an die musik jan 8 - mar 4, 2015

January 8 – March 4, 2015

An die MusikThe Schubert Club • schubert.org

You can get there. We can help.

schubert.org 3

You can get there. We can help.

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An die MusikJanuary 8 – March 4, 2015

Table of Contents

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

9 Calendar of Events: January – April

10 Hill House Chamber Players

13 Family Fun in The Schubert Club Museum

14 Schubert Ensemble of London

20 Benjamin Grosvenor

26 Courtroom Concerts

32 Intervals: Alumni News of The Schubert Club Scholarship Competition

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

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

Hilary Hahn violinCory Smythepiano

at the Ordway

April 15, 2015

schubert.org

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

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

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

and allows others to experience the performance in your seats.

Turnbacks must be received one hour prior to the performance.

There is no need to mail in your tickets. Thank you!

The Schubert Club Ticket Office:

651.292.3268 • schubert.org/turnback

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

cover: Benjamin Grosvenor

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President's and Artistic and Executive Director's Welcome

Nina ArchabalPresident

Barry KemptonArtistic and Executive Director

Welcome to The Schubert Club.

And a Happy New Year to you! We look forward to another year of glorious music-making by artists and ensembles, both

from around the world and within our own local community. Whether you attend our International Artist Series at the

Ordway, Schubert Club Mix, Music in the Park Series, or one of our other presentations or musical events, may live music

bring joy and meaning to our lives during these cold months of the year.

We are excited about the imminent opening of the new Ordway Concert Hall and encourage you to attend one or more

of the opening performances we’re calling Rock the Ordway. There is a wide range of music to choose from–something for

every musical taste; and in a concert venue which promises to have outstanding acoustics. As The Schubert Club is one

of four partner organizations of the Arts Partnership which has made this renovation of the Ordway possible, we wish

to thank everyone in this extraordinary Twin Cities community who has contributed to the campaign. There has been

vital State and City support as well as leadership gifts from distinguished individuals and families providing the solid

foundation to our fundraising. But the full list of contributors is broad and includes many of you. We encourage you to

view the donor wall and thank those who have made it possible. We thank also the tireless Campaign Committee and its

leadership of Gus Blanchard, Lowell Noteboom, and former Schubert Club Board President Lucy Rosenberry Jones for their

direction and endless energy which has enabled us to complete our campaign goal.

We believe music has a bright future and an important role to play in our community. We thank you for being part of our

Schubert Club family.

An die Musik!

Thank you to all individual donors and organizations

whose generous support

makes our programs possible.

The Schubert ClubCONCERTS • EDUCATION • MUSEUM

schubert.org 7

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schubert.org 9

More information at schubert.orgBox office 651.292.3268

Calendar of EventsJanuary – April

January 2015Sunday, January 18 • 7:00 PM Aria

Schubert Club Mix

Brooklyn Rider & Greg Saunier, drums

Tuesday, January 22 • 7:30 PM Landmark Center

Live at the Museum

Music and Tales from the Manuscripts (all new)

with Vern Sutton & Maria Jette

February 2015Mondays, February 2 & 9 • 7:30 PM James J. Hill House

Hill House Chamber Players

"Last Words"

Sunday, February 15 • 4:00 PM St. Anthony Park UCC

Music in the Park Series

Schubert Ensemble of London

Tuesday, February 24 • 7:30 PM Ordway Center

International Artist Series

Benjamin Grosvenor, piano

Friday, February 27 • 6:00 & 7:15 PM St. Matthew's Episcopal

Music in the Park Series Family Concerts

Artaria String Quartet: "Making Friends through Music"

March 2015Sunday, March 8 • 2:00 PM Ordway Concert Hall

Rock the Ordway

Pekka Kuusisto, violin & Dermot Dunne, accordion

Tuesday, March 10 • 7:30 PM Aria

Schubert Club Mix

Pekka Kuusisto, violin & Jay Gilligan, juggler

Thurs & Fri , March 12 & 13 • 10:30 AM Landmark Center

KidsJam Workshop: "Jigs 'n Jam with Northern Gael"

Ross Sutter, Laura MacKenzie & Danielle Enblom

Friday, March 13 • 6:00 & 7:15 PM St. Matthew's Episcopal


Northern Gael (Ross Sutter, Laura MacKenzie & Danielle Enblom)

Friday, March 20 • 7:30 PM Ordway Concert Hall

Rock the Ordway

"Love Songs" Michelle Arezaga, soprano, Tamara Mumford,

mezzo-soprano, Paul Appleby, tenor, Kelly Markgraf, baritone

Gilbert Kalish, piano, Wu Han, piano

Sunday, March 22 • 1:00 PM Ordway Concert Hall

Rock the Ordway

Bruce P. Carlson Scholarship Competition

Winners Recital

April 2015Thurs & Fri , April 9 & 10 • 10:30 AM Landmark Center

KidsJam Workshop: "Latin American Folkloric Music"

Leo & Kathy Lara

Friday, April 10 • 6:00 & 7:15 PM St. Matthew's Episcopal


Leo & Kathy Lara: "Latin American Folkloric Music"

Wednesday, April 15 • 7:30 PM Ordway Music Theater

International Artist Series

Hilary Hahn, violin & Cory Smythe, piano

Sunday, April 19 • 4:00 PM St. Anthony Park UCC


St. Lawrence String Quartet

Monday, April 20 • 7:30 PM Christ Church Lutheran

Accordo

Tuesday, April 21 • 7:30 PM Landmark Center

Live at the Museum

“Samuel Barber, In Words and Song”

Florestan Recital Project

Friday, April 24 • 7:30 PM Bedlam Lowertown

Schubert Club Mix

Stephen Prutsman, piano

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


“Fandango”

St. Lawrence String Quartet

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The Schubert Cluband

The Minnesota Historical Society

present


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

Guest artists: Karin Wolverton, soprano • Helen Chang Haertzen, violin

Mondays, February 2 & 9, 2015 • 7:30 PM

"Last Words"

Intermission

Quartet in D minor, Opus 103 (Hob. III: 83) Joseph Haydn

Andante grazioso Menuet ma non troppo presto

Four Last Songs Richard Strauss (arr. Scott Tisdel)

Frühling (Spring) September Beim Schlafengehn (While Going to Sleep) Im Abendrot (Evening Glow)

Transitions for Violin and Guitar Jeffrey Van

Carry My Hope Dreams (17th-c. lullaby, arr. Van) Musing and Remembrance Uncertainty Supplications The Winds of Change Release (Oh, Freedom, trad., arr. Van) Floating A Flower of the Field

from String Quartet No. 13 in B-flat, Opus 130 Ludwig van Beethoven

Cavatina: Adagio molto espressivo Finale: Allegro

schubert.org 11

“Mozart, Mozart!” were the last words of Gustav Mahler,

according to his wife Alma. Legend has it that Goethe cried

“More light!,” which amounts to the same thing. While child

prodigies like Mendelssohn and Korngold were celebrated in

their salad days, less attention is paid to artists at the end of

life. And dessert should be savored.

There are 68 string quartets by Joseph Haydn (1732–1809),

a treasury of technical and expressive invention. But Haydn

was only able to complete two of six projected Opus 77

quartets, leaving the torso of a prospective quartet in D

minor. What was published as Opus 103 is a pair of middle

movements. The Andantino explores a wilderness of distant

keys. Haydn asked his publisher to print at the end of the

Menuetto—part explanation, part apology—a phrase from

his song “The Old Man”: “Gone is all my strength; old and

weak am I.” But Quartet No. 68 is still clearly the work of

a master.

Hill House Chamber PlayersMondays, February 2 & 9, 2015 • 7:30 PM • James J. Hill House

As a guitarist, Jeffrey Van (b. 1941) has premiered over 50

works, among them five concertos and Argento’s Letters

from Composers. He has also composed music for chorus,

including the recently-premiered Reaping the Whirlwind/

The Harvest of War, and many guitar chamber works. As

Van tells us, “Transitions represents a selection, expansion

and reworking of short themes and movements originally

composed for the Minnesota Public Television productions

Honoring Choices, which explored time-honored and

changing traditions and rituals of individuals and

communities. The present suite for violin and guitar reflects

the atmosphere, moods, musings and mindsets revealed

and experienced through traversing and embracing the

various stages of life.”

Strauss wrote to the great Norwegian soprano Kirsten Flagstad, expressing his hope that she would premiere his Four Last Songs.

continued next page.

Richard Strauss (1864–1949) wrote over 200 songs in

the course of his long creative life. His wife Pauline was a

formidable soprano (and personality). As a wedding present

in 1894, Strauss gave her a garland that included the now-

beloved songs “Morgen” and “Cäcilie.” He returned to the

genre in 1948 to crown his oeuvre with Four Last Songs for

soprano and large orchestra, meditations on time of day,

time of year and time of life. Three poems are by 1946 Nobel

laureate Hermann Hesse (1877–1962); the last is by Joseph

von Eichendorff (1788–1857), one of the great lyric poets

of his age. The Four Last Songs are presented here in an

arrangement for soprano and string quartet by Scott Tisdel,

associate principal cello of the Milwaukee Symphony.

Strauss’s late music speaks a language little changed from

a century before. But the style is uncommonly spacious and

lyrical, spinning out long melismas in “Frühling.” The violin

interlude in the magical “Beim Schlafengehn” suggests

the unfettered soul in flight. “September” glows like the

embers of Wagner’s Magic Fire. “Im Abendrot” portrays an

elderly couple at sunset, a pair of larks trilling overhead. The

question “Is this perhaps death?” prompts a phrase from

Strauss’s own Death and Transfiguration, composed 60 years

earlier. Said Strauss on his deathbed: “Dying is just the way I

composed it.” Neither he nor Pauline lived to hear the

Four Last Songs.

A phrase from Haydn's song "The Old Man" used on his calling card

Program notescontinued

Sounds of Earth, the golden record sent on the Voyager spacecraft in 1977, includes a recording by the Budapest String Quartet of Beethoven's Opus 130 Cavatina.

A cavatina is a short operatic aria, but the title is also

used for songful instrumental pieces. In the Cavatina

from Beethoven’s Quartet in B-flat, violin sings a deeply

heartfelt melody which is echoed—assented to, really—by

the other strings. In the extraordinary middle section, the

violin, marked beklemmt (suffocated) breaks down into sobs

that reach beyond music into pure feeling. According to

Beethoven’s friend Karl Holz, the composer was so moved

by his own Cavatina that the mere thought of it would

bring tears.

Beethoven’s original Finale to Opus 130 is longer than all the

other movements put together. Called Grosse Fuge (Great

Fugue), it is a complete piece in itself, difficult to play and

frightfully intense. Beethoven’s publisher convinced him to

write a more manageable last movement, publishing the

Fugue separately as Opus 133. This second finale, written

in 1826 and the last music Beethoven (1770–1827) wrote,

is the one heard tonight. The G of the Cavatina’s final chord

becomes a vamp to a theme that is part Haydn, part folk

and all Beethoven. Three repeated notes figure prominently.

As if to say “Here’s what you missed!” the lyrical second

theme ends with a reference to the theme of the Great

Fugue. Beethoven thus disproves George Bernard Shaw’s

ultima verba: “Dying is easy, comedy is hard.”

Program notes © 2014 by David Evan Thomas

The Schubert

Club

schubert.org

651.292.3268

Love SongsFriday, March 207:30 PM

Featuring vocal soloists of the

Chamber Music Society of Lincoln

Center with Artistic Director

Wu Han and Gilbert Kalish, this

program will be a dedication to

affairs of the heart featuring

lieder from Brahms, Schubert,

Schumann, and Berg.

Michelle Arezaga, soprano

Tamara Mumford, mezzo

Paul Appleby, tenor

Kelly Markgraf, baritone

Gilbert Kalish, piano

Wu Han, piano

Winners RecitalSunday, March 22

1 PM

The Bruce P. Carlson Student

Scholarship Competition awards

$50,000 annually to young

musicians. This special, free

concert features the talented

young winners from the 2015

competition.

Pekka Kuusisto &Dermot DunneSunday, March 82 PM

Creative Finnish violinist, Pekka

Kuusisto is joined by Dermot

Dunne, accordion, in a program

of J. S. Bach Violin Partitas

interspersed with

Scandinavian traditional tunes.

Ordway COnCert Hall

Grand OpeninG COnCerts

schubert.org 13

The Schubert Club is delighted to announce KidsJam, a new

program for families this spring! KidsJam is our name for a

series of family friendly workshops, designed for kids ages

4-12 where they can play, listen, learn and create with music.

Led by a diverse array of musicians and performing artists,

children and the grown-ups they love will experience live

music, get involved through creative activities and move-

ment, and learn about the people, cultures and sounds

behind the music.

Each 75-minute workshops is tailored for different age

groups of children with their families. Participating kids will

receive a KidsJam membership badge, plus free admission to

the Friday evening Family Concert.

Our 2015 launch will feature the following two programs:

March 12 and 13 – Jigs ‘n Jam with Northern Gael, with Ross

Sutter, Laura MacKenzie, and Danielle Enbloom, featuring

music and dance from the Irish and Scottish Countrysides

April 9 and 10 – Latin American Folkloric Music

with Leo and Kathy Lara, featuring the traditional songs

Family Fun in The Schubert Club Museumand Saint Paul Community

and rhythms of Latin America using a wide assortment of

authentic instruments.

KidsJam will offer two weekday workshops in The Schubert

Club Museum, one for Early Childhood ages 4-6 and the

other for Home School students Ages 6-12 along with the

adults who accompany them.

In addition, The Schubert Club will bring the KidsJam pro-

gram to various Twin Cities neighborhood venues.

For more information visit schubert.org/education/kidsjam

Making Friends Through MusicArtaria String Quartet

Friday, February 27, 2015 • 6:00 & 7:15 PM • St. Matthew's Episcopal Church"Minnesota's foremost teaching and performing quartet." – St. Paul Pioneer Press

Special performance by students of the Artaria Chamber Music School

schubert.org • 651.292.3268


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Goerne Program Page

The Schubert Club


presents

The Schubert Ensemble of London

William Howard, piano • Simon Blendis, violin

Douglas Paterson, viola • Jane Salmon, cello

Sunday, February 15, 2015 • 4:00 PM

Pre-concert conversation at 3:00 PM

Piano Quartet (2012) Huw Watkins

Piano Quartet No. 1 in C minor, Opus 15 Gabriel Fauré

Allegro molto moderato Scherzo: Allegro vivo Adagio Allegro molto

Piano Quartet No. 2 in E-flat major, Opus 87 Antonín Dvorák

Allegro con fuoco Lento Allegro moderato, grazioso Finale. Allegro ma non troppo

Intermission

Please silence all electronic devices

schubert.org 15

Music in the Park SeriesSunday, February 15, 2015 • 4:00 PM • Saint Anthony Park United Church of Christ

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

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

INDIVIDUALSMeredith AldenArlene AlmNina and John ArchabalAdrienne BanksLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyMary Sue ComfortDon and Inger DahlinGarvin and Bernice DavenportShirley I. DeckerKnowles DoughertyBruce DoughmanDavid and Maryse FanLisl GaalDick GeyermanDawn and Michael GeorgieffSandra and Richard HainesEugene and Joyce Haselmann

Sandy and Don HenryAnders and Julie HimmelstrupPeter and Gladys HowellWarren and Marian HoffmanGary M. Johnson and Joan G. HershbellMichael JordanAnn Juergens and Jay WeinerChris and Marion LevyRichard H. and Finette L. MagnusonDorothy Mattson EstateDeborah McKnightGreta and Robert MichaelsJames and Carol MollerMarjorie MoodyJack and Jane MoranDavid and Judy MyersGerald NolteJohn NoydKathleen NewellSallie O'Brien

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

The Schubert Ensemble has established itself over thirty

years as one of the world’s leading exponents of music for

piano and strings. Regularly giving over fifty concerts a year,

the ensemble has performed in over forty different countries. It

has over 80 commissions to its name, has recorded over thirty

CDs and is familiar to British audiences through regular broad-

casts on BBC Radio 3. In 1998 the Ensemble’s contribution to

British musical life was recognized by the Royal Philharmonic

Society when it presented the group with the Best Chamber

Ensemble Award, for which it was short-listed again in 2010.

In the past three seasons the Ensemble has performed in the

Czech Republic, Norway, Gibraltar, Spain, Holland, Canada and

the USA, and made first visits to China, Bermuda and the Unit-

ed Arab Emirates. In this period the Ensemble has also released

three recordings for the Chandos label, of works by Fauré,

Enescu and Dvorák. It has curated two festivals at London’s

Kings Place – Finding Fauré in 2009 and Saint-Saens’s Paris

in 2010, part of which was broadcast on BBC Radio 3, and

gave a three-concert Enescu/Dvorák series at Wigmore

Hall in 2010–11. It was also invited by Leeds City council to

programme its 2010–11 International Chamber Series, for

which it devised a Viennese season with the title

Transfigured Night. The Ensemble started 2012 with a trip to

Amsterdam, where it performed in the Concertgebouw Hall

on New Year’s Day.

The Ensemble has established a reputation for innovation

in the fields of new music, education and audience develop-

ment. This year will see the Ensemble continue its Residency

at the Birmingham Conservatoire as well as giving work-

shops and masterclasses at Clare College, Cambridge and

the Royal Welsh College of Music and Drama.

The past few years have also seen a succession of new com-

missions. In 2009 the Ensemble gave the world premiere of

a Piano Quintet by Jonathan Dove at the Spitalfields Festival,

and July 2010 saw the premiere of a new Piano Quartet by

Joe Cutler at the Cheltenham Festival, which was broadcast

on BBC Radio 3. In May 2011, it gave the world premiere of

Pavel Novák’s Unisono (Homage to the Bach family) for piano

quintet at the Newbury Festival and in June 2012 it gave the

world premiere of a Piano Quartet by Huw Watkins at the

Spitalfields Festival.

2013 was the Ensemble’s 30th Anniversary and celebrations

included a series of three concerts at Kings Place in March,

an anniversary concert at Wigmore Hall in November, a

major tour to the USA in February, and new commissions by

Edward Rushton and Colin Matthews.

Thank you to all those who gave to the new Music in the Park Series Endowment Fund. Please see page 38.


Program Notes

Piano Quartet (2012) Huw Watkins (b. Wales, 1976)

A century ago, Walter Willson Cobbett, the founder of the Scandinavia Belting Company and an amateur violist, poured his retirement energies into chamber music, establishing a prize for what he called “phantasy” compositions, harking back to the fantasies for viols by Purcell and his contemporaries. The phantasy was to be a one-movement form with sections varying in tempo and rhythm, lasting at most about twelve minutes. Brit-ish composers, among them Britten, Bridge, Walton and Vaughan Williams, answered the call with substantial works of this type. Huw Watkins’s Piano Quartet is also such a piece.

Chamber music has always been central to Watkins’ output. Among his two dozen chamber works are three string quartets. Five Larkin Songs won the Vocal category of the 2011 British Composer Awards. Watkins’s orches-tral music has been performed by the London Symphony Orchestra and at the 2005 BBC Proms. In 2002, Watkins appeared as soloist in his own Piano Concerto with the BBC National Orchestra of Wales. His five concer-tos include a Violin Concerto written in 2010 for Alina Ibragimova. 2014 saw the premiere of On The Other Hand – Concerto for Brass Band and Two Jazz Trumpets, com-missioned for the National Youth Brass Band of Wales. Born in Wales in 1976, Huw Watkins read Music at Kings College, Cambridge and completed graduate study in composition at the Royal College of Music. His teachers have included Julian Anderson, Robin Holloway and Alexander Goehr. Watkins is currently Professor of Composition at the Royal College of Music, London.

“I wrote my Piano Quartet in 2012 for the Schubert Ensemble, which gave the first performance at London's Spitalfields Festival,” Watkins writes. “It is a single-move-

ment work which lasts around ten minutes. It begins quietly and simply, the piano initially silent. A jolt from the piano leads into a much faster, more restless section. There is a return to the tranquil opening material, before a final reappearance of the faster music, leading to an unexpectedly serene conclusion.” The Quartet was com-missioned by The Schubert Ensemble and Spitalfields Music with funds gratefully received from The Leche Trust, The Schubert Ensemble Trust and the Spitalfields Music New Music Commission Fund.

Welsh composer Huw Watkins

Piano Quartet No. 1 in C minor, Opus 15 Gabriel Fauré (b. Pamiers, 1845; d. Paris, 1924)

Gabriel Fauré was the most forward-looking member of a generation of French composers that included Saint-Saëns, Bizet and Massenet. He was also the most historically conscious. Fauré was born in southern France, halfway between the ancient city of Carcassonne and the Pyrenees. When he was nine, his father enrolled him at the École de Musique Classique et Religieuse run by Louis Niedermeyer. “I was the sixth child in the family,” noted the composer, “and my father couldn’t afford to take risks.” The wisest vocational choice seemed to be that of choirmaster and organist. The modal music of chant—very much a part of that training—would tint his harmonies for the rest of his life and set him apart from his contemporaries.

Pauline Viardot, the famous mezzo-soprano and friend of Chopin, gives us a glimpse of the young Fauré: “He’s an excellent composer,” she wrote to a friend. “What’s more he has a good sense of humor and he’s mad about dancing. We’re very fond of him.” In the summer of 1877, 32-year-old Fauré became engaged to Viardot’s daughter

Gabriel Fauré in 1875

schubert.org 17

Marianne, who at 23 was a singer like her mother. Many of Fauré’s best-known mélodies, such as “Notre amour” and “Nell,” come from this period. When Marianne broke off the engagement, Fauré was heartbroken. “It took him months, perhaps years, to get over it,” wrote Fauré’s son Philippe. The wound was entombed in the elegiac song “Après un rève,” with its lament by Bussine: “I dreamed of happiness, passionate illusion.” It also left its mark on the Adagio of the C-minor Piano Quartet.

Even as France recovered from its defeat in the Franco-Prussian War of 1870, a new era in French chamber music was dawning with the launch of the Société nationale de musique. A founding member, Fauré had great success with the Violin Sonata in A major, which was published by Breitkopf and Härtel (although Fauré saw not a sou from it). The Piano Quartet in C minor was written between 1876 and 1879, around the time Fauré assumed the post of maître de chapelle at Paris’s Church of the Madeleine. It was premiered at the Société on February 14, 1880.

In a generally laudatory 1924 article, “Gabriel Fauré, a Neglected Master,” Aaron Copland, fresh from his studies in France, praised the work as “one of Fauré’s most delightful compositions.” But he found the first movement too conventional: “What a pity to have made the recapitulation an almost exact repetition of the exposition.” But a listener may welcome the repetition, for only then does the ear fully appreciate Fauré’s metric subtleties. The Quartet begins in 3/4 meter, but that’s not clear until the ninth measure.

In the Scherzo’s delightful play of pizzicato chords and piano whisps one may overlook Fauré’s masterful com-mand of phrase-structure, as successive phrases grow longer, then overlap. By placing the scherzo second, Fauré shifts emphasis to the funereal Adagio. That movement makes telling use of the common register of the stringed instruments, the octave or so around middle C that when played in unison is so heart-piercingly intense.

The 1880 version of the finale was criticized by Fauré’s friends; he revised it for performance in 1884. The result is driving, brilliant and wholly effective. As lovely as the second theme of this movement is, the high point may be the remarkable five-layer rhythmic texture of the development: eighth-notes in the pianist’s left hand,

Dvorák in 1894

half-notes in the right, a waltz tune in the viola, martial violin rhythms, and gong tones in the cello. Debussy is noted for his receptivity to gamelan music, but a decade before the Paris Exposition of 1889, Fauré was already thinking in such complex contrapuntal terms.

Piano Quartet No. 2 in E-flat major, Opus 87 Antonín Dvorák (b. near Prague, 1841; d. Prague, 1904)

Antonìn Dvorák was the most versatile of composers. Brahms never composed for the stage; there are no Wagner concertos; Liszt left little chamber music of substance. But, as Brahms wrote to publisher Simrock, “Dvorák has written all manner of things: operas (Czech), symphonies, quartets, piano pieces. In any case, he is a very talented man.”

Dvorák’s Piano Quartet in E-flat was composed in the summer of 1889, around the time of the glowing Eighth Symphony and just before his three-year sojourn in the U.S. Piano provides a foil to the strings’ strenuous unison theme. The fourth note of that idea—a B-natural in E-flat major—tweaks the ear. Viola states a lovely second theme in the distant key of G major. All the instruments have interesting parts in this work, but the viola stands out. That’s only natural: Dvorák was a violist. The B-natural is consequential, instigating the move to E minor for the development. Later, B major hosts the return of the second subject.

The cello’s role in the spacious Lento anticipates the concerto Dvorák will write for that instrument in America. While there are agitated moments, stillness reigns in this movement, particularly in a memorable central episode of delicate piano octaves over gently breathing strings and pizzicato cello.

continued on next page


Program Notescontinued

The third movement is rich in thematic material, as dancing strings are answered by the piano in contrasting folk styles. A motive of three descend-ing notes is inflected three different ways: subtle changes, but with great effect. The middle section, or “Trio,” maintains the three-beat meter and eight-bar phrase, but you’d never know it, so varied and un-expected is the rhythmic treatment. Brahms would have enjoyed the canons in this movement, and would also have admired the way his Czech friend evokes the cimbalom and makes the piano sparkle.

Viola states both themes in the Finale. There are hi-larious trips around the circle of fifths. In the closing bars, Dvorák reaches back to that sportive B, corrects it and makes an affirmative conclusion.


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Experience the World’s Finest Choirs at the Cathedral of Saint Paul

Choir of King’s College, Cambridge Monday, March 23, 2015, 7:30 p.m.

St. Paul’s Cathedral Choir of London Tuesday, April 28, 2015, 7:30 p.m.

Purchase tickets at 651-290-1200 or etix.com.


Goerne Program Page

The Schubert Club

presents

Benjamin Grosvenor, pianoTuesday, February 24, 2015 • 7:30 PM

Pre-concert talk hosted by Mark Mazullo at 6:45 PM

Gavotte and Variations in A minor Jean-Philippe Rameau

Chaconne for Violin Solo, from BWV 1004 J.S. Bach, arr. Busoni

Prelude, Chorale and Fugue, M.21 César Franck

Intermission

This evening's concert is dedicated to the memory of Catherine M. Davis.

Barcarolle in F-sharp major, Opus 60 Frédéric Chopin Mazurka in F minor, Opus 63, No. 2 Mazurka in C-sharp minor, Opus 30, No. 4 Ballade No. 3 in A-flat major, Opus 47

Three Pieces from Goyescas Enrique Granados

Quejas, ó la maja y el ruiseñor El amor y la muerte El pelele

Please silence all electronic devices

schubert.org 21

British pianist Benjamin Grosvenor, internationally recognized for his electrifying performances and penetrating interpretations, makes his International Artist Series debut this season. Grosvenor first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven. An exquisite technique and ingenious flair for tonal color are the hallmarks which make him one of the most sought-after young pianists in the world.

Benjamin first came to prominence as the outstanding winner of the Keyboard Final of the 2004 BBC Young Musician Competition at the age of eleven. Since then, he has become an internationally regarded pianist performing with orchestras including the London Philharmonic, RAI Torino, New York Philharmonic, Philharmonia, Tokyo Symphony, and in venues such as the Royal Festival Hall, Barbican Centre, Singapore’s Victoria Hall, The Frick Collection and Carnegie Hall (at the age of thirteen). Benjamin has worked with numerous esteemed conductors including Vladimir Ashkenazy, Semyon Bychkov, Andrey Boreyko and Vladimir Jurowski.

At just nineteen, Benjamin performed with the BBC Symphony Orchestra on the First Night of the 2011 BBC Proms to a sold-out Royal Albert Hall. Benjamin returned to the BBC Proms in 2012, performing with the Royal Philharmonic Orchestra and Charles Dutoit. Recent and future highlights include engagements with the National Symphony Orchestra, San Francisco Symphony

Orchestra, Cleveland Orchestra, Konzerthausorchester Berlin and Orquesta de Euskadi, as well as recital debuts at the Boston Celebrity Piano Series, Club Musical de Québec, Salle Gaveau, Theatre des Champs-Elysees and Southbank Centre, London. Benjamin continues to incorporate chamber music collaborations into his schedule, including a performance at the Queen Elizabeth Hall’s International Chamber Music Series with the Endellion String Quartet, alongside further collabora-tions with the Escher String Quartet and Elias Quartet.

In 2011 Benjamin signed to Decca Classics, and in doing so has become the youngest British musician ever to sign to the label, and the first British pianist to sign to the label in almost 60 years. Recorded with the Royal Liverpool Philharmonic Orchestra and James Judd, Benjamin’s most recent recording for Decca includes Saint Saëns’s Piano Concerto No. 2, Gershwin’s Rhapsody in Blue and Ravel’s Piano Concerto in G Major, interspersed with transcriptions by Godowsky and Percy Grainger. The recording has been top of the Specialist Classical Charts. During his brief, but sensational career to date, Benjamin has received Gramophone’s ‘Young Artist of the Year and ‘Instrumental Award’, a Classic Brits Critics’ Award’, UK ‘Critics’ Circle Award’ for Exceptional Young Talent and a Diapason d’Or ‘Jeune Talent’ Award.

He has been featured in two BBC television documentaries, BBC Breakfast, The Andrew Marr Show, CNN’s Human to Hero series and has recently signed a three year agreement with EFG International (EFG), the widely respected global private banking group. The youngest of five brothers, Benjamin began playing the piano aged 6. In July 2012, he graduated from the Royal Academy of Music, where he was awarded ‘The Queen’s commendation for excellence’. Benjamin has had lessons with Christopher Elton, Leif Ove Andsnes, Stephen Hough, and Arnaldo Cohen among others.

Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, February 24, 2015 • 7:30 PM • Ordway Center


Program Notes

Gavotte and Variations in A minor Jean-Philippe Rameau (b. Dijon, 1683; d. Paris, 1764)

Like J. S. Bach, Handel and Scarlatti, all of whom were born in 1685, Jean-Philippe Rameau was the leading composer of his nation. 2014 was the 250th anniversary of the death of Rameau, and the French are still celebrat-ing at www.rameau2014.fr. In a long and varied career, Rameau made his mark as a keyboard composer, published a revolutionary harmony treatise, and at the age of 50 reinvented himself as an opera composer.

Rameau published three collections of harpsichord piec-es. The third, Nouvelles suites de pièces de clavecin, came out around 1729, and is a landmark in keyboard history. The Gavotte and Variations, also called Gavotte with Six Doubles, concludes the first suite. The gavotte is a Baroque-era couples dance in two-part form that begins with an upbeat. A “double” is a type of variation in which the melody is decorated with “divisions,” each melody note spawning two or more others. Rameau highlights his innovations in a preface: the batteries of variation 4, where notes are struck—battered—by alternating hands (one on each of the French harpsichord’s two manuals); the stretches of variation 5, where the hand leaps twice in the same direction. Rameau demonstrates handily that anything one hand does can be imitated by the other.

Chaconne in D minor (from Partita No. 2 ) J. S. Bach (1685–1750), arr. Busoni

J. S. Bach needs no introduction, but a few words about Ferruccio Busoni: his father, a clarinetist, was so convinced of his son’s destiny that he christened him Ferruccio-Dante-Michelangelo-Benvenuto; the boy played Mozart’s C-minor Piano Concerto at seven and gave his first full recital at nine; Busoni’s recitals often included Bach transcriptions like this one, made around 1897; his name became so entwined with Bach’s that Busoni’s wife, during a stay in New York, was often addressed as “Mrs. Bach-Busoni.”

A chaconne is a set of variations, usually in triple meter, on a repeated bass line or harmony. It was a favorite vehicle for improvisation in the Baroque era. Michael Steinberg has described Bach’s chaconne as ”a compendium of string possibilities, much as the Goldberg Variations are an encyclopedic compendium of keyboard technique. But more marvelous still is Bach’s mastery of architecture: this is one of those pieces—the opening choruses of the Saint Matthew Passion and the B-minor Mass are others—where he works on a scale never before attempted, creating a line that creates incredibly powerful cycles of tension and release.”

Busoni proceeds with reverence and no little temerity to move Bach from the string medium to the keyboard. Although one misses the singing power of the violin, in other ways—dynamic range, pitch spectrum—the move is enriching. In places, Bach simply writes the instruction arpeggio over some chords, intending the player to improvise a texture. Here, Busoni’s pianistic Jean Philippe Rameau, by Jean-Jacques Caffieri

Ferruccio Busoni

schubert.org 23

solutions are ingenious and dazzling. At the still point, a poetic move to D major, Busoni adds quasi tromboni, evidence of the “piano orchestration” for which he was famous. Two variations later, that same trombone line reappears, added by Busoni, but completely appropriate. And where Bach ends his D-minor Chaconne with a unison, Busoni chooses a ringing major chord.

Prelude, Chorale and Fugue, M.21 César Franck (b. Liège, 1822; d. Paris, 1890)

Cesar Franck was born in the Walloon District, the French-speaking Eastern region of what is now Belgium, where within a hundred miles one could hear four dis-tinct languages spoken. His father, who was unemployed when the boy was born, dreamed of a virtuoso career for the child. Although the boy was undeniably precocious, he received a good education despite his father’s efforts rather than because of them.

Franck established a reputation as a master of improvisa-tion on the fine new Cavaillé-Coll organ at the renovated Basilica of Ste Clotilde, where he enjoyed a 32-year tenure as organist. From 1872 he was also professor of organ at the Paris Conservatoire, where he taught composition in the context of the organ studio. He left an enduring legacy in La bande à Franck: dedicated students like Chausson, Chabrier, Duparc, Dukas and Vincent d’Indy, who would later write a fawning biography of his

César Franck

The basilica of Ste Clotilde in Paris where Franck was organist from 1859 to 1890.

maître. Franck was a late-bloomer. His creativity surged in the 1880s with the controversial Symphony in D minor and three major chamber works: the Piano Quintet (1880), the Sonata for Violin and Piano (1886), and a String Quartet (1889). And he combined his love of Bach, the rigor of Schumann and the élan of Liszt in the Prélude, choral et fugue (1884), the most significant French piano work of its day.

Franck begins with frankly Bachian textures magnified for the piano. The right-hand melody is slightly off-the-beat, its accented notes seeming to point toward the heights from which the Choral will sound. This toccata material alternates with a more recitative-like strain. The piano is hardly the ideal chorale medium, as anyone who has accompanied hymns can attest. (Indeed, Saint-Saëns took exception to the Prélude, choral et fugue, saying “the choral is not a choral at all, and the fugue is not a fugue.”) But one should ask what meaning “choral” holds for Franck. He further explored the idea in his final work, the Trois chorals for organ, not chorales in the Protestant sense so much as a personal form in which lyric material is contrasted and synthesized. In any case, Franck here invents a sonorous and showy presentation for a familiar, archaic progression, an echo of the bells of Parsifal. The B-minor fugue subject bears a Franckian melodic thumb-print: two small gestures that combine to make a third longer one. Its working out and combination with the Prélude material and Choral make for dazzling pyrotechnics as well as supremely satisfying counter-point. And the final peal is especially gratifying. Father Franck—the poet of Ste Clotilde—had a theatrical sense after all.


Program Notescontinued

Four PiecesFrédéric Chopin (b. Zelazowa Wola, near Warsaw, 1810; d. Paris, 1849)

Chopin often draws on popular genres, investing them with uncommon depth and profundity. His larger struc-tures, like the Ballade and Barcarolle, are goal-directed in a way Classic-period works are not. “Above all the structure is end-weighted,” writes Chopin scholar Jim Samson, “with a rising intensity curve culminating in a reprise which is more apotheosis than synthesis.” This has something to do with the virtuoso tradition of the time. Pianists like Hummel, Weber and Thalberg sported a brilliant technique, and a big finish paid off, literally.

Dr. Charles Burney, visiting Venice in 1771, observed that “if two of the common people walk together arm in arm, they are always singing, and seem to converse in song; if there is company on the water, in a gondola, it is the same; a mere melody, unaccompanied with a second part, is not to be heard in this city.” The Barcarolle, Opus 60 is such a boat-song. Winding thirds and sixths suggest a couple in cozy conversation. When a wander-ing solo line seems to propose a fugue, Chopin, who would never flaunt craft so nakedly, offers a second theme in A major instead. This idea will return at the apotheosis. The reprise of the main theme is ushered in by a lovely, rhapsodic passage marked sfogato, a special kind of expression suggesting a bel canto singer of great range and agility. A sublime pedal point—a sustained bass note—closes this great work, as the harmony

Frédéric Chopin in 1835 (age 25) by Maria Wodzinska

deepens and we drift down the canal into the sunset. But two notes, and we are back on solid ground.

Chopin’s fifty-odd mazurkas are varied beyond descrip-tion, but they share triple meter, an emphasis on the second beat of the bar, and characteristic Polish dotted rhythms. They are stylized, not actual folk dances; they dance, but they aren’t for dancing. The languid Mazurka in F minor, composed in 1846, is one of Three Mazurkas dedicated to Countess Laura Czosnowska, who was a guest at George Sand’s house in Nohant that summer. Sand was quite catty about the Countess, but Chopin was fond of her. The skittish Mazurka in C-sharp minor is the last of a set of four composed in 1837 and dedicated to Maria Wirtemberska (1768-1854), a Polish noble, writer and philanthropist. The harmonic deflation in its closing bars would have astonished guests at her Paris salon.

Chopin’s four Ballades are matched by four Scherzos. But where the Scherzos explore permutations of sonata form, the Ballades have more to do with good, old-fashioned story-telling. The ballade was one of the poetic forms of the Medieval Ars nova. By the early nineteenth century it had evolved into a type of song; Schubert’s Erlkönig is a ballade. The title signifies no particular program, writes Samson, “but it does invite the listener to interpret musical relationships at least partly in the terms of a literary narrative, even if this can only be at the level of metaphor.”

Like a legendary tale, the 1841 Ballade No. 3 begins in the middle of things. Two sweet themes, one in A-flat, one in C major, are followed by a third waltzing idea that capers all over the place. Like a great spinner of yarns, Chopin knows how to hold back the very thing you want or expect. The climax suffuses the opening phrase with intense, brilliant light.

Three Pieces from GoyescasEnrique Granados(Born in Lerida, Catalonia, 1867; died at sea, 1916)

Catalan by birth, cosmopolitan in outlook, largely self-taught as a composer, Granados was one of the finest pianists of his day, a performer rather than an academic, a frequent partner of Casals, and a brilliant improviser. The French critic Jean-Aubry described his temperament

schubert.org 25

in dualities: listless ardor; passionate languor. “The spirit of Granados is inextricably bound up with European Romanticism,” notes Alicia de Larrocha, “with an adoration of Schumann and with the soul of Spain’s immemorial folkloric traditions, which he knew how to transform with his instinctive musical genius.”

Beginning in 1775, Francisco Goya (1746 –1828) painted a series of cartoons for the Spanish Royal Tapestry Factory. Not the famous “black” paintings on violent subjects—those came later—but witty depictions of eighteenth-century stock characters meant for the walls of the Prado or Escorial palaces. Like Verlaine in his treatment of Watteau’s Fêtes galantes, Granados created a series of “Goya-esque” scenes. These Goyescas do not depict specific paintings, but a world. Central are the majos—affected, honey-tongued dandies, and the majas—brazen, alluring creatures who, one Frenchman observed, “promise at least pleasure if they do not inspire love.”

Goyescas: Los majos enamorados (Pieces in the Style of Goya: Youth in Love) was written in two books of three pieces between 1909 and 1912. Each of the set’s six movements is dedicated to a different keyboard luminary, among them Emil Sauer, Ricardo Viñes, Harold Bauer and Alfred Cortot. The English critic Ernest Newman called it “the finest pianoforte music of our day,” and Granados was encouraged to turn the work into a one-act opera. It’s a familiar story:

The scene is set outside the Royal Chapel of San Antonio de la Florida, famous for its frescos and dome painted by Goya, who is buried there. A high-born lady, Rosario, is approached by Paquito, a toreador, arousing the jealousy of her lover, Fernando, an officer. Fernando insults Paquito, who proposes a duel later that night. Alone, Rosario asks, “Why does the nightingale in the gloom

El pelele (the puppet), one of Goya's cartones de tapices, paintings created as tapestry patterns.

Granados in 1915 or 1916

pour out her soul in amorous song?” In the sword fight, Fernando is mortally wounded. He dies in Rosario’s arms.

We hear the two culminating movements of the suite with a bonus. Granados quotes a Valencian folk song in the fourth movement, “Quejas o la maja y el ruiseñor” (Complaint, or the girl and the nightingale). It in turn inspired the 1944 Jimmy Dorsey hit “Bésame mucho.” One must wait for the F-sharp major flourish of birdsong at the end. “El amor y la muerte” (Ballad of love and death) was inspired by the tenth of Goya’s Caprichos. Its music recalls many of the themes of the suite-opera. “El pelele” was not part of the original piano suite, but comes from the opera’s opening chorus. As in Goya’s painting of the same name, several men and women are tossing a pelele (a stuffed figure) in a blanket.

With the outbreak of World War One, a planned Paris premiere of the opera Goyescas was postponed. In 1916, Granados and his wife crossed the Atlantic to hear it performed at the Metropolitan Opera, where, as the first Spanish-language opera given at that house, it was heard five times. An impromptu White House invitation from President Wilson prompted Granados to extend his American visit and re-book passage though London, with a Channel crossing. When the SS Sussex was torpedoed by a German U-boat on a sunny March after-noon, Granados, his wife and 50 others drowned. That evening, unawares, Artur Rubinstein played “La maja y el ruiseñor” at a recital in Barcelona.



The Mill City String Quartet was founded by Angela Hanson and Erika Hoogeveen

(violins), Huldah Niles (viola), and John Eadie (cello) in the fall of 2007 with the intention of

studying and performing the major works of the classical repertoire. In addition to our season

of public concerts, they also perform at private events, frequently collaborate with the singers

of Kantorei, and have worked with music students in Monticello, Andover, and Stillwater. This

season, they were chosen as a 2014-15 Artist-in-Residence throughout southern Minnesota

through Minnesota Public Radio's Class Notes program. In addition to creating a

curriculum for the school music teachers, they performed and taught a world music program

at seven elementary schools in early October. Through a generous grant from the Mankato Symphony and the Prairie Lakes Regional Arts

Council, they toured through small communities throughout southern Minnesota in the 2013-14 season. These thirteen performances

were made possible the Minnesota Legacy Amendment's Arts and Cultural Heritage Fund.

Courtroom ConcertJanuary 8, 2015 • Noon • Landmark Center

Clara Osowski, mezzo sopranoMill City String Quartet; Jessica Schroeder, piano

Hailed for her artistry and rich mezzo color, Clara Osowski was a 2012 Metropolitan Opera National Council

Upper-Midwest Regional Finalist, runner-up in the 2012 Schubert Club Bruce P. Carlson Scholarship Competition, and

was named the winner of the 2014 Bel Canto Chorus Regional Artists Competition in Milwaukee, Wisconsin. Active

as a recitalist with pianist Mark Bilyeu, she recently completed the Vancouver International Song Institute, Académie

Francis Poulenc, and was also featured at the 2014 Baldwin-Wallace Art Song Festival, in Berea, Ohio. The duo will also

be competing in "Das Lied" art song competition in Berlin, Germany this February. Highlights in 2015 include

Dominick Argento’s Casa Guidi with the Metropolitan Symphony Orchestra of Minneapolis, and Bach’s St. Matthew

Passion with the Bel Canto Chorus of Milwaukee. Clara is an Adjunct Faculty of Voice at the University of

Minnesota-Morris, and is the Associate Artistic Director of Source Song Festival, the Twin Cities new festival devoted to art song composers,

performers, and enthusiasts.

Originally from Seattle, Jessica Schroeder has performed internationally in Austria, Italy, and Vancouver, B.C. She

has collaborated in performances with singers and instrumentalists, and is a founding member of the Antithesis

Project, based in the Twin Cities. Jessica holds a Bachelor of Music in piano performance from Western Washington

University, a Master of Music in collaborative piano from the University of Oregon, and a Doctor of Musical Arts in

collaborative piano and vocal coaching from the University of Minnesota.

Courage – Charles Arthur Ridgway

La Mort D’Ophélie – Hector Berlioz

3 songs from Songs on Letters of John and Abigail Adams – James Kallembach

Banquo’s Buried – Alison Bauld

We’ll Find a Way – Paul Rudoi

schubert.org 27

Courtroom ConcertJanuary 15, 2015 • Noon • Landmark Center

MPLS (imPulse) Choral EnsembleSamuel Grace, Founding Artistic Director

“imPulse Happy Hour”

The Drunken Sailor - Sea Shanty arr. Robert Sund (b. 1942)

The Inn: A Ballad on Lithuanian Folksongs - Algimantas Bražinskas (b. 1937)

A Celtic Triptych - Ron Jeffers (b. 1943)

II. A Drinking Song

III. A Plea For Old Friends

Color Madrigals - Joshua Shank (b. 1980)

Purple Stainéd Mouth

Yellow Brooms and Cold Mushrooms

O Potores Exquisiti - Eduardo Andrés Malachevsky (b. 1960)

Four Temperance Songs - arr. and ed. Ralph Hunter (1921-2002)

I. O, Join the Army

II. Clear the Track!

III. Sparkling Water

IV. Sign Tonight

God’s Bottles - Randall Thompson (1899-1984)

Chili con Carne - Anders Edenroth (b. 1963)

All For Me Grog - Stephen Hatfield (b. 1956)

MPLS (imPulse) is a 24-voice festival chamber chorus based in Minneapolis, Minnesota. Founded in 2014 by Samuel Grace, the

ensemble seeks to re-imagine traditional conventions in choral music and to engage audiences with eclectic music in diverse spaces.

Artists in MPLS (imPulse) prepare music in advance of scheduled festival appearances where the ensemble rehearses, builds community,

and presents a series of concerts throughout the region.

Minneapolis-based conductor Samuel Grace is quickly gaining recognition in the Twin Cities for his work as a

conductor and choral musician. In addition to his role with MPLS (imPulse), Samuel is also Artistic Director of The

Elizabethan Syngers and Director of Music at Calvin Presbyterian Church in Long Lake. In his free time, Samuel enjoys

riding his bike, homebrewing, visiting friends, and playing trivia games. Samuel holds degrees from Gustavus Adolphus

College and The University of Minnesota.


Courtroom ConcertJanuary 22, 2015, 2014 • Noon • Landmark Center

Music of Jocelyn HagenCarrie Henneman Shaw, soprano; Matthew Williams, viola

Jocelyn Hagen, piano; Trio Matisse: Linda Chatterton, flute

Joel Salvo, cello; Rachel Brandwein, harp

KISS

I. in the dreamed of places

II. how to bone a fish

III. your hands

IV. on more

Carrie Henneman Shaw, soprano •Jocelyn Hagen, piano

Frostbite

Linda Chatterton, flute • Jocelyn Hagen, piano

Silver Wing, from Test Pilot

Carrie Henneman Shaw, soprano • Matthew Williams, viola

Poem

I. she is

II. running through

III. sleeping cascades

IV. of fire

Trio Matisse

Jocelyn Hagen (b.1980), a native of Valley City, North Dakota, composes music that has been described as “dramatic and deeply

moving” (Star Tribune). Her first forays into composition were via songwriting, and this is very evident in her work. The majority of her

compositional output is for voice: solo, chamber and choral. In 2012 she collaborated with choreographer Penelope Freeh to create

“Slippery Fish,” a quartet for two dancers, soprano and viola, and the piece was reviewed as “completely original in all respects.” (Star

Tribune). Currently she is Artist-in-Residence at the North Dakota State University School of Music, where she teaches, writes curriculum

and brings in collaborators to perform her work.

Jocelyn holds degrees in Theory, Composition, and Vocal Music Education from St. Olaf College, as well as a Masters degree in

Composition from the University of Minnesota. She is the proud recipient of two McKnight artist fellowships in 2010 and 2014. As a

performer, Jocelyn began piano lessons at the age of three and became a professional accompanist by the age of 15. In 2000 she won first

place in the Klatzkin Contemporary Keyboard Competition at Arizona State University (Alexina Louie, “Music for Piano”), and in 2003

soloed with the St. Olaf Orchestra (Francis Poulenc, “Piano Concerto, first movement”). For several years she specialized in the perfor-

mance of 20th and 21st century art song, performing and touring with soprano Jennifer Kult as the Linden Duo. Jocelyn has received

grants and awards from ASCAP, the American Composers Forum, Minnesota Music Educators Association, the McKnight Foundation, the

Jerome Foundation, VocalEssence, the Yale Glee Club, the Lotte Lehman Foundation, the Sorel Medallion Competition, the Cincinnati

Camerata, the University of Minnesota, and the San Francisco Song Festival. Her commissions include the American Choral Directors

Association, Texas, Georgia and Connecticut Choral Directors Associations, the North Dakota Music Teacher’s Association, The Singers –

Minnesota Choral Artists, Trio Callisto, the Murasaki Duo, Cantus, the Houston Chamber Choir, the Metropolitan Symphony Orchestra,

the St. Olaf Band, NDSU Gold Star Band, the ND Army Band, and the Copper Street Brass Quintet. Her music is independently published

through her website as well as through Graphite Publishing, Santa Barbara Music Publishing, and Boosey and Hawkes.

(top left) Carrie Henneman Shaw, Matthew Williams,

Jocelyn Hagen, Trio Matisse: Linda Chatterton,

Rachel Brandwein, Joel Salvo

schubert.org 29

Courtroom ConcertFebruary 5, 2015 • Noon • Landmark Center

Flying FormsMarc Levine, violin • Tulio Rondón, cello • Tami Morse, harpsichord

with Cléa Galhano, recorder; Alan Kolderie, recorder

and Spencer Martin, violin; Miriam Scholz-Carlson, violin

Elizabeth York, viola; Sara Thompson, bass

Brandenburg Concerto IV in G major, BWV 1049 – Johann Sebastian Bach

Allegro • Andante • Presto

Cello Concerto in C minor, R401 – Antonio Vivaldi

Allegro non molto • Adagio •Allegro ma non molto

Brandenburg Concerto V in D major, BWV 1050 – J.S. Bach

Allegro • Affetuoso • Allegro

Flying Forms is a baroque chamber music ensemble that has quickly established its presence in America's early music scene. Formed

out of a passion for performing early chamber music, Flying Forms collaborates with prominent musicians, musicologists, and baroque

dancers in a wide variety of programs from traditional to experimental. Based in Saint Paul, MN, the group is currently in residence at The

Baroque Room, a performance space the group created and manages, where it presents a concert series of classic repertoire. Flying Forms

keeps a regular concert schedule and also teaches at Lawrence University, University of Wisconsin at Eau Claire, and with Minnesota

Youth Symphonies. Past performances have included concerts at the Metropolitan Museum of Art, Yale University, Symphony Space, (le)

Poisson Rouge, and Stony Brook University where the group presented a concert of seven new works commissioned for period

instruments. Committed to performing music of our time, Flying Forms recently released the recording, New Music for Old Instruments,

featuring commissioned works by composer Nissim Schaul. Also of note is Flying Forms' second appearance at the Boston Early Music

Festival in June of 2009 where the group produced and performed, as part of a New York/Boston tour, a fully staged and critically

acclaimed production of Henry Purcell's Dido and Aeneas. Hailed by harpsichordist Arthur Haas as "the bright future of early music," Flying

Forms is committed to being a presence that transforms communities and inspires expression through excellence in performance,

innovative education and creative collaboration.

(top left) Marc Levine, Tulia Rondón

Tami Morse, Cléa Galhano



Irina and Julia Elkina, duo piano

The Dawn – Beatrice Ohanessian

Larghetto and Allegro for Two Pianos in E flat Major – W. A. Mozart (reconstructed by F. Beyer)

Sonata for Two Pianos in D major, K. 448 – Mozart

I. Allegro con spirito

II. Andante

III. Allegro molto

Duettino Concertante nach Mozart – F. Busoni

Reminicences de Don Juan, Fantasy for Two Pianos – Mozart/Liszt

Having played together since the age of five, Russian-born identical twins Julia and Irina Elkina are praised for their “truly remark-

able oneness” by critics who also recognize that “each is a formidable pianist in her own right.” The Elkina twins won the top prize in The

Fourth Murray Dranoff International Two Piano Competition. They have performed throughout the United States, making their New York

debut in 1996 and playing return engagements there and in San Francisco, Chicago, Minneapolis/Saint Paul, Miami and New Orleans, just

to name a few. The twins have appeared at numerous festivals including Ravinia, the Gilmore Keyboard Festival, the Oregon Bach Festival

and the Minnesota Orchestra’s Sommerfest, and have performed with such conductors as Hugh Wolff and Bobby McFerrin. The Elkinas

have been heard on National Public Radio, including the weekly series Saint Paul Sunday, Performance Today, and A Prairie Home

Companion. Irina and Julia collaborated with the acclaimed Basil Twist’s puppet production Petrouchka, which returned for a much-

awaited engagement at New York’s Lincoln Center in 2008 and performances in Boston, Philadelphia, and Washington DC. In 2014 the

Elkinas collaborated locally with In the Heart of the Beast Puppet and Mask Theatre on a new production of Petrouchka. Irina recently

performed in the play 33 Variations at the Park Square Theater in St. Paul. The sisters studied under Professor Alexander Braginsky at the

University of Minnesota, where they earned their Doctoral Degrees in Piano Performance. They both are currently on the piano faculty

of MacPhail Center for Music. In 2014 Julia joined the music faculty of Century College.

schubert.org 31


Nancy Paddleford, piano

Hannah Peterson, flute & Joe Trucano, piano

Simples Coletânea – Heitor Villa-Lobos

I. Valsa Mística • II. Num Berço Encantado • III. Rodante

Preludes, Opus 11 – Alexander Scriabin

No. 1. Vivace

No. 2. Allegretto

No. 22. Lento

No. 21. Andante

No. 14. Presto

Sonata for Flute and Piano, Opus 23 – Lowell Liebermann

I. Lento • II. Presto

Five Pieces from Album for the Young for Flute and Piano, Opus 79 – Liebermann

I. Ostinato • II. Starry Night • III. Melancholy

IV. Hommage à Fauré • V. Hommage à Alkan

Nancy Paddleford (B.M. and M.M., Indiana University and D.M.A., University of Minnesota) is the senior member of the Department

of Music of St. Olaf College. Nancy’s teaching areas include piano performance, chamber music, theory skills, and piano pedagogy. Her

research emphases have been Hispanic music, piano pedagogy, and memorization techniques. Her teachers included Gyorgy Sebok,

Alfonso Montecino, and Bernhard Weiser for piano performance, and for the performance of chamber music, Janos Starker, Joseph

Gingold, William Primrose, and Franco Gulli. Her training led to a career as a chamber and solo recitalist, and an adjudicator at piano

competitions in the United States and Central America. The breadth of her interests in the fine arts and beyond resulted in her

receiving awards for encouraging cross-cultural understanding between the U.S. and Latin America, as well as her appointment by

Governor Dayton to the Board of Directors of the Perpich Center for Arts Education. A fluent speaker of Spanish she has lectured and given

master classes in Spanish before Spanish-speaking audiences. At one time she was an artist-in-residence at the University of Costa Rica

and a performer in major venues in that country.

Hannah Peterson is a former Schubert Club intern and Scholarship Competition winner. She holds a Bachelor of Music degree in

Flute Performance from the University of Cincinnati. Hannah currently works for the Minnesota Opera in addition to maintaining a

private flute studio and freelance performance schedule.

Joseph Trucano is currently pursuing his Master’s of Music Degree in organ performance at Eastman School of Music. Joseph

graduated in 2011 from Concordia College in Moorhead where he studied organ with Peter Nygaard. At Concordia, he was an active

performer on both organ and cello. He accompanied the Concordia Choir (under the direction of René Clausen) on their 2011 domestic

tour, served as featured soloist with the Concordia College Orchestra on their 2009 international tour, and was the first student in

Concordia’s history to be honored with two solo performances accompanied by the Concordia Orchestra on organ and cello. In addition

to performing, Joseph helped research and develop a new aural skills curriculum for Concordia. He is currently organist at Penfield

Presbyterian Church.



Katia Tesarczyk, violinArek Tesarczyk, celloClaudia Chen, piano

Variations on the theme "Bei Männern, welche Liebe fühlen" from Mozart's Magic Flute, for Cello and Piano – Ludwig van Beethoven

Allemande, from Partita in D minor for Solo Violin – J.S. Bach

Finale, from Concerto in G minor, Opus 26 for Violin – Max Bruch

Andante, from Sonata for Cello and Piano in G minor, Opus 19 – Sergei Rachmaninoff

Menuetto and Trio, and Finale, from Trio in C minor, Opus 1, No. 3 for Piano, Violin and Cello – Beethoven

Katia Tesarczyk, 13, has been studying the violin since she was 4 1/2 years old. She is a

student of Professor Sally O’Reilly (University of Minnesota). She has been a scholarship winner of

the Schubert Club and Mary West Competitions. This January, she will represent Minnesota in the

Junior Strings Division of the MTNA West Central Division Competition (eight states including

Minnesota). In November, 2014 she performed in Santiago, Chile. Katia’s violin (Alceste Bulfari of

Cremona, Italy), is provided by a Scholarship grant from the Virtu Foundation.

Cellist Arek Tesarczyk joined the Minnesota Orchestra in 2004 and made his solo debut with the

Orchestra in 2006, performing Beethoven’s Triple Concerto. He gave the world premiere

performances of Rautovaara’s Cello Concerto No.2, Towards the Horizon, under the baton Osmo

Vanska in 2010. He was a winner of the 2008 McKnight Fellowship for Performing Musicians. Before

joining the Minnesota Orchestra, Arek was Principal Cellist of the Winnipeg Symphony Orchestra.

He performed widely with his wife, pianist Claudia Chen, giving recitals in the U.S., Canada, Chile,

and Poland.

Pianist Claudia Chen enjoys an active career as performer and teacher. She has performed as

soloist and chamber musician in the USA, Canada, Eastern Europe and Chile. She has been a

frequent guest on the chamber music series of the Minnesota Orchestra at MacPhail and Sommer-

fest. Her performances have been aired nationally in Canada on CBC and in the USA on National

Public Radio. She received degrees from the Peabody Conservatory of Music and the U. of Minnesota

under Julian Martin and Margo Garrett; and aditionally with Leon Fleisher, Lydia Artymiw, and

John Perry.

schubert.org 33schubert.org 33

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

OfficersPresident: Nina Archabal

President Elect: Kim A. Severson

Vice President Artistic: Lynne Beck

Vice President Audit & Compliance: Gerald Nolte

Vice President Education: Marilyn Dan

Vice President Finance & Investment: Craig Aase

Vice President Marketing & Development: Mark Anema

Vice President Museum: Ford Nicholson

Vice President Nominating & Governance: Kim A. Severson

Recording Secretary: Catherine Furry

Craig Aase

Mahfuza Ali

Mark Anema

Nina Archabal

Paul Aslanian

Lynne Beck

Carline Bengtsson

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

Dorothea Burns

James Callahan

Carolyn Collins

Marilyn Dan

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Elizabeth Holden

Dorothy Horns

Anne Hunter

Kyle Kossol

Chris Levy

Jeff Lin

Kristina MacKenzie

Peter Myers

Ford Nicholson

Gerald Nolte

Gayle Ober

David Ranheim

Ann Schulte

Kim A. Severson

Gloria Sewell

Anthony Thein

John Treacy

Allison Young

Barry Kempton, Artistic & Executive Director

Tirzah Blair, Ticketing & Development Associate

Max Carlson, Program Associate

Kate Cooper, Education & Museum Manager

Julie Himmelstrup, Artistic Director, Music in the Park Series

Megan Lutz, Social Media & Marketing Intern

Tessa Retterath Jones, Marketing & Ticketing Manager

Joanna Kirby, Project CHEER Director, Martin Luther King Center

David Morrison, Museum Associate & Graphics Manager

StaffPaul D. Olson, Director of Development

Kate Walsh, Executive Assistant

Kathy Wells, Controller

Composers in Residence:

Abbie Betinis, Edie Hill

The Schubert Club Museum Interpretive Guides:

Sarah Church, Zach Forstrom, Aly Fulton, Paul Johnson,

Alan Kolderie, Sherry Ladig, Kirsten Peterson,

Dorothy Alshouse

Mark Anema

Dominick Argento

Jeanne B. Baldy

Ellen C. Bruner

Carolyn S. Collins

Dee Ann Crossley

Josee Cung

Mary Cunningham

Joy Davis

Terry Devitt

Arlene Didier

Karyn Diehl

Ruth Donhowe

Anna Marie Ettel

Diane Gorder

Julie Himmelstrup

Hella Mears Hueg

Advisory Circle

Thelma Hunter

Ruth Huss

Lucy Rosenberry Jones

Richard King

Karen Kustritz

Libby Larsen

Sylvia McCallister

Dorothy Mayeske

Elizabeth B. Myers

Nicholas Nash

Richard Nicholson

Gilman Ordway

Stephen Paulus

Christine Podas-Larson

George Reid

Barbara Rice

Estelle Sell

Gloria Sewell

Katherine Skor

Tom Swain

Jill Thompson

Nancy Weyerhaeuser

Lawrence Wilson

Mike Wright

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


The Schubert Club Annual ContributorsThank you for your generosity and support

Ambassador$20,000 and abovePatrick and Aimee Butler Family

Foundation

Anna M. Heilmaier Charitable

Foundation

MAHADH Fund of HRK Foundation

Lucy Rosenberry Jones

The McKnight Foundation

Minnesota State Arts Board

Gilman and Marge Ordway

Target Foundation

Schubert Circle$10,000 – $19,999Rosemary and David Good

Family Foundation

Dorothy J. Horns, M.D. and

James P. Richardson

Phyllis and Donald Kahn

Philanthropic Fund

of the Jewish Communal Fund

George Reid

Robert J. Sivertsen

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

The Saint Paul Foundation and

Gayle and Tim Ober

John and Nina Archabal

Boss Foundation

Julia W. Dayton

Terry Devitt

Katherine Goodrich

Harlan Boss Foundation

Hélène Houle and John Nasseff

Bill Hueg and Hella Mears Hueg

Art and Martha Kaemmer Fund

of The HRK Foundation

Barry and Cheryl Kempton

Walt McCarthy and Clara Ueland

and Greystone Foundation

Malcom and Wendy McLean

Sita Ohanessian

Marjorie and Ted Kolderie

Luther I. Replogle Foundation

Sewell Family Foundation

Fred and Gloria Sewell

Thrivent Financial for Lutherans

Foundation

Travelers Foundation

Trillium Family Foundation

Margaret and Angus Wurtele

Benefactor$2,500 – $4,999Anonymous

The Burnham Foundation

Dee Ann and Kent Crossley

Dorsey & Whitney Foundation

Richard and Adele Evidon

Michael and Dawn Georgieff

Mark and Diane Gorder

Thelma Hunter

John and Ruth Huss Fund

James E. Johnson

Lois and Richard King

Kyle Kossol and Tom Becker

Chris and Marion Levy

McCarthy-Bjorklund Foundation

and Alexandra O. Bjorklund

Alfred P. and Ann M. Moore

Peter and Karla Myers

Alice M. O’Brien Foundation

Paul D. Olson

and Mark L. Baumgartner

Ford and Catherine Nicholson

Family Foundation

Richard and Nancy Nicholson Fund

of The Nicholson Family

Foundation

John and Barbara Rice

Lois and John Rogers

Saint Anthony Park

Community Foundation

Michael and Shirley Santoro

Securian Foundation

Kim Severson and Philip Jemielita

Charles and Carrie Shaw

Katherine and Douglas Skor

Wenger Foundation

Nancy and Ted Weyerhaeuser

Guarantor$1,000 – $2,499Anonymous

Mahfuza and Zaki Ali

Suzanne Ammerman

Elmer L. & Eleanor J. Andersen

Foundation

Suzanne Asher

Paul J. Aslanian

Craig and Elizabeth Aase

J. Michael Barone and Lise Schmidt

Eileen M. Baumgartner

Lynne and Bruce Beck

Dr. Lee A. Borah, Jr.

Dorothea Burns

James Callahan

Deanna L. Carlson

Cecil and Penny Chally

Rachelle Chase and John Feldman

John and Marilyn Dan

Cy and Paula DeCosse Fund of

The Minneapolis Foundation

Joy L. Davis

Dellwood Foundation

Joan R. Duddingston

William and Bonita Frels

Dick Geyerman

Jill Harmon and Frank Fairman

Anders and Julie Himmelstrup

Anne and Stephen Hunter

Susanna and Tim Lodge

The Thomas Mairs and

Marjorie Mairs Fund of

The Saint Paul Foundation

Roy and Dorothy Ode Mayeske

Laura McCarten

Sandy and Bob Morris

David Morrison

Elizabeth B. Myers

The Philip and Katherine Nason

Fund of The Saint Paul Foundation

Robert M. Olafson

Oppenheimer Wolff & Donnelly LLP

Performing Arts Fund

of Arts Midwest

The William and Nancy Podas

aRt&D Fund

David and Judy Ranheim

August Rivera, Jr.

Dr. Leon and Alma Jean Satran

Ann and Paul Schulte

Anthony Thein

Jill and John Thompson

John and Bonnie Treacy

Wells Fargo Foundation Minnesota

Doborah Wexler M.D.

and Michael Mann

Michael and Catharine Wright

Sponsor$500 – $999Anonymous

Mary and Bill Bakeman

Jeanne B. Baldy

Susan Brewster

and Edwin McCarthy

Michael and Carol Bromer

Tim and Barbara Brown

David Christensen

Andrew and Carolyn Collins

David and Catherine Cooper

F. G. and Bernice Davenport

Arlene and Calvin Didier

Ruth S. Donhowe

Anna Marie Ettel

David and Maryse Fan

Joan and William Gacki

Mary Kay Hicks

Andrew Hisey and Chandy John

Judith K. Healey

Frederick J. Hey, Jr.

Cynthia and Russell Hobbie

Peg Houck and Philip S. Portoghese

Gloria Kittleson

William Klein

Lehmann Family Fund of

The Saint Paul Foundation

Jeffrey H. Lin and Sarah Bronson

Wendell Maddox

Paul Markwardt

and Richard Allendorf

Lucia P. May and Bruce Coppock

Kay Phillips and Jill Mortensen Fund

of The Minneapolis Foundation

Alan and Charlotte Murray

Lowell and Sonja Noteboom

John B. Noyd

Sallie O'Brien

Patricia O’Gorman

Mary and Terry Patton

William and Suzanne Payne

Walter Pickhardt

and Sandra Resnick

Christine Podas-Larson

and Kent Larson

Sarah Rockler

Richard Rose

Juliana Kaufman Rupert

John Sandbo and Jean Thomson

Kay Savik and Joseph Tashjian

Estelle Sell

William and Althea Sell

John Seltz and Catherine Furry

Dan and Emily Shapiro

Helen McMeen Smith

John and Joyce Tester

Stephanie Van D’Elden

David L. Ward

Katherine Wells

and Stephen Willging

Jane and Dobson West

Peggy R. Wolfe

Mark W. Ylvisaker

Partner$250 – $499Anonymous (3)

Meredith B. Alden

Arlene Alm

Kathy and Jim Andrews

Lydia Artymiw and David Grayson

Adrienne B. Banks

schubert.org 35

Jerry and Caroline Benser

Christopher and Carolyn Bingham

Jean and Carl Brookins

Philip and Ellen Bruner

Mark Bunker

Gretchen Carlson

Joann Cierniak

Marybeth Dorn and Robert Behrens

Roxana Freese

General Mills Foundation

Jennifer Gross and Jerry LaFavre

Mary Beth Henderson

Joan Hershbell and Gary Johnson

Mary Abbe Hintz

Elizabeth Holden

Elizabeth J. Indihar

The International School

of Minnesota

Ray Jacobsen

Michael C. Jordan

Donald and Carol Jo Kelsey

Youngki and Youngsun Lee Kim

Sarah Kinney

Arnold and Karen Kustritz

Frederick Langendorf

and Marian Rubenfeld

Sarah Lutman and Rob Rudolph

Frank Mayers

Sylvia and John McCallister

Anne C. McElroy

Mary Bigelow McMillan

James and Carol Moller

Jack and Jane Moran

William Myers and Virginia Dudley

Nicholas Nash

Margaret Orandi

Heather J. Palmer

Richard and Suzanne Pepin

James and Donna Peter

Sidney and Decima Phillips

Barbara Pinaire and William Lough

Anastasia Porou and George Deden

Karen Robinson

Connie Ryberg

Saint Anthony Park Home

Mary E. Savina

Paul L. Schroeder

Marilynn and Arthur Skantz

Conrad Soderholm

and Mary Tingerthal

Eileen V. Stack

Richard and Jill Stever-Zeitlin

Hazel Stoeckeler and Alvin Weber

Arlene and Tom Swain

Jon and Lea Theobald

Dale and Ruth Warland

Timothy Wicker and Carolyn Deters

Contributor$100 – $249Anonymous (7)

Carl Ahlberg

Elaine Alper

Mrs. Dorothy Alshouse

Beverly S. Anderson

Mary A. Arneson

and Dale E. Hammerschmidt

Kay C. Bach

Robert Ball

Gene and Peggy Bard

Thomas and Jill Barland

Benjamin and Mary Jane Barnard

Carol E. Barnett

Roger Battreall

Carline Bengtsson

Fred and Sylvia Berndt

Ann-Marie Bjornson

Phillip Bohl and Janet Bartels

Philip and Carolyn Brunelle

Roger F. Burg

James and Janet Carlson

Alan and Ruth Carp

Carter Avenue Frame Shop

Adam Chelseth

Jo and H.H. Cheng

David and Michelle Christianson

John and Brigitte Christianson

Mary Louise and Bradley Clary

Mary Sue Comfort

Como Rose Travel

Jeanne and John Cound

Charles and Kathryn Cunningham

Lisa and Cliff Dahlberg

Don and Inger Dahlin

Shirley I. Decker

Pamela and Stephen Desnick

Janet and Kevin Duggins

Jayne and Jim Early

George Ehrenberg

Peter Eisenberg and Mary Cajacob

Steve Farsht

Flowers on the Park

Jack Flynn and Deborah Pile

John W. Fox

Salvatore Franco

Patricia Freeburg

Richard and Brigitte Frase

Jane Frazee

Gail A. Froncek

Lisl Gaal

Nancy and Jack Garland

David J. Gerdes

Ramsis and Norma Gobran

Phyllis and Bob Goff

Daniel Goodrich

M. Graciela Gonzalez

Ramsis and Norma Goran

Katherine and Harley Grantham

Carol L. and Walter Griffin

Bonnie Grzeskowiak

Sandra and Richard Haines

Ken and Suanne Hallberg

Betsy and Mike Halvorson

Hegman Family Foundation

Rosemary J. Heinitz

Stefan and Lonnie Helgeson

Anne Hesselroth

Beverly L. Hlavac

Dr. Kenneth and Linda Holmen

J. Michael Homan

Peter and Gladys Howell

Patty Hren-Rowan

IBM Matching Grants

Ideagroup Mailing Service

and Steve Butler

Ora Itkin

Veronica Ivans

Paul W. Jansen

Ann Juergens and Jay Weiner

Carol A. Johnson

Craig Johnson

Pamela and Kevin Johnson

Ward and Shotsy Johnson

Nancy P. Jones

Joseph Catering

and George Kalogerson

John and Kristine Kaplan

Heidi and Bradley Keil

Erwin and Miriam Kelen

Anthony L. Kiorpes and Farrel Rich

Jean W. Kirby

Robin and Gwenn Kirby

Karen Koepp

Marek Kokoszka

Mary and Leo Kottke

Dave and Linnea Krahn

Susan and Edward Laine

Landmark Center

Thelma Lareau

Libby Larsen and Jim Reece

David G. Larson

Gary M. Lidster

John and Nancy Lindahl

Thomas Logeland

Barbara Lund and Cathy Muldoon

Mark Lystig

Richard and Finette Magnuson

Mary and Helmut Maier

Rhoda and Don Mains

Helen and Bob Mairs

Danuta Malejka-Giganti

Ron and Mary Mattson

Polly McCormack

Deborah McKnight and James Alt

Gerald A. Meigs

John A. Michel

David Miller and Mary Dew

Patricia Mitchell

Steven Mittelholtz

Bradley H. Momsen

and Richard Buchholz

Susan Moore

Martha Morgan

Elizabeth A. Murray

Holace Nelson

Kathleen Newell

Jay Shipley and Helen Newlin

Jackie and Mark Nolan

Gerald Nolte

Tom O’Connell

Scott and Judy Olsen

Barbara and Daniel Opitz

Sally O’Reilly and Phoebe Dalton

Vivian Orey

Melanie L. Ounsworth

Elizabeth M. Parker

Patricia Penovich

and Gerald Moriarty

James and Kirsten Peterson

Gretchen Piper

Deborah and Ralph Powell

Dr. Paul and Betty Quie

Mindy Ratner

Rhoda and Paul Redleaf

Tanya Remenikova and Alex

Braginsky

Karen Robinson

Richard Rogers

Peter Romig

Michael and Tamara Root

Diane Rosenwald

David Schaaf

Mary Ellen and Carl Schmider

Russell G. Schroedl

A. Truman and Beverly Schwartz

Sylvia J. Schwendiman

Bill and Susan Scott

Buddy Scroggins

and Kelly Schroeder

Sara Ann Sexton

Jonathan Siekmann

Gale Sharpe

Renate Sharp

Nan C. Shepard

Rebecca and John Shockley

Darroll and Marie Skilling

Nance Olson Skoglund

Patricia and Arne Sorenson

Carol Christine Southward

Arturo L. Steely

Michael Steffes

Ann and Jim Stout

Vern Sutton

Barbara Swadburg and James Kurle

Lillian Tan

David Evan Thomas

Tim Thorson

Charles and Anna Lisa Tooker

Jerrol and Alleen Tostrud

Tour de Chocolat and Mina Fisher

Susan Travis

Karen and David Trudeau

Rev. Robert L. Valit

Joy R. Van

Osmo Vanska

Harlan Verke and Richard Reynen

Mary K. Volk

Maxine H. Wallin

Kathleen Walsh

Beverly and David Wickstrom

Lori Wilcox and Stephen Creasey


Victoria Wilgocki

and Lowell Prescott

Christopher N. Williams

Dr. Lawrence A. Wilson

Paul and Judy Woodward

Ann Wynia

Alison Young

Friends$1 – $99Anonymous (7)

Cigale Ahlquist

Renner and Martha Anderson

Susan and Brian Anderson

Karen Ashe

Bruce and Lucinda Backberg

Barbara A. Bailey

Megen Balda and Jon Kjarum

Dr. Roger and Joan Ballou

Anita Bealer

Verna H. Beaver

Janet M. Belisle

Brian O. Berggren

Abbie Betinis

Roger Bolz

Cecelia Boone

David and Elaine Borsheim

Thomas K. Brandt

Charles D. Brookbank

Barbara Ann Brown

Richard and Judy Brownlee

Christopher Brunelle

Elizabeth Buschor

Dr. Magda Bushara

Allen and Joan Carrier

J.J. and Debra Cascalenda

Ed Challacombe

Katha Chamberlain

Chapter R PEO

Kenneth Chin-Purcell

Kristi M. Christman

Christina Clark

Anne E. Commers

Irene Coran

Barbara Cracraft

Ruth H. Crane

Cynthia L. Crist

Denise Nordling Cronin

Elizabeth R. Cummings

Mary E. and William Cunningham

Marybeth Cunningham

James Cupery

Kathleen A. Curtis

John Davenport

Rachel L. Davison

David Dayton

Gregg Downing

Margaret E. Durham

Suzanne Durkacs

Sue Ebertz

Kristi and Scott Eckert

Rita Eckert

Andrea Een

Katherine and Kent Eklund

Jim Ericson

Joseph Filipas

John Floberg and Martha Hickner

Susan Flaherty

John and Hilde Flynn

Dan and Kaye Freiberg

Michael George Freer

Cléa Galhano

Frieda Gardner

John and Sarah Garrett

Dr. and Mrs. Robert Geist

Celia and Hillel Gershenson

Girl Scouts MN, WI 14249

Ruth E. Glarner

Mary M. Glynn

William R. Goetz

A. Nancy Goldstein

Paul Greene

Alexandra Grin

Peg Guilfoyle

Lisa Gulbranson

Michelle Hackett

Phillip and Alice Handy

Deborah L. Hanson

Eugene and Joyce Haselmann

Dr. James Hayes

Mary Ann Hecht

Marguerite Hedges

Alan J. Heider

Don and Sandralee Henry

Helen and Curt Hillstrom

Jack and Linda Hoeschler

Marian and Warren Hoffman

Dr. Charles W. Huff

Gloria and Jay Hutchinson

Fritz Jean-Noel

Angela Jenks

Maria Jette

Max Jodeit

Kara M. Johansson

Daniel Johnson

Stephen and Bonnie Johnson

Thelma Johnson

Mary A. Jones

Tessa Retterath Jones

Dr. Robert Jordan

Amy and Randy Karger

Stanley Kaufman

Carol R. Kelly

Charlyn Kerr

Marla Kinney

Dr. Armen Kocharian

Krystal Kohler

Todd L. Kosovich

Jane and David Kostik

Christine Kraft and Nelson Capes

Judy and Brian Krasnow

Ingrid and Lee Krumpelmann

Erik van Kuijk

Alexandra Kulijewicz

Gloria Kumagai and Steven Savitt

Helen and Tryg Larsen

Kenyon S. Latham, Jr.

Karla Larsen

Margaret Laughton

David Leitzke

Elaine Leonard

Amy Levine and Brian Horrigan

Archibald and Edith Leyasmeyer

Mary and James Litsheim

Malachi and Stephanie Long

John Longballa

Jeff Lotz

Rebecca Lund

Mary and David Lundberg-Johnson

Carol G. Lundquist

Roderick and Susan Macpherson

Samir Mangalick

Eva Mach

Kristina MacKenzie

Vernon Maetzold

Theodore T. Malm

Rachel Mann

Carol K. March

Karen R. Markert

Chapman Mayo

David Mayo

Judy and Martin McCleery

Mary McDiarmid

Kara McGuire

James McLaughlin

Dr. Alejandro Mendez

Jane E. Mercier

Jeffrey Messerich

Robert and Greta Michaels

Dina and Igor Mikhailenko

Donna Millen

Dan Miller and Beth Haukebo

John W. Miller, Jr.

Margaret Mindrum

Pantea Moghimi

Marjorie Moody

Anne and John Munholland

Sandra Murphy

Shannon Neeser

Stephen C. Nelson

Amy Newton

Sarah L. Nagle

Jane A. Nichols

Polly O’Brien

Tom O’Connell

Jonathan OConner

Erin O’Neill and Caitlin Serrano

Glad and Baiba Olinger

Ilene A. Olson

Dennis and Turid Ormseth

Thomas W. Osborn

Melanie Ounsworth

Elisabeth Paper

H.W. and Mary Park

Rick Penning

Dorothy Peterson

James L. Phelps

Sydney M. Phillips

Michael Rabe

Alberto and Alexandra Ricart

Drs. W.P. and Nancy W. Rodman

Steven Rosenberg

Stewart Rosoff

Nancy and Everett Rotenberry

Anne C. Russell

Sandra D. Sandell

Linda H. Schelin

Sarah M. Schloemer

Ralph J. Schnorr

Carl H. Schroeder

Jon J. Schumacher and Mary Briggs

Steven Seltz

Ed and Marge Senninger

Jay and Kathryn Severance

Shelly Sherman

Elizabeth Shippee

Ray and Nancy Shows

Brian and Stella Sick

Bill and Celeste Slobotski

Susannah Smith

and Matthew Sobek

Emma Small

Robert Sourile

Nancy Sponaugle

Karen and Stan Stenson

Cynthia Stokes

James and Ann Stout

Ralph and Grace Sulerud

Benjamin H. Swanson

Ruthann Swanson

Gregory Tacik and Carol Olig

Bruce Tennebaum

Kipling Thacker

Bruce and Marilyn Thompson

Karen Titrud

Robert Tomaschko

Charles D. Townes

Ann Treacy and Aine O'Donnell

Chuck Ullery and Elsa Nilsson

Jean O. VanHeel

Erik Vankuijk and Virginia Brooke

Gordon Vogt

Sarah M. Voigt

Karen Volk

Carol and Tim Wahl

William K. Wangensteen

Helen H. Wang

Betty and Clifton Ware

Betsy Wattenberg and John Wike

Stuart and Mary Weitzman

Hope Wellner

Melinda and Steven Wellvang

Cynthia Werner

Eva Weyandt

Deborah Wheeler

Kurt and Vickie Wheeler

Alex and Marguerite Wilson

Roger and Barbara Wistrcill

Yea-Hwey Wu

Tim Wulling and Marilyn Benson

Janis Zeltins

John Ziegenhagen

Every effort has been made to ensure the accuracy in listing our contributors. If your name has been inadvertently omitted or incorrectly

listed, please contact The Schubert Club at 651.292.3267

In honor of the Elkina Sisters

Rebecca Shockley

In honor of Alice Hanson, Professor

of Music, St. Olaf College

Kristina MacKenzie

In honor of Julie Himmelstrup’s

leadership

Carl and Mary Ellen Schmider

In honor of the marriage of Kyle

Kossol and Tom Becker

Mark Baumgartner and Paul Olson

Jonathan Siekmann

Rick Reynen and Harlan Verke

In honor of Lisa Niforopulos

Gretchen Piper

In memory of William Ammerman

Marilyn and John Dan

In memory of Clifton W. Burns

Dorothea Burns

In memory of Dr. John Davis

August Rivera, Jr.

In memory of Edna Rask Erickson

Richard and Jill Stever-Zeitlin

In memory of Leon R. Goodrich

Bruce and Lucinda Backberg

J.J. and Debra Cascalenda

Bradley and Mary Louise Clary

Charles and Kathryn Cunningham

Kristi and Scott Eckert

Rita Eckert

Steve Farsht

John and Sarah Garrett

Ruth E. Glarner

Daniel Goodrich

Katherine Goodrich

The Family of Leon R. Goodrich

Ward and Shotsy Johnson

Amy and Randy Karger

Heidi and Bradley Keil

Ingrid and Lee Krumpelmann

Edward and Susan Laine

Richard and Thelma Lareau

John and Nancy Lindahl

Anne C. McElroy

Jeffrey Messerich

Metro Bridge Club

Dan Miller and Beth Haukebo

Erin O’Neill and Caitlin Serrano

Ilene A. Olson

Oppenheimer Wolff & Donnelly LLP

H.W. and Mary Park

Ann Treacy and Aine O'Donnell

Jerrol and Alleen Tostrud

Melinda and Steven Wellvang

Roger and Barbara Wistrcill

Jamie W. Witt

In memory of Manuel P. Guerrero

August Rivera, Jr.

In memory of Hilda Haarstick

Elizabeth Cummins

An endowment gift to

support the Thelma Hunter

Scholarship Prize in honor of

Thelma's 90th Birthday

Hella Mears Hueg and Bill Hueg

In memory of Hilary Kempton

Nina and John Archabal

Dorothea Burns


Julie and Anders Himmelstrup

Megen Balda and Jon Kjarum

Paul D. Olson

and Mark L. Baumgartner

Judy and David Ranheim

Connie Ryberg

Helen M. Smith

In memory of Dorothy Mattson

Penny and Cecil Chally

In memory of Laura Platt

Meredith Alden

In memory of Nancy Pohren

Sandra and Richard Haines

In memory of Jeanette Maxwell Rivera

August Rivera, Jr.

In memory of Nancy Shepard

Nan C. Shepard

In memory of Tom Stack

Eileen V. Stack

In memory of Catharine Wright



Diane and Mark Gorder

Paul D. Olson

John and Barbara Rice

Helen M. Smith

Memorials and Tributes

This activity is made possible by the voters of Minnesota

through a Minnesota State Arts Board Operating Support

grant, thanks to a legislative appropriation from the arts

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

Foundation Minnesota.

The Schubert Club is a proud member of The Arts Partnership with

The Saint Paul Chamber Orchestra, Minnesota Opera, and Ordway Center for the Performing Arts

Thank you to the following organizations

The Deco Catering is the preferred caterer of The Schubert Club


The Schubert Club Endowment

The Schubert Club Endowment was started

in the 1920s. Today, our endowment

provides more than one-quarter of our

annual budget, allowing us to offer free

and affordable performances, education

programs, and museum experiences for

our community. Several endowment funds

have been established to support education

and performance programs, including the

International Artist Series with special

funding by the family of Maud Moon

Weyerhaeuser Sanborn in her memory. We

thank the following donors who have made

commitments to our endowment funds:

The Eleanor J. Andersen

Scholarship and Education Fund

The Rose Anderson

Scholarship Fund

Edward Brooks, Jr.

The Eileen Bigelow Memorial

The Helen Blomquist

Visiting Artist Fund

The Clara and Frieda Claussen Fund

Catherine M. Davis

The Arlene Didier Scholarship Fund

The Elizabeth Dorsey Bequest

The Berta C. Eisberg

and John F. Eisberg Fund

The Helen Memorial Fund

“Making melody unto the Lord in her very

last moment.” – The MAHADH Fund

of HRK Foundation

The Julia Herl Education Fund

Hella and Bill Hueg/Somerset

Foundation

The Daniel and Constance Kunin Fund

The Margaret MacLaren Bequest

The Dorothy Ode Mayeske

Scholarship Fund

In memory of Reine H. Myers

by her children

The John and Elizabeth Musser Fund

To honor Catherine and John Neimeyer

By Nancy and Ted Weyerhaeuser

In memory of Charlotte P. Ordway

By her children

The Gilman Ordway Fund

The I. A. O’Shaughnessy Fund

The Ethelwyn Power Fund

The Felice Crowl Reid Memorial

The Frederick and Margaret L.

Weyerhaeuser Foundation

The Maud Moon Weyerhaeuser Sanborn

Memorial

The Wurtele Family Fund

Music in the Park Series Fundof The Schubert Club Endowment

Music in the Park Series was established by

Julie Himmelstrup in 1979. In 2010, Music

in the Park Series merged into The Schubert

Club and continues as a highly sought-after

chamber music series in our community.

In celebration of the 35th Anniversary of

Music in the Park Series and its founder Julie

Himmelstrup in 2014, we created the Music

in the Park Series Fund of The Schubert

Club Endowment to help ensure long-term

stability of the Series. Thank you to Dorothy

Mattson and all of the generous contributors

who helped start this new fund:

Meredith Alden


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

612.371.5656 / minnesotaorchestra.org / Orchestra HallPHOTOS Vänskä: Lisa Mazzucco, Paasikivi: Rami Lappalainen, Dowling: Joan Marcus, Shaham: Luke Ratray Media Partner:

Star-Crossed LoversThe Music of Romeo and JulietThu Jan 29 7:30pm*Fri Jan 30 & Sat Jan 31 8pm

Osmo Vänskä, conductor

Romeo and Juliet—never was a story of more woe! Osmo Vänskä leads the Orchestra in Tchaikovsky’s Fantasy-Overture, Prokofiev’s richly dark ballet melodies and Bernstein’s retelling of the tale in West Side Story, leaving us hopeful that love endures, “Somewhere.”

*Thursday’s performance is approximately one hour, with tickets at just $29

All the World’s a StageMidsummer Night’s Dream and MoreThu Feb 12 11am / Fri Feb 13 8pmSat Feb 14 8pm / Northrop

Yan Pascal Tortelier, conductor Gil Shaham, violin

Here’s a wonderful drama! Our concert begins with young Mendelssohn’s lyrical Overture to A Midsummer Night’s Dream. Gil Shaham then plays the lush Violin Concerto of Korngold, masterful in both movies and concert music, and we close with Ravel’s timeless Daphnis and Chloe.

THE GREAT AMERICAN MUSICALRodgers and Hammerstein’s CarouselThu Mar 19 11am Fri Mar 20 & Sat Mar 21 8pm Sun Mar 22 2pm

Sarah Hicks, conductor Robert Neu, stage director

As carnival barker Billy Bigelow woos and weds Julie Jordan, their heartrending story unfolds in one unforgettable song after another. Revel in music performed by a full symphony orchestra—and see one of musical theater’s greatest, most soul-stirring masterpieces!

Chivalry and RomanceBruckner’s Fourth SymphonyThu Jan 22 11am Fri Jan 23 & Sat Jan 24 8pm

Mark Wigglesworth, conductor Samuel West, narrator

The curtain rises to the soundtrack of William Walton’s score for the film Henry V. Mark Wigglesworth then guides our star musicians into the medieval forest of Bruckner’s romantic Fourth Symphony.

A Winter’s TaleDvořák’s New World SymphonyThu Feb 5 11am / Fri Feb 6 8pm

Christopher Warren-Green, conductor Augustin Hadelich, violin

A lyrical Scandinavian take on Shakespeare opens the concert: the charming Winter’s Tale by Lars-Erik Larsson. Augustin Hadelich next solos in the majestic Tchaikovsky Violin Concerto, and we journey home to the stirring New World Symphony of Dvořák.

The TempestWith Narration by Joe DowlingThu Feb 19 11am Fri Feb 20 & Sat Feb 21 8pm

Osmo Vänskä, conductor Lilli Paasikivi, mezzo / Joe Dowling, narrator

The Winterfest concludes grandly with The Tempest, as interpreted by Sibelius and Osmo Vänskä, leading the premiere of his own arrangement of this Suite, with narration by Joe Dowling, Director of the Guthrie Theater.

Osmo Vänskä /// Music Director

SHAKESPEAREWinterfestJan 22–Feb 21

OSMO VÄNSKÄ JOE DOWLING

GIL SHAHAM LILLI PAASIKIVI

Concerts:

COMINGSOON

an die musik jan 8 - mar 4, 2015

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