an die musik oct 27-dec 31, 2013

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October 27–December 31, 2013

An die MusikThe Schubert Club • schubert.org

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An die MusikOctober 27 – December 31, 2013

The Schubert Club • Saint Paul, Minnesota • schubert.org

schubert.org 5

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An die Musik

An die Musik

Du holde Kunst, in wieviel grauen Stunden,

Wo mich des Lebens wilder Kreis umstrickt,

Hast du mein Herz zu warmer Lieb entzunden,

Hast mich in eine beßre Welt entrückt!

Oft hat ein Seufzer, deiner Harf ’ entfl ossen,

Ein süßer, heiliger Akkord von dir

Den Himmel beßrer Zeiten mir erschlossen,

Du holde Kunst, ich danke dir dafür!

To Music

You noble art, in how many gray hours,

When life’s wild cycle has entangled me,

Have you enfl amed my heart to hotter love,

Have you carried me to a better world!

Often has a sigh, fl owing from your harp,

A sweeter, holier chord of yours,

Opened better times for me from Heaven,

You noble art, I thank you for that!

Franz von Schober,

Musical setting by Franz Schubert, 1817

Table of Contents

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

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

10 Erin Keefe and Anna Polonsky

14 Music in the Park Series: 35 Years of Chamber Music in Saint Anthony Park

16 Hill House Chamber Players

18 Christian Tetzlaff and Lars Vogt

24 Schubert Club

26 Accordo

28 Calendar of Events

31 Intervals: Alumni news of The Schubert Club scholarship competitors

32 The Schubert Club Museum

34 Courtroom Concerts

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

6 THE SCHUBERT CLUB An die Musik

The 2013–2014 Schubert Club season is off to a

brilliant start. It seems as if two anniversaries–our

130th last spring and our 35th this year for the Music

in the Park Series–are fueling a wave of excellence,

moving us toward the opening of the new concert hall

in spring 2015. The hole in the ground on 5th Street

promises a new era in the musical life of

our community.

As president of The Schubert Club, I marvel at the

diversity of our offerings. We cherish our audience

that attends the International Artist Series recitals,

and we are looking forward to welcoming new

audiences to our Schubert Club Mix concerts offered

for the fi rst time this season, starting in January.

If you attend our International Artist Series, do take

advantage of the pre-concert presentation offered in

the Ordway Lobby at 6:45 PM. It should help you to

gain a deeper understanding of the music you

will hear.

The Schubert Club is proud to be Minnesota’s oldest

musical organization, but it continues to thrive

as we adapt our recitals and other programs for

contemporary audiences. We know that great music

is timeless.

An die Musik!

President's Welcome Artistic and Executive Director's Welcome

November and December are fi lled with many musical

highlights at The Schubert Club. Friends and long-

time collaborators, Christian Tetzlaff and Lars Vogt

perform in November’s International Artist Series

presentation. We are thrilled that Christian, having

been forced to cancel his recital last year, not only

made the effort to return as soon as he could, but

returns with Lars Vogt, a fellow leading soloist

from Germany.

The Schubert Club is committed to featuring the

many talented musicians of our own community.

The string ensemble Accordo has invited Saint Paul

Chamber Orchestra principal fl utist Julia Bogorad-

Kogan to join them on December 9th, and music-

making in our Landmark Center Museum includes

three programs devised by pianist Ora Itkin pairing

chamber music with the paintings of the Spanish

master, Goya.

Most Thursdays at noon in Landmark Center, you

can hear free concerts in Courtroom 317, and if you

enjoy experiencing music and museums in a less

formal setting, do join us on November 14th anytime

between 5 PM and 7 PM for Cocktails with Culture in

Landmark Center, a relaxing happy hour presentation

of music with wood-turning demonstrations from our

co-presenters, AAW Gallery of Wood Art.

Nina ArchabalPresident

Barry KemptonArtistic and Executive Director

612.925.8408 l franandbarbdavis.com

Custom-built 7BR/8BA home on nearly four acres with tennis court, two ponds, indoor pool/spa, home theater. Truly a spectacular estate for formal and informal living. Call us today for your private showing.

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schubert.org 9schubert.org 9

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

Craig Aase

Mahfuza Ali

Mark Anema

Nina Archabal

Paul Aslanian

Lynne Beck

Dorothea Burns

James Callahan

Carolyn Collins

Marilyn Dan

Arlene Didier

Anna Marie Ettel

Richard Evidon

Catherine Furry

Michael Georgieff

Elizabeth Holden

Dorothy Horns

Anne Hunter

Lucy Rosenberry Jones

Richard King

Kyle Kossol

Jeff Lin

Peter Myers

Ford Nicholson

Gerald Nolte

Gayle Ober

David Ranheim

Ann Schulte

Kim A. Severson

Gloria Sewell

Anthony Thein

John Treacy

Michael Wright

Board of Directors

Offi cersPresident: Nina Archabal

Immediate Past President: Lucy Rosenberry Jones

Vice President Artistic: Lynne Beck

Vice President Audit & Compliance: Richard King

Vice President Education: Marilyn Dan

Vice President Finance & Investment: Craig Aase

Vice President Marketing & Development: Mark Anema

Vice President Museum: Ford Nicholson

Vice President Nominating & Governance: David Ranheim

Recording Secretary: Catherine Furry

Assistant Recording Secretary: Arlene Didier

Barry Kempton, Artistic & Executive Director

Max Carlson, Program Associate

Kate Cooper, Education & Museum Manager

Lisa Dahlberg, Ticketing & Development Associate

Kate Eastwood, Executive Assistant

Julie Himmelstrup, Artistic Director, Music in the Park Series

Hannah Peterson, Social Media & Marketing Intern

Tessa Retterath Jones, Marketing & Audience Development Manager

Joanna Kirby, Project CHEER Director, Martin Luther King Center

David Morrison, Museum Associate & Graphics Manager

Paul D. Olson, Director of Development

Kathy Wells, Controller

Composers in Residence: Abbie Betinis, Edie Hill

The Schubert Club Museum Interpretive Guides:

Joe Iannazzo, Paul Johnson, Natalie Kennedy-Schuck,

Alan Kolderie, Sherry Ladig, Edna Rask-Erickson

Staff

Dorothy Alshouse

Mark Anema

Dominick Argento

Jeanne B. Baldy

Ellen C. Bruner

Carolyn S. Collins

Dee Ann Crossley

Josee Cung

Mary Cunningham

Joy Davis

Terry Devitt

Arlene Didier

Karyn Diehl

Ruth Donhowe

Anna Marie Ettel

Diane Gorder

Julie Himmelstrup

Hella Mears Hueg

Thelma Hunter

Ruth Huss

Lucy Rosenberry Jones

Karen Kustritz

Libby Larsen

Dorothy Mayeske

Elizabeth B. Myers

Nicholas Nash

Richard Nicholson

Gilman Ordway

Stephen Paulus

Christine Podas-Larson

George Reid

Barbara Rice

Estelle Sell

Gloria Sewell

Katherine Skor

Tom Swain

Nancy Weyerhaeuser

Lawrence Wilson

Advisory Circle


Goerne Program Page

The Schubert Club

Music in the Park Series

presents

Erin Keefe, violinAnna Polonsky, piano

Sunday, October 27, 2013 • 4:00 PM

Sonata No. 3 in E-fl at major, Opus 12, No. 3 Ludwig van Beethoven

Allegro con spirito Adagio con molta espressione Rondo: Allegro molto

Subito Witold Lutosławski

Z domoviny (From the Homeland), JB 1:118 Bedrich Smetana

Moderato Andantino—Moderato—Allegro vivo

Valentines (2009) David Evan Thomas

Sonata in E-fl at major, Opus 18 Richard Strauss

Allegro ma non troppo Andante cantabile Finale: Andante—Allegro

Intermission

This concert is dedicated to longtime patrons and donors, Linda and Andy Boss

schubert.org 11

Erin Keefe was recently named Concertmaster of the

Minnesota Orchestra and was awarded an Avery Fisher

Career Grant in 2006 as well as the 2009 Pro Musicis

International Award. She was also awarded the Grand

Prizes in the Valsesia Music International Violin

Competition, the Torun International Violin

Competition, the Schadt Competition and the Corpus

Christi International String Competition, and was the

Silver Medalist in the Carl Nielsen, Sendai, and

Gyeongnam International Violin Competitions.

Ms. Keefe has been an Artist Member of The Chamber

Music Society of Lincoln Center since 2010 after

previously being a member of the CMS Two program from

2006–2009. She has been featured on Live from Lincoln

Center three times with the Society. Ms. Keefe also

performs regularly with the Brooklyn and Boston Chamber

Music Societies.

In January of 2010, Ms. Keefe released her fi rst solo album

recorded with pianist Anna Polonsky.

Music in the Park SeriesSunday, October 27, 2013 • 4:00 PM

Saint Anthony Park United Church of Christ

Anna Polonsky has appeared with the Moscow Virtuosi,

the Buffalo Philharmonic, the Columbus Symphony

Orchestra, the Memphis Symphony, the Chamber

Orchestra of Philadelphia, the St. Luke's Chamber

Ensemble, and many others. A frequent guest at the

Chamber Music Society of Lincoln Center, she was a

member of the CMS Two program during 2002–2004.

In 2006 she took a part in the European Broadcasting

Union's project to record and broadcast all of Mozart's

keyboard sonatas, and in the spring of 2007 she

performed a solo recital at Carnegie Hall's Stern

Auditorium to inaugurate the Emerson Quartet's

Perspectives Series.

Ms. Polonsky was a recipient of the 2003 Borletti-Buitoni

Trust Fellowship, and of the 2011 Andrew Wolf Chamber

Music Award.

With the violist Michael Tree and clarinetist Anthony

McGill, she is a member of the Schumann Trio. Ms.

Polonsky also collaborates in a two-piano duo with her

husband, pianist Orion Weiss. In addition to performing,

she serves on the piano faculty of Vassar College.

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Ms. Keefe’s festival appearances have included the

Marlboro Music Festival, Music@Menlo, Mainly Mozart,

Music Academy of the West, Music from Angel Fire,

Ravinia, OK Mozart, Mimir, Bravo! Vail Valley, Colorado

College, Music in the Vineyards and Bridgehampton Cham-

ber Music Festivals.

She performs on a Nicolo Gagliano violin from 1732.

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

INSTITUTIONALTouring Fund of Arts Midwest Bibelot ShopsBoss FoundationCy and Paula DeCosse Fund of The Minneapolis FoundationWalt McCarthy and Clara Ueland and the Greystone FoundationMcKnight FoundationMuffuletta CafePark Perks of Sunrise BanksSaint Anthony Park Community FoundationSaint Anthony Park HomeSpeedy MarketTrillium Foundation

INDIVIDUALSArlene AlmFrank and AnnLiv BaconLynne and Bruce BeckChristopher and Carolyn BinghamAnn-Marie BjornsonAlan and Ruth CarpPenny and Cecil ChallyGarvin and Bernice DavenportShirley I. DeckerBruce DoughmanCraig J. Dunn and Candy HartDavid and Maryse FanLisl GaalDick Geyerman

Eugene and Joyce HaselmannSandy and Don HenryAnders and Julie HimmelstrupRussell and Cynthia HobbieGary M. Johnson and Joan G. HershbellMichael JordanRichard H. and Finette L. MagnusonDeborah McKnightDavid and Judy MyersJohn NoydKathleen NewellJames and Donna PeterDr. Paul and Elizabeth Quie

Michael and Shirley SantoroMary Ellen and Carl SchmiderJon Schumacher and Mary BriggsEileen V. StackCynthia Stokes James and Ann StoutJohn and Joyce TesterTim ThorsonByron TwissDale and Ruth WarlandRick Prescott and Victoria Wilgocki Peggy R. WolfeJudy and Paul WoodwardAnn WyniaNancy Zingale and Bill Flanigan

Photo: Steve Riskin

d


Program Notes

Subito

Witold Lutosławski (b. Warsaw, 1913; d. Warsaw, 1994)

2013 is the Lutosławski centenary, an opportunity to look back

on the extraordinary life and work of a Polish composer whose

style changed with the century, but whose personality remained

ever distinctive and powerful. Born on the eve of World War One,

Lutosławski grew up amid the turmoil of the Russian Revolution.

His father and uncle, advocates for an independent Poland, were

executed by the Bolsheviks in 1918. Rejecting the twelve-tone

system, but embracing the work of Szymanowski and Bartók

(and later, Cage), Lutosławski chose to approach composition

as a series of unique problems to be solved. And although

his mature music is not tonal in a traditional sense, there are

clear goals in mind. One always knows where the climax of a

Lutosławski piece is.

Any musician will recognize—and react to—the Italian word

subito. It means “now” or “immediately” and is most often

encountered in an expressive context, as in subito forte:

suddenly louder. Lutosławski does not write program music,

but he has cited Beethoven and Chopin as models for what he

calls “musical action,” noting that “pieces with no musical ‘plot’

are—more often than not—boring and static.” The action in this

work begins with the two instruments poles apart, one manic,

the other inert. Each time this music returns, it is unchanged.

Imagine approaching the same stop light from all four directions

in turn. Lutosławski works out the relationship of the two in a

rondo form, a dialogue between action and inaction.

Subito, Lutosławski’s last completed piece, was written for the

1994 Indianapolis International Violin Competition. He asked

that the concerto he was writing at the time of his death be

left unfi nished.

Z domoviny (From the Homeland), JB 1:118Bedrich Smetana (b. Litomyšl, 1824; d. Prague, 1884)

All are acquainted with Beethoven’s long struggle with deafness,

but Smetana’s was more acute. After suffering for months

with a rushing sound in his ears, Smetana awoke on October

20, 1874 to fi nd himself totally deaf. The treatment was brutal

and ineffective: a solitary month in a dark, muffl ed room with

repeated applications of mercury ointment. The cause of his

deafness is now recognized as syphilis, the disease that also

took Delius, Wolf, Scott Joplin and Schubert. Incredibly, and a

Sonata No. 3 in E-fl at major, Opus 12, No. 3

Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827)

All three of Beethoven’s Opus 12 Sonatas are in three

movements, with brisk opening allegros and cheerful rondo

fi nales. The set, which was published around New Year’s Eve

1799, is dedicated to the Imperial and Royal Court Conductor

Antonio Salieri, who had not poisoned Mozart, but from whom

Beethoven had been taking useful instruction in vocal and

dramatic music since 1793, as indeed he would continue to

do until 1802. The autograph of these three sonatas is lost,

but we can be sure the music dates from 1797-1798. The

publisher Artaria’s title page calls the works TRE SONATE per il

Clavicembalo o Forte-Piano con un Violino. Listing the keyboard

instrument fi rst was customary then and remained so through

Brahms, and in Opus 12 the piano is indeed the dominant

partner much of the time. As for the designation “harpsichord

or piano,” that was simple shrewd salesmanship. Clearly, this is

piano music, but why, after all, put off those potential buyers

who had not yet converted to the new-fangled instrument?

The E-fl at-major Sonata is the biggest of the three in Opus

12 as well as the most overtly pianistic, the opening Allegro

con spirito especially abounding in wide-ranging, glittering

arpeggios and brilliant scales. Just once in this movement,

at the mysterious lead-back into the recapitulation, does

Beethoven stop to look inward. The slow movement, which is

the only true Adagio in this opus, is a rapturous duet for two

singers, both of whom must also double as an intuitive, alert,

and perfectly responsive accompanist. This is music for players

who love and understand opera. The fi nale is a rollicking dance,

though not without piquancies and shadows.

Copyright © 2000 by Michael Steinberg. Used by kind permission

of Jorja Fleezanis.

Antonio Salieri

schubert.org 13

testament to his talent and training, deafness did not prevent

Smetana from composing the epic cycle Má Vlast (My Country)

or the string quartet From my Life. As those titles suggest,

Smetana wears his heart and his national identity more on-

the-sleeve than contemporaries like Brahms or Franck. But

his training with Joseph Proksch at the Prague Conservatory

was progressive, and if Smetana did not quite realize his

early goal of becoming “a Liszt in technique and a Mozart in

composition,” he did pave the way for his countrymen Antonín

Dvorák (1841-1904) and Leoš Janácek (1854–1928).

Z domoviny (From the Homeland) is one of Smetana’s last

works. Note how the opening phrases of the wistful tune begin

in major mode and lapse into the minor. No. 2 wanders out

of doors, where it breaks into a skocná, a fast Czech dance in

duple meter, like the familiar “Dance of the Comedians” from

The Bartered Bride. As the violin ruminates on the skocná idea,

it often pauses at the height of the phrase, a bit verklempt. But

good feeling prevails in this poignant, autumnal offering.

Valentines (2009)

David Evan Thomas (b. Rochester, New York, 1958)

One tends to forget that any Strauss waltz—the Blue Danube,

for instance—is not one, but as many as fi ve waltzes of varied

key and texture, strung together as a garland. Valentines is

a similar posy of three almost-waltzes in the spirit of Fritz

Kreisler, the great Austrian violinist who gave us such gems as

Liebesfreud and Liebesleid. In the present work, a sentimental

theme with a prominent aspiring sixth (so Viennese!) is

the vine that twines between the other bitonal and bluesy

sections. I was delighted when my dear teacher Stephanie

Wendt suggested bartering piano lessons for a short concert

work to play with her fellow Australian (and at the time SPCO

member) Dale Barltrop. They gave the premiere on Valentine's

Day, 2009 on the Bethlehem Music Series in Minneapolis.

Sonata in E-fl at major, Opus 18

Richard Strauss (b. Munich, 1864; d. Garmisch-Partenkirchen, 1949)

Richard Strauss—no relation to the Waltz King—came from

middle-class stock. His mother was the daughter of brewery

owner Georg Pschorr. (Pschorr, founded in 1417, is one of the

oldest brands in the world.) His father, Franz Strauss, was a

horn player in the Munich Court Orchestra, a professor at the

Royal School of Music, and an infl uential fi gure in Munich’s

cultural life. Written in 1887, during young Strauss’s tenure as

third conductor at the Munich Court Opera, the Violin Sonata

stretches its frame, calling at times for an orchestral conception

on the part of both players. It was Strauss’s last independent

instrumental chamber work.

Strauss would explore the heroic ideal in symphonic poems

like Ein Heldenleben, and the antihero in Don Quixote. Here, he

also begins with a heroic theme, choosing the characteristic

horn tonality of E-fl at. Few composers write a better expository

paragraph, and indeed, one hears Franz Strauss’s horn all over

the place in his son’s melodic writing: the insistent triplets and

dotted rhythms, a tendency to favor the fi fth step of the scale,

and frequent “horn fi fths” (familiar as the right hand of Vince

Guaraldi’s “Linus and Lucy” theme). The closing theme of the

exposition is pure horn in conception, and it soars to the high

point in the movement.

The second movement, “Improvisation,” was published

separately and enjoyed a life as a salon piece. The subtitle refers

not to the thoughtful opening theme, which recalls the slow

movement of Beethoven’s Pathétique Sonata, but to the middle

section, which turns stormy, then lacy with delicate thirty-

second-notes. Bravura returns in the Finale, with the principal

theme sounded by the piano. Much of the movement is given

over to discussion between a noble idea that begins with three

repeated notes and a scampering scherzando motive, but there’s

also a memorable tune with sacred overtones.

Program notes (Lutosławski, Smetana, Thomas, Strauss) © 2013

by David Evan Thomas.

Bedrich Smetana Richard Strauss



35 Years of Chamber Music in Saint Anthony Park

A complete roster of musicians appearing on Music in the Park

Series in the past 35 years would more than fill these pages

with tiny print. The variety has been astonishing, from the

intimacy of solo recitalists to the sonic splendor of such large

groups as the Saint Paul Chamber Orchestra and the Rose

Ensemble. Performers have included the best local artists—

Thelma Hunter, Maria Jette, Michael Sutton, Julia Bogorad, and

many others—as well as such international musical luminaries

as the Guarneri, Pacifica, and Shanghai string quartets. The

music itself has ranged from early music (the Waverly Consort)

to masterpieces of the Classical and Romantic repertoire, with

occasional forays into the world of Jazz (Butch Thompson).

And let’s not forget to mention the numerous new works by

composers of the 20th and 21st centuries premiered on

the Series!

Since 1979, Music in the Park Series’s home for its chamber

music performances has been Saint Anthony Park United

Church of Christ. Through its outreach program, it has also

brought music to neighborhood school children, nursing home

residents, and for 24 years has cultivated the next generation

of music lovers with its Family Concerts.

How many of the artists shown on these pages do you

remember hearing?

In March 1999, the Weilerstein Trio performed. Young Alisa, on the left, has gone on to a solo career, which included a performance last season for The Schubert Club at the Ordway.

At left, Music in the Park Series founder and Artistic Director Julie Himmelstrup is flanked by the members of the Shanghai Quartet after their performance at the Saint Anthony Park Home.

Among the many pianists who have performed on Music in the Park Series are (from top left) Jon Kimura Parker, Lydia Artymiw, Menahem Pressler, Christopher O’Riley.

Photo: Baylin

Artists

schubert.org 15

Ned Rorem’s Nine Episodes for Four Players for clarinet, violin, cello, and piano, 2001, was premiered in May 2002 on the Music in the Park Series by Burt Hara, Stephen Copes, Anthony Ross and Pedja Muzijevic.

In April 2001, perennial favorites Wu Han, piano, and David Finckel, cello, performed a work composed for their anniversary: Couple by Bruce Adolphe.

Jorja Fleezanis, former concertmaster of the Minnesota Orchestra gave several recitals on the Series, including a Beethoven-Bloch-Bartók program in 1994.

Norwegians Leif Ove Andsnes, piano, and Truls Mørk, cello, performed as members of the Grieg Festival Quartet in a 1993 program honoring the 150th anniversary of the composer’s birth.

Danish recorder marvel Michala Petri appeared in 2001.

In 1998, Music in the Park Series hosted the first local performance of Aaron Jay Kernis’s Pulitzer Prize-winning Musica instrumentalis (commissioned by The Schubert Club) by the Lark Quartet, the group who premiered it in New York’s Merkin Hall.

Minnesota writer/composer Bill Holm, with cellist Laura Sewell and Peter Hendrickson, harpsichord, offered an afternoon of music and poetry in 1991.

Former Saint Paul Chamber Orchestra conductor Dennis Russell Davies and former concertmaster Romuald Tecco appeared in recital in November 1987.

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The Schubert Cluband

The Minnesota Historical Society

present

Hill House Chamber Players

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

Guest artists: Susan Billmeyer, piano • Craig Johnson, narrator

Mondays, November 18 & 25, 2013 • 7:30 PM

"Much Ado about Nothing"

Intermission

Piano Trio in D Major, Hob. XV Franz Joseph Haydn

Allegro

Andantino più tosto allegretto

Vivace assai

Suite from Much Ado About Nothing, Opus 11 Eric Wolfgang Korngold

Song Lyric: Sigh No More

In the Bridal Chamber

Constable Dogberry Addressed the Night Watchman

March of the Watch

Benedick Meditates on Love

Scene in the Garden

Benedick Duped into Love

Hornpipe

Waltz and Minuet Fernando Sor

Homenaje: pour “Le Tombeau de Claude Debussy” Manuel de Falla

Homenaje a Tárrega, Opus 69 Joaquín Turina Garrotín Soleares

Piano Trio in D, Opus 70, No. 1, Ghost Ludwig van Beethoven

Allegro vivace e con brio

Largo assai ed espressivo

Presto

schubert.org 17

Eric Wolfgang Korngold is often classed with Mozart and Mendelssohn as one of the great child prodigies. He began to compose at age six. When Korngold played his own cantata from memory for Gustav Mahler, the great composer-conductor declared him “a genius.” By the age of twelve, he was publishing works that Richard Strauss called “really astonishing.” Invited to Hollywood in 1938 to compose the music to The Adventures of Robin Hood, Korngold won an Academy Award for Best Original Score, but more importantly, he evaded the Nazis. The music for Much Ado About Nothing, Shakespeare’s comedy about the “merry war” between Beatrice and Benedick, is not for a fi lm, but for a stage production commissioned by

“Life is uncertain,” quipped South Dakotan Ernestine Ulmer. “Eat dessert fi rst.” So be it: this Hill House program begins with sweets, serves courses rich, savory and spicy, and fi nishes off with a tonic.

Joseph Haydn wrote almost as many trios as string quartets. Aimed at the amateur rather than the professional, the so-called “piano trios” are lighter in tone than a quartet, and in three rather than four movements. The D-major Trio is one of three conceived for fl ute—D is a fl uty key—though violin is an approved alternative. But the texture is not democratic; in fact, one could call this an “accompanied sonata,” for the keyboard part is enjoyable on its own, while the treble instrument lends melodic color, and the cello doubles the bass. The accompanying instruments are as essential to the sonority as a good cabernet is to a T-bone steak. The antique-sounding Andantino is particularly expressive in a courtly sort of way. Just as the listener has settled comfortably into a triplet division of the beat, riffl es of thirty-second notes lead without a break into a spirited rondo. Haydn treats us to a fl ight of four keys.

Hill House Chamber PlayersMondays, November 18 & 25, 2013 • 7:30 PM

James J. Hill House

the Vienna Volksbühne and premiered in Schönbrunn Palace’s baroque theater in 1920. Korngold was all of 23. It was such a hit that an orchestral suite followed, then an arrangement for violin and piano, which was taken up by Kreisler and Heifetz. Four pixie-chords take us into a Midsummer Night’s Dream-world, then into Hero’s bridal chamber. The Mahleresque “March of the Watch” sketches a company of bumbling night watchmen led by Dogberry and Verges. But the “Garden Scene” sings with a frank sweetness foreign to Mahler. As Benedick says: “I was not born under a rhyming planet,/nor I cannot woo in festival terms.” The Hornpipe, with its unexpected hitch-ups and grace notes, provides a suitably comic ending.

Jeffrey Van offers three works for solo guitar by Spanish composers. Fernando Sor, a contemporary of Paganini, wrote symphonies, string quartets, and ballets, but today is remembered for his 1830 Méthode pour la guitare and for many gracious dances in Viennese Classical style. Manuel de Falla’s homage to Claude Debussy appeared in a tombeau published after the French composer’s death in 1918, a collection which included works by Bartók, Ravel and Stravinsky. As Debussy had celebrated Spain in his orchestral triptych Ibéria, so Falla fêtes the Frenchman in a sad but dignifi ed meditation in habanera rhythm. The last bars—marked perdendosi (dying away)—quote Debussy’s piano piece Evening in Grenada. An Andalusian like Falla, Turina honors the guitarist-composer Francisco Tárrega (1852–1909), “the Sarasate of the guitar,” a key fi gure in the development of the modern instrument and composer of the famous, quavering Recuerdos de la Alhambra. Garrotín and soleares are forms of fl amenco, a folk music of Andalusia that combines song, dance, and guitar-playing.

Composed in 1808, Beethoven’s two trios, Opus 70, were fi rst performed at the Erdödy residence with Beethoven at the piano. The Allegro vivace of the “Ghost” Trio thrusts upward con brio at Eroica tempo, not quite one to the bar. The energy comes from the dum-chuck-a-dum rhythm, the power from the two-beat pattern that confuses the sense of meter. We are transported to the shadow world of D minor for the Largo heart of the work. The pulse is barely palpable and deathly slow, hence the Trio’s nickname. The sparkling and witty Presto restores the patient to life, as Maynard Solomon writes, “in a sweeping ascent from the depths of inwardness.”

Program notes © 2013 by David Evan Thomas

Schönbrunn Palace


Goerne Program Page

The Schubert Club

presents

Christian Tetzlaff, violin Lars Vogt, piano

Tuesday, November 19, 2013 • 7:30 PM

Sonata in B-fl at major, K. 454 Wolfgang Amadeus Mozart

Largo – AllegroAndante

Allegretto

Sonata No. 1, Sz. 75 Béla Bartók

Allegro appassionato Adagio Allegro

Intermission

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

From Signs, Games, and Messages Gyorgy Kurtág

Hommage à J.S.B.In memoriam Tamás Blum

Vivo Doloroso

Zank–Chromatisch

Sonata No. 7 in C minor, Opus 30, No. 2 Ludwig van Beethoven

Allegro con brio Adagio cantabile Scherzo: Allegro Finale: Allegro; Presto

Christian Tetzlaff, violin solo

schubert.org 19

Known for his musical integrity, technical assurance,

and compelling interpretations, Christian Tetzlaff is

internationally recognized as one of the most important

violinists performing today. He has been in demand as a

soloist with most of the world's leading orchestras and

conductors, establishing close artistic partnerships that

are renewed season after season.

From the outset of his career, Mr. Tetzlaff has performed

and recorded a broad spectrum of the repertoire,

ranging from Bach's unaccompanied sonatas and

partitas to world premieres of contemporary works. A

dedicated chamber musician, he frequently collaborates

with distinguished artists including Leif Ove Andsnes,

Lars Vogt, and Alexander Lonquich. He is the founder of

the Tetzlaff Quartet, which he formed in 1994.

Christian Tetzlaff was a 2010–2011 Carnegie Hall

Perspectives artist, an initiative in which musicians are

invited to curate a personal concert series in Carnegie

and Zankel Halls through collaborations with other

musicians and ensembles. Mr. Tetzlaff’s participation

included an appearance with the Boston Symphony

during which he played concertos by Mozart, Bartók in

addition to the New York premiere of a new concerto by

Harrison Birtwistle, a play/conduct performance with the

Orchestra of St. Luke’s, a performance with the Ensemble

ACJW led by Sir Simon Rattle, a concert with the Tetzlaff

Quartet, and a duo-recital with violinist Antje Weithaas.

Christian Tetzlaff currently performs on a violin modeled

after a Guarneri del Gesu made by the German violin

maker, Peter Greiner. In honor of his artistic

achievements, Musical America named Mr. Tetzlaff

"Instrumentalist of the Year" in 2005.

Maud Moon Weyerhaeuser Sanborn International Artist SeriesTuesday, November 19, 2013 • 7:30 PM

Ordway Center

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Lars Vogt has rapidly established himself as one of the

leading pianists of his generation. He fi rst came to public

attention when he won second prize at the 1990 Leeds

International Piano Competition and has since gone on

to give concerto and recital performances throughout

Europe, Asia, Australia, and North and South America.

Recent performance highlights include concerts with

the Leipzig Gewandhaus, appearances in Paris with the

Orchestre de Paris and the Orchestre National, a perfor-

mance of the Lutosławski Concerto with the Cleveland

Orchestra at the Edinburgh Festival, and a residency at

the Mozartwoche in Salzburg with the Vienna

Philharmonic. In London, he performed with the London

Philharmonic and London Symphony as well as

numerous times at the BBC Proms and in recital on the

International Piano Series. Lars Vogt’s special relationship

with the Berlin Philharmonic has continued with regular

collaborations following his appointment as their fi rst

ever “Pianist in Residence” in 2003–2004.

Mr. Vogt enjoys a high profi le as a chamber musician.

In June 1998, he founded his own festival in Heimbach,

Germany. Known as “Spannungen,” its huge success

has been marked by the release of ten live recordings on

EMI. He was recently appointed Professor of Piano at the

Hannover Conservatory of Music and in 2005 founded

“Rhapsody in School,” which has become a prominent

education project across Germany.


concert, that the twenty-eight-year-old composer-

pianist had time to write his own part out only in a few

stenographic notations, that the two had never met for

a rehearsal, seems not to have fazed either of the two

musicians. The Sonata was received with tumultuous

applause and was offered to the public in print just two

and a half months later.

It is the only one of Mozart’s sonatas to indulge in the

splendid gesture of a slow introduction. Its initial

gestures are grand in a formal sort of way, but by the fi fth

bar, Mozart is writing throbbing accompaniments and

expansively songful lines that are altogether personal.

These commanding preparations introduce a rich and

beautifully poised Allegro, an uncommonly serious and

poignant slow movement (“Andante” being Mozart’s

second thought to replace his original direction of

“Adagio”), and a most delightful, varied and

glittering rondo.

Program Notes

Hungarian connections unite this program of works

for violin and piano. Jelly d’Arányi (1893-1966) was one

of the more beguiling violinists of the early twentieth

century. Born in Hungary, the youngest of three sisters

and the grand niece of Joseph Joachim, she settled in

England in 1913. Her fi ery technique inspired Bartók’s

sonatas and Ravel’s Tzigane. But she gave the cold

shoulder to amorous old Elgar, and ultimately to Bartók

as well. The two “B-works” on this program were often

featured in Arányi’s recitals with Bartók. In between, we

hear from Hungary’s most prominent living composer.

Sonata in B-fl at major, K. 454

Wolfgang Amadeus Mozart

(b. Salzburg, 1756; d. Vienna, 1791)

We owe the existence of this, Mozart’s grandest violin

sonata, to the Mantuan virtuosa Regina Strinasacchi,

who had the wit to commission a piece from Vienna’s

most ragingly successful composer for her fi rst series

of concerts in the Austrian capital. Praised by Mozart

as a player of taste and sensibility, she gave a concert in

Vienna on March 29, 1784 and another on April 29, and

it was the latter where this sonata was introduced, and

under circumstances to make any composer’s or

performer’s blood run cold—today, at any rate. That

Strinasacchi received her part barely in time for the

Austrian postage stamp from 1956 commemorating the 200th anniversaryof Mozart's birth

Jelly d’Arányi, portrait by Charles Geoffroy-Dechaume

schubert.org 21

Sonata No. 1, Sz. 75

Béla Bartók

(b. Sânnicolau Mare, now Romania, 1881;

d. New York, 1945)

As a student at the Academy of Music in Budapest, Bartók

often visited the Arányi house to give piano lessons to

Adila, the eldest daughter. “This Arányi family are very

interesting,” he wrote to his mother, “fi rst because they

are closely related to Joachim, second because German

is never spoken in this family.” Bartók was drawn to the

family’s Hungarian nationalism, and he was smitten with

Adila (or “Titi,” as she was called by her sister, Jelly).

Nearly twenty years later, in 1921, the Arányis made their

fi rst post-war visit to Hungary. Jelly (with a hard J) visited

the Bartóks. Béla had just turned forty; Jelly was not quite

thirty. Bartók needed money and suggested a

European tour, promising to write a work for her. The

world premiere was given in Vienna by Dickenson-Auner

and Steuermann in February, 1922. London performances

by Bartók and Arányi followed in March. From Paris,

Bartók wrote to his mother: “My recital on [April] 8 went

off well. I was invited to a dinner. . . which was attended

by over half the “leading composers of the world”

—i.e., Ravel, Szymanowski, Stravinsky—as well as a few

young (notorious) Frenchmen you would not know.”

Among those Frenchmen, Milhaud praised the Sonata as

“a noble, pure, and rugged piece.” And Poulenc

was appreciative.

But not everyone admired the piece. “The last word in

ugliness and incoherence,” the eminent British critic

Ernest Newman called it, “as if two people were

improvising against each other.” There is more than a

little truth here. Not only does the work’s athleticism

remind one of a match between two powerful and

tenacious opponents: each instrument has its own

material. Melodies don’t wander from the violin into the

piano. And the distinction between solo and accompani-

ment is done away with. This was modernism. T.S. Eliot

published The Waste Land in 1922; James Joyce came out

with Ulysses. Where Bartók’s earlier music had drawn on

folk sources and modal materials, by 1922 Bartók was

quite aware of the atonal “air of other planets”

wafting over from Vienna. He himself was toying with

what he primly called the “equality of rights of the

individual twelve tones.”

Still, Bartók thought of the Sonata No. 1 as in C-sharp

minor. The fi rst note is indeed C-sharp. But a passionate

theme is given to the violin, and it begins on a note you

don’t expect. The second theme area features a crunchy,

lurching piano idea. There are passages of relative repose,

particularly in the Adagio, where each instrument has

a soliloquy. The rising, minor piano chords are strongly

reminiscent of A London Symphony by Vaughan Williams.

When the instruments combine, those minor triads, with

emphatically not-triad tones in the violin, make an

exquisitely mournful blues. The rondo-fi nale draws on

the raw energy and jangling harmony of Romanian

folk song, punctuated with hair-raising piano rockets.

The violin’s slurred pairs are parodied later—very much

slower—by the piano.

Béla Bartók, portrait by Róbert Berény


Hommage à J.S.B. explores the phenomenon of the

“compound line” as notes in different registers create

the illusion of polyphony so characteristic of Bach’s

unaccompanied works. Tamás Blum (1927-1992) was a

Hungarian conductor and noted translator of opera. His

homage moves from consonance to the highest level

of dissonance and back, with a postscript: “Tamás was

already out there waiting.” To Kurtág, doloroso denotes

inner pain; here, pauses defi ne fragments of melody. The

silences have a particular meaning for Kurtág.

“Caesura means to take measure of the next unit. Just

as in speech: you infl ect the sentence downward toward

the full stop . . . . Then you take stock of what you want to

say next.” Zank-Kromatisch is a frank, colorful quarrel.

Kurtág received the 2006 Grawemeyer Award for Music

Composition. He is highly regarded as a pianist, frequent-

ly performing with Marta, his wife of sixty-six years. And

he is revered as a coach for such artists as András Schiff,

and such ensembles as the Takács Quartet.

Sonata No. 7 in C minor, Opus 30, No. 2

Ludwig van Beethoven

(b. Bonn, 1770; d. Vienna, 1827)

1802 was the year in which the deafness that had begun

to trouble Beethoven in about 1798 began to progress

alarmingly. In Opus 30, only the C-minor Sonata refl ects

the mood this induced in him. But if Beethoven knew the

despair that speaks in the will he wrote at

Heiligenstadt in October 1802—”as the leaves of

autumn fall and wither—so likewise has my hope been

blighted. Even the high courage—which has so often

inspired me in the beautiful days of summer—has

vanished”—he also knew the state of mind in which he

declared he would “seize Fate by the throat.” The C-minor

Sonata, the dark sibling of this set, is music of strength

and defi ance as much as it is music of fury.

There is a recognizable Beethoven-in-C-minor mood,

most famously embodied in the fi rst movement of the

Fifth Symphony. This Sonata, with its turbulent fi rst and

Jelly d’Arányi’s collaboration with Bartók lasted only a

couple of years. “It is good and great that I should have

inspired that gorgeous sonata,” she wrote in her diary,

“but apparently a woman can’t inspire the soul of a man

without doing great harm.” Bartók divorced his fi rst wife,

Márta, in August 1923, and married Ditta Pásztory, a

student at the Academy.

From Signs, Games and Messages

Gyorgy Kurtág

(b. Lugoj, now Romania, 1926)

Gyorgy Kurtág’s terse style—“ice water for the mind,”

one critic called it—is often compared to Webern’s. But

the use of repetition and frequent references to music of

the past set it apart. “I am acutely aware of the impera-

tive need to safeguard freshness,” he says. Writer Annie

Dillard reminds us that modernist fi ction bares its

structural bones, adding: “Those bones had better be

good.” Musical “bones” may take the form of muted

chant fragments, bell tones, the open strings of the

violin, silence. This is music that invites close listening

and arouses deep emotions.

Kurtág has been contributing to Signs, Games and

Messages since 1989. It is a grab-bag: character pieces,

homages to artists as diverse as Bach and John Cage,

memorials, and glosses on music of the past. There are

solo versions for violin, viola, cello, and double bass, in

addition to an ensemble arrangement for string trio. In

spirit, it is much like Játékok (Games), his piano anthology.

Program Notescontinued

Gyorgy Kurtág

schubert.org 23

Beethoven's house in the Vienna suburb Heiligenstadt,etching by Wilhelm Landsmann

last movements, is another vintage example. Listening to

the fi rst movement, we are also struck by the originality

and concentration of Beethoven’s musical procedures:

the masterly sense of pace, something we sense immedi-

ately in the expansion that is built into the piano's initial

eight bars, the idea of bringing back the violin’s march

theme in the piano’s left hand rather than–more

obviously–in the treble, the economy that turns the

opening idea into an accompaniment for a new violin

theme, the way instrumental virtuosity is put to work

in the cause of fi ery expression. In this movement

Beethoven, so intent on urgent forward movement,

does not ask for the usual repeat of the exposition but

plunges straight into the swift-moving, adventurous

development. The moment of recapitulation is high-

lighted by some remarkable extensions. The coda starts

in major but ends in C-minor fury. It is big, amounting

virtually to a second development.

All four movements begin with the piano alone. The

slow movement is songlike; Beethoven in fact marks it

Adagio cantabile, something quite different from the

Adagio espressivo we fi nd in several of the other sonatas.

The melody, in Beethoven’s simplest manner, is one of

his most beautiful. The whole movement is beautifully

scored, Beethoven’s happy and ever more refi ned feeling

for texture being vividly manifest, for example, in the

rapid (128th-note!) scales that take the place of a more

conventional sort of accompaniment later on. We also

fi nd stunningly dramatic contrasts in the juxtaposition

of scales that are not just fortissimo but violently

fortissimo with the most hushed pianissimo.

Opus 30, No. 2 is one of the few four-movement sonatas

in the sonata cycle, and its “extra” movement, the

Scherzo, surprises us by being in C major, as though the

storms of the fi rst movement had never existed. With

its odd, offbeat accents, it is a feast of wit; the Trio, in

which the piano’s left hand imitates the violin with a

one-measure delay, almost sounds like a variation of the

Scherzo itself.

With the fi nale, Beethoven returns to his C-minor

tempests. Something that is striking here is his discovery

of the sinister expressive potential of the piano’s low

register—transparent as well as fi erce on the

instruments of his day. At the end, Beethoven fans the

fl ames by pushing the speed up to a fi ery presto.

Mozart, Beethoven notes copyright © 2000 by Michael

Steinberg. Used by kind permission of Jorja Fleezanis.

Bartók, Kurtág notes and introduction copyright © 2013

by David Evan Thomas.

Sunday, January 12 • 7PM HILARY HAHN & HAUSCHKA

Sunday, April 13 • 7PM ANTHONY DE MARE, PIANO

Tuesday, June 3 • 7:30PM ETHEL

All concerts at Aria • 105 North 1st Street, Minneapolis

SINGLE TICKETS & 3-CONCERT PACKAGES ON SALE NOWTickets: $25

Purchase 3-concert packages and single tickets online or call 651.292.3268

schubert.org/mix

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Hauschka / Hilary Hahn

The Schubert Club is thrilled to announce a new series of concerts

starting January 2014 at Aria (formerly Theatre de la Jeune Lune). The combination of the stylish

warehouse architecture of Aria, informal seating, and a contemporary presentation style by guest

artists will give Schubert Club Mix presentations a relaxed and unconventional ambiance.

Refreshments will be available to enjoy during the performances.

“a new approach to classical music ”

Photo: James Ew

ing

ETHEL


Intermission

Quartet No. 1 in D major, K. 285 Wolfgang Amadeus Mozart

Allegro Adagio

Rondeau

Syrinx for solo fl ute Claude Debussy

Trio for violin, viola, and cello Jean Françaix

Allegretto - Vivo Scherzo - Vivo Andante Rondo: Vivo

The Schubert Cluband

Kate Nordstrum Projects

present

AccordoSteven Copes, violin • Ruggero Allifranchini, violin

Maiya Papach, viola • Rebecca Albers, viola • Anthony Ross, cello

Guest Artist: Julia Bogorad-Kogan, fl ute

Monday, December 9, 2013 • 7:30 PM

Quintet No. 2 in B-fl at major, Opus 87 Felix Mendelssohn

Allegro vivace

Andante scherzando

Adagio e lento

Allegro molto vivace

Bogorad-Kogan, Copes, Papach, Ross

Bogorad-Kogan

Allifranchini, Albers, Ross

Allifranchini, Copes, Papach, Albers, Ross

schubert.org 27

AccordoMonday, December 9, 2013 • 7:30 PM

Christ Church Lutheran

A Special Thanks to the Accordo Donors

Performance Sponsors

Hella Mears HuegLucy Jones and James JohnsonAlfred P. and Ann M. MooreMusician Sponsors

Mary and Bill BakemanEileen Baumgartner Tim and Barbara BrownAlfred and Ingrid Lenz HarrisonJenny Nilsson and Garrison KeillorSandra SavikMarilee and Terry Stevens (sponsor-ing Kyu-Young Kim)Joseph and Kay Tashjian

Patrons

Anonymous (3)Beverly S. AndersonClaire and Donald AronsonDagny BilkadiMichael and Carol BromerJohn and Birgitte ChristiansonDon and Inger DahlinPamela and Stephen DesnickGeorge EhrenbergPeg and Liz GlynnMichelle HackettJon and Diane Hallberg

Ken and Suanne HallbergBetsy and Michael HalvorsonDr. Kenneth and Linda HolmenCarol A. JohnsonErwin and Miriam KelenThomas LogelandRhoda and Don MainsPaul. W. MarkwardtCarolyn and Jim NestingenKathleen NewellLowell and Sonja NoteboomJohn B. NoydChuck Ullery and Elsa Nilsson

Lynn and Jean PetersonJonathan and Mary PreusMichael and Tamara RootDiane RosenwaldJohn Sandbo and Jean ThomsonBuddy Scroggins and Kelly SchroederGary Seim and LeeAnn PfannmullerEd and Marge SenningerGale SharpeRebecca and John ShockleyGregory Tacik and Carol OligCarol and Tim WahlAlex and Marguerite WilsonDr. Max Zarling

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

Sponsors

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

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

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

esteemed architect Eliel Saarinen and his son Eero Saarinen.

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

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

Ronald Thomas.

Julia Bogorad-Kogan

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Calendar of Events

October 2013

Thursdays, October 17 – April 24 • 12 PM

Courtroom Concerts Landmark Center

(No concerts November 28, December 5, December 26, January 30)

Sunday, October 27 • 4 PM St. Anthony Park UCC


Erin Keefe, violin & Anna Polonsky, piano

Tuesday, October 29 • 7:30 PM Landmark Center

Live at the Museum

Goya: To Be . . . To Ask . . .(Part I)Karen Kim, violin; Tom Rosenberg, cello; Ora Itkin, piano

November 2013Tuesday, November 5 • 7:30 PM Landmark Center

Live at the Museum

Goya: To Be . . . To Fear . . .(Part II)Karen Kim, violin; Tom Rosenberg; cello, Ora Itkin, piano

Tuesday, November 12 • 7:30 PM Landmark Center

Live at the Museum

Goya: To Be . . . To Imagine . . .(Part III)Karen Kim, violin; Tom Rosenberg, cello; Ora Itkin, piano

Thursday, November 14 • 5 PM Landmark Center

Cocktails with Culture

Cocktails at Versailles, 1710Layton "Skip" James, harpsichord

Monday, November 18 • 7:30 PM James J. Hill House

Hill House Chamber PlayersMuch Ado About Nothing

Tuesday, November 19 • 7:30 PM Ordway Center

International Artist Series

Christian Tetzlaff, violin & Lars Vogt, piano

Monday, November 25 • 7:30 PM James J. Hill House

Hill House Chamber PlayersMuch Ado About Nothing

December 2013Monday, December 9 • 7:30 PM Christ Church Lutheran

Accordo with Julia Bogorad-Kogan, fl ute

January 2014Thursday, January 9 • 5 PM Landmark Center


International Novelty Gamelan

Sunday, January 12 • 7 PM Aria

Schubert Club Mix

Hilary Hahn, violin & Hauschka, piano: Silfra

Thursday, January 16 • 7:30 PM Landmark Center

Live at the Museum

An Evening with Layton "Skip" James, Keyboard Craftsman

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


Gryphon Trio

February 2014Saturday, February 8 • 7:30 PM Ordway Center


Gidon Kremer, violin with Kremerata Baltica

Thursday, February 13 • 5 PM Landmark Center


It Takes Two . . . A Musical ValentineRolf Erdahl, double bass & Carrie Vecchione, oboe

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HIlary Hahn & Hauschka

schubert.org 29

Friday, March 14 • 5:45 & 7 PM St. Matthew's Episcopal

Music in the Park Series Family Concert

Rose Ensemble

Thursday, March 27 • 7:30 PM Landmark Center

Live at the Museum

The Czar’s Clavichord: Music from the Palaces of St. Petersburg Henry Lebedinsky, clavichord

Sunday, March 30 • 4 PM St. Anthony Park UCC


Miró Quartet

Gidon Kremer with Kremerata Baltica

More information at schubert.orgBox office 651.292.3268

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Alessio BaxMonday, February 17 • 7:30 PM Christ Church Lutheran

Accordo with Alessio Bax, piano

Thursday, February 20 • 7:30 PM Landmark Center

Live at the Museum

Music and Tales from The Schubert Club ManuscriptsVern Sutton, tenor

Friday, February 21 • 5:45 & 7 PM St. Matthew's Episcopal


WindSync

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


WindSync

Monday, February 24 • 7:30 PM James J. Hill House

Hill House Chamber PlayersRussian Romantics

March 2014Monday, March 3 • 7:30 PM James J. Hill House

Hill House Chamber PlayersRussian Romantics

Tuesday, March 11 • 7:30 PM Ordway Center


Valentina Lisitsa, piano


April 2014Thursday, April 10 • 5 PM Landmark Center


Cuban ClassicalCharanga Tropical

Sunday, April 13 • 7 PM Aria

Schubert Club Mix

Anthony de Mare, piano: Re-imagining Sondheim

Thursday, April 24 • 7:30 PM Landmark Center

Live at the Museum

The Father, the Fugitive, and the Bachelor: Swedish Music from Three CenturiesStephanie Wendt, piano

Friday, April 25 • 5:45 & 7 PM St. Matthew's Episcopal


Cuarteto Latinoamericano

Sunday, April 27 • 4 PM St. Anthony Park UCC


Cuarteto Latinoamericano

Monday, April 28 • 7:30 PM Christ Church Lutheran

Accordo with Mihae Lee, piano

Calendar of Events

ETHEL

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Monday, April 28 • 7:30 PM James J. Hill House

Hill House Chamber PlayersFrom Vienna to Buenos Aires

May 2014Monday, May 5 • 7:30 PM James J. Hill House

Hill House Chamber PlayersFrom Vienna to Buenos Aires

Thursday, May 8 • 7:30 PM Landmark Center

New Age Salon: Fidelis Odozi

Monday, May 19 • 7:30 PM Ordway Center


Dmitri Hvorostovsky, baritone & Ivari Ilja, piano

June 2014Monday, June 2 • 7:30 PM James J. Hill House

Hill House Chamber PlayersAn Evening with Schubert

Tuesday, June 3 • 7:30 PM Aria

Schubert Club Mix

ETHEL: Documerica

More information at schubert.orgBox office 651.292.3268

Valentina Lisitsa

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It was a great honor for mezzo-soprano Clara Osowski and

her superb colleague–pianist, Mark Bilyeu–to be selected to

perform this past August in Tours, France at the prestigious

Académie Francis Poulenc. They were the only Americans

represented at the event, participating with art song per-

formers from throughout the world. The program for these

talented musicians included ten days of master classes,

seminars, public performances and the opportunity to rub

shoulders with the great names in music, including baritone

François Le Roux, pianist Graham Johnson, and English

soprano Felicity Lott.

Clara, an enthusiast for the intimate world of art song

performance, said it was during a master class that she

realized “that art song is an extension of poetry that can

and should be interpreted in individual ways to develop

true civility and understanding in our society.” Particularly

satisfying to Clara is the French mélodie and the charming

quality of the French language. Clara tells her students, “I

feel more love in l’amour than l’amour in love.

The duo performed art songs from Poulenc, Britten, and

the late Noël Lee at the Académie, and more recently in

recital at the Weisman Art Museum. Also included was a

performance of Stephen Paulus’s moving piece, A Heartland

Portrait, a Schubert Club commission premiered by Thomas

Hampson on the International Artists Series in 2006.

Paulus transposed the piece to treble clef for mezzo-soprano

upon Clara’s request.

IntervalsAlumni News of The Schubert Club Scholarship Competitors

One of the memorable experiences while in Tours, which

incidentally is a Sister City of Minneapolis, was their visit to

Francis Poulenc’s estate where his relatives still live today.

They treated the musicians to family stories and invited

them to play on Poulenc’s very own piano on which he once

composed and performed.

If you have news of any former Schubert Club competitors,

please contact Kate Cooper at 651-292-3266

or [email protected]

Clara Osowski, mezzo-soprano

“ I feel more love in l’amour than

l’amour in love." – Clara Osowski

Clara and Mark Bilyeu visit Francis Poulenc's home and give an impromptu performance with his piano

Clara was a 2012 second place winner in the Graduate Voice

level of The Schubert Club Scholarship Competition and

has performed at Schubert Club Courtroom Concerts. She

was also a Metropolitan Opera National Council Upper-

Midwest Regional Finalist in 2012. She earned her Bachelor

of Musical Arts degree from North Dakota State University

and her Master of Arts in Voice from the University of Iowa.

She shared her passion for contemporary music by premier-

ing song-cycles by numerous composers with the Center of

New Music at the University of Iowa.

She has studied with Adriana Zabala, Stephen Swanson and

Robert Jones and is currently teaching voice both privately in

Minneapolis and at the University of Minnesota–Morris.


Among the changes in The Schubert Club Museum this season is the installation of an extraordinary 1935 Wurlitzer grand piano in the Schubert Club Recital Room. The piano was featured in the fi rst of this season’s free happy-hour music events, with Laura Caviani and Pete Whitman, in a program titled Jazz Standards from 1937.

This unusual Art Deco instrument was one of twelve designed and built for a 1937 national exhibition in Chicago. The manufacturer, Rudolph Wurlitzer, had begun business as an importer of musical instruments in Cincinnati in 1856. His company fl ourished through innovation: manufacturing coin-operated pianos in the 1880s, introducing the “Mighty Wurlitzer” theatre organ in 1910, juke-boxes from 1934 on, and electric reed organs in 1947.

Designed without a lid, the piano stands on a gracefully curved lucite base. A decorative, tailored fabric cover for the strings, and a matching roll of cloth to cover the keys complete the “Moderne” look. With its up-to-the-minute fl uorescent light built in to the music stand, the instrument was a showpiece of technical advancement in 1935.

Thursday, October 10

Jazz Standards from 1937Laura Caviani, piano & Pete Whitman, saxophone

Thursday, November 14

Cocktails at Versailles, 1710Layton “Skip” James, harpsichord

Thursday, January 9

New Music for Tuned PercussionInternational Novelty Gamelan

Thursday, February 13

It Takes Two . . . a Musical ValentineRolf Erdahl, double bass & Carrie Vecchione, oboe

Thursday, April 10

Cuban Music, Shades of ClassicalCharanga Tropical

In addition to live music by some of the best Twin Cities talent, these free happy hour events will feature woodturning demonstrations in the Second fl oor galleries in Landmark Center. Museum tours will be available.

Presented by the AAW Gallery of Wood Art, Landmark Center & The Schubert Club.

5-7 PM • Free • Drinks available for purchase

Landmark Center

Second fl oor museum galleries

COCKTAILS with CULTURE

The Schubert Club MuseumLandmark Center • Second floor

Open Sunday–Friday, Noon–4 PM

schubert.org 33

schubert.org/liveatthemuseum

The Schubert Club Museum comes to life!

On seven evenings this season, favorite local artists bring

live classical music and more to the galleries of Landmark Center.

October 29 November 5 & 12 Three different multimedia presentations of music and art celebrating the paintings of Francisco de Goya. Curated by Ora Itkin, piano. With Karen Kim, violin; Thomas Rosenberg, cello; Scott Winters, media

January 16 An Evening with Skip James—Keyboard CraftsmanFrom a world of improvisation and craftsmanship, Layton “Skip” James will share experiences of his art of playing music he makes up as he goes along on an instrument he made himself.

February 20 Music and Tales from The Schubert Club ManuscriptsRead between the lines of the Letters in the Schubert Club's manuscript collection as tenor Vern Sutton explores music and personalities involved. Hear live performances of those pieces with historically enlightened ears.

March 27 The Czar’s Clavichord: Music from the Palaces of St. PetersburgClavichordist Henry Lebedinsky takes you into the private musical lives of Russia's nobility in the age of Catherine the Great. Music by Russian composers performed on the most intimate and sensitive of all keyboard instruments.

April 24 The Father, the Fugitive, and the Bachelor. Pianist Stephanie Wendt plays charming music and illuminates the fascinating lives of three Swedish composers from three centuries: Johan Helmich Roman (1694–1758); Carl Jonas Love Almqvist (1793-1866) and Wilhelm Peterson-Berger (1867–1942).

Tickets: $12 advance / $16 at the door • Concerts at 7:30 PM schubert.org/liveatthemuseum/ • 651.292.3268Live at the Museum

Live at the Museum 2013–2014Landmark Center • The Schubert Club Museum

To Be… (Goya)


Ensemble 61Carrie Henneman Shaw, soprano; Erik Barsness, percussion; Matthew McCright, piano

Soprano Carrie Henneman Shaw is a singer who weaves style and emotion into vivid performances of Ba-

roque and contemporary classical music. Winner of a McKnight Fellowship for Performing Musicians, she has been

praised as a “major musical force” (St. Paul Pioneer Press) and “consistently stylish” (Boston Globe). Shaw sings with

ensembles in Minnesota, Boston, and Chicago: Glorious Revolution Baroque, The Bach Society of MN, Ensemble

Dal Niente, and Baroque opera companies.

The Capacity of Calm Endurance

Kolokol

Night

From Propeller

A Frail Weight

And, Not Or

Mary Ellen Childs, who was named a United States Friends Fellows in 2011, composes concert work–often with a strong visual

element–for a variety of ensembles, including solo accordion, string quartets, chamber groups, and vocal works. The creator of many

multi-media works, Childs is well known for her “visual percussion” pieces for her percussion group CRASH, in which she incorporates the

movements of the bodies of the performers. Childs has received commissions from the Kronos Quartet, St. Paul Chamber Orchestra, The

Kitchen, the Walker Art Center, Other Minds, and Opera America, among others.

Courtroom ConcertSpotlight on Minnesota Composer, Mary Ellen ChildsOctober 31, 2013 • Noon • Landmark Center

Mary Ellen Childs

Ensemble 61 is a mixed chamber ensemble dedicated to the performing and recording of the music of our time. The group takes its

name from the Historic Highway that runs from Duluth to New Orleans and is the inspiration for many artists.

Pianist Matthew McCright has performed throughout the United States, Europe, Asia, and the South Pacifi c

as a piano soloist and chamber musician, and is a member of the piano faculty of Carleton College. He has thrilled

audiences with an imaginative repertoire that spans both the traditional and a wide range of contemporary works.

He has premiered numerous new pieces, many written for him, and has collaborated with countless composers

across the globe.

Erik Barsness, percussionist and Ensemble 61 Co-Director, is a Fulbright Scholar and received his Masters

Degree from the Royal College of Music in Stockholm, Sweden and his Bachelors Degree from the University of

Minnesota. In addition to working with Ensemble 61, Erik performs with The Minnesota Percussion Trio and CRASH.

Erik is an active freelance percussionist in the Twin Cities and maintains a private teaching studio.

schubert.org 35

Courtroom ConcertSpotlight on Minnesota Composers, Daniel Nass and Paul CantrellNovember 7, 2013 • Noon • Landmark Center

Pat O’Keefe is currently the co-artistic director and woodwind player for ensemble Zeitgeist, based in St. Paul,

Minnesota. He has also performed and recorded with such groups as ETHEL, California E.A.R. Unit, and Cleveland

New Music Associates. Pat performs regularly on both woodwinds and percussion with the groups Batucada do

Norte, Choro Borealis, and Music Mundial in the Twin Cities. Pat holds a BM (with Performer’s Certifi cate) from

Indiana University, an MM from the New England Conservatory, and a DMA from the University of California,

San Diego. He is currently on the faculty of the University of Wisconsin, River Falls.

Pat O’Keefe, clarinet and Paul Cantrell, piano

Songs of Cowboys and Hobos – Daniel Nass (b. 1975)

After the Coffee (from Sundown Slim) • Drink Deep

Bread • Them Saddest Words (from Sundown Slim)

To My Dog, “Quien Sabe” (In the Happy Hunting Grounds)

Edge of Town

The Dream Songs ProjectAlyssa Anderson, mezzo-soprano; Joseph Spoelstra, guitar

Alyssa Anderson’s vocal repertoire spans the ages from Baroque to contemporary experimental music, with a focus on American and

twentieth-century art song and chamber music. Alyssa has appeared as a soloist with the Minnesota Oratorio Society, the Kenwood

Symphony Orchestra, the Bloomington Symphony Orchestra, Twin Cities Lyric Theater, RenegadeEnsemble, the University of Minnesota’s

New Music Ensemble, and the University of Minnesota’s Bach Festival. Alyssa is also the founder and artistic director of La Bonne Chanson,

an art song performance ensemble. Alyssa is a 2013 recipient of the Minnesota State Arts Board Artist Initiative Grant.

Joseph Spoelstra has performed throughout the U.S. including the Wilshire-Ebell Theater in Los Angeles, the Guthrie Theater in Min-

neapolis, and Corbett Auditorium in Cincinnati. His performances have been broadcast on NPR programs in Los Angeles, Minnesota, and

Wisconsin. In addition to his solo performances, Joseph is a frequent ensemble guitarist with chamber groups throughout the Midwest

including Bach Dancing & Dynamite Society, RenegadeEnsemble, Classical Revolution of Madison, La Bonne Chanson, and Theater Latte Da.

Joseph holds his Master of Music from the University of Southern California and his Bachelor of Music from the University of Minnesota.

Paul Cantrell is a composer and pianist. Praised as “profound and deeply moving,” his music’s organic

lyricism arises from a meticulously crafted internal logic. He was born in Colorado, studied music with Donald

Betts and Carleton Macy at Macalester, and lives in Minneapolis. He co-founded Keys Please and The New

Ruckus, and is a passionate advocate of local new music.

The Broken Mirror of Memory – Paul Cantrell

Part 1: Entanglement • Part 2: Soliloquy

Part 3: Tango • Part 4: Flight


Courtroom ConcertNovember 14, 2013 • Noon

Landmark Center

Daria Adams is a member of the Saint Paul Chamber Orchestra. Since joining the SPCO in 1987, she has

traveled the world in tours to Asia, Europe, and across North America. An ardent Baroque music lover, Daria

is a founder of the Blue Baroque Band, a Minnesota-based ensemble made up of colleagues from the SPCO.

Daria has been a guest at many prominent music festivals: in Newport, Rhode Island; Banff, Alberta, Canada;

Nantucket, Massachusetts; the Cactus Pear Festival in Texas; Strings in the Mountains Festival in Colorado; the

Bach Dancing and Dynamite Society in Madison, Wisconsin; and at festivals in Lyon, France and Vaasa, Finland.

Daria holds degrees in Violin Performance from the New England Conservatory and the State University of New

York at Stonybrook.

Daria Adams, violinCléa Galhano, recorderLayton "Skip" James, harpsichord

Brazilian recorder player Cléa Galhano has performed in the United States, Canada, South America and Europe

as a chamber musician. Galhano has performed at the Boston Early Music Festival, the Tage Alter Music Festival in

Germany, Wigmore Hall in London, Merkin Hall in New York, and Palazzo Santa Croce in Rome. Galhano was featured

in the Second International Recorder Congress in Leiden, Holland in 2006, at the International Recorder Conference in

Montreal in 2007, and at the American Recorder Festival in 2012. She gave her Carnegie Hall debut in 2010. Galhano

studied at Faculdade Santa Marcelina in Brazil, at the Royal Conservatory of The Hague in the Netherlands, and at

the New England Conservatory of Music in Boston, earning a Fulbright scholarship and support from the Dutch

government. Galhano regularly conducts workshops across the United States, Europe and Brazil. Galhano is the

Executive Artistic Director of the Saint Paul Conservatory of Music and she is on the faculty of Macalester College.

Layton "Skip" James is best known as an improvising continuo player at the harpsichord, organ and

fortepiano. He has accompanied Pinchas Zukerman, Jean Pierre Rampal, Isaac Stern, Joshua Bell, Thomas

Zehetmaier, Yo-Yo Ma, 'Slava' Rostropovich, among others, in addition to his fellow SPCO players, and

is the featured harpsichordist on two recordings of Handel's Messiah conducted by Robert Shaw. He is

frequently called upon to compose cadenzas for Baroque and Classic concertos. James's academic career

includes degrees from The College of Wooster, Cornell University, and Stanford University. He also builds

harpsichords, including the instrument on which he performs.

Trio Sonata in G major for Recorder, Violin, and Basso continuo – J.S. Bach

Largo • Vivace • Adagio • Presto

Four Transcriptions from Piéces de Clavecin for Recorder and Violin – Francois Couperin

Marche • Les Graces Naturelles • Le Rossignol en Amour • Les Jongleurs

Sonata in G minor for Violin and Basso continuo – G.F. Handel

Andante • Allegro • Adagio • Allegretto

Harpsichord Exercises – Padre Antonio Soler

Sonata in A minor for Recorder and Basso continuo – Franceso Mancini

Spiritoso • Allegro • Largo • Allegro Spiccato

Trio Sonata in A minor for Recorder, Violin and Basso continuo – G.P. Telemann

Largo • Allegro • Cantabile • Allegro

schubert.org 37

Momoko Tanno has appeared in productions including M. Butterfl y at the Guthrie Theatre, Figaro, Don Juan Giovanni, and Carmen

with Theatre de la Jeune Lune, American Repertory Theatre, Berkeley Repertory Theatre, and Pacifi c Overtures with Park Square Theater

and Mu Performing Arts. As a concert artist, Tanno has performed with Minnesota Orchestra, Bach Society of Minnesota, Heinrich Schütz-

Chor, Tokyo, and Heilbronn. She was awarded Minnesota State Arts Board’s 2013 Artist Initiative Grant.

Margaret Humphrey is a featured concert soloist with several local orchestras, and maintains a vibrant freelance career schedule in

the Twin Cities. Humphrey also performs as a core member of the Minnesota Opera Orchestra. Touring nationally, she frequently guests

with Tempesta di Mare in Philadelphia, the Kingsbury Ensemble in St. Louis, and Bach and the Baroque series in Pittsburgh. She is also a

founding member of Belladonna Baroque Quartet. Humphrey has recorded on the Chandos, Dorian, and Ten Thousand Lakes labels.

Founded in 1977, Zeitgeist is a new music chamber ensemble consisting of two percussion, piano and woodwinds, and is one of the

oldest and most successful new music groups in the country. Based in St. Paul. The group presents an annual concert series and delivers

a wide variety of community-based performance programs for residents of the Twin Cities and the surrounding areas. Zeitgeist’s mission

is to bring newly created music to life with performances that engage and stimulate. Members are: Heather Barringer, percussion; Patti

Cudd, percussion; Pat O’Keefe, woodwinds; Shannon Wettstein, piano.

Asako Hirabayashi has won numerous grants and awards including the 2009-2010 McKnight Fellowship for Performing Musicians,

and the Minnesota State Arts Board’s 2012 Artist Initiative Grant. As a soloist and as a composer, she has won several fi rst prizes in

competitions such as the Alienor International Harpsichord Composition Competition (won the 6th, 7th and 8th consecutively) and

the NHK International SongWriting Competition in Japan. She was recently awarded 2012 Jerome Fund for New Music by American

Composers Forum to write an opera. She holds a Doctoral degree from the Juilliard School and she is currently on the faculty of St. Paul

Conservatory of Music.

Momoko Tanno, sopranoMargaret Humphrey, violin, Zeitgeist & Asako Hirabayashi, harpsichord

Courtroom ConcertSpotlight on Minnesota Composer, Asako HirabayashiNovember 21, 2013 • Noon • Landmark Center

The opera Yukionna, the legend of the Snow Witch is told through this song cycle written by Asako Hirabayashi and was made possible by a

grant from the American Composers Forum with funds provided by the Jerome Foundation. Momoko Tanno is a fi scal year 2013 recipi-

ent of an Artist Initiative Grant from the Minnesota State Arts Board. This activity is made possible by the voters of Minnesota through a

grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the Arts and Cultural Heritage Fund.

Prelude, from Yukionna (Snow Witch) (Zeitgeist)

"Hyozan," (Ice Mountain) from Yukionna (Tanno, Hirabayashi)

"For Cléa" (Humphrey, Hirabayashi)

"Al que ingrate me deja, Busco Amante" (Tanno, Humphrey, Hirabayashi)

Scene of Snow God, from Yukionna (Zeitgeist)

Vocalise (Humphrey, Hirabayashi)

"Ketsubetsu" (Farewell), from Yukionna (Tanno, Hirabayashi)

Fandango (Humphrey, Hirabayashi)

Dance (Tanno, Humphrey, Hirabayashi, Barringer)

"Shinrei" (Spirits of the Forest) world premiere (Tanno, Humphrey, Hirabayashi)

Father’s death scene, from Yukionna (Zeitgeist) Asako Hirabayashi


Courtroom ConcertDecember 12, 2013 • Noon

Landmark Center

Dolce Wind Quintet is a professional ensemble with abundant talent and experience entertaining and educating audiences of

all ages. Since 1995 Dolce has been performing for recitals, weddings, receptions, worship services, schools, charity benefi ts, and other

events–including pub nights! Dolce customizes each performance playlist to appeal to their audiences, drawing from an enormous

repertoire of classic and contemporary woodwind quintet literature, transcriptions, popular songs and dances, ethnic music, show tunes,

holiday favorites, and more.

Selected as Classical MPR Artists in Residence in 2013–2014, the ensemble also performed on the MPR stage at the 2013 Minnesota State

Fair, was the house band for MPR’s 2010 Taste of the Holidays Concert at the Fitzgerald Theater in 2010, and was featured on the station’s

Holiday Sampler broadcast in 2009. In 2007, Dolce performed live on-air during MPR Day in Rochester and for MPR’s Music Alive event at

Calhoun Square in Minneapolis.

In addition to appearances on the Schubert Club Courtroom Concert series, Dolce performs for several other concert series, including

Fridays in the Valley concerts in the Twin Cities, Munsinger/Clemens Gardens summer series in St. Cloud, the international Vintage Band

Festival in Northfi eld, and the Summer Mostly Thursdays series in Bayfi eld, Wisconsin. For Chamber Music Minnesota, Dolce videotaped a

live performance and interviews used in music education programs nationwide since 2002.

Sue Ruby has been a teaching artist at MacPhail Center for Music since 2001. In addition to teaching private, group, and Music Tree

piano, she serves as collaborative pianist for the Prelude program and Advanced Music Theater Performance Lab (formerly MacPhail

Players). Sue is frequently seen throughout the state as a collaborative pianist with vocalists, as well as woodwind and string

chamber musicians.

Dolce Wind QuintetNancy Wucherpfennig, fl ute; Megan Dvorak, oboe

Karen Hansen, clarinet; Ford Campbell, bassoon; Vicki Wheeler, horn

with Sue Ruby, piano

Three Pieces for Woodwind Quintet – Adolphe Deslandres

Andante

Scherzo

Finale

Quintet in C – Claude Arrieu

Allegro • Andante • Allegro scherzando

Adagio • Allegro vivace

Sextet for Piano and Wind Quintet – Francis Poulenc

Allegro vivace

Divertissement

Finale

Francis Poulenc

schubert.org 39

Timothy C. Takach enjoys a busy and varied career as a composer, singer, clinician, and freelance graphic designer. As a

full-time composer, Takach has a healthy schedule of commissioned work. He is a co-founder of the professional ensemble

Cantus and Vice President of both Graphite Publishing and the Independent Music Publishers Cooperative. Takach

graduated with honors from St. Olaf College with degrees in Music Composition and Art.

The Schubert Club CarolersCarrie Henneman Shaw, soprano; Linda Kachelmeier, alto; Nicholas Chalmers, tenor;Timothy C. Takach, bass

with Brian Barnes, guitar

Courtroom ConcertChristmas in Minnesota – New Songs for the SeasonDecember 19, 2013 • Noon • Landmark Center

Nick Chalmers has sung with The Singers-Minnesota Choral Artists and the Minnesota Opera Chorus and has been

section leader with the Chorus of Opera Memphis. Recent engagements include The Mirandola Ensemble and Glorious

Revolution Baroque. Currently, Chalmers sings with the The Rose Ensemble, teaches private voice at St. Francis High School,

and is cantor and tenor section leader at The Cathedral of St. Paul.

Linda Kachelmeier is a composer, conductor, and singer in St. Paul. She has received grants and commissions through

the Jerome Foundation, American Composers Forum, and Metropolitan Regional Arts Council. Since 1991, she has been the

Director of Music at First Presbyterian Church in South St. Paul. Kachelmeier has performed with such diverse groups as

The Dale Warland Singers, VocalEssence, the a cappella quintet Dare to Breathe, and The Rose Ensemble.

Carrie Henneman Shaw is a singer who weaves style and emotion into vivid performances of Baroque and

contemporary classical music. Winner of a McKnight Fellowship for Performing Musicians, she has been praised as a

“major musical force” (St. Paul Pioneer Press) and “consistently stylish” (Boston Globe). Shaw sings with ensembles in

Minnesota, Boston, and Chicago: Glorious Revolution Baroque, The Bach Society of MN, Ensemble Dal Niente, and Baroque

opera companies.

Brian Barnes began his professional musical career at the age of 15. Those fi rst shows at bars, festivals and college

campuses, in a bluegrass band with his brother, turned into a career spanning nearly 40 years. A multi-instrumentalist,

Barnes has appeared at concerts and festivals from Japan to Bulgaria, Spain to the Arctic Circle, performing roots, world, and

jazz music. He works regularly with many other artists performing for live shows as well as studio recordings and is involved

in creating music for his own performance, fi lm, and animation projects.

Christmas card artwork by Emily Burt Betinis

I. Wonder and Mystery

Behold the Wonder of This Night – Peter Hamlin

Sleep, Little Baby, Sleep – Jake Runestad

Blue Moment – Brian Barnes

Snow Had Fallen; Christ was Born – Stephen Paulus

II. In the Stable

Shem Speaks – Abbie Betinis

Manger Dance – Jeffrey Van

Stables – Peter Mayer (chorus arr. by Jason Shelton)

III. Make We Merry

New Year’s Eve – Linda Kachelmeier

December Carol – Christopher Gable

The Mirthful Heart – Abbie Betinis

IV. Minnesota Winter

Snowbound – Dave Frishberg

Boswell’s Lights – Neal & Leandra

Lake Superior (A Love Song) – Sara Thomsen

Night of Silence – Daniel Kantor

Snow Day – Trip Shakespeare


The Schubert Club Annual ContributorsThank you for your generosity and support

Ambassador$20,000 and aboveEstate of Harry M. DrakeMAHADH Fund of HRK FoundationLucy Rosenberry JonesThe McKnight FoundationMinnesota State Arts BoardGilman and Marge OrdwayTarget FoundationTravelers Foundation

Schubert Circle$10,000 – $19,999Patrick and Aimee Butler Family FoundationRosemary and David Good Family FoundationAnna M. Heilmaier Charitable FoundationPhyllis and Donald Kahn Philanthropic Fund of the Jewish Communal FundJohn S. and James L. Knight FoundationGeorge ReidThe Charles A. Weyerhaeuser Memorial Foundation

Patron$5,000 – $9,999John and Nina ArchabalBoss FoundationJulia W. DaytonTerry DevittMark and Diane GorderHelen Gillespie Kolderie and Theodore Kolderie Jr. Fund of The Saint Paul FoundationDorothy J. Horns, M.D. and James P. RichardsonHélène Houle and John NasseffArt and Martha Kaemmer Fund of The HRK FoundationBarry and Cheryl KemptonWalt McCarthy and Clara Ueland and Greystone FoundationLuther I. Replogle Foundation

Sewell Family FoundationThrivent Financial for Lutherans FoundationTrillium Family Foundation3M FoundationNancy and Ted WeyerhaeuserMargaret and Angus Wurtele

Benefactor$2,500 – $4,999AnonymousSuzanne Asher McCarthy-Bjorklund Foundation and Alexandra O. BjorklundThe Burnham FoundationRachelle Dockman Chase & John H. Feldman Family Fund of The Minneapolis FoundationDee Ann and Kent CrossleyMichael and Dawn GeorgieffBill Hueg and Hella Mears HuegJohn and Ruth Huss FundIntricon CorporationJames E. JohnsonKyle Kossol and Tom BeckerChris and Marion LevyAlice M. O’Brien FoundationPaul D. Olson and Mark L. BaumgartnerFord and Catherine Nicholson Family FoundationRichard and Nancy Nicholson Fund of The Nicholson Family FoundationJohn and Barbara RiceSaint Anthony Park Community FoundationSaint Paul HotelMichael and Shirley SantoroSecurian FoundationKim Severson and Philip JemielitaThrivent Financial for Lutherans Foundation

Guarantor$1,000 – $2,499AnonymousMahfuza and Zaki AliThe Allegro Fund of

The Saint Paul FoundationWilliam and Suzanne AmmermanElmer L. & Eleanor J. Andersen FoundationPaul J. AslanianCraig and Elizabeth AaseJ. Michael Barone and Lise SchmidtBruce and Lynne Beck Dr. Lee A. Borah, Jr.Dorothea BurnsDeanna L. CarlsonCecil and Penny ChallyJohn and Marilyn DanCy and Paula DeCosse Fund of The Minneapolis FoundationJoy L. DavisDellwood FoundationDorsey & Whitney Foundation Richard and Adele EvidonWilliam and Bonita FrelsDick GeyermanJill Harmon and Frank FairmanAnders and Julie Himmelstrup Thelma HunterLois and Richard KingFrederick Langendorf and Marian RubenfeldSusanna and Tim LodgeRoy and Dorothy Ode MayeskeSylvia and John McCallisterAlfred P. and Ann M. MooreSandy and Bob MorrisPeter and Karla MyersThe Philip and Katherine Nason Fund of The Saint Paul FoundationSita OhanessianPerforming Arts Fund of Arts MidwestDavid and Judy RanheimLois and John RogersRon and Carol RydellAnn and Paul SchulteSeward Community Co-OpFred and Gloria Sewell Katherine and Douglas SkorHelen McMeen SmithAnthony TheinJill and John ThompsonJohn and Bonnie TreacyWells Fargo Foundation MinnesotaDoborah Wexler M.D. and Michael MannMichael and Cathy Wright

schubert.org 41

Sponsor$500 – $999AnonymousMeredith B. AldenMary and Bill BakemanEileen M. BaumgartnerNicholai P. Braaten and Jason P. KudrnaTim and Barbara BrownElwood and Florence A. CaldwellJames CallahanAndrew and Carolyn CollinsDavid and Catherine CooperArlene DidierDorsey & Whitney FoundationJoan R. DuddingstonAnna Marie EttelJennifer Gross and Jerry LefavreAndrew Hisey and Chandy JohnAlfred and Ingrid Lenz HarrisonAnne and Stephen HunterKevin KayGarrison Keillor and Jenny NilssonWilliam KleinLehmann Family Fund of The Saint Paul FoundationJeffrey H. Lin and Sarah BronsonThe Thomas Mairs and Marjorie Mairs Fund of The Saint Paul FoundationWendell MaddoxDavid MorrisonKay Phillips and Jill Mortensen Fund of The Minneapolis FoundationAlan and Charlotte MurrayElizabeth B. MyersWilliam Myers and Virginia DudleyJohn B. NoydDan and Sallie O’Brien Fund of The Saint Paul FoundationRobert M. OlafsonLuis Pagan-CarloPark Perks of Park Midway BankMary and Terry PattonWilliam and Suzanne PayneChristine Podas-Larson and Kent LarsonAugust Rivera, Jr.Saint Anthony Park HomeJohn Sandbo and Jean ThomsonDr. Leon and Alma Jean SatranWilliam and Althea SellJohn Seltz and Catherine FurrySolo Vino and Chuck KanskiMarilee and Terry StevensDebra K. TeskeDavid L. Ward

Katherine Wells and Stephen WillgingJane and Dobson WestKeith and Anne-Marie WittenbergMark W. Ylvisaker

Partner$250 – $499Anonymous (3)Beverly S. AndersonKathy and Jim AndrewsAdrienne and Bob BanksJerry and Caroline BenserBibelot ShopsJean and Carl BrookinsMiriam Cameron and Michael OrmondJoann CierniakDonald and Alma DeraufRuth S. DonhoweMichael and Kathy DoughertyJayne and Jim EarlySue EbertzDavid and Maryse FanJorja FleezanisJoachim and Yuko HeberleinMargaret HoultonMargaret HumphreyElizabeth J. IndiharRay JacobsenPamela and Kevin JohnsonErwin and Miriam KelenDonald and Carol Jo KelseyYoungki and Youngsun Lee KimGloria KittlesonSarah Lutman and Rob RudolphSusan and Edwin McCarthyDr. John A. MacDougallRhoda and Don MainsFrank MayersMalcom and Wendy McLeanDeborah McKnightJames and Carol MollerJack and Jane MoranGerald NolteLowell and Sonja NoteboomPatricia O’GormanScott and Judy OlsenHeather J. PalmerRichard and Suzanne PepinJames and Donna PeterSidney and Decima PhillipsWalter Pickhardt and Sandra ResnickKaren RobinsonDr. Paul and Betty QuieMary Ellen and Carl Schmider

Paul L. SchroederEstelle SellEmily and Daniel ShapiroMarilyn and Arthur SkantzHarvey D. Smith, MDEileen StackMichael SteffesHazel Stoeckeler and Alvin WeberBarbara Swadburg and Jim KurleArlene and Tom H. SwainJohn and Joyce TesterPeggy WolfeMatt Zumwalt

Contributor$100 – $249Anonymous (7)Mira AkinsMary E. AldenArlene AlmElaine AlperMrs. Dorothy AlshouseSusan and Brian AndersonJean and Michael AntonelloMary A. Arneson and Dale E. HammerschmidtClaire and Donald AronsonJulie Ayer and Carl NashanKay C. BachFrank and AnnLiv BaconGene and Peggy BardThomas and Jill BarlandBenjamin and Mary Jane BarnardCarol E. BarnettCarline BengtssonFred and Sylvia BerndtChristopher and Carolyn BinghamAnn-Marie BjornsonDavid and Elaine BorsheimCarol A. BraatenTanya and Alexander BraginskyDr. Arnold and Judith BrierMichael and Carol BromerRichard and Judy BrownleeMatthew P. BrummerPhilip and Carolyn BrunellePhilip and Ellen BrunerDavid and Ann BuranRoger F. BurgGretchen CarlsonRev. Kristine Carlson and Rev. Morris WeeAlan and Ruth CarpCarter Avenue Frame Shop


Jo and H. H. ChengDavid ChristensenDavid and Michelle ChristiansonJohn and Brigitte ChristiansonRoger and Wallys ConhaimEdward and Monica CookSage CowlesDon and Inger DahlinF. G. and Bernice DavenportShirley I. DeckerJohn and Karyn DiehlMarybeth Dorn and Robert BehrensBruce DoughmanJanet and Kevin DugginsMary DunlapKathleen Walsh EastwoodThomas and Mari Oyanagi EggumGeorge EhrenbergPeter Eisenberg and Mary CajacobJames EricksonFlowers on the ParkGerald FoleySalvatore FrancoPatricia FreeburgRichard and Brigitte FraseJane FrazeeJoan and William GackiNancy and Jack GarlandGeneral Mills FoundationDavid J. GerdesRamsis and Norma GobranPhyllis GoffGreg and Maureen GrazziniCarol L. GriffinRichard and Sandra HainesJon and Diane HallbergKen and Suanne HallbergBetsy and Mike HalvorsonRobert and Janet Lunder HanafinPatricia HartHegman Family FoundationMary Beth HendersonJoan Hershbell and Gary JohnsonFrederick J. Hey, Jr.Mary Kay HicksAsako Hirabayashi and Thomas StoffregenCynthia and Russell HobbieDr. Kenneth and Linda HolmenJ. Michael HomanPeter and Gladys HowellPatty Hren-RowanThomas Hunt and John WheelihanIBM Matching Grants ProgramIdeagroup Mailing Service and Steve ButlerOra Itkin

Phyllis and William JahnkeGeorge J. JelatisBenjamin M. JohnsonPamela JohnsonNancy P. JonesTessa Retterath JonesMichael C. JordanJoseph Catering and George KalogersonAnthony L. KiorpesRobin and Gwenn KirbySteve KnudsonKaren KoeppMarek KokoszkaMary and Leo KottkeJanet and Richard KrierGail and James LaFaveColles and John LarkinPatricia LalleyLandmark CenterLibby Larsen and Jim ReeceKent and Christine Podas-LarsonNowell and Julia LeitzkeCharlene S. LevyGary M. LidsterRebecca LindholmVirginia LindowMichael and Keli LitmanMarilyn S. LoftsgaardenBarbara Lund and Cathy MuldoonRoderick and Susan MacphersonRichard and Finette MagnusonHelen and Bob MairsDanuta Malejka-GigantiPaul W. MarkwardtLaura McCartenPolly McCormackMalcolm and Patricia McDonaldGerald A. MeigsJohn MichelDavid Miller and Mary DewSteven MittelholtzTom. D. MobergBradley H. MomsenDavid E. MooreElizabeth A. MurrayDavid and Judy MyersNicholas NashCarolyn and Jim NestingenKathleen NewellJay Shipley and Helen NewlinTom O’ConnellJohn and Ann O’LearySally O’ReillyEileen O'Shaughnessy and Arthur PerlmanVivian Orey

Melanie L. OunsworthElizabeth M. ParkerMary and Terry PattonRichard and Mary Ann PedtkePatricia Penovich and Gerald MoriartyEarl A. PetersonBarbara Pinaire and William LoughLaura D. Platt Mindy RatnerRhoda and Paul RedleafKaren RobinsonPeter RomigJane RosemarinJ.L. and Sandra RutzickDavid SchaafCraig and Mariana SchulstadA. Truman and Beverly SchwartzS. J. SchwendimanBuddy Scroggins and Kelly SchroederSteven SeltzWill ShapiraGale SharpeRenate SharpNan C. ShepardRebecca and John ShockleyNance Olson SkoglundDarroll and Marie SkillingSarah Snapp and Christian DavisAnn Perry SlosserConrad Soderholm and Mary TingerthalArne SorensonMarilyn and Thomas SoulenCarol Christine SouthwardArturo L. SteelyEva SteinerBarbara Swadberg and James KurleGregory Tacik and Carol OligLillian TanJane A. ThamesTheresa’s Hair SalonTim ThorsonCharles and Anna Lisa TookerTour de Chocolat and Mina FisherKaren and David TrudeauChuck Ullery and Elsa NilssonRev. Robert L. ValitJoy R. VanHarlan Verke and Richard ReynenMary VolkTom von Sternberg and Eve ParkerDale and Ruth WarlandAnita WelchTimothy Wicker and Carolyn DetersBeverly and David WickstromChristopher N. WilliamsNeil and Julie WilliamsThe Wine Company

schubert.org 43

Dr. Lawrence A. WilsonJames and Alexis WolffPaul and Judy WoodwardAnn WyniaZelle Hofmann Voelbel & Mason LLPLola Watson and Michael HillmanNancy Zingale and William Flanigan

Friends $1 – $99Anonymous (7)James D. AndrusCigale AhlquistRenner and Martha AndersonKay C. BachThomas and Jill BarlandVerna H. BeaverDr. Karen BeckerJudith BentleyBrian O. BerggrenRoberta BeuteDagny BilkadiDorothy BoenPhillip Bohl and Janet BartelsRoger BolzRobert and Janice BowmanTed and Marge BowmanJudith BoylanCharles D. BrookbankJackie and Gary BrueggmannChris BrunelleTimothy K. BudgeDaniel BuividDr. Magda BusharaKevin CallahanDonna CarlsonAllen and Joan CarrierDavid and Phyllis CasperLaura CavianiSusan CobinEduardo ColonMary Sue ComfortComo Rose TravelF. Michael CooperIrene D. CoranJohn and Jeanne CoundMary E. and William CunninghamJames CuperyErnest and Beth CuttingDonald and Inger DahlinRachel L. DavisonCharles Dean, MDPamela and Stephen DesnickDr. Stan and Darlene DieschChristine Wilkinson Donovan

Sue Freeman DoppCraig Dunn and Candy HartDavid and Alice DugganMargaret E. DurhamAndrea EenKatherine and Kent EklundMark Ellenberger and Janet ZanderSteven and Marie EricksonRev. L.J. and Shirley EspelandRuth FardigMary Ann FeldmanBarbara J. FieldRegina Flanagan and Daniel DonovanBarbara A. FleigJohn Floberg and Martha HicknerJack Flynn and Deborah PileJohn and Hilde FlynnNancy FogelbergDan and Kaye FreibergHerb FreyLea Foli and Marilyn ZupnikCatherine Ellen FortierMichael FreerRichard Frisch and Robert WallaceLisl GaalJoan and William GackiCléa GalhanoDr. and Mrs. Robert GeistMary M. GlynnPeg and Liz GlynnA. Nancy GoldsteinM. Graciela GonzalezGracoPaul GreeneLorraine Griffin JohnsonKirk HallMichael and Rita HampleEugene and Joyce HaselmannJudith K. HealeyMarguerite HedgesHoward and Bonnie Gay HedstromAlan HeiderRosemary J. HeinitzStefan and Lonnie HelgesonMolly M. HenkeDon and Sandralee HenryAnne HesselrothHelen and Curt HillstromElizabeth HinzMarian and Warren HoffmanMargaret Hubbs and FamilyDr. Charles W. HuffKaren A. HumphreyPatricia A. Hvidston and Roger A. OppBenita IllionsMariellen JacobsonFritz Jean-Noel

Angela JenksMimi and Len JenningsMaria JetteStephen and Bonnie JohnsonThelma JohnsonGeraldine M. JolleyMary A. JonesRuth and Edwin JonesCarol R. KellyJean W. KirbyDr. Armen KocharianJane and David KostikDave and Linnea KrahnJudy and Brian KrasnowPaul and Sue KremerAlexandra KulijewiczPatricia J. LalleyHelen and Tryg LarsenAmy Levine and Brian HorriganCarol A. JohnsonKarla LarsenMargaret LaughtonLarry LeeJohn R. LewisShirley and Charles LewisArchibald and Edith LeyasmeyerBernard LindgrenMargaret and Frank LindholmThomas and Martha LinkThomas LogelandMalachi and Stephanie LongJanet R. LorenzLord of Life Lutheran ChurchEd Lotterman and Victoria TirrelCarol G. LundquistSamir MangalickEva MachCarol MarchKaren R. MarkertDavid MayoRoberta MegardDavid L. MelbyeJane E. MercierRobert and Greta MichaelsDina MikhailenkoJohn W. Miller, Jr.Richard and Deborah MjeldeMarjorie MoodyAnne and John MunhollandJoy P. NorenbergIngrid NelsonEva J. NeubeckJane A. NicholsEleanor H. NicklesPolly O’BrienTom O’ConnellBarbara and Daniel Opitz


Dennis and Turid OrmsethThomas W. OsbornCatherine M. OwenElisabeth PaperMrs. Dorothy PetersonLynn R. PetersonSolveg PetersonMarcos and Barbara PintoRalph PodasDeborah PowellJonathan and Mary PreusSusan D. PriceMichael RabeSiegfried and Ann RabieJeffrey ReedAlberto RicartC.J. RichardsonJulia RobinsonDrs. W.P. and Nancy W. RodmanMichael and Tamara RootDiane RosenwaldStewart RosoffAnne C. RussellSaint Paul Riverfront CorporationMary SavinaRalph J. SchnorrKevin SchoenrockRussell G. SchroedlJon J. Schumacher and Mary BriggsPaul and Carol Seifert

Ed and Marge SenningerJay and Kathryn SeveranceBeatrice D. SextonShelly ShermanElizabeth ShippeeBrian and Stella SickBill SlobotskiJames and Ann StoutColleen SickelerNan Skelton and Peter LeachCharles Skrief and Andrea BondSusannah Smith and Matthew SobekRobert and Claudia SolotaroffPatricia SorensonRobert SourileSpeedy Market and Tom SpreiglDr. James and Margaret StevensonRalph and Grace SulerudNorton StillmanCynthia StokesLori SundmanDru and John SweetserJon TheobaldBruce and Marilyn ThompsonKaren TitrudCharles D. TownesSusan TravisImogene H. TreichelTom TrowMartha Hughesdon Turner

Byron TwissJennifer UndercoflerYamy VangJeanne M. VoightKaren L. VolkCarol and Tim WahlWilliam K. WangensteenHelen H. WangClifton and Bettye WareBetsy Wattenberg and John WikeStuart and Mary WeitzmanHope WellnerDeborah WheelerVictoria Wilgocki and Lowell PrescottEvan WilliamsAlex and Marguerite WilsonMary WittenbreerYea-Hwey WuTim Wulling and Marilyn BensonMax E. ZarlingJanis ZeltinsJohn Ziegenhagen

This activity is made possible in part by a grant provided by

the Minnesota State Arts Board through an appropriation by

the Minnesota State Legislature from the State's general fund

and its arts and cultural heritage fund with money from the

vote of the people of Minnesota on November 9, 2008, and a

grant from the Wells Fargo Foundation Minnesota.

KATENORDSTRUM PROJECTS

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

and Ordway Center for the Performing Arts

Thank you to the following organizations

Since January 1, 2013, we welcomed 80 new people to The Schubert Club donor family. The gifts added up to $5,205, enough to provide a year of free piano and guitar lessons to 35 students through our Project CHEER program.No matter how large or small, your gifts make a difference!

schubert.org 45

Memorials and Tributes

In memory of Dr. John DavisAugust Rivera, Jr.

In memory of Jill Harmon’s fatherChristine Podas-Larson

In memory of Dorothy MattsonPenny and Cecil ChallyChristine Podas-LasonNancy Zingale and William Flanigan

In memory of Rose Petroske, mother of Marilyn DanBeatrice D. Sexton

In memory of Nancy PodasDiane and Greg EganThomas and Mari Oyanagi EggumSteven and Marie EricksonAnna Marie EttelCarole and Tom FagreliusNancy FogelbergRegina Flanagan and Donald DonovanNancy FogelbergGreg and Maureen GrazziniHoward and Bonnie Gay HedstromSharon Owen and Fred HilleMargaret Hubbs and FamilyJohn and Ruth HussLucy Jones and James JohnsonKent and Christine Podas-LarsonCharlene S. LevyJohn R. LewisShirley and Charles LewisMargaret and Frank LindholmRichard and MjeldeJoy P. NorenbergPolly O’Brien

In honor of Julie HimmelstrupMary Ellen Schmider

In honor of Jim Johnson and Lucy Jones’ BirthdaysSusan and Edwin McCarthy

In honor of Lucy Jones’ BirthdayMalcolm McDonald

In honor of Barry Kempton's 50th BirthdayRichard and Adele Evidon

In honor of Amy Hwei-Mei LiuMargaret Laughton

In honor of Marion and Chris Levy’s Wedding AnniversaryThomas and Jill Barland

In honor of David MorrisonJohn Michel

In honor of Paul D. Olson’s 50th BirthdayMark L. BaumgartnerRichard Frisch and Robert WallaceRita and Michael HampleBarbara and Daniel OpitzHarlan Verke and Richard Reynen

In honor of Wendy Undercofl er's BirthdayJenny Undercofl er

In honor of Barbara RoyMolly Henke

In memory of Lars Bengtsson, husband of Carline BengtssonPaul D. Olson

Eileen O’Shaughnessy and Arthur PerlmanCatherine M. OwenKathleen OwenRalph PodasChristine Podas-LarsonSusan D. PriceJohn and Barbara RiceJ. L. and Sandra RutzickSaint Paul Riverfornt CorporationColleen SickelerCharles Skrief and Andrea BondEva SteinerTom and Arlene SwainJane A. ThamesJon TheobaldImogene H. TreichelMartha Hughesdon TurnerYamy VangJeanne M. Voight

In memory of Nancy PohrenSandra and Richard Haines

In memory of Jeanette Maxwell RiveraAugust Rivera, Jr.

In memory of Nancy ShepardNan C. Shepard

In memory of Tom StackEileen Stack

In memory of Catherine StovenMary and Terry Patton

In memory of Anne E. Walsh, sister of Kate Walsh EastwoodJim Johnson and Lucy JonesPaul D. OlsonMarilyn and John Dan

Every effort has been made to ensure the accuracy in listing our

contributors. If your name has been inadvertently omitted or incorrectly

listed, please contact The Schubert Club at 651.292.3267


The Schubert Club Endowmentand The Legacy Society

The Legacy Society

The Legacy Society honors the

dedicated patrons who have

generously chosen to leave a gift

through a will or estate plan. Add

your name to the list and leave a

lasting legacy of the musical arts for

future generations.

AnonymousFrances C. Ames*Rose Anderson*Margaret Baxtresser*Mrs. Harvey O. Beek*Helen T. Blomquist*Dr. Lee A. Borah, Jr.Raymond J. Bradley*James CallahanLois Knowles Clark*Margaret L. Day*Timothy Wicker and Carolyn DetersHarry Drake*Mary Ann FeldmanJohn and Hilde FlynnSalvatore FrancoMarion B. Gutsche*Anders and Julie HimmelstrupThelma HunterLois and Richard KingFlorence Koch*Dorothy Mattson*John McKayMary B. McMillanJane Matteson*Elizabeth Musser*Heather PalmerLee S. and Dorothy N. Whitson*Richard A. Zgodava*Joseph Zins and Jo Anne Link

*In Remembrance

Become a member of The Legacy

Society by making a gift in your

will or estate plan. For further

information, please contact

Paul D. Olson at 651.292.3270 or

[email protected]

The Schubert Club Endowment

We are grateful for the generous donors

who have contributed to The Schubert

Club Endowment, a tradition started

in the 1920s. Our endowment provides

nearly one-third of our annual budget,

allowing us to offer free and affordable

performances, education programs and

museum experiences for our community.

Several endowment funds have been

established, including the International

Artist Series with special support by the

family of Maud Moon Weyerhaeuser

Sanborn in her memory. We thank the

following donors who have made

commitments to our endowment funds:

The Eleanor J. Andersen Scholarship and Education FundThe Rose Anderson Scholarship FundEdward Brooks, Jr.The Eileen Bigelow MemorialThe Helen Blomquist Visiting Artist FundThe Clara and Frieda Claussen FundCatherine M. DavisThe Arlene Didier Scholarship FundThe Elizabeth Dorsey BequestThe Berta C. Eisberg and John F. Eisberg FundThe Helen Memorial Fund “Making melody unto the Lord in her very last moment.” – The MAHADH FoundationThe Julia Herl Education FundHella and Bill Hueg/Somerset FoundationThe Daniel and Constance Kunin FundThe Margaret MacLaren BequestThe Dorothy Ode Mayeske Scholarship FundIn memory of Reine H. Myers by the John Myers Family, Paul Myers, Jr. Family John Parish Family

The John and Elizabeth Musser FundTo honor Catherine and John Neimeyer By Nancy and Ted WeyerhaeuserIn memory of Charlotte P. Ordway By her childrenThe Gilman Ordway FundThe I. A. O’Shaughnessy FundThe Ethelwyn Power FundThe Felice Crowl Reid MemorialThe Frederick and Margaret L. Weyerhaeuser Foundation The Maud Moon Weyerhaeuser Sanborn MemorialThe Wurtele Family Fund

Add your name to this list by making a gift

to The Schubert Club Endowment

or provide a special gift directly to

The Schubert Club.

Tune in to Classical Minnesota Public Radio or stream online at classicalmpr.org, where you can also listen to our 24/7 choral-music stream.

an die musik oct 27-dec 31, 2013

Documents

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unneeded tickets

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street west saint paul

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