An die Musik Sept 30 - Oct 29, 2014

September 30 – October 29, 2014

An die MusikThe Schubert Club • schubert.org

A very special thanks to our friends at the Schubert Club for bringing Soprano Carrie Henneman Shaw and Composer Abbie Betinas to our continuing Live Music and Dance partnership with the premiere of RIBCAGE at the Cowles Center. GUY NOIR: THE BALLET, our wry take on Garrison’s famous detective rounds out the program. Hope to see you at the Cowles Center as we launch or 21st Season.

In collaboration with

October 24 – November 2The Goodale Theater at The Cowles Center

Guy Noir: The Ballet& Rib CageWorld premiere

Tickets: jsballet.org

A very special thanks to our friends at the Schubert Club for bringing Soprano Carrie Henneman Shaw and Composer Abbie Betinas to our continuing Live Music and Dance partnership with the premiere of RIBCAGE at the Cowles Center. GUY NOIR: THE BALLET, our wry take on Garrison’s famous detective rounds out the program. Hope to see you at the Cowles Center as we launch or 21st Season.

In collaboration with

October 24 – November 2The Goodale Theater at The Cowles Center

Guy Noir: The Ballet& Rib CageWorld premiere

Tickets: jsballet.org

Sunday, November 9, 2014 - 4pmSundin Music Hall • Saint Paul

Buy Tickets Today!www.chambermusicmn.org

651.450.0527

In a program featuring Arnold Schoenberg’siconic string sextet “Verklärte Nacht”,

Johaness Brahms’s String Sextet in B-flat major,and Ludwig van Beethoven’s

Variations for cello and piano.

presents

Peter Wiley, legendary cellistof the Beaux Arts Trio

and Guarneri String Quartet

With Society Artists

Ariana Kim, violinYoung-Nam Kim, violinSally Chisholm, violaDanny Kim, violaTony Ross, celloTimothy Lovelace, piano

for all ages & levels

CALL (612) 521-2600VISIT lundstrumcenter.org

NOW ENROLLINGPrivate Lessons & Audition Coaching

a creativeagency for the arts

[email protected]

Proud to partner with The Schubert Club

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to by C

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528 HENNEPIN AVE., 8TH FLOOR, MINNEAPOLIS, MN

612.339.4944 | ILLUSIONTHEATER.ORGOctober 2 - 25, 2014TICKETS: $15–30

WRITTEN & PERFORMED BY Jeffrey HatcherDIRECTED BY Michael Robins

CELEBRATING

40YEARS

1974 –

2014

An die MusikSeptember 30 – October 29, 2014

Turning back unneeded tickets:If you will be unable to attend a performance, please notify our

ticket office as soon as possible. Donating unneeded tickets en-

titles you to a tax-deductible contribution for their face value

and allows others to experience the performance in your seats.

Turnbacks must be received one hour prior to the performance.

Thank you!

The Schubert Club Ticket Office:

651.292.3268 • schubert.org/turnback

The Schubert Club75 West 5th Street, Suite 302Saint Paul, Minnesota 55102schubert.org

cover: Nathan Gunnphoto: M. Sharkey

Table of Contents

6 President's Welcome Artistic and Executive Director's Welcome

9 Calendar of Events: September – December

10 Nathan Gunn & Julie Jordan Gunn

18 The Danish String Quartet

23 Intervals: Alumni News of The Schubert Club Scholarship Competition

24 Accordo

26 Hill House Chamber Players

29 The Schubert Club Museum: New Exhibits

30 Miami String Quartet & Lydia Artymiw

35 The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle

36 Courtroom Concerts

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

Phot

o: K

aapo

Kam

u

Pekka Kuusisto, violinJay Gilligan, jugglerat Aria in Minneapolis

March 10, 2015

schubert.org/mix

Phot

o: K

aapo

Kam

u

6 THE SCHUBERT CLUB An die Musik

President's Welcome Artistic and Executive Director's Welcome

A warm welcome to you as we begin The Schubert

Club’s 132nd year. The organization began as a

women’s “Musical Society” in 1882. We have been

presenting concerts since 1893; our first music

education program began in 1911. Our Museum

in Landmark Center is a relative youngster having

opened in 1980!

These three areas of activity continue as the focus

of The Schubert Club to this day. We are thrilled

to welcome back baritone Nathan Gunn (with

collaborating pianist Julie Jordan Gunn) to open

the International Artist Series. Among other things,

Nathan’s status as one of America’s leading vocal

recitalists is built on his commitment to American

art song. His Ordway recital features a combination

of outstanding songs by European and

American composers.

Music in the Park Series opens its 36th season in St.

Anthony Park with a performance of Scandinavian

chamber music by the young and charismatic Danish

String Quartet. Later in October we’re delighted to

welcome back the Miami String Quartet with long-

time pianist friend Lydia Artymiw.

Other programs during September and October

2014 feature local ensembles Accordo and the Hill

House Chamber Players in their respective series.

Accordo have added a less conventional appearance

at Amsterdam Bar and Hall hosted by Minnesota

Orchestra violist Sam Bergman. And I’m personally

thrilled to launch our second Schubert Club Mix

series with a performance by piano duo Greg

Anderson & Elizabeth Joy Roe in Bedlam Lowertown

(Saint Paul).

Whichever events you are attending, I’m delighted

that you have chosen The Schubert Club. I trust that

the music you hear lifts your spirit and fills your

heart with joy.

Nina ArchabalPresident

Barry KemptonArtistic and Executive Director

If you are reading this note, chances are you are

attending one of our many Schubert Club concerts.

From the International Artist Series to Schubert Club

Mix, there is something for everyone.

Music lovers throughout our community look forward

to the opening of the new Ordway Concert Hall next

March and to the wonderful program of inaugural

concerts including several offerings by The

Schubert Club.

What you may not be aware of is the many ways

in which The Schubert Club is developing the next

generation of concert goers. Among these are Project

CHEER, the program of free music lessons led by

Joanna Kirby for more than 25 years at Saint Paul’s

Martin Luther King Center, the annual scholarship

competition, which attracts over 200 young people,

some of whom go on to perform professionally, and

the annual selection of four young composers to

receive coaching from composer Edie Hill. Several of

the chamber groups that perform in the Music in the

Park Series perform special family concerts and serve

local children with performances in our schools. And,

there is a new exhibit in the Schubert Club Museum

featuring some truly unique instruments for young

people of any age to play. These are only a few of the

ways in which The Schubert Club is building audiences

for the future.

While the lament about the graying of classical music

lovers is a constant theme, The Schubert Club is busy

finding ways to ensure that there will always be

enthusiastic audiences for concerts like the one you

are attending today.

An die Musik!

schubert.org 7


These concerts are made possible through the financial assistance from the Cathedral Heritage Foundation, a community-based 501(c)(3) organization.

The Cathedral of Saint Paul invites you to this free concert in celebration of the completed organ restoration project which drew support from more than 800 donors. Cathedral of Saint Paul 239 Selby Avenue, Saint Paul. 651-228-1766 www.cathedralsaintpaul.org

Jean-Baptiste RobinOrganist, Palace of Versailles; Titular Organist, Cathedral of Saint-Pierre, Poitiers, France7:30 PM THURS., OCT. 30, 2014

FRENCH ORGANIST to conclude Inaugural Year of Organ Concerts

www.cathedralheritagefoundation.org

O R I G I N A L W A T E R C O L O R

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J E A N N E K O S F E L D6 5 1 . 2 7 8 . 9 8 2 8jeannekosfeld@gmail .com

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schubert.org 9

More information at schubert.orgBox office 651.292.3268

Calendar of EventsSeptember – December

September 2014Tuesday, September 30 • 7:30 PM Ordway Center

International Artist Series

Nathan Gunn, baritone & Julie Jordan Gunn, piano

October 2014Friday, October 3 • 7:30 PM Bedlam Lowertown

Schubert Club Mix

Anderson & Roe, piano duo

Sunday, October 12 • 4 PM St. Anthony Park UCC

Music in the Park Series

The Danish String Quartet

Monday, October 13 • 7:30 PM Christ Church Lutheran

Accordo with Zachary Cohen, double bass

Tuesday, October 14 • 7:30 PM Amsterdam Bar & Hall

Accordo at Amsterdam

Thursdays, Oct 16 – Apr 30 • 12 PM Landmark Center

Courtroom Concerts(No concerts Nov 27, Dec 4, Dec 25, Jan 1, Jan 29)

Monday, October 20 • 7:30 PM James J. Hill House

Hill House Chamber Players"Eine Geburtstagsfeier"

Sunday, October 26 • 4 PM St. Anthony Park UCC


Miami String Quartet & Lydia Artymiw, piano

Monday, October 27 • 7:30 PM James J. Hill House

Hill House Chamber Players"Eine Geburtstagsfeier"

November 2014Tuesday, November 11 • 7:30 PM Ordway Center

International Artist Series

Richard Goode, piano

Tuesday, November 18 • 7:30 PM Landmark Center

Live at the Museum

CRASH, with Mary Ellen Childs

Sunday, November 23 • 4 PM St. Anthony Park UCC


Ensemble Caprice

December 2014Monday, December 8 • 7:30 PM Christ Church Lutheran

Accordo

Tuesday, December 9 • 7:30 PM Amsterdam Bar & Hall

Accordo at Amsterdam

Richard Goode, piano

Ensemble Caprice

Goerne Program Page

The Schubert Club

presents

Nathan Gunn, baritoneJulie Jordan Gunn, piano

Tuesday, September 30, 2014 • 7:30 PM

pre-concert talk hosted by David Evan Thomas at 6:45 in the Marzitelli Foyer

Robert SchumannDichterliebe, Opus 48

Im wunderschönen Monat Mai • Aus meinen Tränen spriessen

Die Rose, die Lilie, die Taube, die Sonne • Wenn ich in deine Augen seh’

Ich will meine Seele tauchen • Im Rhein, im heiligen Strome

Ich grolle nicht, und wenn das Herz auch bricht • Und wüßten’s die Blumen, die kleinen

Das ist ein Flöten und Geigen • Hör’ ich das Liedchen klingen

Ein Jüngling liebt ein Mädchen • Am leuchtenden Sommermorgen

Ich hab’ im Traum geweinet • Allnächtlich im Traume seh’ ich dich

Aus alten Märchen winkt es • Die alten, bösen Lieder

Samuel BarberChurch Bell at Night • The Heavenly Banquet

The Monk and his Cat • The Desire for Hermitage

I Hear an Army

Intermission

This evening's concert is dedicated in memory of Charlotte P. Ordway, by her children.

Franz SchubertDie Taubenpost • Im Walde

Auf der Bruck

Hugo WolfDer Musikant • Auf dem grünen Balkon

Verschwiegene Liebe • Nachtzauber

Der Rattenfänger

Charles IvesGeneral William Booth Enters into Heaven

The Things our Fathers Loved (and the greatest of these was liberty)

Two Little Flowers (and dedicated to them)

Down East • Tom Sails Away

The Circus Band

Please hold your applause until the end of each set of songs

schubert.org 11

Nathan Gunn has made

a reputation as one of

the most exciting and

in-demand baritones of

the day.

He has appeared in

internationally renowned

opera houses such as the

Metropolitan Opera, San

Francisco Opera, Lyric

Opera of Chicago, Royal

Opera House, Paris Opera,

Bayerische Staatsoper,

Glyndebourne Opera

Festival, Theater an der Wien, Teatro Real in Madrid, and the

Théâtre Royal de la Monnaie. His many roles include the title

roles in Billy Budd, Eugene Onegin, Il Barbiere di Siviglia, and

Hamlet; Guglielmo in Cosí fan tutte, the Count in Le Nozze di

Figaro, Malatesta in Don Pasquale, Belcore in L’Elisir d’Amore,

Ottone in L’incoronazione di Poppea, Tarquinius in The Rape

of Lucetia, and The Lodger in The Aspern Papers.

A noted supporter of new works, Mr. Gunn most recently

created the roles James Dalton in Iain Bell's The Harlot's

Progress at the Theater an der Wien and Yeshua in Mark

Adamo’s The Gospel of Mary Magdalene at the San Francisco

Opera. He also created the roles of Paul in Daron Hagen’s

Amelia at the Seattle Opera, Alec Harvey in André Previn’s

Brief Encounter at the Houston Grand Opera, Father Delura

in Peter Eötvös’ Love and Other Demons at the Glynde-

bourne Opera Festival, and Clyde Griffiths in Tobias Picker’s

An American Tragedy at the Metropolitan Opera. Because

of this dedication to new works, Mr. Gunn was recently

named Director of the American Repertoire Council at the

Opera Company of Philadelphia, a steering council focused

on advancing the company’s American Repertoire Program

which is committed to produce a new American work in 10

consecutive seasons.

Also a distinguished concert performer, Mr. Gunn has ap-

peared with the New York Philharmonic, Boston Symphony

Orchestra, Chicago Symphony Orchestra, San Francisco

Symphony, Pittsburgh Symphony Orchestra, Cleveland Or-

chestra, Minnesota Orchestra, London Symphony Orchestra,

Münchner Rundfunkorchester, and the Rotterdam Philhar-

monic Orchestra. The many conductors with whom he has

worked include Sir Andrew Davis, Sir Colin Davis, Christoph

von Dohnányi, Christoph Eschenbach, Alan Gilbert, Daniel

Harding, James Levine, Kurt Masur, Kent Nagano, Antonio

Pappano, David Robertson, Donald Runnicles, Esa-Pekka

Salonen, Robert Spano, Michael Tilson Thomas, and

Mark Wigglesworth.

A frequent recitalist, Mr. Gunn has been presented in recital

at Alice Tully Hall and by Carnegie Hall at Zankel Hall. He has

also been presented by Roy Thomson Hall, Cal Performances,

The Schubert Club, the Philadelphia Chamber Music Society,

the Vocal Arts Society in Washington, DC, the University of

Chicago, the Krannert Center, the Wigmore Hall, and the

Théâtre Royal de la Monnaie. As a student, he performed

in a series of recitals with his teacher and mentor John

Wustman that celebrated the 200th anniversary of Franz

Schubert’s birth.

Mr. Gunn has recently ventured outside the standard opera

repertoire with appearances in performances of Camelot

and Carousel with the New York Philharmonic (both broad-

casted on PBS) and Show Boat at Carnegie Hall and the

Lyric Opera of Chicago. He also appeared in the New York

Philharmonic’s 80th birthday gala celebration for Stephen

Sondheim and appeared with the orchestra in an evening

of Broadway classics with Kelli O’Hara. Other engagements

have included appearances with Mandy Patinkin in Roch-

ester, performances at the Krannert Center and the Ravinia

festival, a tour of Australia and New Zealand, a series of

cabaret shows at the famed Cafe Carlyle in New York City

and at the Sergerstrom Center for the Arts in Orange County,

performing as a special guest artist in the Mormon Taber-

nacle Choir and Orchestra at Temple Square, and a perfor-

mance of Sting and Trudie Styler’s work, Twin Spirits in the

Allen Room at Jazz at Lincoln Center

Mr. Gunn’s solo album, Just Before Sunrise, was released

on Sony/BMG Masterworks. Other recordings include the

title role in Billy Budd with Daniel Harding and the London

Symphony Orchestra (Virgin Classics), which won the 2010

Grammy Award; the first complete recording of Rodgers

& Hammerstein’s Allegro (Sony’s Masterworks Broadway);

Peter Grimes with Sir Colin Davis and London Symphony

Orchestra (LSO Live!), which was nominated for a 2005

Grammy Award; Il Barbiere di Siviglia (SONY Classics);

Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, September 30, 2014 • 7:30 PM • Ordway Center

Phot

o: M

. Sh

arke

y


Kullervo with the Atlanta Symphony Orchestra (Telarc); and

American Anthem (EMI). He also starred as Buzz Aldrin in

Man on the Moon, an opera written specifically for televi-

sion and broadcast on the BBC in the UK. The program was

awarded the Golden Rose Award for Opera at the Montreux

Festival in Lucerne.

This season, Mr. Gunn returns to the Metropolitan Opera for

a new production of The Merry Widow, the Theater an der

Wien for The Pearl Fishers, and the Houston Grand Opera for

the title role in Sweeney Todd. He also appears in concert at

Notre Dame and UNC and appears in recital at The Schubert

Club in St. Paul, MN, Brigham Young University, and the Lone

Tree Arts Center in Colorado. In the summer of 2015, he will

return to the Santa Fe Opera for the premiere of Jennifer

Higdon’s Cold Mountain.

Mr. Gunn was the recipient of the first annual Beverly Sills

Artist Award and was awarded the Pittsburgh Opera Renais-

sance Award. He is an alumnus of the Metropolitan Opera

Lindemann Young Artists Program and winner of the 1994

Metropolitan Opera National Council Competition. Mr. Gunn

is also an alumnus of the University of Illinois at Cham-

paign-Urbana where he is currently a professor of voice and

was recently named General Director of the Lyric

Theater @ Illinois.

Julie Gunn is a pianist,

music director, vocal coach,

and song arranger. She has

appeared on many presti-

gious recital series including

the Carnegie Hall Pure Voice

Series, Lincoln Center Great

Performers, Boston’s Jordan

Hall, Brussels’ Theatre de la

Monnaie, San Francisco’s

Herz Hall, the 92nd Street Y,

Toronto’s Roy Thompson Hall,

University of Chicago Presents,

San Francisco Performances, Oberlin College, Cincinnati

Conservatory of Music, the Krannert Center for the Perform-

ing Arts, the Ravinia Festival, Manhattan’s legendary Café

Carlyle, the Sydney Opera House, and the United States

Supreme Court. She has been heard in recital with William

Burden, Richard Croft, Elizabeth Futral, Isabel Leonard, Stefan

Milenkovich, Mandy Patinkin, Yvonne Gonzales Redman,

Michelle De Young, the Pacifica Quartet, and Nathan Gunn.

This season, she looks forward to concerts with Kelli O’Hara

in Evanston, IL and with Nathan Gunn in Denver, Salt Lake

City, and Saint Paul.

In her faculty appointment at the University of Illinois,

she works with singers, pianists, chamber musicians, and

songwriters as the Director of Lyric Theatre Studies. She has

served on the music staff at the Metropolitan Opera Young

Artist Program, Wolf Trap Opera, St. Louis Opera Theatre,

Southern Methodist University, Opera North, Highlands Op-

era Studio, Theaterworks, Chicago Opera Theater, and Illinois

Opera Theater and has given master classes at universi-

ties and young artists’ programs all over the United States

including the Ryan Young Artists’ Program, Houston Grand

Opera Studio, and the Cincinnati Conservatory of Music,

Santa Fe Opera, the Aspen Festival, the Interlochen Center

for the Arts, and the Metropolitan Opera Guild. Gunn has

also served as artist-in-residence at Cincinnati Opera and

the Glimmerglass Festival.

Dr. Gunn serves as the Assistant Director for Development

and Public Engagement at the School of Music. She works

as an advocate for state and local arts organizations in the

development of projects ranging from constructing arts

buildings to mentoring inner-city high schoolers interested

in the arts. She is the founder and director of the Illinois

School of Music Academy, a program for talented pre-college

chamber musicians and composers.

On a national level, she solicits and programs the work of

emerging and established American songwriters on recitals,

and is proud to have been the music director of her husband

Nathan Gunn’s solo disc, Just before Sunrise, released by

Sony/BMG records, which included arrangements of songs

by Gene Scheer, Ben Moore, Joe Thalken, Billy Joel, Sting,

and Charles Ives. Her orchestral arrangements of traditional

American songs and standards have been heard at the

Kennedy Center, Chicago’s Symphony Center, and London’s

Queen Elizabeth Hall.

Dr. Gunn lives in Champaign with her husband and

five children.

Nathan Gunn (right) as Figaro with Alessandro Corbelli in Il Barbiere di Siviglia (2014).

schubert.org 13

Program Notes

Dichterliebe (Poet’s Love), Opus 48

Robert Schumann (b. Zwickau, 1810; d. near Bonn, 1856)

In his comprehensive study, The Romantic Generation,

Charles Rosen observes that the song cycle, like landscape

poetry and painting, realized one of the ideals of the

Romantic age, giving “the lyrical expression of Nature an

epic status, a genuine monumentality, without losing the

apparent simplicity of a personal expression.” The song cycle

also elevated the Lied genre to the status of weighty instru-

mental forms like symphony and sonata. Beethoven’s An die

ferne Geliebte (1816) is often considered to be the first song

cycle. Its six songs are interdependent, linked by transitions.

With Die schöne Müllerin and Winterreise, Schubert cre-

ated concert-length works with a sustained dramatic arc.

Heinrich Heine’s Book of Songs appeared in 1823. In his last

years, Schubert set six of Heine’s poems; they are some of

his finest songs. (We will hear “Die Taubenpost” later in this

program.) As part of the rich harvest of 1840, his “Lieder-

jahr,” Robert Schumann composed Dichterliebe, acknowledg-

ing the importance of the poet by calling it a “Song Cycle

from the Book of Songs by Heinrich Heine.” Schumann chose

twenty poems from the Lyric Intermezzo section of Heine’s

volume, finally settling on sixteen to describe the arc of a

love affair from the poet’s perspective.

Dichterliebe, observes Rosen, “moves from the awaken-

ing of desire, through love, deception, rage, and despair, to

a bittersweet ending of cynicism and regret.” The songs,

often very short, begin in one place and end in another, or

dissolve into the next song. Many Romantic emblems are

here: flowers, streams, nightingales. And poet Heine wields

a powerful irony to color them. But nature is not the focus;

it’s the vehicle. Schumann twirls his own color-wheel. No key

is touched more than once.

The cycle begins in mid-year, in mid-sentence, with bitter-

sweet harmony that points toward the minor mode. But the

voice enters and the heart is lifted into major. The ascending

arpeggios of May reverse direction with No. 6, which paints

Cologne’s Cathedral reflected in the waters of the Rhine. A

dramatic peak is reached in No. 7, “Ich grolle nicht,” as the

speaker bitterly denies his feelings. But more frightening

are the wheeling flutes and violins of No. 9. In No. 12, falling

arpeggios return, and the flowers address the “sorrowful,

pale man” in an eloquent postlude. The poet ultimately

renounces Romanticism, packing the old poems and songs

off in a heavy barge: “I have sunk within it my love and my

sorrow.” But as Rosen notes, “neither the love nor the sorrow

ever comes to an end.” The final postlude, a Schumann hall-

mark, brings the memory of the eloquent flowers of No. 12.

Dichterliebe ends with a kind of resolve, a clarity that only

experience can bring.

Heinrich Heine, by Moritz Daniel Oppenheim, 1797


Program Notes

From Hermit Songs, Opus 29

Church Bell at Night

The Heavenly Banquet

The Monk and his Cat

The Desire for Hermitage

I hear an Army, Opus 10, No. 3

Samuel Barber

(b. West Chester, PA, 1910; d. New York City, 1981)

Song was in Samuel Barber’s blood. His aunt was Metropoli-

tan Opera contralto Louise Homer; his uncle was the distin-

guished song composer Sidney Homer, who shaped young

Barber’s development and offered much sage advice. Barber

was a singer himself, possessing a fine, natural baritone.

“I have come across some poems of the tenth century trans-

lated into modern English by various people,” Barber wrote

to his uncle. “These were extraordinary men, monks or her-

mits or what not, and they wrote these little poems on the

corners of manuscripts they were illuminating or just copy-

ing. I find them very direct, unspoiled and often curiously

contemporaneous in feeling.” Barber’s editor Paul Wittke

suggests that the medieval experience of time is expressed

by the absence of meter signatures in the cycle. He adds

that the songs “may also be interpreted as examples of the

isolated lonely life of an artist as well as a religious.” Soprano

Leontyne Price gave the premiere on October 30, 1953 at the

Library of Congress with Barber at the piano.

Barber set James Joyce more often than any other poet

except “Anonymous.” “I Hear an Army,” the last of the Three

Songs, Opus 10, comes from Joyce’s Chamber Music (1907).

The poem does not refer to any specific army, but the

galloping rhythms and the ambiguous, metallic quality of

the lowest note on the keyboard evoke a legendary, possibly

Homeric world. Composing the song in the picture-book

Austrian town of St. Wolfgang in 1936, Barber may have

sensed the forces of war mustering about him.

Three songs

Franz Schubert (b. Vienna, 1797; d. there, 1828)

Three songs of wandering illustrate Schubert’s achievement

in the modified strophic song.

“Die Taubenpost,” is Schubert’s last love song. It was in-

cluded by publisher Haslinger in the posthumous collection

Schwanengesang, D. 957. Schubert’s setting is a delightful

meeting of the pictorial and the metaphorical. A young

man blithely tells us about the carrier-pigeon in his employ,

and one can hear the occasional fluttering of wings. But his

direct address to the listener—“Do you know her/it?”—goes

straight to the heart, for the name of the bird is Sehnsucht:

longing. Johann Gabriel Seidl was a close friend of Schubert.

He memorialized the composer in an elegy composed on the

eve of his funeral:

The gentle sounds have ceased.

The wings are quiet once more.

Yet in the spirit, still aching,

Sweet songs echo.

Schubert considered writing an opera based on Ernst

Schulze’s The Enchanted Rose, but a suitable libretto never

materialized. Schulze (1789-1817) conceived a love for two

sisters, both of whom rejected him. In a Winterreise vein, the

speaker of “Im Walde,” D. 834, is alienated from nature, and

the sight of bees attending the flowers fills his eyes with

tears. The final couplet of each stanza develops through

feverish repetitions.

“Auf der Bruck,” D. 853, refers, not to a bridge, but to an over-

look near Göttingen, where Schulze was a lecturer at the

University. Schubert vividly conveys the force of a galloping

horse on a three-day, broken-hearted ride.

Samuel Barber

schubert.org 15

Program Notes

Five songs

Hugo Wolf (b. Windischgraz, Styria [now Slovenjgradec,

Slovenia], 1860; d. Vienna, 1903)

In the summer of 1888, Hugo Wolf was working at white

heat. After composing a setting of Eichendorff's Ver-

schwiegene Liebe, he dashed off twelve more songs by the

poet in the last half of September. Then he wrote nothing

for a couple of years, tried his hand at opera and at 37 began

a descent into madness, a by-product of syphilis. But in

the 200 songs he wrote from 1888 to 1891, he achieved an

unparalleled unity of word and tone.

Wolf’s cheerful tune is at odds with Eichendorff’s portrayal

of a cold, shoeless itinerant in “Der Musikant.” “Auf dem

grünen Balkon,“ from the Spanish Songbook, presents a

young man’s dilemma. “She winks at me, but her finger tells

me: ‘No!’” The music’s cadences are likewise contradictory.

The idea that “Thoughts are free” goes back to antiquity. A

folk-song in the eighteenth century, “Die Gedanke sind frei”

was given political meaning in the nineteenth to protest

repression. But “Verschwiegene Liebe” is about the personal.

Where love may not be expressed, thoughts ascend, and

silence is a high, delicate dissonance in the night.

No one would guess the key or meter from the opening

measures of “Nachtzauber.” The left hand of the piano

suggests springs that deepen into lakes. And what magic

in the right hand’s expression of love’s deep wound, how

irresistable the final invitation! “We have all the sensuality

of Wagner's endless melody,” quips Ian Bostridge, “without

the endlessness.”

The shape-shifting Pied Piper is transformed by Goethe into

a singer and lutenist, a good-humored sport who catches

kids and girls as well as rats. Wolf finds harmonies folksy and

novel to suit, and with brilliant keyboard writing produces in

“Der Rattenfänger” a tour de force.

Hugo Wolf

Der Rattenfänger von Hameln, by Oskar Herrfurth


Program Notes

Six Songs

Charles Ives (b. Danbury, CT, 1874; d. New York, 1954)

Not everyone will agree with J. Peter Burkholder’s New Grove

assessment of Charles Ives as “the leading American com-

poser of art music of the twentieth century.” But Ives was

certainly an original thinker. His world-view is inclusive. He

is a great democrat, a “Connecticut Yankee.” He takes incred-

ible chances in his art. He wrote his own texts for all but the

first song in this set. And he married a woman

named Harmony.

Ives is the Gandalf of American composers: tough but

loveable; visionary but nostalgic; powerful but tender. The

son of a Civil War vet and band leader, he was thoroughly

trained as a musician, and became a working organist in his

teens. His later success as an insurance executive should not

ring up as a discount. “An interest in any art-activity, from

poetry to baseball,” he wrote, “is better, if held as a part of

life, or of a life, than if it sets itself up as a whole.”

In nearly 200 songs, Ives redefined the genre in American

terms, freeing it from church and parlor, loosening its decla-

mation, broadening its subject matter. If you’ve ever heard

the sound of music across a lake, you know that any tones

so wafted are lovely, and you will have a feeling for Ives, for

his voice comes to us across the years as if across the water.

Memory is his great theme. In 1922, Ives assembled a grand

album he called 114 Songs, which he published at his own

expense. “It contains plenty of songs which have not been

and will not be asked for,” he wrote.

Vachel Lindsay’s ironic poem about the founder and first

General of The Salvation Army was set by Ives in 1914,

shortly after the poem came out. A popular poet of the

early twentieth century, Lindsay (1879 –1931) was known

for what he called “singing poetry,” in which the verse was

intoned as chant. Today we would call him a performance

artist. Ives takes Lindsay’s suggestion: “To be sung to the

tune of The Blood of the Lamb with indicated instrument.”

That instrument, the bass drum, is realized in the opening

chords. The young Ives often improvised drum sonorities at

the piano.

“The Things Our Fathers Loved (and the greatest of these

was Liberty)” (1917) opens softly with a rich but inert

C-major chord, and quotes “Come, Thou Fount of Every

Blessing” on its amazing journey back to a memory of

(perhaps) Decoration Day. Ives wrote tough piano parts, and

his ambition often led him to stretch the piano, as here. The

child’s voice reminds us: Hear the songs! Don’t worry about

the words. Only connect!

The “Two Little Flowers” are Ives’s adopted daughter Edith

and her friend Susannah. The simple tune of this 1921 song

is in 4/4 meter, and open fifths in the harmony suggest

innocence, but the accompaniment is in 7/8.

Sometimes it’s hard to tell whether Ives is quoting a song

or imitating a style. The piano part of “Down East” (1919) is

marked at first: “as a shadow to the voice.” Then the speaker

moves from the present into memory with the imitation of

a parlor song. That then slides easily into “Nearer, my God,

to Thee.”

“Tom Sails Away” was composed in 1917, but not performed

until 1963. The speaker is a child remembering his brother

sailing off to war. George M. Cohan’s rouser figures

prominently: “Over there, over there, Send the word, send

the word over there that the Yanks are coming. . . .” “The

Circus Band,” another little-boy song with a trombone

chorus and a drum-break by an amateur battery, is simply

one of most entertaining songs ever written.

Charles Ives’s 140th birthday is coming up. A modest

proposal: why not retire Columbus Day and declare October

20, Ives’s birthday, a national holiday? That would be

truly American!

Program notes © 2014 by David Evan Thomas

Charles Ives

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RTO 7x10_SchubertProgram.indd 1 9/5/14 9:23 AM

Goerne Program Page

The Schubert Club


presents

The Danish String QuartetFrederik Øland, violin • Rune Tonsgaard Sørensen, violin

Asbjørn Nørgaard, viola • Fredrik Schøyen Sjölin, celloSunday, October 12, 2014 • 4:00 PM

Pre-concert conversation at 3:00 PM

String Quartet No. 4 in F major, Opus 44 Carl Nielsen Allegro non tanto e comodo Adagio con sentimento religioso Allegro moderato ed innocente Finale: Molto allegro

String Quartet No. 7, The Extinguishable Thomas Agerfeldt Olesen

Selections from Wood Works Ye Honest Bridal Couple/Sønderho Bridal Trilogy

Sekstur from Vendsyssel/The Peat Dance

Vigstamoin

Waltz after Lasse in Lyby

Ribers No. 8

Five Sheep, Four Goats

O Fredrik, O Fredrik

Ack Värmeland, du sköna

Easter Sunday/Polsk after Rasmus Storm

Jässpodspolska

Old Reinlender from Sønndala

Today's performance is dedicated to the memory of Dorothy Mattson whose generous

bequest helped establish the Music in the Park Series Fund of The Schubert Club Endowment.

Dorothy was an ardent supporter of chamber music and a devoted member of

the Music in the Park Series Board of Directors.

Intermission

schubert.org 19

Music in the Park SeriesSunday, October 12, 2014 • 4:00 PM • Saint Anthony Park United Church of Christ

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A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:

INSTITUTIONALEleanor L. and Elmer Andersen FoundationArts Touring Fund of Arts Midwest Boss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMuffuletta CafeSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTrillium Foundation

INDIVIDUALSArlene AlmNina and John ArchabalLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortGarvin and Bernice DavenportShirley I. DeckerKnowles DoughertyBruce DoughmanDavid and Maryse FanLisl GaalDick GeyermanDawn and Michael GeorgieffEugene and Joyce HaselmannSandy and Don Henry

Anders and Julie HimmelstrupPeter and Gladys HowellGary M. Johnson and Joan G. HershbellMichael JordanChris and Marion LevyRichard H. and Finette L. MagnusonDorothy Mattson EstateDeborah McKnightJames and Carol MollerJack and Jane MoranDavid and Judy MyersGerald NolteJohn NoydKathleen NewellSallie O'BrienJames and Donna PeterRick Prescott and Victoria Wilgocki

Dr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroElizabeth ShippeeEileen V. StackCynthia Stokes James and Ann StoutJohn and Joyce TesterBruce and Marilyn ThompsonTim ThorsonMary Tingerthal and Conrad SoderholmDale and Ruth WarlandPeggy R. WolfeJudy and Paul WoodwardAnn Wynia

The Danish String Quartet has established a reputation

for possessing an integrated sound, impeccable intonation and

judicious balance. With its technical and interpretive talents

matched by an infectious joy for music-making, the quartet is

in demand worldwide by concert and festival presenters alike.

Since making its debut in 2002 at the Copenhagen Festival, the

group of musical friends has demonstrated a passion for Scan-

dinavian composers, whom they frequently incorporate into

adventurous contemporary programs while also proving skilled

and profound performers of the classical masters. Last season,

the New York Times selected their concert as a highlight of the

year: “One of the most powerful renditions of Beethoven’s

Opus 132 String Quartet that I’ve heard live or on a recording.”

This scope of talent has secured them a three-year appoint-

ment in the coveted Chamber Music Society of Lincoln Center’s

CMS Two Program beginning in the 2013–14 season and has

also earned them recognition as a BBC Radio 3 New Genera-

tion Artist for 2013–15.

Violinists Frederik Øland and Rune Tonsgaard Sørensen and

violist Asbjørn Nørgaard met as children at a music summer

camp where they played both football and music together,

eventually making the transition into a serious string

quartet in their teens and studying at Copenhagen’s Royal

Academy of Music. In 2008, the three Danes were joined by

Norwegian cellist Fredrik Schøyen Sjölin. The Danish String

Quartet was primarily taught and mentored by Professor

Tim Frederiksen and has participated in master classes with

the Tokyo and Emerson String Quartets, Alasdair Tait, Paul

Katz, Hugh Maguire, Levon Chilingirian, and Gábor

Takács-Nagy.

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Program Notes

Quartet No. 4 in F major, Opus 44

Carl Nielsen (1865–1931)

(b. Sortelung, near Nørre Lyndelse, Funen, 1865;

d. Copenhagen, 1931)

Carl Nielsen was born the seventh of twelve children on the

island of Funen, sometimes called the “Garden of Denmark.”

After studying at the Royal Conservatory in Copenhagen, he

served as a second violinist in the Royal Chapel, the orches-

tra of the Royal Theatre. It may have been a frustrating job

for an aspiring composer, but Nielsen acquired a useful

perspective on the orchestra from the inside. And string

writing was to become a specialty, first displayed in his Little

Suite for Strings, Opus 1 but masterfully demonstrated in the

slow movements of the “Sinfonia espansiva” and Symphony

No. 4, “The Inextinguishable.” The latter, with its struggle per

aspera ad astra (urged on by two sets of antiphonal timpani)

serves as a point of departure for the Olesen work on

this program.

Nielsen wrote two unpublished quartets before publishing

four others, but he didn’t number his quartets, and his opus

numbers are chaotic. The F-major Quartet, Opus 44, was

written in 1906 and revised after World War One. Its original

subtitle, Piacevolezza, hints at its “pleasing” character, but

was ultimately too confining. “I wanted to protest against

the typical Danish soft smoothing over,” said Nielsen in 1908

of his maturing style. “I wanted stronger rhythms and more

advanced harmony.”

The listener who enjoys inventive tonal structures will

appreciate Nielsen’s music. The lyrical opening theme slips

out of F major in the fourth bar, opening up all kinds of

possibilities. That theme is stated by each instrument a

half-step higher, leading to a hopping second subject that

features four repeated notes. What sounds like a repeat of

the exposition is really the first phase of a

strenuous development.

The heart of the quartet is an Adagio “with religious feeling”

in A minor. Nielsen was not particularly religious, but his

thoughts here expand in a noble hymn with five stanzas, the

fourth climactic. Undulating thirds in pairs are memorable,

first soft, then forceful. Intervals were important to Nielsen.

One thinks of his comment: “The glutted must be taught to

regard a melodic third as a gift of God, a fourth as an experi-

ence, and a perfect fifth as the most sublime joy.”

An intermezzo marked by vivid contrasts bears Nielsen’s

favorite expressive marking: innocente. The suggestion of a

hurdy-gurdy (or nyckelharpa?) provokes sudden outbursts

like those in the Allegretto of Beethoven’s Eighth Symphony.

And there is a wealth of textures. Listen for extended canons

between first violin and viola, then cello and first violin.

The C-major chords that closed the hymn return to open the

finale, which is all high spirits. A second theme would be

at home in a John Ford western. That’s a compliment: such

open-hearted music deserves big skies.

Program note © 2014 by David Evan Thomas

String Quartet No. 7, The Extinguishable

Thomas Agerfeldt Olesen (b. 1969)

Thomas Agerfeldt Oleson was born in 1969 and attended

school in Århus. He began cello study with Göran Bergström

and later studied with Hans Erik Deckert and Harro Ruijse-

naars. He cites as early compositional influences Krzystof

Penderecki, Witold Lutosławski, and Franz Kafka. At the Royal

Conservatory, Oleson was a member of Ensemble 2000, a

new ensemble directed by Karl Aage Rasmussen. Among his

works are seven string quartets, several works for orches-

tra, and an opera, The Picture of Dorian Gray. His music is

published by William Hansen Edition. Of his compositional

approach he writes: “There is a dangerous path that many

composers of contemporary music are already aware of:

Carl Nielsen

schubert.org 21

untroubled, willy-nilly, post-modernist loaning from 800

years of musical history. But it strikes me as a bizarre idea to

see my justification as a composer in rejecting these funda-

mental musical discoveries, just for the cause of being able

to call myself ‘contemporary.’ If I am an attentive composer,

I will also be able to hear in directions that lead me to new

discoveries. One needs to be ‘mindful,’ as the expression

from cognitive psychology would have it.”

Oleson introduces the String Quartet No. 7:

The title “The Extinguishable” relates to the fact that it

was because of Carl Nielsen (who gave his Fourth Sym-

phony the subtitle “Inextinguishable”) that I met The

Danish String Quartet. In 2011, we were both awarded

the Carl Nielsen Prize, instituted on the basis of revenues

from Carl Nielsen’s works. I gave his poetic title a morbid

twist, since I am not convinced that either life or music

is inextinguishable, and that was originally Carl Nielsen’s

idea with his title. That lack of conviction is one of the

most fundamental things in my perspective, as a human

being and as a composer. Perhaps both life and music

are “extinguishable,” perhaps not. The thought was a

particularly strong background sense at the time when

I wrote the new quartet, and it crept into all aspects of

its formulation, both technical and sculptural: in the

conception of a music of memory—that something is

both familiar and unknown at the same time and thus

both has something in it that is dead and something

that is alive. In the introductory portrait of four music

types running in parallel (like four courses of life), the

life of the four music types is constantly interrupted at

various points in their progress and always leaves one

of the types alone until this last course of life too is cut

off. There are passages in the piece where the music

does not refer to such a meta-layer, but is itself. And thus

the perspective shifts now and then to being either "in

harmony with oneself"–perhaps one could say "without

ulterior motives"–or referring to the past or to ideas

perhaps comparable to living in the past "with

ulterior motives."

Thomas Agerfeldt Olesen

From the liner notes of Wood Works

Folk music is the music of all the small places. It is the local

music, but as such it is also the music of everywhere and

everyone. Like rivers, the melodies and dances have flowed

slowly from region to region: whenever a fiddler stumbled

on a melody, he would play it and make it his own before

passing it on. You don’t own a folk tune, you simply borrow

it for a while.

On this recording, we have borrowed and arranged a

selection of tunes that are all very close to our hearts. We

perform them as a string quartet, one of the most power-

ful musical vehicles we know of. The string quartet is a pure

construct: four simple instruments made of wood. But in

all its simplicity the string quartet is capable of expressing

a myriad of colours, nuances and emotions—just like folk

music. Our idea is to marry these two simple but powerful

things: the folk music and the string quartet. Normally, the

string quartet has been reserved for the classical masters.

Now we want to see what happens when we let the Nordic

folk music flow through the wooden instruments of the

string quartet. continued next page.

Album cover from DSQ's recording of arrangements of traditional Scandinavian folk music, Wood Works, released in September, 2014


Program Notescontinued

Ye Honest Bridal Couple/Sønderho Bridal Trilogy

Part I: We set out in the fog covering the Faroe Islands.

A lonely violin plays a traditional Faroese wedding song.

After a while, we reach the Danish island of Fanø to im-

merse ourselves in Part I of the Sønderho Bridal Trilogy,

a set of three sønderhonings that dates back some four

hundred years.

Part II: Notice the exotic colour of this sønderhoning.

Some people believe that the people on Fanø learned

their melodic twists from visiting sailors.

Part III: This is dance music, but inspired by the unique

tonal colours of a very contemplative arrangement of

this final part of the Sonderho Bridal Trilogy made by

our good friend Nikolaj Busk. After all the excitement of

reels, polskas, sheep and goats, we are back at the island

of Fanø, disappearing into the Atlantic fog.

Sekstur from Vendsyssel/The Peat Dance

A Danish sekstur is a lively dance that closely resembles the

Irish jig. The Peat Dance is a Danish reel tune. Thus, this is a

Danish version of the traditional Irish jig-reel set.

Vigstamoin

Vigstamo was a small farm in the Gudbrand Valley in

Norway, and Vigstamoin was the man who lived there. This

tune is a springleik—a local version of what we in Denmark

call a polsk.

Waltz after Lasse in Lyby

Lasse lived in Lyby in Sweden’s Skåne region and he was a

traveling fiddler playing for food. He was known for often

playing this simple little waltz.

Ribers No. 8

Ribers No. 8 is a polka: a dance that originated in central

Europe and, somewhat confusingly, has nothing to do with

the polsk or polska. This is one of the happiest Danish tunes

that we know.

Five Sheep, Four Goats

Rune stumbled on this little Danish tune with its strange

name and liked it so much that he came up with an arrange-

ment for three string quartets.

O Fredrik, O Fredrik

Our cellist Fredrik is a tough Norwegian sailor. His childhood

friend Johannes Rusten wrote this catchy tune and

dedicated it to him.

Ack Värmeland, du sköna

An old Swedish folk song. The title was given in the 19th

century and celebrates the beauty of the Värmland region.

Easter Sunday/Polsk after Rasmus Storm

We pair a polsk from 1989 by Danish fiddler Poul Bjerager

with an old polsk we found in a handwritten collection of

tunes from the 1760s by Danish sailor and fiddler

Rasmus Storm.

Jässpodspolska

Here is a nice little polska (Swedish for polsk) from the

region of Dalarna in Sweden.

Old Reinlender from Sønndala

The title indicates that this dance came to Norway from the

Rhineland. In Denmark, we call this type of tune a schottis.

Did it come up north via Scotland or Germany? Not so

important, perhaps. The funky possibilities of the tune

inspired us to make this arrangement.

Sunday evening in a cottage in Dalarna, (Sweden)

Oil painting by Amalia Lindegren, 1860

Photos: Caroline Bittencourt

schubert.org 23

Michael Sutton is certainly a top contender for the

“Cuteness Award” for past Schubert Club Competition

winners. A photograph of him—the 6-year-old, overall-clad

violinist—made the cover of the American Suzuki Journal. In

fact, this adorable musician photo was later mass-produced

as a porcelain doll. However, there was much more to

Michael than just a cute smiling face: he was a Schubert

Club Senior High Strings winner in 1986 and 1987 (while

studying with violinist, Mark Bjork).

Michael studied for his Bachelor and Master's degrees at the

Manhatten School of Music. Summers were busy, traveling

to Aspen, Interlochen, Tanglewood, Waterloo, Grand Teton,

and the German Schleswig-Holstein Music Festivals. At

school, he was concertmaster for two school orchestras,

performed regularly in numerous chamber ensembles, and

was the concertmaster for the Manhattan Chamber Orches-

tra, which played a concert every month and recorded a CD

every two months!

After graduation Michael had a musically memorable

summer: eight weeks (half on the road) working with Sir

Georg Solti, Valery Gergiev, Semyon Bychkov, Marin Alsop,

and Carl St. Clair. It was very humbling when Solti befriend-

ed him and let Michael pick his brain over many dinners.

“Playing Shostakovich 5 and the Rite of Spring with Gergiev,

close enough to be in the path of his sweat, are still the

most memorable renditions of those pieces I have ever been

privileged to be a part of. During the tour to Spain, Italy,

Germany, and Austria, we did a conductorless encore of

Bernstein's Candide overture. It started with me standing up

and quieting the ebullient audience by pressing my finger

to my lips. Then I turned around and gave the orchestra two

beats, and I had just made my conducting debut!”

Next came the call to audition for the New World Symphony

where Michael became one of a few concertmasters there

under the direction of Michael Tilson Thomas. "He helped

me tremendously with his wisdom and interpretations. He

also sent me to study with a great teacher named Robert

Lipsett for two weeks. We worked on my intonation every

day playing nothing but scales. This was a massive

turning point for me, really learning to listen to myself.

Lipsett showed me how to hear the natural resonance of

the instrument and trained me to play precisely in tune."

Michael's last concert at the New World—after auditioning

for a job in the Minnesota Orchestra—was to sit in the hot-

seat for Zuckerman playing Mozart's 5th concerto. “Leading

an orchestra from the chair, no conductor, with a powerful

soloist, playing a masterwork, on his Strad, 5 feet away, for

your final performance is somewhat of a highlight.”

Now in his 18th year in the Minnesota Orchestra, Michael

is very happy as a rotating section second violin player in

his hometown orchestra. He highly values his colleagues

and the opportunity to do what he has been taught and

nurtured to do. Speaking of nurturing, Michael notes that

he was immersed in music from day one as a member of the

Sutton household. His mother Phyllis came to every violin

lesson and took copious notes for many, many years, as a

good Suzuki parent does. “And I don't mind being known as

Vern Sutton's son; He was here first!”

Violinist MIchael Sutton, age 6

Michael Suttonin a more recent photo

“I have been so fortunate and try to pay it forward as I

regularly coach the Greater Twin Cities Youth Symphonies

(of which I am an alumnus) and often adjudicate for local

competitions, including, of course, my beloved Schubert

Club. In that same vein, I have started coaching/teaching

violin at MacPhail Center for Music, where I started my

studies in 1971.

IntervalsAlumni News of The Schubert Club Scholarship Competitors


Intermission

String Quartet No. 26 in G minor, Franz Joseph Haydn Opus 20, No. 3, Hob. III: 33

Allegro con spirito Minuet: Allegretto Poco adagio Finale: Allegro di molto

Waltzes (1981) Fred Lerdahl

Gracioso Con brio Cantabile Leggiero Valse triste Misterioso Amoroso Humoresque Vivace Lento Delicato Waltz-fugue

The Schubert Cluband

Kate Nordstrum Projects

present

AccordoRuggero Allifranchini, violin • Steven Copes, violin

Maiya Papach, viola • Anthony Ross, celloZachary Cohen, double bass

Monday, October 13, 2014 • 7:30 PM

String Quintet in G major, Opus 77 Antonín Dvorák Allegro con fuoco—Piu Scherzo—Trio Poco andante Finale: Allegro assai

Copes, Papach, Ross, Cohen

Allifranchini, Copes, Papach, Ross

Copes, Allifranchini, Papach, Ross, Cohen

Please join us in the Luther Lounge for complimentary drinks and small bites after the concert

schubert.org 25

AccordoMonday, October 13, 2014 • 7:30 PM • Christ Church Lutheran

A special thanks to the Accordo donors:

Performance SponsorsHella Mears HuegJohn and Ruth HussLucy Jones and James JohnsonJenny Nilsson and Garrison Keillor

Musician SponsorsNina and John ArchabalMary and Bill BakemanEileen Baumgartner Michael and Carol BromerTim and Barbara BrownRachelle Dockman Chase and John H. FeldmanPaul Markwardt and Richard AllendorfFred and Gloria SewellJoseph and Kay Tashjian

PatronsAnonymous (3)Beverly S. AndersonBarbara A. BaileyBrian O. BerggrenKit BinghamPhillip Bohl and Janet BartelsBarbara Ann BrownJudy and Richard BrownleeJohn and Birgitte ChristiansonPamela and Stephen DesnickGeorge EhrenbergCelia and Hillel GershensonMary Glynn, Peg and Liz GlynnBonnie GrzeskowiakMichelle HackettKen and Suanne Hallberg

Betsy and Michael HalvorsonPhillip and Alice HandyCarol A. JohnsonMary JonesRobert JordanErwin and Miriam KelenBarry and Cheryl KemptonChristine Kraft and Nelson CapesAlexandra KulijewiczThomas LogelandHelmut and Mary MaierRhoda and Don MainsRachel MannRon and Mary MattsonDeborah McKnight and James AltJane E. MercierElizabeth Myers

Kathleen NewellLowell and Sonja NoteboomJohn NoydChuck Ullery and Elsa NilssonPatricia O'GormanCarol Olig and Gregory TacikGlad and Baiba OlingerScott and Judy OlsenSydney M. PhillipsBill and Susan ScottBuddy Scroggins and Kelly SchroederEd and Marge SenningerDan and Emily ShapiroGale SharpeArne SorensonGregory Tacik and Carol OligAlex and Marguerite Wilson

Accordo (from left): Ruggero Allifranchini, Anthony Ross, Maiya Papach, Ronald Thomas, Erin Keefe, Rebecca Albers, Steven Copes, Kyu-Young Kim

Sponsors

Accordo, established in 2009, is a Minnesota-based chamber group made up of some of the very best instrumentalists in the country,

eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Their concerts are

held in the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by the

esteemed architect Eliel Saarinen and his son Eero Saarinen.

Accordo includes a string octet composed of Saint Paul Chamber Orchestra (SPCO) and Minnesota Orchestra current and former principal

players Rebecca Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim, Maiya Papach, Anthony Ross, and Ronald Thomas.

Zachary Cohen

Phot

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amer

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itti

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Accordo performs excerpts

from this program with guest

presenter Sam Bergman on

Tuesday, October 14 at

Amsterdam Bar & Hall

Phot

o: M

arco

Bor

ggre

ve

The Schubert Cluband

The Minnesota Historical Society

present

Hill House Chamber Players

Julie Ayer, violin and viola • Catherine Schubilske, violinThomas Turner, viola • Tanya Remenikova, cello • Jeffrey Van, guitar

Guest artists: Milana Reiche, violin • Marcia Peck, cello • Susan Billmeyer, keyboard

Mondays, October 20 & 27, 2014 • 7:30 PM

"Eine Geburtstagsfeier"(A Birthday Celebration)

Intermission

Trio Sonata in B-Flat major, W. 158 C.P.E. Bach

Allegretto Largo Allegro

Selections from Goldberg Variations, BWV 988 J.S. Bach, arr. Sitkovetsky

Sextet from Capriccio, Opus 85 (1942) Richard Strauss

Grande Sestetto concertante, W. A. Mozart, arr. after Sinfonia concertante, K. 364

Allegro Andante Finale: Presto

schubert.org 27

With these concerts we celebrate the tricentenary of Carl Philipp Emanuel Bach’s birth. The second surviving son of Johann Sebastian Bach and his first wife Maria Barbara, Emanuel was a leading musician of his day, first at the court of Frederick the Great from 1740-57, then as music director of the five principal Hamburg churches, a post previously held by Telemann. Not only did this Bach son compose over a thousand musical works, including some of the most important early keyboard sonatas, he authored a key treatise of the day, the Essay on the True Art of Playing Keyboard Instruments. To continue the celebration of C.P.E. Bach and his times, visit www.cpebach.de/en.

The trio-sonata texture was as common in the Baroque as our bass, rhythm, and lead. A basso continuo—often a cello paired with harpsichord or organ—provides the bass and harmonic foundation while two equal upper voices trade off in animated conversation. Note in each movement how both violins state the theme in its entirety before moving on. The slow movement is a striking example of Bach’s empfindsamer Stil (sensitive style), as the violins don mutes, play pizzicato, bill and coo.

Hill House Chamber PlayersMondays, October 20 & 27, 2014 • 7:30 PM • James J. Hill House

J.S. Bach’s first biographer Forkel told a fanciful and oft-quoted story about a sleepless Count and a willing harpsichordist named Goldberg. That tale may be so much wool-gathering, but this much is certain: Bach published his Aria with Diverse Variations, 30 variations on a bass line, as the fourth and concluding volume of his monumental Keyboard Practice. Written specifically for a harpsichord with two keyboards, the variations treat the Aria systematically: every third variation is a canon, beginning at the unison and proceeding to a ninth. In between, there are characteristic pieces—dances, fugues, an overture, etc.—and variations for two manuals. The set closes with a quodlibet which combines two popular tunes with the bass. In any case, the name Goldberg is now immortal, forever bound to this ne plus ultra of variation sets. In this program, we’ll hear the first third of the work, alternating the original keyboard version with a transcription for string trio by violinist Dmitri Sitkovetsky.

C.P.E. Bach.

Original title page for the Goldberg variations

St. Michael’s, one of the five principal Hamburg churches where C.P.E Bach was music director

continued next page.


Capriccio, Richard Strauss’s last opera, was composed during the early years of World War Two, when Strauss seemed to need a diversion from world affairs. He called it a “conversation piece,” and the libretto is based on a Mozart-era comedy, Prima la musica, poi le parole (Music first, then words). The ten-minute Sextet that opens the opera has a double function; it’s an overture, but it serves a dramatic purpose as well. In a sense, the listener hears it “in quotes.” David Murray sets the scene in the New Grove Dictionary of Opera: “Before the curtain rises on Capriccio we hear a sextet, played by first-desk strings in the pit. It is the composer Flamand’s latest piece, sweetly serene in F at start and finish—with a theatrical eruption of passion in the middle, soon mollified (it fixes perfectly the urbane, nothing-too-serious manner of

the whole opera). In a garden salon in early afternoon Flamand watches the Countess Madeleine’s reaction to his sextet, continuing now in the next room—and so does Olivier, his rival for her affections, and the dozing theatre director La Roche.” “Word or tone?” asks the poet Olivier. “She must decide,” proposes Flamand. And so this singular opera begins.

Mozart’s Sinfonia concertante is a double concerto for violin, viola, and orchestra. It was not published during the composer’s lifetime. But when it saw the light in 1802, many arrangements of the piece appeared, not unlike the “covers” pop musicians make of others’ tunes today. The “Grand Sextet” was published anonymously in 1808, scored for pairs of violins, violas, and cellos. “This new version doesn’t simply transfer the solo lines to the first violinist and first violist,” notes Sarah Freiburg in Strings magazine. “The Sestetto arranger chooses to share the wealth of the original solo lines, so each instrument gets its moment to bask in glory.”

Program notes © 2014 by David Evan Thomas

Richard Strauss, by Ferdinand Schmutzer.


Dear Friend!

. . . I am working hard on my new one act opera in

close collaboration with Clemens Kraus, the action of

the opera takes place in Paris in 1775 (the title of the

opera is not yet fixed.) The opera will be finished in a

month which means that the opening will take place

in summer 1942 . . .

I remain your dear and devoted friend

Richard Strauss

Garmish, 15.7.41

In this letter, Strauss mentions that he is working on an as-yet-untitled opera. As it happened, this was his last,

Capriccio, subtitled, A Conversation Piece for Music.

From The Schubert Club Museum:

schubert.org 29

A new exhibit in The Schubert Club Museum features

musical instruments that are decidedly not run of the mill.

Three kinetic sculptures, built around exercise bicycles by

Minnesota sculptor Norman Anderson, produce musical

sounds when pedaled. Anderson is known throughout the

country for his large-scale, outdoor, kinetic sculptures, many

of which also produce sounds. Two of his larger pieces are

installed locally in Minneapolis parks: Van Cleve Park at

15th and Como Southeast, and Fairview Park in

North Minneapolis.

Each of the sculptures on display in The Schubert Club

Museum feature a different means of sound production:

strings, percussion, and wind. One includes organ pipes and

tin whistles, the second has a mechanical xylophone, and

the third uses both plucked and bowed strings. All three

have options for the rider/performer to make changes in

pitch and rhythm, etc, while riding.

The instruments were a gift from composer Mary Ellen

Childs for whom they were made, and who wrote music for

them. A live video recording of her music for the instru-

ments by the ensemble CRASH can be seen in the exhibit.

CRASH will be performing on the instruments on November

18 as part of the "Live at the Museum" series (for tickets:

612-292-3268, or schubert.org/liveatthemuseum).

The Schubert Club MuseumNew Exhibits

Another interactive exhibit, new this summer, has proved

extremely popular with visitors. Graphologist Zubin Vevaina

was asked to examine three composer letters in the Gilman

Ordway Manuscript collection and describe the writers'

personalities based on characteristics of their handwriting.

Visitors are invited to write a sample phrase on a sticker,

analyze it with the guidelines provided, and compare their

own handwriting and personality traits to the composers'.

A large Venn-diagram-style poster in the exhibit is provided

for people to post their findings. In addition to viewing these

extraordinary letters, visitors can now enjoy sound recordings

of letters from Beethoven, Tchaikovsky, and Mozart read in

German, French and English, translations.

The Schubert Club Museum, located in Landmark

Center on Rice Park in Downtown Saint Paul, is open

Sunday through Friday noon to 4 PM. Admission is free.

The ensemble CRASH performing on the string-cercycle, one of Norman Anderson's musical kinetic sculptures

The Schubert Club Museum's 1791 Mozart letter. Gift of Gilman Ordway.

Goerne Program Page

The Schubert Club


presents

Miami String QuartetLydia Artymiw, piano

Benny Kim, violin • Cathy Meng Robinson, violin

Scott Lee, viola • Keith Robinson, celloSunday, October 26, 2014 • 4:00 PM

Pre-concert conversation at 3:00 PM

Five Pieces for String Quartet Erwin Schulhoff

Alla Valse viennese (Allegro) Alla Serenata (Allegretto con moto) Alla Czeca (Molto allegro) Alla Tango milonga (Andante) Alla Tarantella (Prestissimo con fuoco)

Quintet No. 2 in E-flat minor for Piano and Strings Erno Dohnányi

Allegro non troppo Intermezzo: Allegretto – Presto Moderato

String Quartet No. 4 in E minor, Opus 44, No. 2 Felix Mendelssohn-Bartholdy

Allegro assai appassionato Scherzo: Allegro di molto Andante Presto agitato

Intermission

Today's performance is dedicated to the memory of Andy Boss, an inspired community leader and a champion of the arts. A long-time resident of St. Anthony Park, Andy was a

loyal supporter of Music in the Park Series for over three decades.

schubert.org 31


Phot

o: C

arol

ine

Bitt

enco

urt

A Special Thanks to the Donors Who Designated Their Gift to Music in the Park Series:

INSTITUTIONALEleanor L. and Elmer Andersen FoundationArts Touring Fund of Arts Midwest Boss FoundationCarter Avenue Frame ShopComo Rose TravelCy and Paula DeCosse Fund of The Minneapolis FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundWalt McCarthy and Clara Ueland and the Greystone FoundationMuffuletta CafeSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTrillium Foundation

INDIVIDUALSArlene AlmNina and John ArchabalLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortGarvin and Bernice DavenportShirley I. DeckerKnowles DoughertyBruce DoughmanDavid and Maryse FanLisl GaalDick GeyermanDawn and Michael GeorgieffEugene and Joyce HaselmannSandy and Don Henry

Anders and Julie HimmelstrupPeter and Gladys HowellGary M. Johnson and Joan G. HershbellMichael JordanChris and Marion LevyRichard H. and Finette L. MagnusonDorothy Mattson EstateDeborah McKnightJames and Carol MollerJack and Jane MoranDavid and Judy MyersGerald NolteJohn NoydKathleen NewellSallie O'BrienJames and Donna PeterRick Prescott and Victoria Wilgocki

Dr. Paul and Elizabeth QuieJuliana Kaufman RupertMichael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsDan and Emily ShapiroElizabeth ShippeeEileen V. StackCynthia Stokes James and Ann StoutJohn and Joyce TesterBruce and Marilyn ThompsonTim ThorsonMary Tingerthal and Conrad SoderholmDale and Ruth WarlandPeggy R. WolfeJudy and Paul WoodwardAnn Wynia

The Miami String Quartet, winners of the 2000

Cleveland Quartet Award presented by Chamber Music

America and Chamber Music Society Two ensemble of the

Chamber Music Society of Lincoln Center from 1999-2001, has

been in residence at Hugh A. Glauser School of Music at Kent

State University since 2004. They were Quartet in Residence at

the Hartt School in Hartford from 2003 to 2009. Other

previous residencies include Florida International University

and the New World School of the Arts in Miami, where the

group was founded in 1988.

The Miami String Quartet has appeared extensively through-

out the United States and Europe. Highlights of recent seasons

include performances in New York at Lincoln Center’s Alice

Tully Hall and the Kennedy Center in Washington, D.C., as well

as engagements in Boston, Indianapolis, Los Angeles, New

Orleans, San Francisco, Seattle, St. Paul, and its own concert

series in Palm Beach, Florida. International highlights include

appearances in Bern, Cologne, Amsterdam’s Concertgebouw,

Istanbul, Lausanne, Montreal, Rio de Janeiro, Hong Kong, Taipei,

and Paris. The Quartet has recently toured with the Chamber

Music Society of Lincoln Center, and they appear annually with

the Philadelphia Chamber Music Society.

The Miami String Quartet is in demand at many of the

country’s great festivals. For the last several years, the Quartet

has served as resident ensemble at the Kent/Blossom Music

Festival in Ohio and has appeared at Chamber Music North-

west, Mostly Mozart, Ravinia, the Brevard Festival, Rutgers

Summerfest, Music from Angel Fire, Virginia Arts Festival–

where it has been the resident ensemble–and at the festivals

of La Jolla, Santa Fe, and Pensacola.

The ensemble’s interest in new music has led to many commis-

sions and premieres. In 2009, the Quartet and the Kalischstein-

Laredo-Robinson Trio premiered Ellen Taaffe Zwilich’s Septet, a

work co-commissioned by a dozen organizations including the

92nd St. Y, Kennedy Center, Chamber Music Society of Detroit,

Kravis Center, Philharmonic Society of Orange County, Friends

of Chamber Music (Portland), Chamber Arts Society of Durham,

and Denver Friends of Chamber Music. In 2008, they and the

Imani Winds premiered Roberto Sierra’s Concierto da Cam-

era, commissioned by Chamber Music Northwest, Stanford

University, and Santa Fe Chamber Music Festival. Also in 2008,

the ensemble performed the premiere of Joan Tower’s Angels

(String Quartet No. 4), commissioned by Music from Angel Fire,

continued next page


and premiered Ricky Ian Gordon’s Green Sneakers for

baritone and string quartet, commissioned by Bravo! Vail

festival in Colorado. Other recent commissions include a

new work by composer Annie Gosfield, commissioned by

the Santa Fe Chamber Music Festival; a joint commission-

ing by the Chamber Music Society of Lincoln Center and the

Virginia Arts Festival of a piano quintet by Bruce Adolphe;

and a new work by composer Stephen Jaffe, commissioned

by the Philadelphia Chamber Music Society.

In 2000, Miami String Quartet premiered Augusta Read

Thomas’s Invocations. In the 1997-98 season, the Quartet

presented the American premieres of Quartets Nos. 1 and

2 by Peteris Vasks, which were met with enormous acclaim

and subsequently recorded; Vasks’ Quartet No. 3 has since

become a signature piece for the ensemble. Among other

new music highlights are a commissioning grant from

Chamber Music America for a piano quintet from

Maurice Gardner, world premiere performances of the

quartet Whispers of Mortality by Bruce Adolphe, a quartet by

Philip Maneval, Maurice Gardner’s Quartet No. 2 and

Concertino, as well as premieres of Robert Starer’s Quartet

Nos. 2 and 3, and David Baker’s Summer Memories.

The Miami String Quartet’s first recording, the first two

quartets of Alberto Ginastera, was released in 1994. Their

second CD, Saint-Saëns Quartets Nos. 1 and 2 and Faure’s

String Quartet, was released in the fall of 1997 on BMG

Conifer. The aforementioned 1999 BMG recording of Peteris

Vasks’ Quartet Nos. 1, 2, and 3 garnered unqualified praise

on both sides of the Atlantic.

In 1992, the Miami String Quartet became the first string

quartet in a decade to win First Prize of the Concert Artists

Guild New York Competition. The Miami String Quartet has

also won recognition in competitions throughout the world:

as laureate of the 1993 Evian Competition, 1991 London

String Quartet Competition, and as the 1989 Grand Prize

Winner of the Fischoff Chamber Music Competition.


born Lydia Artymiw has performed

with over one hundred twenty

orchestras world-wide, with many of

the leading conductors of our time.

American orchestral appearances

include the Boston Symphony, Cleve-

land Orchestra, New York Philharmon-

ic, Philadelphia Orchestra, Los Angeles

Philharmonic, National Symphony,

and with the Cincinnati, Pittsburgh, Kansas City, St. Louis, San

Francisco, and Seattle Symphonies, and with the Orchestra of

St. Luke’s, Minnesota and St. Paul Chamber Orchestras. Solo

recital tours have taken her to all major American cities and

to important European music centers, and throughout the

Far East. Critics have acclaimed her seven solo recordings for

the Chandos label, and she has also recorded for Bridge, Cen-

taur, Pantheon, Artegra, and Naxos. Her debut recording for

Chandos (Variations) was a Gramophone Magazine “Critic’s

Choice,” her Mendelssohn CD was hailed by both Hi-Fi News

and the Monthly Guide to Recorded Music as “Best of the

Month,” and Ovation Magazine honored her Schubert record-

ing as “Recording of Distinction.” Her CD of the Tchaikovsky

Seasons (released by Chandos in 1982) is still in print and has

sold over 25,000 copies. Festival appearances include Aspen,

Bantry (Ireland), Bay Chamber, Bravo! Vail Valley, Caramoor,

Chamber Music Northwest, Chautauqua, Grand Canyon,

Marlboro, Montreal, Mostly Mozart, Seattle, and Tucson.

An acclaimed chamber musician, Artymiw has collaborated

with such celebrated artists as Yo-Yo Ma, Richard Stoltzman,

Alexander Fiterstein, Arnold Steinhardt, Michael Tree, Kim

Kashkashian, John Aler, Benita Valente, and the Guarneri,

Tokyo, American, Alexander, Borromeo, Daedalus, Orion, and

Shanghai Quartets, and has toured nationally with Music

from Marlboro groups. Along with Arnold Steinhardt (first

violinist of the Guarneri Quartet) and Jules Eskin (principal

cellist of the Boston Symphony), she was a member of the

Steinhardt-Artymiw-Eskin Trio for over ten years. A recipient

of top prizes in the 1976 Leventritt and the 1978 Leeds In-

ternational Competitions, she graduated from Philadelphia’s

University of the Arts and studied with distinguished concert

pianist and former Director of the Curtis Institute of Music,

Gary Graffman, for twelve years. Since 1990, Artymiw has ap-

peared numerous times for the Music in the Park Series with

the Guarneri, American, Miami, and Daedalus Quartets, the

Steinhardt-Artymiw-Eskin Trio, cellist Zuill Bailey, violists Kim

Kashkashian and Michael Tree, Ensemble Capriccio, and the

Fleezanis-Artymiw-Turner-Ross Quartet.

In 2014, pianist Lydia Artymiw celebrates her 25th year as

Distinguished McKnight Professor of Piano at the University

of Minnesota. Artymiw also received the “Dean’s Medal for

Outstanding Professor” in 2000.

“Lydia Artymiw has such a satisfying musical soul; she is a

pleasure to hear” wrote Bernard Holland in a recent New York

Times review. The recipient of an Avery Fisher Career Grant

and the Andrew Wolf Chamber Music Prize, Philadelphia-

schubert.org 33

Program Notes

Five Pieces for String Quartet

Erwin Schulhoff

(b. Prague, 1894; d. Wülzburg, 1942)

Erwin Schulhoff was one of the most

imaginative composers of the early

twentieth century. Born in Prague

of German descent, Schulhoff was a

child prodigy, encouraged by Dvorák,

influenced by Scriabin, and taught by

Max Reger. Drafted into the Austrian

army, his four-year service in World

War One made a Socialist of him.

Influenced at various times by the Berlin Dadaists, the Vien-

nese expressionists, the Stalinist doctrine of socialist real-

ism, the music of Janácek, and American jazz, Schulhoff’s

style is unpredictable, but concentration, high energy and

sonic clarity are characteristic. And there’s no denying that

the music is challenging to play and fun to listen to.

The eclectic Five Pieces—a Viennese waltz, a muted

serenade with a kick on the last eighth of each 5/8 bar, a

rhythmic Czech dance; an expressive tango, and a Bartókian

tarantella—are dedicated to Darius Milhaud. They were

premiered in Salzburg at the International Society for

Contemporary Music in 1924. Schulhoff’s First String

Quartet followed the next year.

As a Jew and a Czech, Schulhoff was deprived of livelihood

in Nazi-occupied Czechoslovakia; as a so-called “degener-

ate” artist interested in jazz and experimentation, he was

triply vulnerable. Though he tried to emigrate, Schulhoff

was deported in 1941 to a concentration camp in Wülzburg,

Bavaria where he died of tuberculosis the following year.

Quintet No. 2 in E-flat minor for Piano and Strings

Erno Dohnányi

(b. Pozsony [now Bratislava], 1877; d. New York, 1960)

Where have all the composer-pianists gone? A century

ago, giants like Rachmaninoff and Prokofieff commanded

attention on the stage as well as the page. In recent years,

the world has rediscovered Medtner and Enescu (best

known as a violinist, but a fine pianist as well). Add to that

list Erno Dohnányi. His students included Géza Anda, Boris

Goldowsky, and Georg Solti, not to mention his grandson,

Christoph von Dohnányi, the eminent conductor and former

music director of the Cleveland Orchestra. In his book The

Great Pianists, Harold Schonberg called Dohnányi “a thun-

dering virtuoso. . . . His playing had power and propulsion,

and extraordinary finesse.” It remains for Dohnányi to regain

the renown that was once his worldwide.

Dohnányi was born in the old city of Pozsony, called Press-

burg by its German population and now, as the capital of

Slovakia, Bratislava. He began piano study at six and started

to compose soon after. At seventeen, he entered the

Budapest Academy, where he studied piano with Thomán,

a pupil of Liszt, and composition with Koessler, a Brahms

devotee. Brahms himself paid young Dohnányi the compli-

ment of asking to see the score of his Piano Quintet No. 1.

When the famed Kneisel Quartet played it with Arthur

Nikisch, Brahms said: “I couldn’t have written it better

myself.” In 1920, Bartók wrote from turbulent Hungary:

“Musical life in Budapest today may be summed up in one

name—Dohnányi. In the hour of its great trouble, when

most other artists have left the country or ‘sulk in their

tents,’ Dohnányi heroically continues his various activities,

bringing comfort and joy to thousands of his countrymen.”

Dohnányi lost two sons in World War Two: one to the Nazis,

one to the Communists. Nevertheless, the composer was

falsely rumored to have Nazi sympathies, and the publicity

damaged his reputation. In communist Hungary, he was

black-listed. He emigrated to the U.S., teaching at Florida

State University in Tallahassee from 1949 until his death in

1960, taking American citizenship in 1955. In 1990, his

reputation restored, he was awarded posthumously the

Kossuth Prize, the most prestigious Hungarian cultural

award. Dohnányi was somewhat older than his compatriots

Bartók (1881–1945) and Zoltán Kodály (1882–1967). But

rather than treading folk paths or paving new roads, he

fully embraced Romanticism,

focusing his efforts, writes

Bálint Vázsonyi, on “expressing

the entire Romantic heritage

in the perfect forms of the

eighteenth century.” His lack

of modernity was once held

against him, but from today’s

vantage point, modernity is

a pane—more or less clear,

more or less clean—through

which to view musical ideas.



String Quartet No. 4 in E minor, Opus 44, No. 2

Felix Mendelssohn-Bartholdy

(b. Hamburg, 1809; d. Leipzig, 1847)

After Cécile Jeanrenaud’s wedding to Felix Mendelssohn

on March 28, 1837, the couple spent their wedding night

in Mainz at the Rheinisher Hof. Cécile confessed to their

honeymoon diary of “one agreeable thing which I will refrain

from mentioning!” Felix began to teach his wife English, and

April they spent in Freiburg and the Black Forest, where Felix

sketched the Quartet in E minor, one of three which would

be published as Opus 44. A child prodigy to rival or even

surpass Mozart, Mendelssohn may have had that composer

in mind when he conceived the opening of this Quartet.

The main theme of the Allegro assai rises through the tonic

chord like the finale of Mozart’s G-minor Symphony; its

accompaniment rustles beneath like that composer’s Piano

Concerto in D minor. Much agitation, then passion comes

from a unison swarm of sixteenth-notes. Prepared for a

second theme in B minor, we sidestep to G major.

Mendelssohn is known for fairy music, and the Scherzo

provides it in what may be the highlight of the quartet.

Opening with a Brrr!, its 3/4 meter only gradually becomes

clear. At the peak, we hear the first-movement theme as if

through chattering teeth, then a heart-tugging viola solo.

A “Song without Words” Adagio and earnest Presto agitato

conclude the work.

Program notes © 2014 by David Evan Thomas.

There are not quite 50 opus numbers in the Dohnányi

catalogue. The glowing Serenade for string trio is frequently

performed, and the sparkling Variations on a Nursery Song,

a splendid example of concerto wisdom as well as twinkling

wit, deserves to be on everyone’s playlist.

The Piano Quintet No. 2 was composed in 1914 and is clev-

erly constructed. The Allegro non troppo opens with a broad,

moody melody stated by unison strings. After a Russian-

sounding bridge passage, the melody returns in a concerto-

like exposition for piano. The aspiring second theme, stated

by first violin, will be heard in the next movement as well.

Dohnányi’s harmonies are rich; he often chooses chords a

third apart with no tones in common. Does a third theme

remind you of the Rosenkavalier Rose-motive? The develop-

ment doubles back to the Russian-sounding bridge. We are

plunged into a turbulent C-minor stream (the main theme

in double canon), but suddenly, after the briefest of pauses,

the stream runs clear, as viola plays the main theme twice as

slow, bobbing on pizzicato strings, with the piano scurrying

about. The economy of the design is breathtaking.

The Intermezzo is like a progressive party that moves from

room to room as various colorful characters step forward.

Brahms is the waltz model here, and in case we don’t get

the joke, Dohnányi repeats the material in a scrambling

Presto a la Brahms.

The Moderato opens with a gentle but somber fugato for

strings on a new theme. Piano responds with a deep chorale.

They join forces for some of the lushest sounds of the

Quintet. What follows—the return of the moody first-

movement theme, its combination with the fugue subject,

the ultimate resolution in major mode—is deeply satisfying.

As Donald Tovey wrote in 1929: “Dohnányi produces in his

Second Quintet a counterpoint in which every combination

is a masterpiece of tone-colour, and every masterpiece of

tone-colour is the result of fine counterpoint. This is the

relation of form and drama in another category.”

The eminent Liszt biographer Alan Walker has proposed the

establishment of a Dohnányi medal, to be given every few

years to the best composer-pianist. This tradition, of which

Dohnányi is the exemplar, should be rejunvenated.

schubert.org 35schubert.org 35

The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle

OfficersPresident: Nina Archabal

President Elect: Kim A. Severson

Vice President Artistic: Lynne Beck

Vice President Audit & Compliance: Gerald Nolte

Vice President Education: Marilyn Dan

Vice President Finance & Investment: Craig Aase

Vice President Marketing & Development: Mark Anema

Vice President Museum: Ford Nicholson

Vice President Nominating & Governance: Kim A. Severson

Recording Secretary: Catherine Furry

Craig Aase

Mahfuza Ali

Mark Anema

Nina Archabal

Paul Aslanian

Lynne Beck

Carline Bengtsson

Board of DirectorsSchubert Club Board members, who serve in a voluntary capacity for three year terms, oversee the activities of the organization on behalf of the community.

Dorothea Burns

James Callahan

Carolyn Collins

Marilyn Dan

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Elizabeth Holden

Dorothy Horns

Anne Hunter

Kyle Kossol

Chris Levy

Jeff Lin

Kristina MacKenzie

Peter Myers

Ford Nicholson

Gerald Nolte

Gayle Ober

David Ranheim

Ann Schulte

Kim A. Severson

Gloria Sewell

Anthony Thein

John Treacy

Allison Young

Barry Kempton, Artistic & Executive Director

Max Carlson, Program Associate

Kate Cooper, Education & Museum Manager

Lisa Dahlberg, Ticketing & Development Associate

Kate Eastwood, Executive Assistant

Julie Himmelstrup, Artistic Director, Music in the Park Series

Megan Lutz, Social Media & Marketing Intern

Tessa Retterath Jones, Marketing & Ticket Manager

Joanna Kirby, Project CHEER Director, Martin Luther King Center

StaffDavid Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

Kathy Wells, Controller

Composers in Residence:

Abbie Betinis, Edie Hill

The Schubert Club Museum Interpretive Guides:

Aly Fulton, Joe Iannazzo, Paul Johnson, Alan Kolderie, Sherry Ladig,

Hannah Peterson, Edna Rask-Erickson

Dorothy Alshouse

Mark Anema

Dominick Argento

Jeanne B. Baldy

Ellen C. Bruner

Carolyn S. Collins

Dee Ann Crossley

Josee Cung

Mary Cunningham

Joy Davis

Terry Devitt

Arlene Didier

Karyn Diehl

Ruth Donhowe

Anna Marie Ettel

Diane Gorder

Julie Himmelstrup

Hella Mears Hueg

Advisory Circle

Thelma Hunter

Ruth Huss

Lucy Rosenberry Jones

Richard King

Karen Kustritz

Libby Larsen

Sylvia McCallister

Dorothy Mayeske

Elizabeth B. Myers

Nicholas Nash

Richard Nicholson

Gilman Ordway

Stephen Paulus

Christine Podas-Larson

George Reid

Barbara Rice

Estelle Sell

Gloria Sewell

Katherine Skor

Tom Swain

Jill Thompson

Nancy Weyerhaeuser

Lawrence Wilson

Mike Wright

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


Courtroom ConcertOctober 16, 2014 • Noon • Landmark Center

Now in its 28th season, the Artaria String Quartet was recently lauded by Rob Hubbard of the St. Paul Pioneer Press: “Artaria

Quartet is likely to give eloquent voice to whatever work it tackles.” Artaria has served as MPR Artists-in-Residence and was

featured on Twin Cities Public Television as part of its Minnesota Original series. The quartet has appeared at major summer

festivals including the Banff Centre in Canada, Festival de L’Epau in France, and the Tanglewood Music Center in Lenox, MA. Artaria

is the recipient of a McKnight Fellowship for Performing Musicians as well as grants from the National Endowment for the Arts,

Chamber Music America, Midori's Partners in Performance, the Heartland Fund and the Southeast Minnesota Arts Council for

performance and educational outreach. Members of the quartet are founders and directors of the Artaria Chamber Music School,

a weekly chamber music program for young string players; Stringwood, a two-week summer festival held in Lanesboro, MN each

June; and the Saint Paul String Quartet Competition, an annual national event.

Artaria String QuartetRay Shows, violin • Nancy Oliveros, violin

Annalee Wolf, viola • Laura Sewell, cello

Ignaz Pleyel

String Quartet in G minor, B. 309

Adagio

Allegro assai

Grazioso

Wolfgang Amadeus Mozart

String Quartet in C major, K. 465, “Dissonance”

Adagio; Allegro

Andante cantabile

Minuetto: Allegro; Trio

Allegro

Artaria String Quartet

schubert.org 37

Courtroom ConcertOctober 23, 2014 • Noon • Landmark Center

Music of Elizabeth AlexanderAndrew Wilkowske, Kathleen Humphrey, Ruth MacKenzie, singers

Jacqueline Ultan, cello • Elizabeth Alexander, piano

Die Gedanken Sind Frei (16th c. German protest song / Translation & additional

lyrics by Elizabeth Alexander)

"Truth, God, Life & Passion"

Oath Taking (Opal Palmer Adisa)

The Eternal One (Ralph Waldo Emerson, adapted)

On the Edge of the Water (Elizabeth Alexander)

Trouble in a Minnesota Town (Neal Bowers)

"Selections from Nature Creature"

I. Come Soon (Lilian Moore)

II. Life Will Break You (Louise Erdrich)

No One Gets a Program (Dutch proverb / Additional lyrics by Elizabeth Alexander)

Elizabeth Alexander (b. 1962) grew up in the Carolinas and Appalachian Ohio, inheriting her love of music, language, and

challenging questions from her parents, a piano teacher and a minister/prison warden. These passions are reflected in her

catalogue of over 100 songs and choral works and a style which moves with ease between concert stage, choir loft, and jam

session. Critical reviews frequently mention “the close personal resonance between the composer and the words,” in reference to

her musical settings of both the poetry of others and the lyrics she crafts herself.

Her music has been described as “brilliantly innovative” (New York Concert Review), “truly inspired” (Boston Intelligencer),

“effective both visually and musically” (Ear Magazine), and “some of the most exquisite moments of the concert” (Kansas City

Metropolis). Her frequent commissions include works for orchestra, chamber ensembles, solo instruments, and voice, but she is

best known for her choral pieces, which have received over a dozen awards and have been performed by thousands of

choruses worldwide.

She studied composition with Steven Stucky, Jack Gallagher, Yehudi Wyner, and Karel Husa, receiving her doctorate in Music

Composition from Cornell University. A 2011 McKnight Composition Fellow, she has also received awards and fellowships from

the Jerome Foundation, New York Council on the Arts, Wisconsin Arts Board, National Orchestral Association, International League

of Women Composers, American Composers Forum, Meet the Composer, and ASCAP.

(from top) Elizabeth Alexander,

Andrew Wilkowske, Kathleen

Humphrey, Ruth MacKenzie,

Jacqueline Ultan

The commissioning of Nature Creature was underwritten by the American Composers

Forum with funds provided by the Jerome Foundation.


The Schubert Club Annual ContributorsThank you for your generosity and support

Ambassador$20,000 and aboveAnna M. Heilmaier Charitable

Foundation

MAHADH Fund of HRK Foundation


The McKnight Foundation

Minnesota State Arts Board

Gilman and Marge Ordway

Target Foundation

Schubert Circle$10,000 – $19,999Patrick and Aimee Butler Family

Foundation

Rosemary and David Good

Family Foundation

Dorothy J. Horns, M.D. and

James P. Richardson

Phyllis and Donald Kahn

Philanthropic Fund

of the Jewish Communal Fund

George Reid

Robert J. Sivertsen

Patron$5,000 – $9,999The Allegro Fund of

The Saint Paul Foundation and

Gayle and Tim Ober

John and Nina Archabal

Boss Foundation

Julia W. Dayton

Terry Devitt

Katherine Goodrich

Hackensack Fund of

The Saint Paul Foundation

Harlan Boss Foundation

Hélène Houle and John Nasseff

Bill Hueg and Hella Mears Hueg

Art and Martha Kaemmer Fund

of The HRK Foundation

Barry and Cheryl Kempton

Walt McCarthy and Clara Ueland

and Greystone Foundation

Malcom and Wendy McLean

Sita Ohanessian

Luther I. Replogle Foundation

Michael and Shirley Santoro

Sewell Family Foundation

Fred and Gloria Sewell

Thrivent Financial for Lutherans

Foundation

Travelers Foundation

Trillium Family Foundation

Margaret and Angus Wurtele

Benefactor$2,500 – $4,999Anonymous

The Burnham Foundation

Dee Ann and Kent Crossley

Dorsey & Whitney Foundation

Michael and Dawn Georgieff

Mark and Diane Gorder

Thelma Hunter

John and Ruth Huss Fund

James E. Johnson

Lois and Richard King

Kyle Kossol and Tom Becker

Chris and Marion Levy

McCarthy-Bjorklund Foundation

and Alexandra O. Bjorklund

Alfred P. and Ann M. Moore

Alice M. O’Brien Foundation

Paul D. Olson

and Mark L. Baumgartner

Ford and Catherine Nicholson

Family Foundation

Richard and Nancy Nicholson Fund

of The Nicholson Family

Foundation

John and Barbara Rice

Lois and John Rogers

Saint Anthony Park

Community Foundation

Securian Foundation

Kim Severson and Philip Jemielita

Charles and Carrie Shaw

Katherine and Douglas Skor

3M Foundation

Wenger Foundation

Nancy and Ted Weyerhaeuser

Guarantor$1,000 – $2,499Anonymous

Mahfuza and Zaki Ali

William and Suzanne Ammerman

Elmer L. & Eleanor J. Andersen

Foundation

Suzanne Asher

Paul J. Aslanian

Craig and Elizabeth Aase

J. Michael Barone and Lise Schmidt

Eileen M. Baumgartner

Lynne and Bruce Beck

Dr. Lee A. Borah, Jr.

Dorothea Burns

James Callahan

Deanna L. Carlson

Cecil and Penny Chally

Rachelle Chase and John Feldman

John and Marilyn Dan

Cy and Paula DeCosse Fund of

The Minneapolis Foundation

Joy L. Davis

Dellwood Foundation

Joan R. Duddingston

Anna Marie Ettel

Richard and Adele Evidon

William and Bonita Frels

Dick Geyerman

Jill Harmon and Frank Fairman

Anders and Julie Himmelstrup

Susanna and Tim Lodge

The Thomas Mairs and

Marjorie Mairs Fund of


Roy and Dorothy Ode Mayeske

Sylvia and John McCallister

Laura McCarten

Sandy and Bob Morris

Elizabeth B. Myers

Peter and Karla Myers

The Philip and Katherine Nason

Fund of The Saint Paul Foundation

Robert M. Olafson

Oppenheimer Wolff & Donnelly LLP

Performing Arts Fund

of Arts Midwest

The William and Nancy Podas

aRt&D Fund

David and Judy Ranheim

August Rivera, Jr.

Dr. Leon and Alma Jean Satran

Ann and Paul Schulte

Anthony Thein

Jill and John Thompson

John and Bonnie Treacy

Wells Fargo Foundation Minnesota

Doborah Wexler M.D.

and Michael Mann

Michael and Catharine Wright

Sponsor$500 – $999Anonymous

Meredith B. Alden

Mary and Bill Bakeman

Jeanne B. Baldy

Susan Brewster

and Edwin McCarthy

Michael and Carol Bromer

Tim and Barbara Brown

David Christensen

Andrew and Carolyn Collins

David and Catherine Cooper

F. G. and Bernice Davenport

Arlene and Calvin Didier

David and Maryse Fan

Andrew Hisey and Chandy John

Judith K. Healey

Frederick J. Hey, Jr.

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Anne and Stephen Hunter

William Klein

Lehmann Family Fund of


Wendell Maddox

Paul Markwardt

and Richard Allendorf

Lucia P. May and Bruce Coppock

Sylvia and John McCallister

David Morrison

Kay Phillips and Jill Mortensen Fund

of The Minneapolis Foundation

Alan and Charlotte Murray

Lowell and Sonja Noteboom

John B. Noyd

Sallie O'Brien

Patricia O’Gorman

Mary and Terry Patton

William and Suzanne Payne

Walter Pickhardt

and Sandra Resnick

Christine Podas-Larson

and Kent Larson

Sarah Rockler

Juliana Kaufman Rupert

Saint Anthony Park Home

John Sandbo and Jean Thomson

Kay Savik and Joseph Tashjian

Mary Ellen and Carl Schmider

William and Althea Sell

John Seltz and Catherine Furry

Dan and Emily Shapiro

Helen McMeen Smith

John and Joyce Tester

David L. Ward

Katherine Wells

and Stephen Willging

Jane and Dobson West

Peggy R. Wolfe

Mark W. Ylvisaker

schubert.org 39

Partner$250 – $499Anonymous (3)

Arlene Alm

Beverly S. Anderson

Kathy and Jim Andrews

Lydia Artymiw and David Grayson

Adrienne and Bob Banks

Jerry and Caroline Benser

Christopher and Carolyn Bingham

Jean and Carl Brookins

Philip and Ellen Bruner

Mark Bunker

Gretchen Carlson

Joann Cierniak

Don and Inger Dahlin

Ruth S. Donhowe

Marybeth Dorn and Robert Behrens

Roxana Freese

General Mills Foundation

Jennifer Gross and Jerry Lafavre

Mary Beth Henderson

Joan Hershbell and Gary Johnson

Mary Hintz

Elizabeth Holden

Elizabeth J. Indihar

The International School

of Minnesota

Ray Jacobsen

Michael C. Jordan

Donald and Carol Jo Kelsey

Youngki and Youngsun Lee Kim

Gloria Kittleson

Arnold and Karen Kustritz

Frederick Langendorf

and Marian Rubenfeld

Jeffrey H. Lin and Sarah Bronson

Sarah Lutman and Rob Rudolph

Frank Mayers

Anne C. McElroy

Mary Bigelow McMillan

James and Carol Moller

Jack and Jane Moran

William Myers and Virginia Dudley

Nicholas Nash

Margaret Orandi

Heather J. Palmer

Richard and Suzanne Pepin

James and Donna Peter

Barbara Pinaire and William Lough

Anastasia Porou and George Deden

Dr. Paul and Betty Quie

Karen Robinson

Connie Ryberg

Mary E. Savina

Paul L. Schroeder

Estelle Sell

Marilynn and Arthur Skantz

Conrad Soderholm

and Mary Tingerthal

Eileen V. Stack

Hazel Stoeckeler and Alvin Weber

Tom H. Swain

Jon and Lea Theobald

Dale and Ruth Warland

Timothy Wicker and Carolyn Deters

Contributor$100 – $249Anonymous (7)

Carl Ahlberg

Elaine Alper

Mrs. Dorothy Alshouse

Mary A. Arneson

and Dale E. Hammerschmidt

Kay C. Bach

Robert Ball

Gene and Peggy Bard

Benjamin and Mary Jane Barnard

Carol E. Barnett

Carline Bengtsson

Fred and Sylvia Berndt

Ann-Marie Bjornson

Phillip Bohl and Janet Bartels

Tanya and Alexander Braginsky

Philip and Carolyn Brunelle

Roger F. Burg

Alan and Ruth Carp

Carter Avenue Frame Shop

David and Michelle Christianson

John and Brigitte Christianson

Mary Louise and Bradley Clary

Mary Sue Comfort

Como Rose Travel

John and Jeanne Cound

Charles and Kathryn Cunningham

Shirley I. Decker

Pamela and Stephen Desnick

Janet and Kevin Duggins

Jayne and Jim Early

Kathleen Walsh Eastwood

George Ehrenberg

Peter Eisenberg and Mary Cajacob

Steve Farsht

Mina Fisher

Flowers on the Park

Jack Flynn and Deborah Pile

Salvatore Franco

Patricia Freeburg

Richard and Brigitte Frase

Jane Frazee

Gail A. Froncek

Joan and William Gacki

Nancy and Jack Garland

David J. Gerdes

Phyllis and Bob Goff

Daniel Goodrich

M. Graciela Gonzalez

Katherine and Harley Grantham

Carol L. and Walter Griffin

Bonnie Grzeskowiak

Ken and Suanne Hallberg

Betsy and Mike Halvorson

Hegman Family Foundation

Rosemary J. Heinitz

Stefan and Lonnie Helgeson

Anne Hesselroth

Mary Kay Hicks

Dr. Kenneth and Linda Holmen

J. Michael Homan

Peter and Gladys Howell

Patty Hren-Rowan

IBM Matching Grants

Ideagroup Mailing Service

and Steve Butler

Ora Itkin

Ann Juergens and Jay Weiner

Carol A. Johnson

Craig Johnson

Pamela and Kevin Johnson

Ward and Shotsy Johnson

Nancy P. Jones

Joseph Catering

and George Kalogerson

John and Kristine Kaplan

Heidi and Bradley Keil

Erwin and Miriam Kelen

Sarah Kinney

Anthony L. Kiorpes and Farrel Rich

Jean W. Kirby

Robin and Gwenn Kirby

Karen Koepp

Marek Kokoszka

Mary and Leo Kottke

Dave and Linnea Krahn

Susan and Edward Laine

Landmark Center

Thelma Lareau

Gary M. Lidster

John and Nancy Lindahl

Thomas Logeland

Barbara Lund and Cathy Muldoon

Mark Lystig

Richard and Finette Magnuson

Mary and Helmut Maier

Rhoda and Don Mains

Helen and Bob Mairs

Danuta Malejka-Giganti

Ron and Mary Mattson

Polly McCormack

Deborah McKnight and James Alt

Gerald A. Meigs

John A. Michel

David Miller and Mary Dew

Patricia Mitchell

Steven Mittelholtz

Bradley H. Momsen

and Richard Buchholz

Susan Moore

Martha Morgan

Elizabeth A. Murray

Holace Nelson

Kathleen Newell

Jay Shipley and Helen Newlin

Jackie and Mark Nolan

Gerald Nolte

Tom O’Connell

Scott and Judy Olsen

Barbara and Daniel Opitz

Sally O’Reilly and Phoebe Dalton

Vivian Orey

Melanie L. Ounsworth

Elizabeth M. Parker

Patricia Penovich

and Gerald Moriarty

James and Kirsten Peterson

Sidney and Decima Phillips

Gretchen Piper

Deborah and Ralph Powell

Mindy Ratner

Rhoda and Paul Redleaf

Karen Robinson

Richard Rogers

Peter Romig

Michael and Tamara Root

Diane Rosenwald

David Schaaf

Russell G. Schroedl

A. Truman and Beverly Schwartz

Sylvia J. Schwendiman

Bill and Susan Scott

Buddy Scroggins

and Kelly Schroeder

Jonathan Siekmann

Gale Sharpe

Renate Sharp

Nan C. Shepard

Rebecca and John Shockley

Darroll and Marie Skilling

Nance Olson Skoglund

Patricia and Arne Sorenson

Carol Christine Southward

Arturo L. Steely

Michael Steffes

Ann and Jim Stout

Vern Sutton

Barbara Swadburg and James Kurle

Lillian Tan

David Evan Thomas

Tim Thorson

Charles and Anna Lisa Tooker

Jerrol and Alleen Tostrud

Susan Travis

Karen and David Trudeau

Rev. Robert L. Valit

Joy R. Van

Osmo Vanska

Harlan Verke and Richard Reynen

Mary K. Volk

Beverly and David Wickstrom

Lori Wilcox and Stephen Creasey

Victoria Wilgocki

and Lowell Prescott

Christopher N. Williams

Dr. Lawrence A. Wilson

Paul and Judy Woodward

Ann Wynia


Every effort has been made to

ensure the accuracy in listing

our contributors. If your name

has been inadvertently omitted

or incorrectly listed, please

contact The Schubert Club at

651.292.3267

Friends$1 – $99Anonymous (7)

Cigale Ahlquist

Renner and Martha Anderson

Susan and Brian Anderson

Bruce and Lucinda Backberg

Barbara A. Bailey

Megan Balda and Jon Kjarum

Dr. Roger and Joan Ballou

Anita Bealer

Verna H. Beaver

Janet M. Belisle

Brian O. Berggren

Roger Bolz

David and Elaine Borsheim

Thomas K. Brandt

Charles D. Brookbank

Barbara Ann Brown

Richard and Judy Brownlee

Christopher Brunelle

Dr. Magda Bushara

James and Janet Carlson

Allen and Joan Carrier

J.J. and Debra Cascalenda

Ed Challacombe

Chapter R PEO

Kenneth Chin-Purcell

Christina Clark

Anne E. Commers

Irene Coran and Bruce Bernu

Barbara Cracraft

Ruth H. Crane

Cynthia L. Crist

Denise Nordling Cronin

Elizabeth R. Cummings

Mary E. and William Cunningham

Marybeth Cunningham

James Cupery

Kathleen A. Curtis

John Davenport

Rachel L. Davison

David Dayton

Gregg Downing

Margaret E. Durham

Suzanne Durkacs

Sue Ebertz

Kristi and Scott Eckert

Rita Eckert

Andrea Een

Katherine and Kent Eklund

Jim Ericson

Joseph Filipas

John Floberg and Martha Hickner

Susan Flaherty

John and Hilde Flynn

Dan and Kaye Freiberg

Michael George Freer

Lisl Gaal

Cléa Galhano

John and Sarah Garrett

Dr. and Mrs. Robert Geist

Celia and Hillel Gershenson

Ruth E. Glarner

Mary M. Glynn

William R. Goetz

A. Nancy Goldstein

Paul Greene

Alexandra Grin

Michelle Hackett

Phillip and Alice Handy

Eugene and Joyce Haselmann

Dr. James Hayes

Mary Ann Hecht

Marguerite Hedges

Alan J. Heider

Don and Sandralee Henry

Helen and Curt Hillstrom

Jack and Linda Hoeschler

Marian and Warren Hoffman

Dr. Charles W. Huff

Gloria and Jay Hutchinson

Paul Jansen

Fritz Jean-Noel

Angela Jenks

Maria Jette

Max Jodeit

Kara M. Johansson

Daniel Johnson

Thelma Johnson

Mary A. Jones

Dr. Robert Jordan

Amy and Randy Karger

Stanley Kaufman

Carol R. Kelly

Marla Kinney

Dr. Armen Kocharian

Krystal Kohler

Todd L. Kosovich

Jane and David Kostik

Christine Kraft and Nelson Capes

Judy and Brian Krasnow

Ingrid and Lee Krumpelmann

Erik van Kuijk

Alexandra Kulijewicz

Gloria Kumagai and Steven Savitt

Helen and Tryg Larsen

Kenyon S. Latham, Jr.

Karla Larsen

Margaret Laughton

Nowell and Julia Leitzke

Elaine Leonard

Amy Levine and Brian Horrigan

Archibald and Edith Leyasmeyer

Mary and James Litsheim

Malachi and Stephanie Long

John Longballa

Jeff Lotz

Rebecca Lund

Carol G. Lundquist

Roderick and Susan Macpherson

Samir Mangalick

Eva Mach

Vernon Maetzold

Theodore T. Malm

Rachel Mann

Carol K. March

Karen R. Markert

Chapman Mayo

David Mayo

Judy and Martin McCleery

Kara McGuire

James McLaughlin

Dr. Alejandro Mendez

Jane E. Mercier

Jeffrey Messerich

Dina Mikhailenko

Donna Millen

Dan Miller and Beth Haukebo

John W. Miller, Jr.

Margaret Mindrum

Marjorie Moody

Anne and John Munholland

Sandra Murphy

Shannon Neeser

Stephen C. Nelson

Sarah L. Nagle

Jane A. Nichols

Polly O’Brien

Tom O’Connell

Erin O’Neill and Caitlin Serrano

Glad and Baiba Olinger

Ilene A. Olson

Dennis and Turid Ormseth

Thomas W. Osborn

Melanie Ounsworth

H.W. and Mary Park

James L. Phelps

Sydney M. Phillips

Michael Rabe

Alberto and Alexandra Ricart

Drs. W.P. and Nancy W. Rodman

Steven Rosenberg

Stewart Rosoff

Nancy and Everett Rotenberry

Anne C. Russell

Sandra D. Sandell

Linda H. Schelin

Sarah M. Schloemer

Ralph J. Schnorr

Carl H. Schroeder

Jon J. Schumacher and Mary Briggs

Steven Seltz

Ed and Marge Senninger

Jay and Kathryn Severance

Shelly Sherman

Elizabeth Shippee

Brian and Stella Sick

Bill and Celeste Slobotski

Susannah Smith

and Matthew Sobek

Emma Small

Robert Sourile

Karen and Stan Stenson

Cynthia Stokes

James and Ann Stout

Ralph and Grace Sulerud

Benjamin H. Swanson

Ruthann Swanson

Gregory Tacik and Carol Olig

Bruce Tennebaum

Bruce and Marilyn Thompson

Karen Titrud

Robert Tomaschko

Charles D. Townes

Ann Treacy and Aine O'Donnell

Chuck Ullery and Elsa Nilsson

Gordon Vogt

Sarah M. Voigt

Carol and Tim Wahl

William K. Wangensteen

Helen H. Wang

Betsy Wattenberg and John Wike

Stuart and Mary Weitzman

Hope Wellner

Melinda and Steven Wellvang

Deborah Wheeler

Vickie Wheeler

Alex and Marguerite Wilson

Roger and Barbara Wistrcill

Yea-Hwey Wu

Tim Wulling and Marilyn Benson

Janis Zeltins

John Ziegenhagen

schubert.org 41

In honor of the marriage of Mark

Baumgartner and Paul D. Olson


and James Johnson

Barbara Lund and Cathy Muldoon

In honor of the Elkina Sisters

Rebecca Shockley

In honor of the marriage of Kyle

Kossol and Tom Becker

Mark Baumgartner and Paul Olson

Jonathan Siekmann

Rick Reynen and Harlan Verke

In honor of Lisa Niforopulos

Gretchen Piper

In memory of Hilda Haarstick

Elizabeth R. Cummins

In memory of Dr. John Davis

August Rivera, Jr.

In memory of Leon R. Goodrich

Bruce and Lucinda Backberg

J.J. and Debra Cascalenda

Bradley and Mary Louise Clary

Charles and Kathryn Cunningham

Kristi and Scott Eckert

Rita Eckert

Steve Farsht

John and Sarah Garrett

Ruth E. Glarner

Daniel Goodrich

Katherine Goodrich

The Family of Leon R. Goodrich

Ward and Shotsy Johnson

Amy and Randy Karger

Heidi and Bradley Keil

Ingrid and Lee Krumpelmann

Edward and Susan Laine

Richard and Thelma Lareau

John and Nancy Lindahl

Anne C. McElroy

Jeffrey Messerich

Metro Bridge Club

Dan Miller and Beth Haukebo

Erin O’Neill and Caitlin Serrano

Ilene A. Olson

Oppenheimer Wolff & Donnelly LLP

H.W. and Mary Park

Ann Treacy and Aine O'Donnell

Jerrol and Alleen Tostrud

Melinda and Steven Wellvang

Roger and Barbara Wistrcill

Jamie W. Witt

In memory of Manuel P. Guerrero

August Rivera, Jr.

In memory of Hilda Haarstick

Elizabeth Cummins

An endowment gift to

support the Thelma Hunter

Scholarship Prize in honor of

Thelma's 90th Birthday

Hella Mears Hueg and Bill Hueg

In memory of Hilary Kempton

Nina and John Archabal

Dorothea Burns


Julie and Anders Himmelstrup

Megen Balda and Jon Kjarum

Paul D. Olson

and Mark L. Baumgartner

Judy and David Ranheim

Connie Ryberg

In memory of Dorothy Mattson

Penny and Cecil Chally

In memory of Jeanette Maxwell Rivera

August Rivera, Jr.

In memory of Jeanne Shepard

Nan C. Shepard

In memory of Nancy Shepard

Nan C. Shepard

In memory of Tom Stack

Eileen V. Stack

In memory of Catharine Wright



Diane and Mark Gorder

Paul D. Olson

John and Barbara Rice

Helen McMeen Smith

Memorials and Tributes

This activity is made possible by the voters of Minnesota

through a Minnesota State Arts Board Operating Support

grant, thanks to a legislative appropriation from the arts

and cultural heritage fund, and a grant from the Wells Fargo

Foundation Minnesota.

The Schubert Club is a proud member of The Arts Partnership with The Saint Paul Chamber Orchestra, Minnesota Opera

and Ordway Center for the Performing Arts

Thank you to the following organizations

The Deco Catering is the preferred caterer of The Schubert Club


The Schubert Club Endowment

The Schubert Club Endowment was started

in the 1920s. Today, our endowment

provides more than one-quarter of our

annual budget, allowing us to offer free

and affordable performances, education

programs, and museum experiences for

our community. Several endowment funds

have been established to support education

and performance programs, including the

International Artist Series with special

funding by the family of Maud Moon

Weyerhaeuser Sanborn in her memory. We

thank the following donors who have made

commitments to our endowment funds:

The Eleanor J. Andersen

Scholarship and Education Fund

The Rose Anderson

Scholarship Fund

Edward Brooks, Jr.

The Eileen Bigelow Memorial

The Helen Blomquist

Visiting Artist Fund

The Clara and Frieda Claussen Fund

Catherine M. Davis

The Arlene Didier Scholarship Fund

The Elizabeth Dorsey Bequest

The Berta C. Eisberg

and John F. Eisberg Fund

The Helen Memorial Fund

“Making melody unto the Lord in her very

last moment.” – The MAHADH Fund

of HRK Foundation

The Julia Herl Education Fund

Hella and Bill Hueg/Somerset

Foundation

The Daniel and Constance Kunin Fund

The Margaret MacLaren Bequest

The Dorothy Ode Mayeske

Scholarship Fund

In memory of Reine H. Myers

by the John Myers Family,

Paul Myers, Jr. Family

John Parish Family

The John and Elizabeth Musser Fund

To honor Catherine and John Neimeyer

By Nancy and Ted Weyerhaeuser

In memory of Charlotte P. Ordway

By her children

The Gilman Ordway Fund

The I. A. O’Shaughnessy Fund

The Ethelwyn Power Fund

The Felice Crowl Reid Memorial

The Frederick and Margaret L.

Weyerhaeuser Foundation

The Maud Moon Weyerhaeuser Sanborn

Memorial

The Wurtele Family Fund

Music in the Park Series Fund

of The Schubert Club Endowment

Music in the Park Series was established by

Julie Himmelstrup in 1979. In 2010, Music

in the Park Series merged into The Schubert

Club and continues as a highly sought-after

chamber music series in our community.

In celebration of the 35th Anniversary of

Music in the Park Series and its founder Julie

Himmelstrup in 2014, we created the Music

in the Park Series Fund of The Schubert

Club Endowment to help ensure long-term

stability of the Series. Thank you to Dorothy

Mattson and all of the generous contributors

who helped start this new fund:

Meredith Alden


Lydia Artymiw and David Grayson

Carol E. Barnett

Lynne and Bruce Beck

Harlan Boss Foundation

Jean and Carl Brookins

Mary Carlsen and Peter Dahlen

Donald and Inger Dahlin

Bernice and Garvin Davenport

Adele and Richard Evidon

Maryse and David Fan

Roxana Freese

Gail Froncek

Catherine Furry and John Seltz

Richard Geyerman

Julie and Anders Himmelstrup

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Thelma Hunter

Lucy Jones and James Johnson

Ann Juergens and Jay Weiner

Phyllis and Donald Kahn

Barry and Cheryl Kempton

Marion and Chris Levy

Estate of Dorothy Mattson

Wendy and Malcolm McLean

Marjorie Moody

Mary and Terry Patton

Donna and James Peter

Betty and Paul Quie

Barbara and John Rice

Shirley and Michael Santoro

Mary Ellen and Carl Schmider

Sewell Family Foundation

Katherine and Douglas Skor

Eileen V. Stack

Ann and Jim Stout

Joyce and John Tester

Thrivent Financial Matching Gift Program

Clara Ueland and Walter McCarthy

Ruth and Dale Warland

Katherine Wells and Stephen Wilging

Peggy R. Wolfe

The Legacy Society

The Legacy Society honors the dedicated

patrons who have generously chosen to leave

a gift through a will or estate plan. Add your

name to the list and leave a lasting legacy of

the musical arts for future generations.

Anonymous

Frances C. Ames*

Rose Anderson*

Margaret Baxtresser*

Mrs. Harvey O. Beek*

Helen T. Blomquist*

Dr. Lee A. Borah, Jr.

Raymond J. Bradley*

James Callahan

Lois Knowles Clark*

Margaret L. Day*

Timothy Wicker and Carolyn Deters

Harry Drake*

Mary Ann Feldman

John and Hilde Flynn

Salvatore Franco

Marion B. Gutsche*

Anders and Julie Himmelstrup

Thelma Hunter

Lois and Richard King

Florence Koch*

Dorothy Mattson*

John McKay

Mary Bigelow McMillan

Jane Matteson*

Elizabeth Musser*

Heather Palmer

Mary E. Savina

Lee S. and Dorothy N. Whitson*

Richard A. Zgodava*

Joseph Zins and Jo Anne Link

*In Remembrance

Become a member of The Legacy Society by

making a gift in your will or estate plan. For

further information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment and Legacy Society

schubert.org 43

www.mndance.org

P E R F O R M A N C E SFri, Dec 19, 7:30 pm

Sat, Dec 20, 2:00 & 7:30 pm

Sun, Dec 21, 3:00 pm

Tue, Dec 23, 7:30 pm

Tickets available at the State Theatre Box O�ce or through Ticketmaster.com (800.982.2787)

P R E S E N T S

5 0 t h A N N I V E R S A R Y

RETURNS TO THE

STATE THEATRE !

Jonathan Biss

t h e

Arto fRussiathe art of Russia: energy and eleganceThu Nov 6 11am / Fri Nov 7 & Sat Nov 8 8pm

Courtney Lewis, conductor / Kirill Gerstein, piano

The phenomenal Kirill Gerstein takes the keyboard for two shining piano concertos by Shostakovich and Prokofiev-music inspired by Russian folk tales that salutes our partnership with the Museum of Russian Art.

the art of Russia: the slavic soulThu Nov 13 11am / Fri Nov 14 & Sat Nov 15 8pm

Hannu Lintu, conductor / Jonathan Biss, piano

Keyboard wonder Jonathan Biss brings out all the depth and operatic drama in this concerto from Mozart, then experience the lush scoring in Prokofiev’s Fifth Symphony.

Disney fantasia – Live in Concertwith the Minnesota orchestraSat Nov 29 8pm / Sun Nov 30 2pm

Sarah Hicks, conductor

Prepare to be spellbound by this celebration of historic animation with great orchestral music.

612.371.5656 / minnesotaorchestra.org / Orchestra Hall

navidad en Cuba: Christmas in havana Cathedralwith the Minnesota orchestra and the Rose ensembleSun Dec 14 2pm

Thrill to the sounds of a stunning rhythmic tradition that sparkles with energy and excitement—Feliz Navidad!

Jingle Bell Docwith the Minnesota orchestraFri Dec 19 8pm / Sun Dec 21 2pm

Doc Severinsen, conductor and trumpet / Minnesota Chorale

a scandinavian Christmas with the Minnesota orchestraSat Dec 20 2pm / Sun Dec 21 7pm

Christina Baldwin and Robb Asklof, vocals / Patrick Harison, accordionEthnic Dance Theatre / Minnesota Boychoir / Twin Cities Girls Chorus

new Year’s eve:sparkling Gershwin to Ring in the new Year!Wed Dec 31 7pm & 10pm

Osmo Vänskä, conductor / Sylvia McNair, soprano

Osmo Vänskä /// Music Director

kiRiLL GeRstein

Holiday concerts

*Please note: The Minnesota Orchestra does not perform on this program.PHOTOS Gerstein: Steve J. Sherman, Biss: Benjamin Ealovega, Christmas: Greg Helgeson, McNair: Roni Ely

the Rose enseMBLe

sCanDinavian ChRistMas

sYLvia McnaiR

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Documents

An die Musik Sept 30 - Oct 29, 2014