe, Asia, and the South Pacifi c
as a piano soloist and chamber musician, and is a member of the piano faculty of Carleton College. He has thrilled
audiences with an imaginative repertoire that spans both the traditional and a wide range of contemporary works.
He has premiered numerous new pieces, many written for him, and has collaborated with countless composers
across the globe.
Erik Barsness, percussionist and Ensemble 61 Co-Director, is a Fulbright Scholar and received his Masters
Degree from the Royal College of Music in Stockholm, Sweden and his Bachelors Degree from the University of
Minnesota. In addition to working with Ensemble 61, Erik performs with The Minnesota Percussion Trio and CRASH.
Erik is an active freelance percussionist in the Twin Cities and maintains a private teaching studio.
schubert.org 35
Courtroom ConcertSpotlight on Minnesota Composers, Daniel Nass and Paul CantrellNovember 7, 2013 • Noon • Landmark Center
Pat O’Keefe is currently the co-artistic director and woodwind player for ensemble Zeitgeist, based in St. Paul,
Minnesota. He has also performed and recorded with such groups as ETHEL, California E.A.R. Unit, and Cleveland
New Music Associates. Pat performs regularly on both woodwinds and percussion with the groups Batucada do
Norte, Choro Borealis, and Music Mundial in the Twin Cities. Pat holds a BM (with Performer’s Certifi cate) from
Indiana University, an MM from the New England Conservatory, and a DMA from the University of California,
San Diego. He is currently on the faculty of the University of Wisconsin, River Falls.
Pat O’Keefe, clarinet and Paul Cantrell, piano
Songs of Cowboys and Hobos – Daniel Nass (b. 1975)
After the Coffee (from Sundown Slim) • Drink Deep
Bread • Them Saddest Words (from Sundown Slim)
To My Dog, “Quien Sabe” (In the Happy Hunting Grounds)
Edge of Town
The Dream Songs ProjectAlyssa Anderson, mezzo-soprano; Joseph Spoelstra, guitar
Alyssa Anderson’s vocal repertoire spans the ages from Baroque to contemporary experimental music, with a focus on American and
twentieth-century art song and chamber music. Alyssa has appeared as a soloist with the Minnesota Oratorio Society, the Kenwood
Symphony Orchestra, the Bloomington Symphony Orchestra, Twin Cities Lyric Theater, RenegadeEnsemble, the University of Minnesota’s
New Music Ensemble, and the University of Minnesota’s Bach Festival. Alyssa is also the founder and artistic director of La Bonne Chanson,
an art song performance ensemble. Alyssa is a 2013 recipient of the Minnesota State Arts Board Artist Initiative Grant.
Joseph Spoelstra has performed throughout the U.S. including the Wilshire-Ebell Theater in Los Angeles, the Guthrie Theater in Min-
neapolis, and Corbett Auditorium in Cincinnati. His performances have been broadcast on NPR programs in Los Angeles, Minnesota, and
Wisconsin. In addition to his solo performances, Joseph is a frequent ensemble guitarist with chamber groups throughout the Midwest
including Bach Dancing & Dynamite Society, RenegadeEnsemble, Classical Revolution of Madison, La Bonne Chanson, and Theater Latte Da.
Joseph holds his Master of Music from the University of Southern California and his Bachelor of Music from the University of Minnesota.
Paul Cantrell is a composer and pianist. Praised as “profound and deeply moving,” his music’s organic
lyricism arises from a meticulously crafted internal logic. He was born in Colorado, studied music with Donald
Betts and Carleton Macy at Macalester, and lives in Minneapolis. He co-founded Keys Please and The New
Ruckus, and is a passionate advocate of local new music.
The Broken Mirror of Memory – Paul Cantrell
Part 1: Entanglement • Part 2: Soliloquy
Part 3: Tango • Part 4: Flight
36 THE SCHUBERT CLUB An die Musik
Courtroom ConcertNovember 14, 2013 • Noon
Landmark Center
Daria Adams is a member of the Saint Paul Chamber Orchestra. Since joining the SPCO in 1987, she has
traveled the world in tours to Asia, Europe, and across North America. An ardent Baroque music lover, Daria
is a founder of the Blue Baroque Band, a Minnesota-based ensemble made up of colleagues from the SPCO.
Daria has been a guest at many prominent music festivals: in Newport, Rhode Island; Banff, Alberta, Canada;
Nantucket, Massachusetts; the Cactus Pear Festival in Texas; Strings in the Mountains Festival in Colorado; the
Bach Dancing and Dynamite Society in Madison, Wisconsin; and at festivals in Lyon, France and Vaasa, Finland.
Daria holds degrees in Violin Performance from the New England Conservatory and the State University of New
York at Stonybrook.
Daria Adams, violinCléa Galhano, recorderLayton "Skip" James, harpsichord
Brazilian recorder player Cléa Galhano has performed in the United States, Canada, South America and Europe
as a chamber musician. Galhano has performed at the Boston Early Music Festival, the Tage Alter Music Festival in
Germany, Wigmore Hall in London, Merkin Hall in New York, and Palazzo Santa Croce in Rome. Galhano was featured
in the Second International Recorder Congress in Leiden, Holland in 2006, at the International Recorder Conference in
Montreal in 2007, and at the American Recorder Festival in 2012. She gave her Carnegie Hall debut in 2010. Galhano
studied at Faculdade Santa Marcelina in Brazil, at the Royal Conservatory of The Hague in the Netherlands, and at
the New England Conservatory of Music in Boston, earning a Fulbright scholarship and support from the Dutch
government. Galhano regularly conducts workshops across the United States, Europe and Brazil. Galhano is the
Executive Artistic Director of the Saint Paul Conservatory of Music and she is on the faculty of Macalester College.
Layton "Skip" James is best known as an improvising continuo player at the harpsichord, organ and
fortepiano. He has accompanied Pinchas Zukerman, Jean Pierre Rampal, Isaac Stern, Joshua Bell, Thomas
Zehetmaier, Yo-Yo Ma, 'Slava' Rostropovich, among others, in addition to his fellow SPCO players, and
is the featured harpsichordist on two recordings of Handel's Messiah conducted by Robert Shaw. He is
frequently called upon to compose cadenzas for Baroque and Classic concertos. James's academic career
includes degrees from The College of Wooster, Cornell University, and Stanford University. He also builds
harpsichords, including the instrument on which he performs.
Trio Sonata in G major for Recorder, Violin, and Basso continuo – J.S. Bach
Largo • Vivace • Adagio • Presto
Four Transcriptions from Piéces de Clavecin for Recorder and Violin – Francois Couperin
Marche • Les Graces Naturelles • Le Rossignol en Amour • Les Jongleurs
Sonata in G minor for Violin and Basso continuo – G.F. Handel
Andante • Allegro • Adagio • Allegretto
Harpsichord Exercises – Padre Antonio Soler
Sonata in A minor for Recorder and Basso continuo – Franceso Mancini
Spiritoso • Allegro • Largo • Allegro Spiccato
Trio Sonata in A minor for Recorder, Violin and Basso continuo – G.P. Telemann
Largo • Allegro • Cantabile • Allegro
schubert.org 37
Momoko Tanno has appeared in productions including M. Butterfl y at the Guthrie Theatre, Figaro, Don Juan Giovanni, and Carmen
with Theatre de la Jeune Lune, American Repertory Theatre, Berkeley Repertory Theatre, and Pacifi c Overtures with Park Square Theater
and Mu Performing Arts. As a concert artist, Tanno has performed with Minnesota Orchestra, Bach Society of Minnesota, Heinrich Schütz-
Chor, Tokyo, and Heilbronn. She was awarded Minnesota State Arts Board’s 2013 Artist Initiative Grant.
Margaret Humphrey is a featured concert soloist with several local orchestras, and maintains a vibrant freelance career schedule in
the Twin Cities. Humphrey also performs as a core member of the Minnesota Opera Orchestra. Touring nationally, she frequently guests
with Tempesta di Mare in Philadelphia, the Kingsbury Ensemble in St. Louis, and Bach and the Baroque series in Pittsburgh. She is also a
founding member of Belladonna Baroque Quartet. Humphrey has recorded on the Chandos, Dorian, and Ten Thousand Lakes labels.
Founded in 1977, Zeitgeist is a new music chamber ensemble consisting of two percussion, piano and woodwinds, and is one of the
oldest and most successful new music groups in the country. Based in St. Paul. The group presents an annual concert series and delivers
a wide variety of community-based performance programs for residents of the Twin Cities and the surrounding areas. Zeitgeist’s mission
is to bring newly created music to life with performances that engage and stimulate. Members are: Heather Barringer, percussion; Patti
Cudd, percussion; Pat O’Keefe, woodwinds; Shannon Wettstein, piano.
Asako Hirabayashi has won numerous grants and awards including the 2009-2010 McKnight Fellowship for Performing Musicians,
and the Minnesota State Arts Board’s 2012 Artist Initiative Grant. As a soloist and as a composer, she has won several fi rst prizes in
competitions such as the Alienor International Harpsichord Composition Competition (won the 6th, 7th and 8th consecutively) and
the NHK International SongWriting Competition in Japan. She was recently awarded 2012 Jerome Fund for New Music by American
Composers Forum to write an opera. She holds a Doctoral degree from the Juilliard School and she is currently on the faculty of St. Paul
Conservatory of Music.
Momoko Tanno, sopranoMargaret Humphrey, violin, Zeitgeist & Asako Hirabayashi, harpsichord
Courtroom ConcertSpotlight on Minnesota Composer, Asako HirabayashiNovember 21, 2013 • Noon • Landmark Center
The opera Yukionna, the legend of the Snow Witch is told through this song cycle written by Asako Hirabayashi and was made possible by a
grant from the American Composers Forum with funds provided by the Jerome Foundation. Momoko Tanno is a fi scal year 2013 recipi-
ent of an Artist Initiative Grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a
grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the Arts and Cultural Heritage Fund.
Prelude, from Yukionna (Snow Witch) (Zeitgeist)
"Hyozan," (Ice Mountain) from Yukionna (Tanno, Hirabayashi)
"For Cléa" (Humphrey, Hirabayashi)
"Al que ingrate me deja, Busco Amante" (Tanno, Humphrey, Hirabayashi)
Scene of Snow God, from Yukionna (Zeitgeist)
Vocalise (Humphrey, Hirabayashi)
"Ketsubetsu" (Farewell), from Yukionna (Tanno, Hirabayashi)
Fandango (Humphrey, Hirabayashi)
Dance (Tanno, Humphrey, Hirabayashi, Barringer)
"Shinrei" (Spirits of the Forest) world premiere (Tanno, Humphrey, Hirabayashi)
Father’s death scene, from Yukionna (Zeitgeist) Asako Hirabayashi
38 THE SCHUBERT CLUB An die Musik
Courtroom ConcertDecember 12, 2013 • Noon
Landmark Center
Dolce Wind Quintet is a professional ensemble with abundant talent and experience entertaining and educating audiences of
all ages. Since 1995 Dolce has been performing for recitals, weddings, receptions, worship services, schools, charity benefi ts, and other
events–including pub nights! Dolce customizes each performance playlist to appeal to their audiences, drawing from an enormous
repertoire of classic and contemporary woodwind quintet literature, transcriptions, popular songs and dances, ethnic music, show tunes,
holiday favorites, and more.
Selected as Classical MPR Artists in Residence in 2013–2014, the ensemble also performed on the MPR stage at the 2013 Minnesota State
Fair, was the house band for MPR’s 2010 Taste of the Holidays Concert at the Fitzgerald Theater in 2010, and was featured on the station’s
Holiday Sampler broadcast in 2009. In 2007, Dolce performed live on-air during MPR Day in Rochester and for MPR’s Music Alive event at
Calhoun Square in Minneapolis.
In addition to appearances on the Schubert Club Courtroom Concert series, Dolce performs for several other concert series, including
Fridays in the Valley concerts in the Twin Cities, Munsinger/Clemens Gardens summer series in St. Cloud, the international Vintage Band
Festival in Northfi eld, and the Summer Mostly Thursdays series in Bayfi eld, Wisconsin. For Chamber Music Minnesota, Dolce videotaped a
live performance and interviews used in music education programs nationwide since 2002.
Sue Ruby has been a teaching artist at MacPhail Center for Music since 2001. In addition to teaching private, group, and Music Tree
piano, she serves as collaborative pianist for the Prelude program and Advanced Music Theater Performance Lab (formerly MacPhail
Players). Sue is frequently seen throughout the state as a collaborative pianist with vocalists, as well as woodwind and string
chamber musicians.
Dolce Wind QuintetNancy Wucherpfennig, fl ute; Megan Dvorak, oboe
Karen Hansen, clarinet; Ford Campbell, bassoon; Vicki Wheeler, horn
with Sue Ruby, piano
Three Pieces for Woodwind Quintet – Adolphe Deslandres
Andante
Scherzo
Finale
Quintet in C – Claude Arrieu
Allegro • Andante • Allegro scherzando
Adagio • Allegro vivace
Sextet for Piano and Wind Quintet – Francis Poulenc
Allegro vivace
Divertissement
Finale
Francis Poulenc
schubert.org 39
Timothy C. Takach enjoys a busy and varied career as a composer, singer, clinician, and freelance graphic designer. As a
full-time composer, Takach has a healthy schedule of commissioned work. He is a co-founder of the professional ensemble
Cantus and Vice President of both Graphite Publishing and the Independent Music Publishers Cooperative. Takach
graduated with honors from St. Olaf College with degrees in Music Composition and Art.
The Schubert Club CarolersCarrie Henneman Shaw, soprano; Linda Kachelmeier, alto; Nicholas Chalmers, tenor;Timothy C. Takach, bass
with Brian Barnes, guitar
Courtroom ConcertChristmas in Minnesota – New Songs for the SeasonDecember 19, 2013 • Noon • Landmark Center
Nick Chalmers has sung with The Singers-Minnesota Choral Artists and the Minnesota Opera Chorus and has been
section leader with the Chorus of Opera Memphis. Recent engagements include The Mirandola Ensemble and Glorious
Revolution Baroque. Currently, Chalmers sings with the The Rose Ensemble, teaches private voice at St. Francis High School,
and is cantor and tenor section leader at The Cathedral of St. Paul.
Linda Kachelmeier is a composer, conductor, and singer in St. Paul. She has received grants and commissions through
the Jerome Foundation, American Composers Forum, and Metropolitan Regional Arts Council. Since 1991, she has been the
Director of Music at First Presbyterian Church in South St. Paul. Kachelmeier has performed with such diverse groups as
The Dale Warland Singers, VocalEssence, the a cappella quintet Dare to Breathe, and The Rose Ensemble.
Carrie Henneman Shaw is a singer who weaves style and emotion into vivid performances of Baroque and
contemporary classical music. Winner of a McKnight Fellowship for Performing Musicians, she has been praised as a
“major musical force” (St. Paul Pioneer Press) and “consistently stylish” (Boston Globe). Shaw sings with ensembles in
Minnesota, Boston, and Chicago: Glorious Revolution Baroque, The Bach Society of MN, Ensemble Dal Niente, and Baroque
opera companies.
Brian Barnes began his professional musical career at the age of 15. Those fi rst shows at bars, festivals and college
campuses, in a bluegrass band with his brother, turned into a career spanning nearly 40 years. A multi-instrumentalist,
Barnes has appeared at concerts and festivals from Japan to Bulgaria, Spain to the Arctic Circle, performing roots, world, and
jazz music. He works regularly with many other artists performing for live shows as well as studio recordings and is involved
in creating music for his own performance, fi lm, and animation projects.
Christmas card artwork by Emily Burt Betinis
I. Wonder and Mystery
Behold the Wonder of This Night – Peter Hamlin
Sleep, Little Baby, Sleep – Jake Runestad
Blue Moment – Brian Barnes
Snow Had Fallen; Christ was Born – Stephen Paulus
II. In the Stable
Shem Speaks – Abbie Betinis
Manger Dance – Jeffrey Van
Stables – Peter Mayer (chorus arr. by Jason Shelton)
III. Make We Merry
New Year’s Eve – Linda Kachelmeier
December Carol – Christopher Gable
The Mirthful Heart – Abbie Betinis
IV. Minnesota Winter
Snowbound – Dave Frishberg
Boswell’s Lights – Neal & Leandra
Lake Superior (A Love Song) – Sara Thomsen
Night of Silence – Daniel Kantor
Snow Day – Trip Shakespeare
40 THE SCHUBERT CLUB An die Musik
The Schubert Club Annual ContributorsThank you for your generosity and support
Ambassador$20,000 and aboveEstate of Harry M. DrakeMAHADH Fund of HRK FoundationLucy Rosenberry JonesThe McKnight FoundationMinnesota State Arts BoardGilman and Marge OrdwayTarget FoundationTravelers Foundation
Schubert Circle$10,000 – $19,999Patrick and Aimee Butler Family FoundationRosemary and David Good Family FoundationAnna M. Heilmaier Charitable FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundJohn S. and James L. Knight FoundationGeorge ReidThe Charles A. Weyerhaeuser Memorial Foundation
Patron$5,000 – $9,999John and Nina ArchabalBoss FoundationJulia W. DaytonTerry DevittMark and Diane GorderHelen Gillespie Kolderie and Theodore Kolderie Jr. Fund of The Saint Paul FoundationDorothy J. Horns, M.D. and James P. RichardsonHélène Houle and John NasseffArt and Martha Kaemmer Fund of The HRK FoundationBarry and Cheryl KemptonWalt McCarthy and Clara Ueland and Greystone FoundationLuther I. Replogle Foundation
Sewell Family FoundationThrivent Financial for Lutherans FoundationTrillium Family Foundation3M FoundationNancy and Ted WeyerhaeuserMargaret and Angus Wurtele
Benefactor$2,500 – $4,999AnonymousSuzanne Asher McCarthy-Bjorklund Foundation and Alexandra O. BjorklundThe Burnham FoundationRachelle Dockman Chase & John H. Feldman Family Fund of The Minneapolis FoundationDee Ann and Kent CrossleyMichael and Dawn GeorgieffBill Hueg and Hella Mears HuegJohn and Ruth Huss FundIntricon CorporationJames E. JohnsonKyle Kossol and Tom BeckerChris and Marion LevyAlice M. O’Brien FoundationPaul D. Olson and Mark L. BaumgartnerFord and Catherine Nicholson Family FoundationRichard and Nancy Nicholson Fund of The Nicholson Family FoundationJohn and Barbara RiceSaint Anthony Park Community FoundationSaint Paul HotelMichael and Shirley SantoroSecurian FoundationKim Severson and Philip JemielitaThrivent Financial for Lutherans Foundation
Guarantor$1,000 – $2,499AnonymousMahfuza and Zaki AliThe Allegro Fund of
The Saint Paul FoundationWilliam and Suzanne AmmermanElmer L. & Eleanor J. Andersen FoundationPaul J. AslanianCraig and Elizabeth AaseJ. Michael Barone and Lise SchmidtBruce and Lynne Beck Dr. Lee A. Borah, Jr.Dorothea BurnsDeanna L. CarlsonCecil and Penny ChallyJohn and Marilyn DanCy and Paula DeCosse Fund of The Minneapolis FoundationJoy L. DavisDellwood FoundationDorsey & Whitney Foundation Richard and Adele EvidonWilliam and Bonita FrelsDick GeyermanJill Harmon and Frank FairmanAnders and Julie Himmelstrup Thelma HunterLois and Richard KingFrederick Langendorf and Marian RubenfeldSusanna and Tim LodgeRoy and Dorothy Ode MayeskeSylvia and John McCallisterAlfred P. and Ann M. MooreSandy and Bob MorrisPeter and Karla MyersThe Philip and Katherine Nason Fund of The Saint Paul FoundationSita OhanessianPerforming Arts Fund of Arts MidwestDavid and Judy RanheimLois and John RogersRon and Carol RydellAnn and Paul SchulteSeward Community Co-OpFred and Gloria Sewell Katherine and Douglas SkorHelen McMeen SmithAnthony TheinJill and John ThompsonJohn and Bonnie TreacyWells Fargo Foundation MinnesotaDoborah Wexler M.D. and Michael MannMichael and Cathy Wright
schubert.org 41
Sponsor$500 – $999AnonymousMeredith B. AldenMary and Bill BakemanEileen M. BaumgartnerNicholai P. Braaten and Jason P. KudrnaTim and Barbara BrownElwood and Florence A. CaldwellJames CallahanAndrew and Carolyn CollinsDavid and Catherine CooperArlene DidierDorsey & Whitney FoundationJoan R. DuddingstonAnna Marie EttelJennifer Gross and Jerry LefavreAndrew Hisey and Chandy JohnAlfred and Ingrid Lenz HarrisonAnne and Stephen HunterKevin KayGarrison Keillor and Jenny NilssonWilliam KleinLehmann Family Fund of The Saint Paul FoundationJeffrey H. Lin and Sarah BronsonThe Thomas Mairs and Marjorie Mairs Fund of The Saint Paul FoundationWendell MaddoxDavid MorrisonKay Phillips and Jill Mortensen Fund of The Minneapolis FoundationAlan and Charlotte MurrayElizabeth B. MyersWilliam Myers and Virginia DudleyJohn B. NoydDan and Sallie O’Brien Fund of The Saint Paul FoundationRobert M. OlafsonLuis Pagan-CarloPark Perks of Park Midway BankMary and Terry PattonWilliam and Suzanne PayneChristine Podas-Larson and Kent LarsonAugust Rivera, Jr.Saint Anthony Park HomeJohn Sandbo and Jean ThomsonDr. Leon and Alma Jean SatranWilliam and Althea SellJohn Seltz and Catherine FurrySolo Vino and Chuck KanskiMarilee and Terry StevensDebra K. TeskeDavid L. Ward
Katherine Wells and Stephen WillgingJane and Dobson WestKeith and Anne-Marie WittenbergMark W. Ylvisaker
Partner$250 – $499Anonymous (3)Beverly S. AndersonKathy and Jim AndrewsAdrienne and Bob BanksJerry and Caroline BenserBibelot ShopsJean and Carl BrookinsMiriam Cameron and Michael OrmondJoann CierniakDonald and Alma DeraufRuth S. DonhoweMichael and Kathy DoughertyJayne and Jim EarlySue EbertzDavid and Maryse FanJorja FleezanisJoachim and Yuko HeberleinMargaret HoultonMargaret HumphreyElizabeth J. IndiharRay JacobsenPamela and Kevin JohnsonErwin and Miriam KelenDonald and Carol Jo KelseyYoungki and Youngsun Lee KimGloria KittlesonSarah Lutman and Rob RudolphSusan and Edwin McCarthyDr. John A. MacDougallRhoda and Don MainsFrank MayersMalcom and Wendy McLeanDeborah McKnightJames and Carol MollerJack and Jane MoranGerald NolteLowell and Sonja NoteboomPatricia O’GormanScott and Judy OlsenHeather J. PalmerRichard and Suzanne PepinJames and Donna PeterSidney and Decima PhillipsWalter Pickhardt and Sandra ResnickKaren RobinsonDr. Paul and Betty QuieMary Ellen and Carl Schmider
Paul L. SchroederEstelle SellEmily and Daniel ShapiroMarilyn and Arthur SkantzHarvey D. Smith, MDEileen StackMichael SteffesHazel Stoeckeler and Alvin WeberBarbara Swadburg and Jim KurleArlene and Tom H. SwainJohn and Joyce TesterPeggy WolfeMatt Zumwalt
Contributor$100 – $249Anonymous (7)Mira AkinsMary E. AldenArlene AlmElaine AlperMrs. Dorothy AlshouseSusan and Brian AndersonJean and Michael AntonelloMary A. Arneson and Dale E. HammerschmidtClaire and Donald AronsonJulie Ayer and Carl NashanKay C. BachFrank and AnnLiv BaconGene and Peggy BardThomas and Jill BarlandBenjamin and Mary Jane BarnardCarol E. BarnettCarline BengtssonFred and Sylvia BerndtChristopher and Carolyn BinghamAnn-Marie BjornsonDavid and Elaine BorsheimCarol A. BraatenTanya and Alexander BraginskyDr. Arnold and Judith BrierMichael and Carol BromerRichard and Judy BrownleeMatthew P. BrummerPhilip and Carolyn BrunellePhilip and Ellen BrunerDavid and Ann BuranRoger F. BurgGretchen CarlsonRev. Kristine Carlson and Rev. Morris WeeAlan and Ruth CarpCarter Avenue Frame Shop
42 THE SCHUBERT CLUB An die Musik
Jo and H. H. ChengDavid ChristensenDavid and Michelle ChristiansonJohn and Brigitte ChristiansonRoger and Wallys ConhaimEdward and Monica CookSage CowlesDon and Inger DahlinF. G. and Bernice DavenportShirley I. DeckerJohn and Karyn DiehlMarybeth Dorn and Robert BehrensBruce DoughmanJanet and Kevin DugginsMary DunlapKathleen Walsh EastwoodThomas and Mari Oyanagi EggumGeorge EhrenbergPeter Eisenberg and Mary CajacobJames EricksonFlowers on the ParkGerald FoleySalvatore FrancoPatricia FreeburgRichard and Brigitte FraseJane FrazeeJoan and William GackiNancy and Jack GarlandGeneral Mills FoundationDavid J. GerdesRamsis and Norma GobranPhyllis GoffGreg and Maureen GrazziniCarol L. GriffinRichard and Sandra HainesJon and Diane HallbergKen and Suanne HallbergBetsy and Mike HalvorsonRobert and Janet Lunder HanafinPatricia HartHegman Family FoundationMary Beth HendersonJoan Hershbell and Gary JohnsonFrederick J. Hey, Jr.Mary Kay HicksAsako Hirabayashi and Thomas StoffregenCynthia and Russell HobbieDr. Kenneth and Linda HolmenJ. Michael HomanPeter and Gladys HowellPatty Hren-RowanThomas Hunt and John WheelihanIBM Matching Grants ProgramIdeagroup Mailing Service and Steve ButlerOra Itkin
Phyllis and William JahnkeGeorge J. JelatisBenjamin M. JohnsonPamela JohnsonNancy P. JonesTessa Retterath JonesMichael C. JordanJoseph Catering and George KalogersonAnthony L. KiorpesRobin and Gwenn KirbySteve KnudsonKaren KoeppMarek KokoszkaMary and Leo KottkeJanet and Richard KrierGail and James LaFaveColles and John LarkinPatricia LalleyLandmark CenterLibby Larsen and Jim ReeceKent and Christine Podas-LarsonNowell and Julia LeitzkeCharlene S. LevyGary M. LidsterRebecca LindholmVirginia LindowMichael and Keli LitmanMarilyn S. LoftsgaardenBarbara Lund and Cathy MuldoonRoderick and Susan MacphersonRichard and Finette MagnusonHelen and Bob MairsDanuta Malejka-GigantiPaul W. MarkwardtLaura McCartenPolly McCormackMalcolm and Patricia McDonaldGerald A. MeigsJohn MichelDavid Miller and Mary DewSteven MittelholtzTom. D. MobergBradley H. MomsenDavid E. MooreElizabeth A. MurrayDavid and Judy MyersNicholas NashCarolyn and Jim NestingenKathleen NewellJay Shipley and Helen NewlinTom O’ConnellJohn and Ann O’LearySally O’ReillyEileen O'Shaughnessy and Arthur PerlmanVivian Orey
Melanie L. OunsworthElizabeth M. ParkerMary and Terry PattonRichard and Mary Ann PedtkePatricia Penovich and Gerald MoriartyEarl A. PetersonBarbara Pinaire and William LoughLaura D. Platt Mindy RatnerRhoda and Paul RedleafKaren RobinsonPeter RomigJane RosemarinJ.L. and Sandra RutzickDavid SchaafCraig and Mariana SchulstadA. Truman and Beverly SchwartzS. J. SchwendimanBuddy Scroggins and Kelly SchroederSteven SeltzWill ShapiraGale SharpeRenate SharpNan C. ShepardRebecca and John ShockleyNance Olson SkoglundDarroll and Marie SkillingSarah Snapp and Christian DavisAnn Perry SlosserConrad Soderholm and Mary TingerthalArne SorensonMarilyn and Thomas SoulenCarol Christine SouthwardArturo L. SteelyEva SteinerBarbara Swadberg and James KurleGregory Tacik and Carol OligLillian TanJane A. ThamesTheresa’s Hair SalonTim ThorsonCharles and Anna Lisa TookerTour de Chocolat and Mina FisherKaren and David TrudeauChuck Ullery and Elsa NilssonRev. Robert L. ValitJoy R. VanHarlan Verke and Richard ReynenMary VolkTom von Sternberg and Eve ParkerDale and Ruth WarlandAnita WelchTimothy Wicker and Carolyn DetersBeverly and David WickstromChristopher N. WilliamsNeil and Julie WilliamsThe Wine Company
schubert.org 43
Dr. Lawrence A. WilsonJames and Alexis WolffPaul and Judy WoodwardAnn WyniaZelle Hofmann Voelbel & Mason LLPLola Watson and Michael HillmanNancy Zingale and William Flanigan
Friends $1 – $99Anonymous (7)James D. AndrusCigale AhlquistRenner and Martha AndersonKay C. BachThomas and Jill BarlandVerna H. BeaverDr. Karen BeckerJudith BentleyBrian O. BerggrenRoberta BeuteDagny BilkadiDorothy BoenPhillip Bohl and Janet BartelsRoger BolzRobert and Janice BowmanTed and Marge BowmanJudith BoylanCharles D. BrookbankJackie and Gary BrueggmannChris BrunelleTimothy K. BudgeDaniel BuividDr. Magda BusharaKevin CallahanDonna CarlsonAllen and Joan CarrierDavid and Phyllis CasperLaura CavianiSusan CobinEduardo ColonMary Sue ComfortComo Rose TravelF. Michael CooperIrene D. CoranJohn and Jeanne CoundMary E. and William CunninghamJames CuperyErnest and Beth CuttingDonald and Inger DahlinRachel L. DavisonCharles Dean, MDPamela and Stephen DesnickDr. Stan and Darlene DieschChristine Wilkinson Donovan
Sue Freeman DoppCraig Dunn and Candy HartDavid and Alice DugganMargaret E. DurhamAndrea EenKatherine and Kent EklundMark Ellenberger and Janet ZanderSteven and Marie EricksonRev. L.J. and Shirley EspelandRuth FardigMary Ann FeldmanBarbara J. FieldRegina Flanagan and Daniel DonovanBarbara A. FleigJohn Floberg and Martha HicknerJack Flynn and Deborah PileJohn and Hilde FlynnNancy FogelbergDan and Kaye FreibergHerb FreyLea Foli and Marilyn ZupnikCatherine Ellen FortierMichael FreerRichard Frisch and Robert WallaceLisl GaalJoan and William GackiCléa GalhanoDr. and Mrs. Robert GeistMary M. GlynnPeg and Liz GlynnA. Nancy GoldsteinM. Graciela GonzalezGracoPaul GreeneLorraine Griffin JohnsonKirk HallMichael and Rita HampleEugene and Joyce HaselmannJudith K. HealeyMarguerite HedgesHoward and Bonnie Gay HedstromAlan HeiderRosemary J. HeinitzStefan and Lonnie HelgesonMolly M. HenkeDon and Sandralee HenryAnne HesselrothHelen and Curt HillstromElizabeth HinzMarian and Warren HoffmanMargaret Hubbs and FamilyDr. Charles W. HuffKaren A. HumphreyPatricia A. Hvidston and Roger A. OppBenita IllionsMariellen JacobsonFritz Jean-Noel
Angela JenksMimi and Len JenningsMaria JetteStephen and Bonnie JohnsonThelma JohnsonGeraldine M. JolleyMary A. JonesRuth and Edwin JonesCarol R. KellyJean W. KirbyDr. Armen KocharianJane and David KostikDave and Linnea KrahnJudy and Brian KrasnowPaul and Sue KremerAlexandra KulijewiczPatricia J. LalleyHelen and Tryg LarsenAmy Levine and Brian HorriganCarol A. JohnsonKarla LarsenMargaret LaughtonLarry LeeJohn R. LewisShirley and Charles LewisArchibald and Edith LeyasmeyerBernard LindgrenMargaret and Frank LindholmThomas and Martha LinkThomas LogelandMalachi and Stephanie LongJanet R. LorenzLord of Life Lutheran ChurchEd Lotterman and Victoria TirrelCarol G. LundquistSamir MangalickEva MachCarol MarchKaren R. MarkertDavid MayoRoberta MegardDavid L. MelbyeJane E. MercierRobert and Greta MichaelsDina MikhailenkoJohn W. Miller, Jr.Richard and Deborah MjeldeMarjorie MoodyAnne and John MunhollandJoy P. NorenbergIngrid NelsonEva J. NeubeckJane A. NicholsEleanor H. NicklesPolly O’BrienTom O’ConnellBarbara and Daniel Opitz
44 THE SCHUBERT CLUB An die Musik
Dennis and Turid OrmsethThomas W. OsbornCatherine M. OwenElisabeth PaperMrs. Dorothy PetersonLynn R. PetersonSolveg PetersonMarcos and Barbara PintoRalph PodasDeborah PowellJonathan and Mary PreusSusan D. PriceMichael RabeSiegfried and Ann RabieJeffrey ReedAlberto RicartC.J. RichardsonJulia RobinsonDrs. W.P. and Nancy W. RodmanMichael and Tamara RootDiane RosenwaldStewart RosoffAnne C. RussellSaint Paul Riverfront CorporationMary SavinaRalph J. SchnorrKevin SchoenrockRussell G. SchroedlJon J. Schumacher and Mary BriggsPaul and Carol Seifert
Ed and Marge SenningerJay and Kathryn SeveranceBeatrice D. SextonShelly ShermanElizabeth ShippeeBrian and Stella SickBill SlobotskiJames and Ann StoutColleen SickelerNan Skelton and Peter LeachCharles Skrief and Andrea BondSusannah Smith and Matthew SobekRobert and Claudia SolotaroffPatricia SorensonRobert SourileSpeedy Market and Tom SpreiglDr. James and Margaret StevensonRalph and Grace SulerudNorton StillmanCynthia StokesLori SundmanDru and John SweetserJon TheobaldBruce and Marilyn ThompsonKaren TitrudCharles D. TownesSusan TravisImogene H. TreichelTom TrowMartha Hughesdon Turner
Byron TwissJennifer UndercoflerYamy VangJeanne M. VoightKaren L. VolkCarol and Tim WahlWilliam K. WangensteenHelen H. WangClifton and Bettye WareBetsy Wattenberg and John WikeStuart and Mary WeitzmanHope WellnerDeborah WheelerVictoria Wilgocki and Lowell PrescottEvan WilliamsAlex and Marguerite WilsonMary WittenbreerYea-Hwey WuTim Wulling and Marilyn BensonMax E. ZarlingJanis ZeltinsJohn Ziegenhagen
This activity is made possible in part by a grant provided by
the Minnesota State Arts Board through an appropriation by
the Minnesota State Legislature from the State's general fund
and its arts and cultural heritage fund with money from the
vote of the people of Minnesota on November 9, 2008, and a
grant from the Wells Fargo Foundation Minnesota.
KATENORDSTRUM PROJECTS
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
Since January 1, 2013, we welcomed 80 new people to The Schubert Club donor family. The gifts added up to $5,205, enough to provide a year of free piano and guitar lessons to 35 students through our Project CHEER program.No matter how large or small, your gifts make a difference!
schubert.org 45
Memorials and Tributes
In memory of Dr. John DavisAugust Rivera, Jr.
In memory of Jill Harmon’s fatherChristine Podas-Larson
In memory of Dorothy MattsonPenny and Cecil ChallyChristine Podas-LasonNancy Zingale and William Flanigan
In memory of Rose Petroske, mother of Marilyn DanBeatrice D. Sexton
In memory of Nancy PodasDiane and Greg EganThomas and Mari Oyanagi EggumSteven and Marie EricksonAnna Marie EttelCarole and Tom FagreliusNancy FogelbergRegina Flanagan and Donald DonovanNancy FogelbergGreg and Maureen GrazziniHoward and Bonnie Gay HedstromSharon Owen and Fred HilleMargaret Hubbs and FamilyJohn and Ruth HussLucy Jones and James JohnsonKent and Christine Podas-LarsonCharlene S. LevyJohn R. LewisShirley and Charles LewisMargaret and Frank LindholmRichard and MjeldeJoy P. NorenbergPolly O’Brien
In honor of Julie HimmelstrupMary Ellen Schmider
In honor of Jim Johnson and Lucy Jones’ BirthdaysSusan and Edwin McCarthy
In honor of Lucy Jones’ BirthdayMalcolm McDonald
In honor of Barry Kempton's 50th BirthdayRichard and Adele Evidon
In honor of Amy Hwei-Mei LiuMargaret Laughton
In honor of Marion and Chris Levy’s Wedding AnniversaryThomas and Jill Barland
In honor of David MorrisonJohn Michel
In honor of Paul D. Olson’s 50th BirthdayMark L. BaumgartnerRichard Frisch and Robert WallaceRita and Michael HampleBarbara and Daniel OpitzHarlan Verke and Richard Reynen
In honor of Wendy Undercofl er's BirthdayJenny Undercofl er
In honor of Barbara RoyMolly Henke
In memory of Lars Bengtsson, husband of Carline BengtssonPaul D. Olson
Eileen O’Shaughnessy and Arthur PerlmanCatherine M. OwenKathleen OwenRalph PodasChristine Podas-LarsonSusan D. PriceJohn and Barbara RiceJ. L. and Sandra RutzickSaint Paul Riverfornt CorporationColleen SickelerCharles Skrief and Andrea BondEva SteinerTom and Arlene SwainJane A. ThamesJon TheobaldImogene H. TreichelMartha Hughesdon TurnerYamy VangJeanne M. Voight
In memory of Nancy PohrenSandra and Richard Haines
In memory of Jeanette Maxwell RiveraAugust Rivera, Jr.
In memory of Nancy ShepardNan C. Shepard
In memory of Tom StackEileen Stack
In memory of Catherine StovenMary and Terry Patton
In memory of Anne E. Walsh, sister of Kate Walsh EastwoodJim Johnson and Lucy JonesPaul D. OlsonMarilyn and John Dan
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
46 THE SCHUBERT CLUB An die Musik
The Schubert Club Endowmentand The Legacy Society
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.
AnonymousFrances C. Ames*Rose Anderson*Margaret Baxtresser*Mrs. Harvey O. Beek*Helen T. Blomquist*Dr. Lee A. Borah, Jr.Raymond J. Bradley*James CallahanLois Knowles Clark*Margaret L. Day*Timothy Wicker and Carolyn DetersHarry Drake*Mary Ann FeldmanJohn and Hilde FlynnSalvatore FrancoMarion B. Gutsche*Anders and Julie HimmelstrupThelma HunterLois and Richard KingFlorence Koch*Dorothy Mattson*John McKayMary B. McMillanJane Matteson*Elizabeth Musser*Heather PalmerLee 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
We are grateful for the generous donors
who have contributed to The Schubert
Club Endowment, a tradition started
in the 1920s. Our endowment provides
nearly one-third 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, including the International
Artist Series with special support 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 FundThe Rose Anderson Scholarship FundEdward Brooks, Jr.The Eileen Bigelow MemorialThe Helen Blomquist Visiting Artist FundThe Clara and Frieda Claussen FundCatherine M. DavisThe Arlene Didier Scholarship FundThe Elizabeth Dorsey BequestThe Berta C. Eisberg and John F. Eisberg FundThe Helen Memorial Fund “Making melody unto the Lord in her very last moment.” – The MAHADH FoundationThe Julia Herl Education FundHella and Bill Hueg/Somerset FoundationThe Daniel and Constance Kunin FundThe Margaret MacLaren BequestThe Dorothy Ode Mayeske Scholarship FundIn memory of Reine H. Myers by the John Myers Family, Paul Myers, Jr. Family John Parish Family
The John and Elizabeth Musser FundTo honor Catherine and John Neimeyer By Nancy and Ted WeyerhaeuserIn memory of Charlotte P. Ordway By her childrenThe Gilman Ordway FundThe I. A. O’Shaughnessy FundThe Ethelwyn Power FundThe Felice Crowl Reid MemorialThe Frederick and Margaret L. Weyerhaeuser Foundation The Maud Moon Weyerhaeuser Sanborn MemorialThe Wurtele Family Fund
Add your name to this list by making a gift
to The Schubert Club Endowment
or provide a special gift directly to
The Schubert Club.
Tune in to Classical Minnesota Public Radio or stream online at classicalmpr.org, where you can also listen to our 24/7 choral-music stream.