April 20–May 9, 2016 An die Musik

The Schubert Club • schubert.org It’s all about listening. Experience Accredited. ™

WE INVITE YOU TO LEARN MORE BY CONTACTING Becky Krieger @ 952.841.2222 or accredited.com ® 5200 West 73rd Street, Edina, Minnesota 55439 Photo by Michael Haug Photography 20 th Season Celebration A May Day “Crowning” Performance Our 20th season comes to a truly regal close on May Day with an elegant spring brunch, our debut in the new Ordway Concert Hall, and a post-show soirée with plenty of bubbly. Themes of coronation and majesty adorn our concert program, highlighted by the glorious music of Handel, Monteverdi, Purcell and Byrd.

Join our full ensemble of singers and a special MAY 1, 2016 period chamber orchestra, and witness the world SUNDAY AFTERNOON premiere of a new work by legendary composer Carol Barnett. What a way to toast 20 years! Ordway Concert Hall CAROL BARNETT 345 Washington Street, Saint Paul TICKETS $150: BRUNCH | CONCERT | PARTY (WITH PRIORITY SEATING) $30 and $50: CONCERT AND PARTY ONLY

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4 THE SCHUBERT CLUB An die Musik An die Musik April 20–May 9, 2016

Table of Contents Turning back or exchanging unneeded tickets: If you will be unable to attend a performance, please 6 Artistic & Executive Director & President’s Welcome notify our ticket office as soon as possible. Donating unneeded tickets entitles you to a tax-deductible 9 The Schubert Club Officers, Board of Directors, contribution for their face value and allows others to Staff, and Advisory Circle experience the performance in your seats. Turnbacks must be received one hour prior to the performance. 10 Bryn Terfel and Natalia Katyukova Alternatively, subscribers may arrange for an exchange by calling the ticket office at least one full business day 22 Hill House Chamber Players prior to the performance. Thank you! 26 Accordo The Schubert Club Ticket Office: 29 Courtroom Concerts 651.292.3268 • schubert.org/turnback 30 Intervals: Composer Mentorship The Schubert Club 75 West 5th Street, Suite 302 33 The Schubert Club Annual Contributors: Saint Paul, Minnesota 55102 Thank you for your generosity and support schubert.org

on the cover: Bryn Terfel photo: Adam Barker/DG The Schubert Club Music in the Park Series • 2016–2017

Kalichstein-Laredo-Robinson Trio Sunday, September 25, 2016 Pacifica String Quartet with Johannes Moser, cello Sunday, November 6, 2016 Danish String Quartet Sunday, February 12, 2017 Yolanda Kondonassis, harp Jason Vieaux, guitar Sunday, March 5, 2017 Alina Ibragimova, violin Cédric Tiberghien, piano Photo: Laura Watilo Blake Sunday, March 26, 2017 Daedalus Quartet with Linda Kelsey, narrator Yolanda Kondonassis & Jason Vieaux & Wilhelmina Smith, cello Sunday, April 23, 2017 Concerts at 4:00 PM at Saint Anthony Park United Church of Christ Artistic & Executive Director & President’s Welcome

Welcome to The Schubert Club! We might as well just admit it—most of us nod off occasionally at evening concerts. After a long day at As the days get longer and the evenings are lighter, work, the comfy seats at the Ordway and the relaxing The Schubert Club has lunchtime and evening effect of some music can make the eyelids very, very performances to fill our hearts with musical joy. heavy, regardless of how great the music is. Years ago, when I was expecting our third child, I, my husband, We’re delighted to welcome back Welsh bass- and four visiting Japanese businessmen all fell asleep baritone Bryn Terfel to the Ordway for a record fifth in the last row of the Concertgebouw in Amsterdam. International Artist Series appearance at the Ordway. I had a good excuse; the rest of them did not! His connection with The Schubert Club began 20 years ago in 1996 and he is a firm favorite of many audience Beginning with the 2015–2016 concert season, members (not to mention the administrative staff). the bright light of daylight became an option for International Artist Series fans, with the introduction of a daytime package. These “coffee concerts” are available again in the 2016–2017 International Artist Series season, with only Renée Fleming performing in the evening. I encourage subscription and single ticket patrons to take a look at the daytime package and consider whether music in the morning might better suit your work or personal schedule (or your sleep habits).

A morning of music followed by lunch and perhaps Bryn Terfel, signed an afternoon trip to The Schubert Club Museum in photo from 2000 the Landmark Center sounds like a great day out! If you haven’t yet visited the Museum you have much In the closing months of this 2015–16 season, we also to look forward to, from the cyclone sculpture of have concerts by Twin Cities-based ensembles Accordo instruments to the collection of historic keyboards and the Hill House Chamber Players (celebrating their and music boxes. And, no need to worry about 30th season), two ensembles with which The Schubert whether you might snooze through the Club is proud to be associated. morning concert.

Thank you for your support of The Schubert Club; I wish you a peaceful and enjoyable summer and hope to see you again in the fall when we will commence our 135th season.

Barry Kempton Kim A. Severson Artistic and Executive Director President

6 THE SCHUBERT CLUB An die Musik Salon Piano Series presents Simply Stringsstudio Offering Bass, Cello, Fiddle, Guitar, Mandolin, Piano, Viola, Violin and Voice Lessons

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— LADYSLIPPER ENSEMBLE PRESENTS — 44 onon thethe FloorFloor MUSICwith OF young THE artist Julian AMERICAS Maddox Four-piano concert with Daniel del Pino, Sunday, May 15, 3pm Lucille Chung, Gloria Dei Lutheran Church, Alon Goldstein, Saint Paul & Roberto Plano

Featuring works Oct. 28 & Oct. 29, 2016 7:30pm of Danielpour, Ives/ at Farley’s House of Pianos, Thomas, Previn, Madison, WI Gershwin, Moya, salonpianoseries.org Piazzolla & Guastavino

schubert.org 7 Bridge Chamber MUSIC FESTIVAL 2016

Young Artist Recital · Sunday, Aug. 21 · 2:00pm Studio A, Skifter Hall, St. Olaf College Study the Classical Guitar Talented young musicians from southern Minnesota perform solo and chamber music Give yourself the gift of music Festival Concert I · Monday, Aug. 22 · 7:30pm with Spanish trained classical guitarist Urness Recital Hall, St. Olaf College The Enso String Quartet David Malmberg, M.Mus. Festival Concert II · Wednesday, Aug. 24 · 7:30pm The Grand Event Center · The Artaria String Quartet, the Private lessons. Glider Trio, and Parker Ousley, cello/vocals Call 612 418 9058 Festival Concert III · Friday, Aug. 26 · 7:30pm for information or Urness Recital Hall, St. Olaf College The Dave Hagedorn Trio with special guest JC Sanford visit us at: https://davidmalmberg. musicteachershelper.com Festival Concert IV · Saturday, Aug. 27 · 7:30pm Urness Recital Hall, St. Olaf College · The Stone Arch www.davidmalmbergmusic.com Brass, pianist Esther Wang, and cellist David Carter

Tickets for concerts are $5, available at the door. bridgechamberfestival.org 507-786-3535

This activity is made possible by the voters of Minnesota through a grant from the Southeastern Minnesota Arts Council thanks to a legislative appropriation from the arts & cultural heritage fund.

The 2016–17season Romeo & Juliet Dinner at Eight GOUNOD WORLD PREMIERE Sept. 24–Oct. 2, 2016 Mar. 11–19, 2017 Music by WILLIAM BOLCOM Libretto by MARK CAMPBELL Das Rheingold Based on the play by WAGNER GEORGE S. KAUFMAN Nov. 12–20, 2016 and EDNA FERBER Diana‘s Garden La Bohème SOLER PUCCINI Jan. 21–29, 2017 May 6–21, 2017

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8 THE SCHUBERT CLUB An die Musik The Schubert Club Officers, Board of Directors, Staff, and Advisory Circle

Officers

President: Kim A. Severson Vice President Finance & Investment: Craig Aase Immediate Past President: Nina Archabal Vice President Marketing & Development: Mark Anema Vice President Artistic: Lynne Beck Vice President Nominating & Governance: Catherine Furry Vice President Education: Marilyn Dan Vice President Audit & Compliance: Gerald Nolte Vice President Museum: Ford Nicholson Recording Secretary: Catherine Furry Board of Directors Schubert Club Board members, who serve in a voluntary capacity for three-year terms, oversee the activities of the organization on behalf of the community.

Craig Aase Carline Bengtsson Anna Marie Ettel Anne Hunter Gerald Nolte Mark Anema Lynne Beck Richard Evidon Kyle Kossol Jana Sackmeister Nina Archabal Dorothea Burns Catherine Furry Chris Levy Kim A. Severson James Ashe James Callahan Michael Georgieff Jeffrey Lin Gloria Sewell Suzanne Asher Cecil Chally Elizabeth Holden Kristina MacKenzie Anthony Thein Paul Aslanian Carolyn Collins Dorothy Horns Peter Myers John Treacy Aimee Richcreek Baxter Marilyn Dan John Holmquist Ford Nicholson Alison Young

Staff

Barry Kempton, Artistic & Executive Director Janet Peterson, Finance Manager Tirzah Blair, Ticketing & Development Associate Quinn Shadko, Marketing Intern Maximillian Carlson, Program & Production Associate Composers-in-Residence: Kate Cooper, Director of Museum & Education Abbie Betinis, Edie Hill Aly Fulton, Executive Assistant & Artist Coordinator Julie Himmelstrup, Artistic Director, Music in the Park Series The Schubert Club Museum Interpretive Guides: Tessa Retterath Jones, Director of Marketing & Ticketing Sara Oelrich Church, Zachary Forstrom, Paul Johnson, Alan Kolderie, Joanna Kirby, Project CHEER Director, Martin Luther King Center Sherry Ladig, Rachel Olson, Kirsten Peterson, Whittney Streeter

David Morrison, Museum Associate & Graphics Manager Project CHEER Instructors: Paul D. Olson, Director of Development Joe Christensen, Omid Farzin Huttar, Anika Kildegaard

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

Dorothy Alshouse Joy Davis Hella Mears Hueg Nicholas Nash Estelle Sell Mark Anema Terry Devitt Ruth Huss Richard Nicholson Gloria Sewell Dominick Argento Arlene Didier Lucy Rosenberry Jones Gayle Ober Katherine Skor Jeanne B. Baldy Karyn Diehl Richard King Gilman Ordway Tom Swain Ellen C. Bruner Ruth Donhowe Karen Kustritz Christine Podas-Larson Jill Thompson Carolyn S. Collins Anna Marie Ettel Libby Larsen David Ranheim Nancy Weyerhaeuser Dee Ann Crossley Diane Gorder Dorothy Mayeske Anne Schulte Lawrence Wilson Josee Cung Elizabeth Ann Halden Sylvia McCallister George Reid Mike Wright Mary Cunningham Julie Himmelstrup Elizabeth B. Myers Barbara Rice

schubert.org 9 The Schubert Club presents

Bryn Terfel, bass-baritone Natalia Katyukova, piano

Wednesday, April 20, 2016 • 7:30 PM

Pre-concert conversation by David Evan Thomas one hour before the performance

Cân yr Arad Goch (Song of the Plow) Idris Lewis Gwynfyd (Paradise) Meirion Williams Sul y blodau (Palm Sunday) Owen Williams Y Cymro (The Welshman) Meirion Williams Three Salt-water ballads Frederick Keel Port of Many Ships Trade Winds Mother Carey Chansons de Don Quichotte Jacques Ibert Chanson du depart de Don Quichotte Chanson à Dulcinée Chanson du Duc Chanson de la mort de Don Quichotte A Medley of Welsh Folksongs Bryan Davies

Intermission

Belsatzar, Opus 57 Robert Schumann Zwei Venezianische Lieder, from Myrthen, Opus 25 Schumann Leis’ rudern hier Wenn durch die Piazzetta Gruppe aus dem Tartarus, D. 583 Franz Schubert Liebesbotschaft, from Schwanengesang, D. 957 Das Fischermädchen (Schwanengesang) Auf dem Wasser zu singen, D. 774 Die Taubenpost (Schwanengesang)

Additional pieces to be announced from the stage

PLEASE SILENCE ALL ELECTRONIC DEVICES

This evening’s concert is dedicated to the memory of Reine H. Myers, by her family. Maud Moon Weyerhaeuser Sanborn International Artist Series Wednesday, April 20, 2016 • 7:30 PM • Ordway Music Theater

The Welsh bass-baritone Bryn Terfel has Millennium Centre. He was also given The Freedom of the performed in all the great opera houses City of London. Operatic highlights in 2015 included his of the world, and is especially recognized début in the role of Tevye in Fiddler on the Roof for Grange for his portrayals of Figaro, Falstaff and Park Opera, the title role in Sweeney Todd for English Wotan. He made his operatic début in National Opera, and Méphistophélès in Damnation of 1990 as Guglielmo in Così fan tutte for Faust for Opera de Paris. In 2016 Bryn will make his debut Welsh National Opera. His international in the role of Boris Godunov for the Royal Opera House, operatic career began in 1991 when Covent Garden, and will give recitals in North America and he sang the Speaker in Mozart’s Die concerts in festivals throughout Europe. Zauberflöte at the Théâtre de la Monnaie in Brussels, and in the same year he made his United States début as Figaro at the Santa Fe Opera. Other roles performed during his career include Holländer in Der fliegende Holländer, Méphistophélès in Faust, both the title role and Leporello in Don Giovanni, Jochanaan Russian pianist Natalia in Salome, Scarpia in Tosca, the title role in Gianni Schicchi, Katyukova, one of Dulcamara in L’elisir d’amore, and the title role in Sweeney Todd. the highly regarded young collaborators Bryn is also known for his versatility as a concert performer of her generation, is with highlights ranging from the opening ceremony of the currently working as Wales Millennium Centre, Last Night of the Proms, and the Royal an Assistant Conductor Variety Show, to a gala concert with Andrea Bocelli in Central at the Metropolitan Opera and coach in the Lindemann Park, New York. He has given recitals around the world and for Young Artist Development Program. She has served on the nine years hosted his own festival in Faenol, North Wales. faculties of Texas Wesleyan University, the University of In 2003, Bryn received a CBE for his services to Opera, and in Fine Arts (Russia), and the Conservatory “Monteverdi.” 2006 was awarded the Queen’s Medal for Music. He is also the last recipient of the Shakespeare Prize by the Alfred Toepfer A native of Klin, the city of Tchaikovsky, she has been Foundation, Hamburg. invited numerous times to play in the House-Museum of Tchaikovsky on the composer’s piano. Ms. Katyukova has Highlights in recent years include Bryn’s debut in the role performed with artists such as Bryn Terfel, Irina Arkhipova, of Hans Sachs in the critically acclaimed production of Die Ildar Abdrazakov, at festivals and summer programs Meistersinger von Nürnberg for Welsh National Opera, his return including Ravinia and Tanglewood, and has appeared in to La Scala to open the 2011 season singing Leporello in Don recital in the U.S., Russia, Germany, Italy, Finland, Giovanni, and Scarpia in Tosca. Highlights in 2012 included the and Japan. role of Wotan in Wagner’s Ring cycle for the Royal Opera House, Covent Garden and the Metropolitan Opera, New York, and She has featured as a solo pianist with renowned hosting a four day festival, Brynfest, at the Southbank Centre, orchestras such as the Tchaikovsky Symphony Orchestra London as part of the Southbank Centre’s Festival of the World. under Vladimir Fedoseev, the Haydn Orchestra with Ola In 2013, Bryn made his debut in concert at the Abu Dhabi Rudner, and the Moscow State Symphony led by Dmitry Festival and the Royal Opera House, and performed with the Orlov. She has accompanied for masterclasses led by Melbourne Symphony Orchestra, New Zealand Symphony Renée Fleming, Malcolm Martineau, Sir Thomas Allen, Orchestra, and returned to the Sydney Opera House in recital. Roger Vignoles, José van Dam, Martin Katz, and Highlights in 2014 included semi-staged performances of Warren Jones. Sweeney Todd at the Lincoln Center, and a tour of South Africa. A graduate of the Moscow State Conservatory, The In 2015, to mark his 50th birthday and twenty five years in the Juilliard School and Lindemann Young Artist Development profession, Bryn performed in a gala concert at the Royal Albert Program, her teachers included Margo Garrett, Jonathan Hall, London and in a concert performance of Tosca at the Wales Feldman, Brian Zeger, Ken Noda, and Lev Naumo.

schubert.org 11 Program Notes, Texts and Translations

The Songs of Wales Head west from London on the M4, and in a little over two hours you’ll cross the River Severn and find yourself in Wales, a part of the U.K., but another land entirely, with its own language, history, heroes and song tradition. Wales is about the size of New Jersey, with a population somewhat smaller than the Twin Cities metro area. It’s a largely rural country known for sheep farming, slate quarrying, and the coal that fueled the Industrial Revolution. The Welsh language (Cymraeg), which is spoken by about a fifth of Welsh natives, is a Celtic language related to Gaelic. Several of its phonemes do not exist in English, including those “soft consonants strange to the ear” described by poet R. S. Thomas. Wales is known as the “Land of Song” for its bardic traditions and national Eisteddfod, an annual festival-competition of word and song. Idris Lewis (1889–1952) was the son of a coal miner from Llansamlet, near Swansea in south Wales. He studied at the Royal College of Music and became the first musical director of the B.B.C. in Cardiff, where he pioneered orchestral broadcasts. Lewis set many texts by John Hughes, who used his middle name, “Ceiriog,” in competition. Meirion Williams (1901–1976) was a pianist and organist from Dyffryn Ardudwy in Gwynedd who also studied at the R.C.M. He was said to be descended on his mother’s side from an Italian sailor who had been shipwrecked on the rugged coast that overlooks Cardigan Bay. Williams is noted for songs that combine a sensitivity to words with artful accompaniments. The poet of “Gwynfyd,” William Williams, went by the bardic name “Crwys.” He won three crowns at the Eisteddfod before being named Archdruid from 1938–47. “Sul y Blodau” (Palm Sunday) is a lullaby sung by a mother to her dead child. Its composer, Owen Williams (1877–1956), was the son of a cobbler from Eglwysbach in the old county of Denbighshire in north Wales. Pianist and arranger Bryan Davies (1934–2011) was dubbed “the Rachmaninoff of the Rhondda” for his exceptional musical skills and collaborative artistry. His Medley comprises six beloved Welsh songs. The blind eighteenth-century harper David Owen was known as “Dafydd y Garreg Wen” (David of the White Rock); “The White Rock” was the name of his farm. Tradition has it that he composed the song on his death bed. “Deryn y Bwn o’r Banna” tells of an enterprising heron-like bird from the Brecon Beacons, the mountain range in south Wales. In London a century ago, you might have taken a singing lesson from the English baritone Frederick Keel (1871–1954), who made many arrangements of folksongs, and transcribed Elizabethan songs from lute tablature. Keel set poems by John Masefield, best known for the oft-anthologized “Sea Fever.” To Brits, Masefield was an enduring presence as the Poet Laureate of England from 1930–67, a post held before him by Dryden and Wordsworth. He also wrote novels and verse-plays, but it is the early sea poems he published as Salt-Water Ballads for which he is remembered.

Cân yr Arad Goch Song of the Plow Os hoffech wybod sut mae dyn fel fi yn byw, If ye would know how I take life, and play my part, Mi ddysgais gan fy nhad grefft gyntaf dynol ryw. I from my father learnt the earliest human art. Mi ddysgais wneud y gors yn weirglodd ffrwythlon ir, I learnt to make the fen all fruitful meadow land, I godi daear las ar wyneb anial dir. And how to clothe with green the barren waste of sand. ‘Rwy’n gorwedd efo’r hwyr, At evening I lie down, Ac yn codi efo’r wawr, And awake with morning’s light, ‘Rwy’n gorwedd efo’r hwyr, At evening I lie down, Ac yn codi efo’r wawr, And awake with morning’s light, I ddilyn yn ôg ar ochr y glôg, To follow the share on hillbrows all bare, A chanlyn yr arad goch ar ben y mynydd mawr. And bend to the ruddy plough upon the mountain height. Cyn boddio ar eich byd, pa grefftwyr bynnag f’och, Ere once your choice is made, what e’er your craft are now, Chwi ddylech ddod am dro rhwng cyrn yr arad goch. ‘Twere well you came between the handles of my plough. A pheidiwch meddwl fod pob pleser a mwynhad Nor should you deem it true that all the pure delights Yn aros byth heb ddod i fryniau ucha’r wlad. Can never reach to us who dwell upon the heights. ‘Rwy’n gorwedd efo’r hwyr, At evening I lie down, Ac yn codi efo’r wawr, etc. And awake with morning’s light, etc.

12 THE SCHUBERT CLUB An die Musik Gwynfyd Paradise Ei enw yw Paradwys wen, O blessed realm of Paradise, Paradwys wen yw enw’r byd, O land of beauty and of peace, Ac wylo rwyf o’i golli cyd, My soul too oft in secret cries, A’i geisio hwnt i sêr y nen. And seeks it far beyond the skies. Nid draw ar bell-bell draeth y mae, Not found upon some far-off strand, Nac obry ‘ngwely’r perlau chwaith, Nor yet within the pearly deep, Ond mil-mil nes a ber yw’r daith But nearer far, in mine own hand I ddistaw byrth y byd di-wae. I hold the key to that fair land. Tawelach yw na’r dyfnaf hun, More peaceful than the deepest sleep, Agosach yw na throthwy’r drws, Within my heart for e’er to keep, Fel pêrwelyau’r rhos o dlws, Like roses fair before mine eyes, Ar allwedd yn fy llaw fy hun. O blessed, blessed Paradise.

Sul y Blodau Palm Sunday Tan y garreg lâs a’r blodau, Where the flow’rs and greystone hide thee Cysga, berl dy fam; Sleep my pearl below Gwybod mae dy dad a minnau That no harm shall e’er betide thee Na dderbyni gam: I and father know Gwn nad oes un beddrod bychan / Heb ei angel gwyn; Little graves are never lonely / Angels guard their kin Cwsg, fy mhlentyn, yma’th hunan / Cwsg, Goronwy Wyn. Sleep my child thyself there only / Sleep Goronwy Wyn. Beth i serch yw mis a blwyddyn? What are months and years to mothers? Cwsg, fy nhlysaf un; Sleep, my darling, so; Onid ti yw’m hunig blentyn Thou alone, unlike the others, Nad yw’n mynd yn hˆyn? Dost not older grow: Mae lleill yn symud, symud, / Ac yn bryder im’; They are restless, restless ever, / Causing me dismay; Ond nid felly di, f’anwylyd / ‘Chrwydra’r marw ddim! Not so thou, my darling, never / Does my dead one stray. Tan y garreg las, Goronwy, - Under that greystone Goronwy Cysga beth yn hwy Slumber yet a while Rhaid yw dweud “Nos da,” Goronwy, I must say goodnight, Goronwy Mynd a’th ado’r wy: Leaving thee alone Ni does eisiau llaw i’th siglo / Yn dy newydd grud; Strange that cradle hand of mother / Need not rock thee now Cwsg, nes gweld ein gilydd eto, / Cwsg, a gwyn dy fyd. Sleep until we meet each other / Sleep and blest be thou.

Y Cymro The Welshman Mae gan y Cymro galon The Welshman has the heart I garu Cymru lon, To love his country fair. Mae’i serch fel anniffoddol fflam His love is like a burning flame Yn gylch o amgylch hon; Ablaze encircling her. Os yw ymhlith estroniaid And if he’s amongst strangers Sy’n gwatwar iaith ei wlad, Who mock his mother tongue, Cynheua fflam ei serch yn fwy / At iaith ei fam a’i dad. His love will burn still brighter, for / His native land of song. Mae gan y Cymro galon The Welshman has the heart I ganfod y tylawd, To recognize the poor, A chynorthwyol fraich i’w ddwyn He lends a strong arm, leading him O bwll annedwydd ffawd; From sorrow’s darkened door. Mae deigryn yn ei lygaid, In his eyes are teardrops, Elusen yn ei law, And goodwill in his vein, Pan wêl gardotes fach dylawd / When he sees a poor young vagrant-girl Yn droednoeth yn y glaw. Out barefoot in the rain. Mae gan y Cymro dalent The Welshman has the talent A synnwyr lond ei ben, And wisdom in his mind I wneud paradwys cyn bo hir To build a dreamland before long O’n hannwyl Walia Wen; Of Wales so dear and kind; Ac os dyrchefir gwledydd And should realms be promoted Gan rinwedd, dysg a dawn, Through learning and by flair, Ceir gweld hen Gymru a Chymraeg / Yn uchel, uchel iawn. We’ll see our old beloved Wales / Soaring, high up there.

Please wait to turn the page.

schubert.org 13 Three Salt-Water Ballads I. Port of Many Ships III. Mother Carey It’s a sunny pleasant anchorage, is Kingdom Come, Mother Carey? Where crews is always layin’ aft, for double tots o’ rum, She’s the mother o’ the witches ‘N’ there’s dancin’ ‘n’ there’s fiddlin’ of every kind o’sort, ‘N’ all them sort o’ rips; It’s a fine place for sailormen is that there port. She’s a fine gell to look at, but the hitch is, ‘N’ I wish, I wish as I was there. She’s a sight too fond of ships; The winds is never nothin’ more than jest light airs, She lives upon an iceberg to the norred, ‘N’ no one gets belayin’–pinn’d, n’ no one never swears, ‘N’ her man he’s Davy Jones, Yer free to loaf ‘n’ laze around, yer pipe atween yer lips, ‘N’ she combs the weeds upon her forred Lollin’ on the fo’c’sle, sonny, lookin’ at the ships. With pore drowned sailors’ bones. ‘N’ I wish, I wish as I was there. She’s the mother o’ the wreeks, ‘n’ the mother For ridin’ in the anchorage the ships of all the world Of all big winds as blows; Have got one anchor down ‘n’ all sails furl’d. She’s up to some deviltry or other All the sunken hookers ‘n’ the crews as took ‘n’ died When it storms, or sleets, or snows. They lays there merry, sonny, swingin’ to the tide The noise of her wind’s her screamin’, ‘N’ I wish, I wish as I was there. “I’m arter a plump, young, fine, Brass-button’d, beefy-ribbed young seam’n Drown’d old wooden hookers green wi’ drippin’ wrack, So as me ‘n’ my mate kin dine.” Ships as never fetched to port, as never came back, Swingin’ to the blushin’ tide, dippin’ to the swell, She’s a hungry old rip ‘n’ a cruel N’ the crews all singin’, sonny, beatin’ on the bell For sailor-men like we, ‘N’ I wish, I wish as I was there. She’s give a many mariners the gruel ‘N’ a long sleep under the sea; II. Trade Winds She’s the blood o’ many a crew upon her In the harbour, in the island, in the Spanish Seas, ‘N’ the bones of many a wreck; Are the tiny white houses and the orange trees, ‘N’ she’s barnacles a-growing on her And day-long, night-long, the cool and pleasant breeze ‘N’ shark’s teeth round her neck. Of the steady Trade Winds blowing. I ain’t never had no schoolin’ There is the red wine, the nutty Spanish ale, Nor read no books like you The shuffle of the dancers, and the old salt’s tale, But I know it ain’t healthy to be foolin’ The squeaking fiddle, and the soughing in the sail With that there gristly two; Of the steady Trade Winds blowing. You’re young, you thinks, ‘n’ you’re lairy, And o’ nights there’s the fire-flies and the yellow moon, But if you’re to make old bones, And in the ghostly palm trees the sleepy tune Steer clear, I says, o’ Mother Carey Of the quiet voice calling me, the long low croon ‘N’ that there Davy Jones. Of the steady Trade Winds blowing.

Chansons de Don Quichotte Jacques Ibert (b. Paris, 1890; d. Paris, 1962) The cliché that the best Spanish music has been written by the French is not disproved by these songs of Jacques Ibert, voiced by that “Ingenious Gentleman Don Quixote of La Mancha.” Alexandra Laederich describes Ibert’s music in Grove Music Online as “a blend of tenderness and irony, lyricism and the burlesque,” all of which figure in the songs he wrote for G. W. Papst’s Don Quichotte, a 1933 film starring the great Russian bass Feodor Chaliapin. (Watch the English version, The Adventures of Don Quixote, at archive.org.) Ibert was a stretcher-bearer in World War I, and his music was banned during the Nazi occupation of France. In better times he composed seven ballets, six operas, three concertos and many sparkling chamber and piano pieces well worth exploring. Ibert went on to contribute music to a total of 38 films, including Orson Welles’s 1948 treatment of Macbeth. The Quixote songs have a curious provenance. Five composers, Ravel, Falla and Milhaud among them, were simultaneously commissioned by the producers to write songs for the movie. None knew that the others had been approached. Ravel, who was ill, completed only three, and in the end Ibert’s were chosen. Cervantes didn’t write the texts. The first is by Pierre de Ronsard (1524–85), the others by Alexandre Arnoux (1884–1973).

I. Chanson du Départ de Don Quichotte I. Song of Don Quixote’s Departure Ce château neuf, ce nouvel édifice This new castle, this new building, Tout enrichi de marbre et de porphyre, All embellished with marble and porphyry, Qu’ amour bâtit château de son empire, That Love built as castle of his empire, Où tout le ciel a mis son artifice, To which all the sky has lent its guile, Est un rempart, un fort contre le vice Is a rampart, a fortress against vice Où la vertu maîtresse se retire, Where mistress Virtue withdraws herself, Que l’oeil regarde et que l’espirit admire, That the eye sees and the mind admires Forçant les coeurs à lui faire service. Compelling the heart to serve it. C’est un château fait de telle sorte It is a castle so made Que nul ne peut approcher de la porte That nothing can approach its gate. Si des grands Rois il n’a sauvé sa race, If from great kings he had not saved his race, Victorieux, vaillant et amoureux. Victorious, valiant and amorous. Nul chevalier tant soit aventureux No knight can, however adventurous, Sans être tel ne peut gagner la place. without so being, win a place.

II. Chanson à Dulcinée II. Song to Dulcinea Un an, me dure la journée A day lasts a year Si je ne vois ma Dulcinée. If I see not Dulcinea. Mais Amour a peint son visage, But love has portrayed her face Afin d’adoucir ma langueur, So as to sweeten my listlessness Dans la fontaine et le nuage, In fountains and clouds Dans chaque aurore et chaque fleur, In every dawn and each flower. Un an, me dure la journée A day lasts a year Si je ne vois ma Dulcinée. If I see not Dulcinea. Toujours proche et toujours lointaine, Always near and always far, Etoile de mes longs chemins. Star of my long travels. Le vent m’apporte son haleine The wind brings me her breath Quand il passe sur les jasmins. When it passes over jasmines. Un an, me dure las journée A day lasts a year Si je ne vois ma Dulcinée. If I see not Dulcinea. III. Chanson du Duc III. The Duke’s Song Je veux chanter ici la Dame de mes songes I would sing here the Lady of my dreams Qui m’exalte au dessus de ce siècle de boue. Who raises me above this century of mud. Son coeur de diamant est vierge de mensonges, Her diamond heart is pure of lies, La rose s’obscurcit au regard de sa joue. The rose grows dim beside her cheeks. Pour elle, j’ai tenté les hautes aventures, For her, I have risked high adventure, Mon bras a délivré la Princesse en servage, My arm has rescued the Princess in bondage, J’ai vaincu l’Enchanteur, confondu les parjures, Vanquishing the Enchanter, I have confounded perjuries, Et ployé l’univers à lui rendre l’hommage. And bent the universe to do her homage. Dame par qui je vais, seul dessus cette terre, Lady by whom I go alone above this earth, Qui ne soit prisonnier de la fausse apparence, Who am not a prisoner of false appearances, Je soutiens contre tout Chevalier téméraire I uphold against any reckless Knight Votre éclat non pareil et votre précellence. Your peerless lustre and excellence.

IV. Chanson de la Mort IV. Song of the death of Don Quixote Ne pleure pas Sancho, Do not weep Sancho, Ne pleure pas, mon bon, Do not weep, good fellow, Ton maître n’est pas mort. Your master is not dead. Il n’est pas loin de toi He lives on a happy island Il vit dans une île heureuse where all is pure without lies. oú tout est pur et sans mensonges. On the island found at last Dans l’île enfin trouvée Where you will come one day, oú tu viendras un jour, To the island long desired. Dans l’île désirée, O my friend Sancho, O mon ami Sancho, The books are burned Les livres sont brulés, And make a heap of ashes. Et font un tas de cendres. If all those books killed me, Si tous les livres m’ont tué, One suffices for me to live, Il suffit d’un pour que je vive, A phantom in life Fantôme dans la vie, And real in death, Et réel dans la mort, Such is the strange fate of poor Tel est l’étrange sort du pauvre Don Quixote. Don Quichotte End of set/cycle A Medley of Welsh Folk Songs Migildi Magaldi Migildi Magaldi Ffeind a difyr ydyw gweled It’s pleasing to see, Migildi Magaldi, hey, now, now. Migildi Magildi, hey, now, now Drws yr efail yn agored, The door of the Smithy open Migildi Magildi, hey, now, now. Migildi, Magildi, hey, now, now A’r go’bach a’i wyneb purddu, And the blacksmith with his pitted face Migildi Magildi, hey, now, now. Migaldi Magaldi, hey, now, now Yn yr efail yn prysur chwythu, In the Smithy busily blowing Migaldi Magaldi, hey, now, now. Migildi, Magildi, hey, now, now.

Little Welsh Home I am dreaming of the mountains of my home There is nothing to compare with the love that once was there, Of the mountains where in childhood I would roam; In that lonely little homestead on the hill. I have dwelt ‘neath Southern skies, I can see the quiet churchyard down below, where the summer never dies, Where the mountain breezes wander to and fro; But my heart is in the mountains of my home. And when God my soul will keep, it is there I want to sleep, I can see the little homestead on the hill, With those dear old folks that loved me long ago. I can hear the magic music of the rill.

Dacw Mam Yn Dwad Here is Mam Coming Dacw mam yn dwad ar gefn y gamfa wen Here comes mother over the white stile Rhywbeth yn ei ffedog a phiser am ei phen Something in her apron and a pitcher on her head Y fuwch yn y beudy yn brefu am y llo The cow is in the cowshed lowing for her calf A’r llo’r ochr arall yn chwarae Jim Cro: The calf is on the other side playing Jim Cro: Jim Cro Crystyn. Wan, tw, ffôr; Jim Cro crust, one two four A’r mochyn bach yn eistedd mor ddel ar y stôl. And the piglet is sitting so prettily on the stool.

Dafydd y Garreg Wen David of the White Rock Cariwch medd Dafydd fy nhelyn i mi, Bring me, said David, my harp once again, Ceisiaf cyn marw roi tôn arni hi Lift up my hands that I try a last strain Codwch fy nwylaw i gyrhaedd y tant Soon ‘twill be over, oh God I implore Duw a’ch bendithio fy ngweddw a’m plant. Guard though my dear ones when I am no more Neithiwr mi glywais lais angel fel hyn Last night an angel was bidding me Dafydd tyrd adref a chwarae’n y glyn Come with thy harp through the valleys of home Delyn fy mebyd ffarwel i dy dant. Harp of my childhood, oh God I implore. Duw a’ch bendithio fy ngweddw a’m plant. Bless though my children when I am no more.

Ar lan y Môr Upon the Shore Ar lan y môr mae rhosys cochion Down by the sea are deep red roses Ar lan y môr mae lilis gwynion Down by the sea are pure white lilies Ar lan y môr mae ‘nghariad innau Down by the sea my love is dwelling, Yn cysgu’r nos a chodi’r bore. And sleeps by night and wakes at morning. Ar lan y môr mae cerrig gleision Down by the sea are bluish pebbles Ar lan y môr mae blodau’r meibion Down by the sea are silver brambles Ar lan y môr mae pob rhinweddau Down by the sea is truth excelling Ar lan y môr mae ‘nghariad innau. Down by the sea my love is dwelling.

Deryn y Bwn o’r Banna The Bittern from the Beacons Deryn y Bwn o’r Banna aeth i rodio’r gwylia The bittern from the Beacons went to roam the valley Lle disgynnodd o ar i ben, ar i ben When he fell upon his head, on his head Bwm bwm, bwm bwm, ond i Bwn o fala. Boom Boom, Boom Boom, into a barrel of apples Deryn y Bwn a gododd y fala i gyd a gariodd The bittern picked them up and carried them Dros y Banna i farchnad Caer, marchnad Caer, Across the Beacons to Chester market, to Chester market Bwm bwm, bwm, bwm, ac yno’n daer fe’u gwerthodd. Boom Boom, Boom Boom, and there he sold them aplenty. Fala fala filoedd, fala melyn laweroedd, Apples in their thousands, yellow apples galore, Y plant yn gweiddi am fala’n groch, am fala’n groch The children were shouting aloud for the fruit, for the fruit Bwm bwm, bwm bwm, rhoi dima goch am gannoedd Boom Boom, Boom Boom, they paid for apples in their hundreds. Deryn y Bwn aeth adra yn ôl dros ben y Banna. The bittern went home across the top of the hill Gwaeddai: “Meistres, O gwelwch y pres, gwelwch y pres He shouted “Mistress look at the money, look at the money Bwm bwm, bwm bwm, a ges i wrth werthu fala. Boom Boom, Boom Boom, that I got for selling the apples” Belsatzar, Opus 57 Robert Schumann (b. Zwickau, 1810; d. near Bonn, 1856) Zwei Venetianische Lieder, from Myrthen, Opus 25 On February 24, 1840, Robert Schumann wrote excitedly to his fiancée, Clara Wieck: “In the past few days I have fully completed a large, integrated cycle of Heine songs.” Heinrich Heine’s Book of Songs (1827) is a treasury of verse that would later inspire Schumann’s Dichterliebe. In his letter, Schumann also named “a ballad ‘Belsatzar,’ a volume from Goethe’s West-Östlicher Divan, a volume by Burns (an Englishman (sic), not often put to music) . . . . altogether, seven volumes. Isn’t that quite a feat?” Much of this music would be published in Myrthen (Myrtles), Opus 25. On their wedding night six months later, Schumann presented the volume, bound in red velvet with gold lettering, to Clara. “Belsatzar” tells the story of Belshazzar’s Feast from the Book of Daniel, and of the flaming writing on the wall that appears after King Belshazzar scorns God. Schumann’s ballad owes something to Schubert’s “Gretchen am Spinnrade,” but it illuminates the details of the biblical story in a personal way. One hears the clanging of goblets in the introduction, the noble horn-sounds of the knights and their applause as Belshazzar drinks from the sacred cup and proclaims himself king of Babylon. But how fickle is public opinion; how the mighty are brought low! Belsatzar Belshazzar Die Mitternacht zog näher schon; Midnight drew nearer already; In stummer Ruh’ lag Babylon. In mute rest lay Babylon. Nur oben in des Königs Schloß, Only above, in the king’s castle, Da flackert’s, da lärmt des Königs Troß. lights are flickering and the king’s retinue makes noise. Dort oben, in dem Königsaal, And above, in the king’s hall, Belsatzar hielt sein Königsmahl. Belshazzar holds his royal banquet. Die Knechte saßen in schimmernden Reihn, The knights sat in shimmering rows, Und leerten die Becher mit funkelndem Wein. emptying goblets of sparkling wine. Es klirrten die Becher, es jauchzten die Knecht’; The goblets clinked, the knights cheered; So klang es dem störrigen Könige recht. and so they made noise for that headstrong king. Des Königs Wangen leuchten Glut; The king’s cheeks glowed; Im Wein erwuchs ihm kecker Mut. through wine his courage grew bolder. Und blindlings reißt der Mut ihn fort; And blindly, his courage pulled him forward, Und er lästert die Gottheit mit sündigem Wort; and he maligned God with blasphemous words. Und er brüstet sich frech und lästert wild; And he boasted impertinently and blasphemed wildly Die Knechtenschar ihm Beifall brüllt. while the crowd of knights bellowed their approval. Der König rief mit stolzem Blick; The king called with a haughty glance; Der Diener eilt und kehrt zurück. the servant hurried off and soon came back. Er trug viel gülden Gerät auf dem Haupt, He brought back on his head many golden treasures Das war aus dem Tempel Jehova’s geraubt. that had been plundered from Jehovah’s Temple. Und der König ergriff mit frevler Hand And the king grasped with his criminal hand Einen heiligen Becher, gefüllt bis am Rand. a sacred goblet and filled it to the brim. Und er leert ihn hastig bis auf den Grund, And he drained it hastily to the bottom, Und rufet laut mit schäumendem Mund: and then called loudly with foaming mouth: “Jehova! Dir künd’ ich auf ewig Hohn, “Jehovah! I proclaim to you my eternal scorn, Ich bin der König von Babylon!” for I am the king of Babylon!” Doch kaum das grause Wort verklang, But hardly had those terrible words died away, Dem König ward’s Heimlich, heimlich im Busen bang. when the king grew secretly fearful in his heart. Das gellende Lachen verstummte zumal; The ringing laughter fell silent at once; Es wurde leichenstill im Saal. the hall grew deathly still. Und sieh! und sieh! an weißer Wand And behold! behold! on the white wall Da kam’s hervor wie Menschenhand; there appeared something like a human hand; Und schrieb, und schrieb an weißer Wand and it wrote and wrote on the white wall Buchstaben von Feuer, und schrieb und schwand. letters of fire; it wrote and disappeared. Der König stieren Blicks da saß, The king sat staring there, Mit schlotternden Knien und totenblaß. with knocking knees, pale as death. Die Knechtenschar saß kalt durchgraut, The crowd of knights sat cold and filled with horror, Und saß gar still, gab keinen Laut. and sat entirely still, without a sound. Die Magier kamen, doch keiner verstand Magicians came, but no one could understand Zu deuten die Flammenschrift an der Wand. and find the meaning of the flaming script on the wall. Belsazar ward aber in selbiger Nacht But Belshazzar, that very night, Von seinen Knechten umgebracht. was murdered by his knights. Zwei Venezianische Lieder, Opus 25 Two Venetian Airs I. I. Leis’ rudern hier, Row gently here, Mein Gondolier, My gondolier, Leis’, leis’! So softly Die Flut vom Ruder sprühn, wake the tide, So leise laß, That not an ear, Daß sie uns nur vernimmt, On earth, Zu der wir ziehn! may hear, O könnte, wie er schauen kann, But hers to whom we glide. Der Himmel reden traun, Had Heaven but tongues to speak, as well Er spräche vieles wohl von dem, As starry eyes to see, Was nachts die Sterne schaun! Oh, think what tales ‘twould have to tell Leis’ leis’, leis’, leis’! Of wand’ring youths like me! Nun rasten hier, Now rest thee here, Mein Gondolier, My gondolier; Sacht, sacht! Hush, hush, for up I go, Ins Boot die Ruder! sacht, sacht! To climb yon light Auf zum Balkone schwing’ ich mich, Balcony’s height, Doch du hältst unten Wacht. While thou keep’st watch below. O wollten halb so eifrig nur Ah! did we take for Heaven above Dem Himmel wir uns weihn, But half such pains as we Als schöner Weiber Diensten traun, Take, day and night, Wir könnten Engel sein! for woman’s love, Sacht, sacht, sacht, sacht! What Angels we should be!

II. II. Wenn durch die Piazzetta When through the Piazzetta Die Abendluft weht, Night breathes her cool air, Dann weißt du, Ninetta, Then, dearest Ninetta, Wer wartend hier steht. I’ll come to thee there. Du weißt, wer trotz Schleier und Maske dich kennt, Beneath thy mask shrouded, I’ll know thee afar, Wie Amor die Venus am Nachtfirmament. As Love knows, though clouded, his own Evening Star. Ein Schifferkleid trag’ ich In garb, then, resembling Zur selbigen Zeit, Some gay gondolier, Und zitternd dir sag’ ich: I’ll whisper thee, trembling, Das Boot liegt bereit! “Our bark, love, is near: O komm, wo den Mond noch Wolken umziehn, Now, now, while there hover those clouds o’er the moon, Laß durch die Lagunen, mein Leben, uns fliehn! ‘Twill waft thee safe over you silent Lagoon”.

Selected Songs Franz Schubert (b. Vienna, 1797; d. Vienna, 1828) As its title suggests, “Gruppe aus dem Tartarus” (Scenes from Hades), is not so much a song as a panorama. In three verses, poet

Schiller describes the torments of the damned, matched by Schubert’s bizarrely modulating harmony. Verse one gives us the sound, verse two the image. In verse three, Ewigkeit (Eternity) appears, breaking Saturn’s scythe with pounding chords. Saturn was a Roman deity identified with the Greek god Kronos (Time). Three of the songs in this Schubert set come from Schwanengesang (Swan Song), a collection made by the publisher Haslinger shortly after the composer’s death. Half of the song texts are by Ludwig Rellstab. Rellstab had sent his poems to the dying Beethoven. “A few had been marked with pencil, in Beethoven’s own hand,” writes the poet in his memoirs, “those which he liked best and had then passed on to Schubert to set, since he himself felt too ill.” The brook in “Liebesbotschaft” (Love’s Message) is a clever thing, quick to echo the speaker’s words, and ready to offer a few riffs of its own.

In October 1828, Schubert wrote to his publisher Probst: “I have also set several songs by Heine from Hamburg which were extraordinarily well-liked here.” That was perhaps a little disingenuous. One of Schubert’s circle, Franz Hartmann, spoke for the consensus: Heine’s poems contained “a good deal of wit and many wrong-headed views.” Schubert set “Das Fischermädchen” to a sprightly barcarole, with the gondola riding little whitecaps. The suitor is persistent, and the modulation in the second verse is a bit cheeky. “Die Taubenpost” (Pigeon Post) is Schubert’s last love song. Schubert’s setting of his friend J. G. Seidl’s poem is a delightful meeting of the pictorial and the metaphorical. A young man blithely tells of the carrier-pigeon in his employ, and one can hear the occasional flutter of wings. The bird’s name: Sehnsucht (longing). “Auf dem Wasser zu singen” was composed in 1823, around the time of the Arpeggione Sonata and A-minor Quartet. Schubert translates into music the shimmering essence of water, that most ephemeral of substances. Program notes © 2016 by David Evan Thomas Song texts continue on page 20. The Schubert Club International Artist Series • 2016–2017

Renée Fleming, soprano Wednesday, October 5, 2016, 7:30 PM Augustin Hadelich, violin Joyce Yang, piano Tuesday, November 29, 2016, 7:30 PM Thursday, December 1, 2016, 10:30 AM Gil Shaham, violin Sunday, January 8, 2017, 3:00 PM Miah Persson, soprano Florian Boesch, baritone Malcolm Martineau, piano Wednesday, March 29, 2017, 10:30 AM Thursday, March 30, 2017, 7:30 PM Alexandre Tharaud, piano Thursday, April 27, 2017, 7:30 PM Friday, April 28, 2017, 10:30 AM Renée Fleming soprano Five-concert subscriptions schubert.org on sale now! 651.292.3268 photo: Timothy White White Timothy photo: Texts and Translations (continued)

Gruppe aus dem Tartarus, D. 583 Scenes from Hades Horch—wie Murmeln des empörten Meeres, Hark—like the murmur of the angry sea, Wie durch hohler Felsen Becken weint ein Bach, like a brook weeping through gullies in hollow rocks, Stöhnt dort dumpfigtief ein schweres, leeres, there from the dank deep arises Qualerpreßtes Ach! a heavy, vain groan, wrung in torment. Schmerz verzerret ihr Gesicht! Pain contorts their faces, Verzweiflung sperret ihren despair opens their jaws Rachen fluchend auf. wide in imprecations. Hohl sind ihre Augen, ihre Blicke Their eyes are hollow - they peer Spähen bang nach des Kocytus Brücke, fearfully at the bridge over Cocytus Folgen tränend seinem Trauerlauf. or tearfully follow its mournful course. Fragen sich einander ängstlich leise, In hushed and anxious tones they ask each other Ob noch nicht Vollendung sei? if the end is not yet nigh. Ewigkeit schwingt über ihnen Kreise, The cycles of eternity sweep above them, Bricht die Sense des Saturns entzwei. breaking Saturn’s sickle in two.

Liebesbotschaft, from Schwanengesang, D. 957 Love’s Message Rauschendes Bächlein, Murmuring brooklet, So silbern und hell, So silvery bright, Eilst zur Geliebten Hurry to my beloved So munter und schnell? So fast and light, Ach, trautes Bächlein, Oh friendly brooklet, Mein Bote sei du; Be my messenger fair, Bringe die Grüße Bring my distant greetings Des Fernen ihr zu. to her. All ihre Blumen, All the flowers Im Garten gepflegt, She tends in her garden, Die sie so lieblich Which she sweetly Am Busen trägt, Bears on her bosom, Und ihre Rosen And her roses In purpurner Glut, In a purple glow, Bächlein, erquicke Brooklet, refresh them Mit kühlender Flut. With cooling flow. Wenn sie am Ufer, When on the bank, In Träume versenkt, Immersed in dreams, Meiner gedenkend, Remembering me, Das Köpfchen hängt, She hangs her head, Tröste die Süße Comfort my sweetheart Mit freundlichem Blick, With a friendly glance, Denn der Geliebte For her beloved Kehrt bald zurück. Will soon come back. Neigt sich die Sonne When the sun sets Mit rötlichem Schein, With reddening glow, Wiege das Liebchen Rock my loved one In Schlummer ein. To slumber, Rausche sie murmelnd Murmur for her In süße Ruh, Sweet sleep, Flüstre ihr Träume And whisper dreams Der Liebe zu. Of Love to her.

Das Fischermädchen (Schwanengesang) The Fishermaiden Du schönes Fischermädchen, Lovely fisher maiden, Treibe den Kahn ans Land; guide your boat to the shore; Komm zu mir und setze dich nieder, come and sit beside me, Wir kosen, Hand in Hand. and hand in hand we shall talk of love. Leg an mein Herz dein Köpfchen, Lay your little head on my heart Und fürchte dich nicht zu sehr; and do not be too afraid;

20 THE SCHUBERT CLUB An die Musik Vertraust du dich doch sorglos for each day you trust yourself Täglich dem wilden Meer. without fear to the turbulent sea. Mein Herz gleicht ganz dem Meere, My heart is just like the sea, Hat Sturm und Ebb’ und Flut, it has its storms, its ebbs and its flows; Und manche schöne Perle and many a lovely pearl In seiner Teife ruht. rests in its depths.

Auf dem Wasser zu singen, D. 774 To be Sung on the Water Mitten im Schimmer der spiegelnden Wellen In the middle of the shimmer of the reflecting waves Gleitet, wie Schwäne, der wankende Kahn: Glides, as swans do, the wavering boat; Ach, auf der Freude sanftschimmernden Wellen Ah, on joy’s soft shimmering waves Gleitet die Seele dahin wie der Kahn; Glides the soul along like the boat; Denn von dem Himmel herab auf die Wellen Then from Heaven down onto the waves Tanzet das Abendrot rund um den Kahn. Dances the sunset all around the boat. Über den Wipfeln des westlichen Haines Over the treetops of the western grove Winket uns freundlich der rötliche Schein; Waves, in a friendly way, the reddish gleam; Unter den Zweigen des östlichen Haines Under the branches of the eastern grove Säuselt der Kalmus im rötlichen Schein; Murmur the reeds in the reddish light; Freude des Himmels und Ruhe des Haines Joy of Heaven and the peace of the grove Atmet die Seel im errötenden Schein. Is breathed by the soul in the reddening light. Ach, es entschwindet mit tauigem Flügel Ah, time vanishes on dewy wing Mir auf den wiegenden Wellen die Zeit; for me, on the rocking waves; Morgen entschwinde mit schimmerndem Flügel Tomorrow, time will vanish with shimmering wings Wieder wie gestern und heute die Zeit, Again, as yesterday and today, Bis ich auf höherem strahlendem Flügel Until I, on higher more radiant wing, Selber entschwinde der wechselnden Zeit. Myself vanish to the changing time.

Die Taubenpost (Schwanengesang) The Pigeon Post Ich hab eine Brieftaub in meinem Sold, I have a carrier-pigeon in my pay, Die ist gar ergeben und treu, devoted and true; Sie nimmt mir nie das Ziel zu kurz she never stops short of her goal Und fliegt auch nie vorbei. and never flies too far. Ich sende sie viel tausendmal Each day I send her out Auf Kundschaft täglich hinaus, a thousand times on reconnaissance, Vorbei an manchem lieben Ort, past many a beloved spot, Bis zu der Liebsten Haus. to my sweetheart’s house. Dort schaut sie zum Fenster heimlich hinein, There she peeps furtively in at the window, Belauscht ihren Blick und Schritt, observing her every look and step, Gibt meine Grüße scherzend ab conveys my greeting breezily, Und nimmt die ihren mit. and brings hers back to me. Kein Briefchen brauch ich zu schreiben mehr, I no longer need to write a note, Die Träne selbst geb ich ihr, I can give her my very tears; O sie verträgt sie sicher nicht, she will certainly not deliver them wrongly, Gar eifrig dient sie mir. so eagerly does she serve me. Bei Tag, bei Nacht, im Wachen, im Traum, Day or night, awake or dreaming, Ihr gilt das alles gleich, it is all the same to her; Wenn sie nur wandern, wandern kann, as long as she can roam Dann ist sie überreich. she is richly contented. Sie wird nicht müd, sie wird nicht matt, She never grows tired or faint, Der Weg ist stets ihr neu; the route is always fresh to her; Sie braucht nicht Lockung, braucht nich Lohn, she needs no enticement or reward, Die Taub ist so mir treu! so true is this pigeon to me. Drum heg ich sie auch so treu an der Brust, I cherish her as truly in my heart, Versichert des schönsten Gewinns; certain of the fairest prize; Sie heißt - die Sehnsucht! Her name is - Longing! Kennt ihr sie? Die Botin treuen Sinns. Do you know her? The messenger of constancy.

schubert.org 21 The Schubert Club and The Minnesota Historical Society

present Hill House Chamber Players

Julie Ayer, violin • Catherine Schubilske, violin Thomas Turner, viola • Tanya Remenikova, cello Guest artists: Mary Jo Gothmann, piano Craig Johnson, narrator • Timothy Zavadil, clarinet

Mondays, April 25 & May 2, 2016 • 7:30 PM

Behind the Lines: the Composers of World War I

Overture on Hebrew Themes, Opus 34 Sergei Prokofiev (1891–1953)

Trio in A minor (1914) Maurice Ravel (1875–1937) Modéré Pantoum (Assez vif) Passacaille (Très large) Final (Animé)

Intermission

Suite from L’Histoire du soldat (The Soldier’s Tale) Igor Stravinsky (1882–1971) March du Soldat Le violon du Soldat Petit concert Tango – Valse – Rag Danse du Diable

Special appearance by Jeffrey Van, guitar Recuerdos de la Alhambra (guitar solo) Francisco Tárrega (1852–1909)

PLEASE SILENCE ALL ELECTRONIC DEVICES Hill House Chamber Players Mondays, April 25 & May 2, 2016 • 7:30 PM • James J. Hill House

In Behind the Lines: the Composers of World War I, the Hill House Chamber Players commemorate the events of the Great War, which lasted from July 28, 1914 to November 11, 1918. In this season finale, we hear the music of three composers who lived through that war. Sergei Prokofiev left Russia in 1918. Politics were of no interest to him. His only concern was how to continue to compose, so he emigrated to the U.S., traveling east from Maurice Ravel Vladivostok to San Francisco via Japan and Honolulu. In New York, Prokofiev encountered some former fellow “In religion a skeptic, in love a bachelor, in social life a students from St. Petersburg Conservatory touring as the semi-recluse, a suburbanite,” is how critic Virgil Thomson Zimro Ensemble. When asked to write a work based on described French composer Maurice Ravel. Ravel fell Jewish themes they had collected, Prokofiev demurred, short of his aspirations as a piano virtuoso, but a virtuoso saying he preferred to work with original material, but composer he certainly was, writing some of the most when he looked a second time, he was hooked, writing difficult and precisely conceived works for the piano. The The Overture on Hebrew Themes for clarinet, string quartet 1914 Trio in A minor is certainly one of these. Written and piano in a few days. No one has identified the source shortly after the opulent ballet Daphnis et Chloé and of Prokofiev’s tunes, which include a mumbling opening finished only five weeks before the 39-year-old composer clarinet theme and a luminous, impassioned second volunteered for military service in the motor transport theme for cello. corps, it is a mix of the simple and the complex, frequently moving from one extreme to other. The Trio’s opening Modéré bobs in a pleasantly irregular 3+3+2 meter, but it works up a tempest in the middle. One doesn’t know whether to believe Roland-Manuel when he said that Ravel picked up the theme “watching ice-cream vendors dancing a fandango at Saint-Jean-de-Luz.” The Malayan pantun is a poetic form in which two contrasting ideas develop in alternation. Ravel’s Pantoum presents two themes, one perky, the other surging. The Passacaille is not a strict passacaglia, but an elegiac meditation on a single theme. Beginning colorfully with a melody in the oriental vein, the boldly-imagined Final builds to an unprecedented climax that strains the boundaries of the trio medium.

The Hill House Chamber Players, from left, Tanya Remenikova, Jeffrey Van, Catherine Schubilske, Sergei Prokofiev in 1918 Thomas Turner, Julie Ayer.

schubert.org 23 Hill House Chamber Players (continued)

Many critics disparaged L’Histoire. The New York Times called it “a degenerate and eviscerated product of the composer who once wrote the score for Petrushka.” But nearly a century after its composition, musicians and audiences are still delighted and fascinated with it. Composer Francis Poulenc called L’Histoire “the key in the lock for everything that’s about to follow.” As it happened, the Stravinsky-Ramuz enterprise opened and closed on a single September night in Lausanne, as the 1918 flu pandemic put a halt to cultural life. In a sense it was the last and saddest battle of a bitter, sorrowful war. Ramuz and Stravinsky in Switzerland Troup movements and close quarters had helped spread the virus, and weakened soldiers—and the public—could The Russian Revolution in November 1917 marked the only bow to an invisible enemy. end of Igor Stravinsky’s Russian period. Big ballets with Program note © 2016 by David Evan Thomas mammoth orchestras, like The Rite of Spring, were a thing of the past. Living in Switzerland and in need of cash, Stravinsky agreed to collaborate with the Swiss writer C. F. Ramuz (1878–1947) on what Ramuz described as a theater piece “without a big hall, with music for only a few instruments and only two or three characters.” Ramuz found his subject in Afanasyev’s tale “The Deserter and the Devil,” about a soldier who barters a violin and his past life for wealth and love, with a moral appropriate to the times: “No one can have it all—you must learn to choose.” The result: The Soldier’s Tale, a work in two parts, “to be read, played and danced.” Stravinsky settled on an ensemble that resembled a ragtime band: clarinet, bassoon, cornet, trombone, violin, double bass and percussion. He later extracted a A watercolor representing the 1918 Lausanne five-movement suite for violin, clarinet and piano, the premiere of L’Histoire du Soldat by Stravinsky’s then arrangement heard tonight. 11-year-old son Théodore

This season, the thirtieth for the Hill House Chamber Players, is guitarist Jeffrey Van’s final season as a regular member of the ensemble. By special request of violinist Julie Ayer, he closes the evening’s music with her favorite solo guitar piece—Tárrega’s Recuerdos de la Alhambra.

Compositions by Jeffrey Van premiered at the Hill House Triptych (1987)* Movements for Mixed Strings (1997) The Empire Builder Suite (2007)** Fantasma de Falla (2010) Transitions (2015) * recorded on CD: Music from the Gallery II **soundtrack for the DVD James J. Hill, Empire Builder

24 THE SCHUBERT CLUB An die Musik Production conceived and directed by Mark DeChiazza

With So Percussion’s Jason Treuting and musicians of The Saint Paul Chamber Orchestra

“Volatile and luminous beauty.” – Gramaphone on the music of Steven Mackey

SOLD OUT Thursday, June 16 at 7:30pm Friday, June 17 at 7:30pm Saturday, June 18 at 7:30pm The Guthrie’s Dowling Studio, Minneapolis Tickets at liquidmusicseries.org

Picture yourself amid clarity and calm at classicalmpr.org The Schubert Club and Kate Nordstrum Projects

present Accordo Ruggero Allifranchini, violin • Kyu-Young Kim, violin • Rebecca Albers, viola Maiya Papach, viola • Anthony Ross, cello • Ronald Thomas, cello

Monday, May 9, 2016 • 7:30 PM

String Sextet in A major, Opus 48 Antonín Dvorˇák Allegro moderato Dumka: Poco allegretto Furiant: Presto Finale (Tema con variazioni): Allegretto grazioso, quasi andantino

Intermission

String Sextet No. 2 in G major, Opus 36 Johannes Brahms Allegro non troppo Scherzo—Allegro non troppo—Presto­ giocoso Adagio Poco allegro

PLEASE SILENCE ALL ELECTRONIC DEVICES

Thank you to Accordo’s season sponsor, Accredited Investors Inc. Accordo Monday, May 9, 2016 • 7:30 PM • Christ Church Lutheran

Program Notes elegy, then switches to a plodding march with the two violins locked in a dark duet. Suddenly, it becomes pastoral as the String Sextet in A major, Opus 48 second violin and first cello roll out a flowing accompaniment Antonín Dvorˇák (b. Nelahozeves, 1841; d. Prague, 1904) over which the first violin sings a simple melody. The opening elegy returns, followed by another rendition of the march, Antonín Dvorˇák’s String Sextet in A major, Opus 48, written in which collapses under its own weight. The sextet continues to just two weeks in May 1878, comes from an exciting point in display Czechness with a furiant, a feisty Bohemian dance. The the composer’s career: at the brink of international stardom. bustling melody passes between the instruments at a dizzying Since 1874, Dvorˇák composed full-time, supporting himself pace. The contrasting middle section, called a trio, features a on the stipend of the Austrian State Prize, which he won three graceful, arching melody that would fit seamlessly in Dvorˇák’s times in four years. He was well-known around Prague, where Slavonic Dances. The finale is a theme and variations; the first his music was performed, but beyond his native land he was viola introduces the somber theme with only the other viola still obscure. That was about to change as Johannes Brahms, and cellos as accompaniment. The first two variations embellish who had been on the judging panel for the prize, put Dvorˇák the melody, increasing the activity with tighter rhythms. In the in contact with his publisher, Simrock. They commissioned his third variation, the first cello arranges the theme in a slow gallop famous Slavonic Dances, Opus 46. Dvorˇák composed the sextet as the other instruments sustain eerie chords. From here, the immediately after the dances, and the chamber work became next two variations intensify the nervous energy. The sixth and the first of his compositions to be premiered outside of Bohemia. final variation breaks free from the rigid structure of the original This distinction came about not through Brahms, but another theme, repeating and extending phrases to build toward the renowned figure of the time, violinist Joseph Joachim. Joachim grand final chords. played the public premiere of the sextet in Berlin, then played it again in London, where a critic enthused, “Clearly we must String Sextet No. 2 in G major, Opus 36 know much more of Dvorˇák, and that soon.” Indeed, audiences Johannes Brahms (b. Hamburg, 1833; d. Vienna, 1896) everywhere were about to hear more from the Czech composer. Dvorˇak’s string sextet anticipates his future success, whereas The allegro moderato begins with a graceful melody in the first Johannes Brahms’s String Sextet No. 2 in G major, Opus 36 violin flowing over the gentle undulations of the second violin dwells on the composer’s past. Brahms began writing the sextet and second viola. As the theme continues, it grows agitated, while vacationing in Lichtental, near Baden-Baden, with Clara gradually swelling and then quickly dissipating before the Schumann and her family in the summer of 1864. While there, second theme arrives. This theme provides a striking contrast; Brahms received word that his former fiancée, Agathe von unlike the long, continuous line of the opening, the second Siebold, had moved to Ireland to become a governess. Brahms theme is halting, constructed from shorter gestures. It passes had been passionately in love with von Siebold, a soprano, and from first violin to first viola, then breaks into fragments, he proposed to her in 1858. The engagement was brief; he broke blossoming into a tranquillo in which the second viola and it off with her, and he remained unmarried for the rest of his life. first cello reminisce about the opening theme. In a very brief News of his former beloved leaving Germany inspired him to development section, motives from the two themes intermingle include a reference to her in the first movement of his sextet: mysteriously before the opening melody reappears for the recapitulation. When the second theme returns, however, it is more active and dance-like than its initial appearance. The violas and first cello present a sincere chorale setting of the first theme before all six instruments charge to the end of the movement, culminating in one final broad statement of the opening gesture. Soprano Agathe von Siebold, The second movement is a dumka, the first of many in Dvorˇák’s his former fiancée, inspired oeuvre, reflecting how he exhibited his Czech identity during this Brahms to incorporate a musical period. The dumka is a Slavic epic ballad, episodic in structure reference to her name in his second sextet. with abrupt shifts in mood. This one begins with a heavy

schubert.org 27 The pitches A-G-A-H-E (H being the German name for The main theme for the Poco adagio comes from a letter that B-natural) occur prominently. Brahms wrote the first three Brahms wrote to Clara Schumann in 1855; introduced by just movements of the sextet that summer, then wrote the final the two violins and first viola, the melancholy melody begins movement the following May when he returned to Lichtental. with four ascending notes, connecting it thematically to the The first viola initiates the allegro non troppo with bariolage, a rising motive that opened the first movement. After the theme technique in which the player quickly alternates between two comes five variations: the first two maintain an air of mystery, different strings. The half-step oscillation continues as the first slowly creeping along. The third variation introduces bold, violin introduces a melody that soars upward and glides over upward leaps that sound heroic, but the fourth variation inverts the bar lines, one of Brahms’s favorite rhythmic devices. As the this gesture for a turbulent effect. After a brief transition with tune passes to the first cello, the oscillation transfers to the a reminder of the theme, the movement shifts to major for a violins and breaks out of the half-step confinement, leading to a tranquil final variation that gently waves farewell. The poco transition with cascading lines. The second theme also features allegro begins with a shimmering fanfare that quickly settles a long, continuous melody, this time in the first cello. The first into a skipping, rhythmic accompaniment to a carefree, rustic violin joins in a duet, and they rise to present the A-G-A-H-E melody. The finale alternates between these two ideas—the motive. Brahms repeats it three times in a row in the violin’s fanfare, which at one point builds into a proper fugue, and the highest register to make it especially prominent. The motive melody, which becomes richer and more sophisticated with becomes an integral part of the sextet, creating a gesture that each appearance. Ultimately, the excited fanfare drives to the carries the movement back to a repeat of the main themes, end with one final flourish. and then on to a tumultuous development section. The scherzo contains another reference to Brahms’s past: its melody comes Program notes by Linda Shaver Gleason from a gavotte he had written for the piano in the 1850s. Here, Brahms explores the possibilities of different combinations of players—the violins and first viola present the melody over a mysterious pizzicato accompaniment from the second viola and cello. Brahms finds ways to deploy all six players while maintaining a delicate, transparent texture. This creates a contrast when the sextet comes together for the boisterous Trio section, with pounding triple meter and vigorous fiddling. The elegant scherzo returns, but an unexpected eruption brings the movement to an abrupt conclusion.

A special thanks to the Accordo donors:

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28 THE SCHUBERT CLUB An die Musik Courtroom Concert Music of the 2015–2016 April 21, 2016 • Noon • Landmark Center Schubert Club Composer Mentorship Students

Copper Street Brass Allison Hall & Corbin Dillon, trumpet; Tim Bradley, horn; Alex Wol, trombone; Nick Adragna, tuba

Peregrination—Simon Peters I. Guiding Companion • II. Traveler’s Repose • III. An Awaiting Life

Etudes-Tableaux—Sarrah Bushara I. Royal Red and Blue • II. Intermezzo • III. Study for Agony

Great Whale—Seamus Flynn

Carpe Diem—Louisa Byron I. Castle Battle • II. Journey Forward • III. Carpe Diem

Simon Peters is currently attending 10th grade at Woodbury High school. He has always loved the arts and playing music and began to explore composing in 2012. Simon joined Minnesota Youth Symphonies in the repertory orchestra to play cello for the 2014-2015 year and again in the symphony orchestra for the 2015-2016 year. Eager to participate in other composing opportunities, Simon applied to be a part of The Schubert Club’s Composer Mentorship Program and has enjoyed the opportunity to experience a new world of creativity and insight. Simon is planning to pursue a career in music composition and is optimistic about future endeavors.

Sarrah Bushara is in her senior year of high school as a Post-Secondary Enrollment Options student at University of Minnesota–Twin Cities. Sarrah is in her second year with Edie Hill in the Schubert Club Composer Mentorship Program and continues to study with Dr. Sarah Miller at MacPhail. She was a finalist in the 2015 ASCAP Foundation Morton Gould Young Composer competition and an Emerging Composer in the 2015 Tribeca New Music Young Composer competition. As an oboist, Sarrah has won several solo and chamber music competitions, including first place in the 2015 Schubert Club’s Bruce P. Carlson Scholarship Competition and scholarships from the Young People’s Symphony Concert Association and the National YoungArts foundation. She will attend the Curtis Institute of Music next fall and will continue academic and composition studies through the University of Pennsylvania.

My name is Seamus Hubbard Flynn, I’m 17 years old, and I’ve lived my whole life in Saint Paul. I was raised around music, and wanted to be a composer from a very early age. Today, I am a junior in high school at Cyber Village Academy, but take most of my classes through post-secondary enrollment at Concordia University St. Paul, where I study with composer Abbie Betinis. I’ve attended the Composition Camp at the MacPhail Center for Music in 2012 through 2014, attended Junior Composers Camp in 2014, and reached the featured round in the 2016 Minnesota Varsity Composition Category. I am thrilled to be accepted into this year’s Schubert Club Composer Mentorship Program and see it as an opportunity to try new things.

Louisa Bryron has been composing since 8th grade, and currently Dr. Sarah Miller from MacPhail Center for Music is her primary composition teacher. She has also studied with Edie Hill, Randall Davidson, Seth Custer, and Dr. David Ludwig. Recently her composition for string quartet, Lost, received 1st place in the 2016 Junior Composer competition. She was also chosen as one of the winners for the 2015 MPR Minnesota Varsity Composition. Louisa has studied violin for 15 years, and is currently studying violin with Aaron Janse from the Minnesota Orchestra, percussion with Paul Babcock from MacPhail Center For Music, Burton Kaplan in New York since 2014, and is a member of the Greater Twin Cities Youth Symphony (GTCYS) and Artaria Chamber Music School. Louisa is a senior at Waseca High School and plans to continue studying music in college.

schubert.org 29 Intervals Alumni News of The Schubert Club Composer Mentorship Program

The Schubert Club hosts a unique opportunity my lesson. Furthermore, my piece was not written as for high-school student composers called the idiomatically as it needed to be; I didn’t leave enough time COMPOSER MENTORSHIP PROGRAM. Each year, for breaths, I didn’t have cues in my parts, and a host of other issues. While the Pavia Winds were patient with me, students in the greater Twin Cities area can apply revisions were necessary. The experience of working with to work with The Schubert Club’s composer-in- performers for the first time was truly formative. Without residence Edie Hill for the coming academic year. the Mentorship Program, I don’t know how I would have learned the practical, extra-musical skills that are vital for Some alumni from the program share their being a composer. experiences and where they are now: My experience in The Schubert Club has helped me have opportunities outside of the Mentorship Program that would never have been possible without it. The pieces that I have written for it have won awards, constituted At the New England Conservatory, much of my composition portfolio for college applications, the school which I currently attend, and helped me apply to summer festivals. Through the the most common question to ask roundtables run by Edie Hill, I have learned how to write someone you’ve just met is: “What a contract for a commission, apply to music schools, do you play?” As a composition major, and map potential sources of revenue. The Mentorship I don’t quite fit into the syntax of this Program empowered me to feel that it was possible for me to have a career in composition and become the composer Isaac Blumfield question. By my first night of school, class of 2012–2015 it was clear that I was going to have I aspired to be. to answer it quite frequently. While After completing three years in The Schubert Club I initially answered by saying, “I study composition,” I Composer Mentorship Program, I realized that I needed realized that I was ready to start saying: “I’m a composer.” to pursue composition on a professional level, using all of This response hasn’t always felt immediate or natural. the tools The Schubert Club gave me. I currently attend Calling yourself a composer implies a degree of self- the New England Conservatory, where I study composition assuredness, a confidence in the fact that writing music is with Kati Agócs. Attending a conservatory, where I have the your primary identity. Before I was a part of The Schubert opportunity to pursue music full-time, is a dream come- Club Composer Mentorship Program, I simply ‘liked to true for me that wouldn’t have been possible without The compose.’ Now, three years later, although I still say it with Schubert Club. Recently, I’ve been a finalist in the ASCAP a bit of hesitation, I can really say that I am a composer. Morton Gould Awards and an honorable mention for the American Composers Forum NextNotes Award. My recent When I think back to the beginning of my time in The projects include a large work for solo piano commissioned Schubert Club Composer Mentorship Program, I am by Stephen Self, whom I met through The Schubert Club, struck by how much trust was put in me from the start. I a work for amplified flute and electronics for flutist Carlos was certainly already a student of composition, but I had Aguilar, and my upcoming works include a new sextet and never worked with performers, written on a deadline, or a work for violin and piano, both to be premiered in 2016. run a rehearsal. The Schubert Club trusted that I would figure it out, and, with much assistance from composer- I am so fortunate to have had such a remarkable and in-residence Edie Hill, my private teacher for three years unique organization like The Schubert Club push and through the Mentorship Program, I started to piece empower me. Through their trust and encouragement, I together the requirements for moving from a teenager have become not just a student of composition, but who liked to compose to a young adult ready to assume a composer. the identity of composer. My first year, I planned an ambitious five-movement “The Mentorship Program empowered me to feel work for wind quintet. Having never written on a deadline before, I only gave the performers the last two that it was possible for me to have a career in movements weeks before the performance. While the composition and become the composer I aspired Pavia Winds, our ensemble-in-residence that year, were able to put it together remarkably quickly, I learned to be.” — Isaac Blumfield

30 THE SCHUBERT CLUB An die Musik “[I] found the deep connection between It hasn’t even been a year since I last met with Edie and the wonderful language, literature, and music that continues to musicians of The Schubert Club inspire and motivate me today.”— Andy Troska Mentorship Program, but it feels like it’s been maybe four. I’m two- thirds of the way through my first year studying composition at My time in the Composer Mentorship Riona Ryan class of 2014–2015 Northwestern University’s Bienen Program was an incredibly enriching School of Music, and it’s been one and pivotal experience for me as a of the most transformative years of my life thus far. musician. Edie taught me how to Currently I’m working on a lot of things; I’ve gotten really set words to music sensitively and into live electronics, working extensively in Max/MSP. I’m creatively, capturing the spirit of the starting to play solo performances under the pseudonym text and transforming it into a new Andy Troska Namatamago as well as writing for others. My most recent class of 2010–2011 medium. This kindled my interest notated piece was for bassoon and electronics and I’m in a number of subjects that still preparing a structured improvisation set based on crowd- fascinate me today, from opera, to art song, to translation sourced responses to a question about embodied emotion theory. Writing music with the guidance and the resources that I’ll be performing at the Block Museum of Art in April. that the Composer Mentorship Program provided I am also working on a piece with my video collaborator helped me discover just how interdisciplinary creating and good friend Jae Shin Cross, and am working toward a and performing music can be. Although I am a junior at summer album release. I’ve started to think about a piece Harvard College studying Slavic Languages and Literatures for harp and electronics which will be played sometime in and Italian, my life is entirely defined by music. I am an the fall. active performer in opera on campus, and I sing every morning with the Choral Fellows of the University Choir. I It’s crazy to look back and realize that I really developed the am always looking for intersections of my academic and confidence to pursue composition seriously through The musical interests; I have performed my own translations Schubert Club Mentorship Program. I love what I’m doing of Italian art songs and have sung a role in Russian (and so much now, but three years ago I had never written a understood what I was saying!). note in my life; even at the beginning of last year I was applying to schools as solely a flute performance major. Without the Composer Mentorship Program, I may not Edie’s warm trust in me and her invaluable guidance were have found the deep connection between language, essential to my development both as a composer and a literature, and music that continues to inspire and human being. I learned a lot about the craft and what motivate me today. Had I not been a Composer Apprentice, it means to work as a composer. I don’t know where I’d I would never have gotten to meet Renée Fleming (still one be now without all of this knowledge, and I’m forever of my idols) backstage at the Ordway. And perhaps most grateful to Edie, Melange A Trois, and The Schubert Club importantly, without this amazing opportunity, I may for granting me this amazing opportunity. not have been able to realize the viability of music as a career. As I prepare to pursue graduate studies in Opera—a potentially risky and uncertain proposition—I am encouraged and comforted by the fact that organizations “I really developed the confidence to pursue like The Schubert Club continue to promote and support composition seriously through The Schubert Club performers and composers as they bring music new and old to life. Mentorship Program.”— Riona Ryan

For the 2016–2017 season, Schubert Club Composer Mentorship students will hear their music performed by Lux String Quartet.

COMPOSER MENTORSHIP PROGRAM Applications due June 1, 2016

schubert.org/education/ composer-mentorship Courtroom Concert Music of Abbie Betinis April 28, 2016 • Noon • Landmark Center

The First Readings Project • J. David Moore, director

From Behind the Caravan: Songs of Hafez (excerpts) A Little Love I. At a Window II. Under the Harvest Moon (Minnesota premiere) Battlefields Unwissend vor dem Himmel meines Lebens Romance in Waltz Time The World Made New (excerpts) Your Ever Faithfull Friend (Abigail Adams) (Midwest premiere) Eleanor Roosevelt’s Evening Prayer

The First Readings Project was founded in 2012 by composer, conductor, and singer J. David Moore, growing from a deep love of choral singing and a desire to encourage innovation and experimentation in the repertoire. His choir of professional singers acts as collaborators and mentors for composers developing new work. The group offers a number of services: a series of public readings; an online library of recordings of new work; and availability for composer-produced recordings, workshops, and performances. The organization is flexible and imaginative, eager to develop other projects as ideas present themselves. More information on their projects and upcoming events is at www.firstreadingsproject.org.

Abbie Betinis has loved experimenting with sound since age 3, when her parents—singing in the car— heard an excited squeal from the backseat: “I holded my own hawmony!” Now her catalog of over sixty commissioned works includes projects for the American Choral Directors Association, American Suzuki Foundation, Cantus, Dale Warland Singers, James Sewell Ballet, The Rose Ensemble, Young New Yorkers’ Chorus, and Zeitgeist. A language enthusiast with a penchant for research, Abbie enjoys exploring the world through music, incorporating into her projects elements from early American shape-note singing, Chinese compassion mantras, ancient Greek binding spells, Gaelic keening, Japanese origami, and 14th c. Sufi mysticism. A two- time McKnight Artist Fellow, Abbie has received grants and awards from the American Composers Forum, Esoterics, Donne in Musica (Italy), Minnesota Music Educators Association, and New York’s Sorel Organization. Her song cycle “Nattsanger (Nightsongs)” won an Honorable Mention in ASCAP’s Morton Gould Young Composer Awards and is released on the Naxos label. Minnesota Public Radio has recorded and produced Abbie’s annual Christmas carol since 2001, and National Public Radio and Public Radio International have aired her music in performances by the Dale Warland Singers, Philadelphia Singers and The Rose Ensemble. Abbie’s music is published by Graphite Publishing, Hal Leonard, Kjos, in G. Schirmer’s Dale Warland Series, and by her own venture, Abbie Betinis Music Co, which she founded in 2006. A strong proponent of small business and cooperative models, she is co-founder of the Independent Music Publishers Cooperative and serves as its president. Through her cross-marketing campaigns with these seven other small publishers, Abbie’s music was performed last year in 14 countries on five continents, totaling nearly 400 performances. Abbie is a graduate of the Suzuki piano program in her hometown of Stevens Point, Wisconsin, holds a B.A. in music from St. Olaf College, M.A. in music composition from the University of Minnesota, and has done post-graduate work in Paris on scholarship from the European American Musical Alliance, where she studied harmony and counterpoint in the tradition of Nadia Boulanger with Philip Lasser and Narcis Bonet. A three-time cancer survivor, she lives in Saint Paul, where she is Adjunct Professor of Composition at Concordia University, and Composer-in-Residence for The Schubert Club. In her free time, she sings high tenor in The Fairlanes, a doo-wop quartet.

32 THE SCHUBERT CLUB An die Musik The Schubert Club Annual Contributors Thank you for your generosity and support

Ambassador Red Pine Fund of The Saint Paul Paul J. Aslanian Adrienne B. Banks $20,000 and above Foundation and Marjorie and J. Michael Barone and Lise Schmidt Tom Baxter and Patrick and Aimee Butler Family Ted Kolderie Eileen M. Baumgartner Aimee Richcreek Baxter Foundation Luther I. Replogle Foundation Lynne and Bruce Beck Carline Bengtsson Anna M. Heilmaier Charitable Lois and John Rogers Dr. Lee A. Borah, Jr. Susan Brewster and Foundation Fred and Gloria Sewell Dorothea Burns Edwin McCarthy MAHADH Fund of HRK Foundation Sewell Family Foundation James Callahan Carol and Michael Bromer Estate of Thelma Hunter Travelers Foundation Deanna L. Carlson Tim and Barbara Brown The McKnight Foundation Nancy and Ted Weyerhaeuser Dellwood Foundation David Christensen Minnesota State Arts Board Rachelle Chase and John Feldman Carolyn and Andrew Collins Gilman and Marge Ordway Benefactor Mary Carlsen and Peter Dahlen Arlene and Calvin Didier Target Foundation $2,500–$4,999 David and Catherine Cooper Ruth S. Donhowe Anonymous John and Marilyn Dan Chip Emery Schubert Circle Sophia and Mark Anema Cy and Paula DeCosse Fund of Anna Marie Ettel $10,000–$19,999 Arts Midwest Touring Fund The Minneapolis Foundation David and Maryse Fan Estate of James E. Ericksen James and Karen Ashe Joy L. Davis Judith K. Healey Rosemary and David Good James Ford Bell Foundation and Dellwood Foundation Frederick J. Hey, Jr. Family Foundation Ford W. Bell Joan R. Duddingston Andrew Hisey and Chandy John Dorothy J. Horns, M.D. and The Burnham Foundation Joan and William Gacki Cynthia and Russell Hobbie James P. Richardson Cecil and Penny Chally Dick Geyerman Elizabeth J. Indihar Ruth and John Huss Dee Ann and Kent Crossley Anders and Julie Himmelstrup Nancy P. Jones Lucy Rosenberry Jones Dorsey & Whitney Foundation Jack and Linda Hoeschler Garrison Keillor and Jenny Nilsson Phyllis and Donald Kahn Richard and Adele Evidon John Holmquist Gloria Kittleson Philanthropic Fund of the Michael and Dawn Georgieff Anne and Stephen Hunter William Klein Jewish Communal Fund Mark and Diane Gorder Lois and Richard King James and Gail LaFave Alfred P. and Ann M. Moore James E. Johnson Laura McCarten Frederick Langendorf and George Reid Kyle Kossol and Tom Becker Mary Bigelow McMillan Marian Rubenfeld Michael and Shirley Santoro Chris and Marion Levy Sandy and Bob Morris Jeffrey H. Lin and Sarah Bronson Thrivent Financial for Roy and Dorothy Ode Mayeske David Morrison Susanna and Tim Lodge Lutherans Foundation McCarthy-Bjorklund Foundation Elizabeth B. Myers Barbara Lund and Cathy Muldoon Trillium Family Foundation and Alexandra O. Bjorklund The Philip and Katherine Nason Wendell Maddox Charles A. Weyerhaeuser Peter and Karla Myers Fund of The Saint Paul The Thomas Mairs and Memorial Foundation and Alice M. O’Brien Foundation Foundation Marjorie Mairs Fund of Robert J. Sivertsen Sita Ohanessian Dan and Sallie O’Brien Fund of The Saint Paul Foundation Margaret and Angus Wurtele Paul D. Olson and The Saint Paul Foundation Theodore T. Malm Mark L. Baumgartner Robert M. Olafson Paul Markwardt and Patron Richard and Nancy Nicholson Paddock Family Foundation Richard Allendorf $5,000–$9,999 Fund of The Nicholson The William and Nancy Podas Lucia P. May and Bruce Coppock Anonymous (2) Family Foundation aRt&D Fund Medtronic Foundation Accredited Investors Inc. John and Barbara Rice Betty Pomeroy Gerald A. Meigs The Allegro Fund of Saint Anthony Park August Rivera, Jr. Alan and Charlotte Murray The Saint Paul Foundation Community Foundation Jana Sackmeister Lowell and Sonja Noteboom and Gayle and Tim Ober Securian Foundation Alma Jean and Leon Satran John B. Noyd John and Nina Archabal Kim Severson and Philip Jemielita Ann and Paul Schulte Mary and Terry Patton Boss Foundation Charles and Carrie Shaw Estelle Sell William and Suzanne Payne Julia W. Dayton Katherine and Douglas Skor John and Bonnie Treacy Kay Phillips and Terry Devitt Anthony Thein Kathleen van Bergen Jill Mortensen Fund of Hardenbergh Foundation Jill and John Thompson Wells Fargo Foundation Minnesota The Minneapolis Foundation Harlan Boss Foundation Wenger Foundation Deborah Wexler and Michael Mann Walter Pickhardt and Hélène Houle and John Nasseff Michael Wright Sandra Resnick Bill Hueg and Hella Mears Hueg Guarantor Christine Podas-Larson and Art and Martha Kaemmer Fund $1,000–$2,499 Sponsor Kent Larson of HRK Foundation Craig and Elizabeth Aase $500–$999 David and Judy Ranheim Barry and Cheryl Kempton Anonymous Meredith B. Alden Sarah Rockler Walt McCarthy and Clara Ueland Suzanne Ammerman Anonymous Richard Rose and Greystone Foundation Elmer L. & Eleanor J. Andersen Mary and Bill Bakeman Juliana Kaufman Rupert Ford and Catherine Nicholson Foundation Bank of America Saint Anthony Park Home Family Foundation Suzanne Asher Jeanne B. Baldy Kay Savik and Joseph Tashjian

schubert.org 33 Bill and Susan Scott James and Carol Moller Janet and James Carlson Peter and Gladys Howell William and Althea Sell Jack and Jane Moran Ruth and Alan Carp David Hunter John Seltz and Catherine Furry William Myers and Virginia Dudley Carter Avenue Frame Shop IBM Matching Gifts Program Laura Sewell and Peter Freeman Nicholas Nash and Karen Lundholm Adam Chelseth Ideagroup Mailing Service and Dan and Emily Shapiro NextEra Energy Jo and H.H. Cheng Steve Butler Helen McMeen Smith Lowell and Sonja Noteboom Michelle and David Christianson Ora Itkin Conrad Soderholm and Patricia O’Gorman Brigitte and John R. Christianson Veronica Ivans Mary Tingerthal Amaria and Patrick O’Leary Joann Cierniak George Jelatis Stephanie Van D’Elden Heather J. Palmer Como Rose Travel Maria Jette Katherine Wells and Rick and Suzanne Pepin Jeanne and John Cound B.K. and Robbin Johnson Stephen Willging Sidney and Decima Phillips Mary E. and William Cunningham Carol A. Johnson Mark W. 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March Hinda and Tom Litman Fred and Sylvia Berndt Kay and Daniel Halvorsen Mella Martin Mary and David Lundberg-Johnson Christopher and Carolyn Bingham Betsy and Mike Halvorson Ron and Mary Mattson Sarah Lutman and Rob Rudolph Ann-Marie Bjornson Robert and Janet Hanafin Tami McConkey Holly MacDonald and John Dorothy Boen Hegman Family Foundation Polly McCormack Orbinson Phillip Bohl and Janet Bartels Rosemary J. Heinitz Mary McDiarmid Kristina and Ben MacKenzie Robert Bowman Stefan and Lonnie Helgeson Deborah McKnight and James Alt Kathryn Madson Robert Brokopp Mary Beth Henderson Margot McKinney Frank Mayers Jean and Carl Brookins Joan Hershbell and Gary Johnson John A. Michel Sylvia and John McCallister Barbara Ann Brown Anne Hesselroth Dina and Igor Mikhailenko Christopher and Cheryl McHugh Charles Brown Beverly L. Hlavac Margaret Mindrum David Miller and Mary Dew Philip and Carolyn Brunelle Dr. Kenneth and Linda Holmen Steven Mittelholtz Minnesota Public Radio/ Ellen and Philip Bruner Gale Holmquist Bradley H. Momsen and American Public Media Jackson Bryce J. Michael Homan Richard Buchholz Patricia Mitchell Roger F. Burg Peg Houck and Philip S. Portoghese Susan Moore

34 THE SCHUBERT CLUB An die Musik Martha and Jonathan Morgan Michael Steffes Barbara and Paul Benn Sara and Karl Fiegenschuh John K. Munholland Arturo L. Steely Brian O. Berggren Joseph Filipas Elizabeth A. Murray Cynthia Stokes Ellen Bergstrom Susan Flaherty Judy and David Myers Ann and Jim Stout Abbie Betinis Susan Fletcher Dena and Alan Naylor Monika Stumpf Tirzah Blair John and Hilde Flynn Holace Nelson Vern Sutton Mitchell Blatt Lea Foli Kathleen Newell Barbara Swadburg and James Kurle Roger Bolz Kathleen Franzen J. Shipley and Helen Newlin John and Dru Sweetser Cecelia Boone Dan and Kaye Freiberg Jackie and Mark Nolan Lillian Tan David and Elaine Borsheim Michael G. Freer Gerald Nolte Barbara J. Telander Judith Bostrom Patricia Gaarder Alvina O’Brien John and Joyce Tester Marge and Ted Bowman Cléa Galhano Polly O’Brien Theresa’s Hair Salon and Thomas K. Brandt Inez Gantz Tom O’Connell Theresa Black Charles D. Brookbank Frieda Gardner Ann O’Leary David Evan Thomas Richard and Judy Brownlee Christine Garner Scott and Judy Olsen Bruce and Marilyn Thompson Christopher Brunelle and Dr. and Mrs. Robert Geist Alan Onberg Tim Thorson Serena Zabin Celia and Hillel Gershenson Barbara and Daniel Opitz Charles and Anna Lisa Tooker Elizabeth Buschor Beatrice A. Giere Sally O’Reilly and Phoebe Dalton Tour de Chocolat and Mina Fisher Dr. Magda Bushara Mary, Peg and Liz Glynn Vivian Orey Susan Travis Sherri Buss Jennifer Gobel Melanie L. Ounsworth Karen and David Trudeau David and Marjorie Cahlander A. Nancy Goldstein Elizabeth M. Parker Chuck Ullery and Elsa Nilsson Dr. Bruce M. Carlson Paul L. Grass Lyudmila and Mikhail Pekurovsky Joy R. Van Lori Cannestra Paul Greene Patricia Penovich and Osmo Vanska Edwin Challacombe Bonnie Gretz Gerald Moriarty Vargo Family Charitable Fund Joan and Allen Carrier David Griffin and Margie Hogan James and Donna Peter Gordon Vogt Katha Chamberlain Alexandra and Grigory Grin James and Kirsten Peterson M. Volk Chapter R PEO Thomas Guglielmi Janet V. Peterson Carol and Tim Wahl Kenneth Chin-Purcell Peg Guilfoyle Sydney Phillips Maxine H. Wallin Kristi M. Christman Lisa Gulbranson Gretchen Piper Kathleen Walsh Christina Clark Michelle Hackett Dwight and Chris Porter Dale and Ruth Warland Helen Cleveland Elaine J. Handelman Deborah and Ralph Powell Barbara Weissberger Mary Sue Comfort Phillip and Alice Handy Dr. Paul and Betty Quie Stuart and Mary Weitzman Ann and Kevin Commers Deborah L. Hanson Ramsey County Attorney’s Office Beverly and David Wickstrom Irene Coran Eugene and Joyce Haselmann Mindy Ratner Lori Wilcox and Stephen Creasey Maggie Cords Kristina and Thomas Hauschild Rhoda and Paul Redleaf Victoria Wilgocki and James Crabb Dr. James Hayes Gladys and Roger Reiling Lowell Prescott Barbara Cracraft Mary Ann Hecht Tanya Remenikova and Christopher and Julie Williams Ruth H. Crane Marguerite Hedges Alex Braginsky Dr. Lawrence A. Wilson Cynthia L. Crist Alan J. Heider Karen Robinson Paul and Judy Woodward Denise Nordling Cronin Benjamin Heille Mary and Richard Rogers Herbert Wright Elizabeth R. Cummings Mark and Jane Heille Michael and Tamara Root Ann Wynia Marybeth Cunningham Don and Sandralee Henry Lee and Roberta Rosenberg Alison Young James Cupery Nelly Hewett Diane Rosenwald Max E. Zarling Kathleen A. Curtis Helen and Curt Hillstrom Barbara Roy John Davenport Elizabeth Hinz Connie Ryberg and Craig Forsgren Friends Rachel L. Davison J. Andreas Hipple and Mary and Mark Sigmond $1–$99 David Dayton Marisa Vargas David Schaaf Anonymous (7) Ebner Decker Family Marian and Warren Hoffman Mary Ellen and Carl Schmider About Tours with Spangles, Inc. Mary R. DeMaine Bradley Hoyt Russell G. Schroedl Cigale Ahlquist Rita and David Docter Maryanne Hruby A. Truman and Beverly Schwartz Elaine Alper Sue Freeman Dopp Dr. Charles W. Huff Sylvia J. Schwendiman David and Gretchen Anderson Gregg and Susan Downing Kjeld and Karen Husebye Buddy Scroggins and Marie Anderson David Dudley Gloria and Jay Hutchinson Kelly Schroeder Susan and Brian Anderson Katherine and Delano DuGarm Eva Hyvarinen Sara Ann Sexton Mary A. Arneson and Craig Dunn and Candy Hart Paul W. Jansen Gale Sharpe Dale E. Hammerschmidt Turmond Durden Fritz Jean-Noel Nan C. Shepard Barbara A. Bailey Margaret E. Durham Angela Jenks Rebecca and John Shockley Megen Balda and Jon Kjarum Suzanne Durkacs Max Jodeit Ray and Nancy Shows Dr. Roger and Joan Ballou Heidi Eales Kara M. Johansson Mariana and Craig Shulstad Jack and Helen Barber and Family Sue Ebertz Carol A. Johnson Darroll and Marie Skilling Emily and Aaron Barnes Rita Eckert Daniel Johnson Nance Olson Skoglund Sara Barsel Andrea Een Isabelle Johnson Sarah J. Snapp Anita Bealer Catherine Egan Stephen and Bonnie Johnson Patricia and Arne Sorenson Verna H. Beaver Katherine and Kent Eklund Tessa and Ryan Jones Carol Christine Southward Janet M. Belisle Tracy Elftmann Dr. Robert Jordan Eileen V. Stack Irina Belyavin Jim Ericson Ann Juergens and Jay Weiner

schubert.org 35 Christine Kaplan Thomas L. Mann Rick Penning Nancy Sponaugle Shirley Kaplan Rachel Mann Timothy Perry Donna Stephenson Stanley Kaufman Karen Markert Dorothy Peterson Karen and Stan Stenson Carol R. Kelly Chapman Mayo Lee Ann Pfannmueller and Beverly and Norton Stillman Charlyn Kerr David Mayo Gary Seim James and Ann Stout Robert Kieft Judy and Martin McCleery James L. Phelps Patricia Strandness Dwayne King Mary McDairmid David Pieper Arvida Steen Pamela King and Vining Sherman Kara McGuire Eugenia Popa Gail Stremel Marla Kinney James and Sally McLaughlin Jonathan and Mary Preus Ralph and Grace Sulerud Kathryn Kloster Dr. Alejandro Mendez Michael Rabe Benjamin H. Swanson Dr. Armen Kocharian Ralph and Barbara Menk Alberto and Alexandra Ricart Ruthann Swanson Krystal Kohler Jane E. Mercier and Mark Taylor Stephanie Rich Gregory Tacik and Carol Olig Todd L. Kosovich Robert and Greta Michael Ann C. Richter Bruce and Judith Tennebaum Jane and David Kostik John L. Michel and Roger and Elizabeth Ricketts Kipling Thacker Christine Kraft and Nelson Capes Berit Midelfort Julia Robinson Keith Thompson Dave and Linnea Krahn Donna Millen Drs. W.P. and Nancy W. Rodman Karen Titrud Erik van Kuijk John W. Miller, Jr. Karen S. Roehl Robert Tomaschko Alexandra Kulijewicz Margaret Mindrum Peter Romig Charles and Anna Lisa Tooker Mary Lach Amy Mino Steven Rosenberg Charles D. Townes Elizabeth Lamin Lynn Moeller Stewart Rosoff Casey Triplett Elizabeth R. Langer Pantea Moghimi Nancy and Everett Rotenberry Rev. Robert L. Valit Colles and John Larkin Marjorie Moody Anne C. Russell Rica and Jeffrey Van Helen and Tryg Larsen Anne and John Munholland Kurt and Lesley Rusterholz Jean O. VanHeel Karla Larsen Alex Murphy and Sandra D. Sandell Erik Vankuijk and Virginia Brooke Kenyon S. Latham, Jr. Jodi Hanson Murphy Linda H. Schelin Iona Vartolomei Pribiag Karla Larsen Sandra Murphy Sarah M. Schloemer Louise A. Viste-Ross Margaret Laughton Christy and Gordon Myers Ralph J. Schnorr Gordon Vogt Karen S. Lee Sarah L. Nagle Carl H. Schroeder Sarah M. Voigt David Leitzke Michael Nation Jon J. Schumacher and Mary Briggs Karen Volk Elaine M. Leonard Shannon Neeser Christine K. Schwab Mark Walbran James W. Lewis Ingrid Nelson Scott Studios, Inc. and William K. Wangensteen Michelle and Andrew Lewis Stephen C. Nelson William Scott Helen H. Wang Archibald and Edith Leyasmeyer Amy Newton Steve Seltz and Sheryl Widme Betty and Clifton Ware Mary and James Litsheim Phong Nguyen Marge and Ed Senninger Betsy Wattenberg and John Wike Malachi and Stephanie Long Jane A. Nichols Kathryn and Jay Severance Tammie Weinfurtner John Longballa Philip Novak Shelly Sherman Hope Wellner Michael D. Lorge Rosalie W. O’Brien Shirley Shimota Cynthia N. Werner Jeff Lotz Jonathan O’Conner Elizabeth Shippee Eva Weyandt Elizabeth Lukanen and Eric Schlotterbeck Brian and Stella Sick Deborah Wheeler Rebecca Lund Glad and Baiba Olinger Bill and Celeste Slobotski Kurt and Vickie Wheeler Mary and David Tamas Ordog Susannah Smith and Alex and Marguerite Wilson Lundberg-Johnson Nancy Orgeman Matthew Sobek Sue Wiltgen Carol G. Lundquist Dennis and Turid Ormseth Emma Small Kathleen Winters Roderick and Susan Macpherson Thomas W. Osborn Linda Smith-Kiewel Tim Wulling and Marilyn Benson Samir Mangalick Clara Osowski Suzanne Snyder Yea-Hwey Wu Vernon Maetzold Elisabeth Paper Nancy Sogabe-Engelmayer Janis Zeltins Beatrice Magee Alison H. Page Robert Solotaroff John Ziegenhagen Marsha Mann Cheryl Paullin Robert Sourile Erin Zolotukhin-Ridgway

Music in the Park Series Family Concerts

Being Aloha! A Musical Journey to Hawaii Lau Hawaiian Collective Lau Hawaiian Collective Friday, May 13, 2016 • 6 & 7:15 PM Bring the kids and join us for a joyful and interactive musical journey into Hawaiian music and culture celebrating aloha (love) and nani (beauty) in our community and our world. Discover some of Minnesota’s amazing connections to Hawaii, learn about the tradition of hula, and sing along with the sweet sounds of ukueles, kika (guitar), kika kila (lap steel guitar), and other instruments. E komo mai (welcome)!

schubert.org/family • 651.292.3268 Memorials and Tributes

In honor of the anniversary In memory of Avery and Elisabeth R. Bennett Clara Ueland and Walter McCarthy and birthdays of Annette Atkins Wally Brookins Ellen Bruner Rica and Jeffrey Van and Tom Joyce Carl Brookins Shirley I. Decker Nancy and Ted Weyerhaeuser Adele and Richard Evidon Suzanne Asher and Thomas Ducker In memory of Clifton W. Burns In memory of Beatrice Ohanessian Judy A. Karon Dee Ann and Kent Crossley Dorothea Burns Sita Ohanessian In memory of Bruce Doughman Mary and Bill Cunningham Julie and Anders Himmelstrup In memory of Elise Donohue, sister Donald and Alma Derauf In memory of Laura Platt of Lucy R. Jones Norm and Sherry Eder Meredith Alden In honor of Julia and Irina Elkina Terry Devitt Kay and Daniel Halvorsen Rebecca Shockley Paul D. Olson Benjamin Heille In memory of Nancy Pohren Sandra and Richard Haines Mark and Jane Heille In honor of Alice Hanson, In memory of Dr. John Davis Professor of Music, St. Olaf College August Rivera Jr. Julie and Anders Himmelstrup In memory of Warren L. Pomeroy Kristina MacKenzie John and Ruth Huss Fund Betty Pomeroy In memory of Edna Rask Erickson David Hunter In honor of Julie Himmelstrup’s Richard and Jill Stever-Zeitlin Kjeld and Karen Husebye In memory of Jeanette Maxwell Rivera leadership Maria Jette August Rivera Jr. Theresa Black In memory of Mindy Sue Geyerman B.K. and Robbin Johnson In memory of Nancy Shepard Carl and Mary Ellen Schmider Richard Geyerman Lucy R. Jones and James Johnson Nan C. Shepard Stuart and Mary Weitzman In memory of Eric Giere Cheryl and Barry Kempton Ebner Decker Family In memory of Helen McMeen Smith An endowment gift to support the Elizabeth R. Langer Mary and Bill Cunningham Thelma Hunter Scholarship Prize Beatrice Giere Nicholas Nash and Karen Lundholm Dee Ann and Kent Crossley in honor of Thelma’s 90th Birthday Mella Martin In memory of Leon R. Goodrich Hella Mears Hueg and Bill Hueg Tami McConkey Lois Ann and Robert Dokken Megan and Daniel Goodrich Alison H. Page Lucy R. Jones and James Johnson Katherine Goodrich In honor of Lisa Niforopulos Christine Podas-Larson Cheryl and Barry Kempton Gretchen Piper In memory of Manuel P. Guerrero and Kent Larson Dorothy and Roy Mayeske Barbara and Lewis McMeen In honor of Paul D. Olson August Rivera Ramsey County Attorney’s Office Barbara and John Rice Barbara Lund and Cathy Muldoon Mindy Ratner In memory of Donald Kahn Barbara and John Rice In memory of Tom Stack In memory of William Ammerman Stephen and Hilde Gasiorowicz Estelle Quinn Sell Eileen V. Stack Marilyn and John Dan In memory of Thelma Hunter Rebecca Shockley In memory of John Stevens In memory of Elmer L. and Jack and Helen Barber and Family Linda Smith-Kiewel Gail Stremel Eleanor J. Andersen James Ford Bell Foundation and Barbara J. Telander Stephen and Bonnie Johnson Ford W. Bell David Evan Thomas

Thank you to the following organizations

This activity is made possible by the voters of Minnesota through a Minnesota State Arts Board Operating Support grant, thanks to a legislative appropriation from the arts and cultural heritage fund, and a grant from the Wells Fargo Foundation Minnesota.

well flocked The Deco Catering is for celebrations the preferred caterer of The Schubert Club

612.767.9495 thethirdbirdmpls.com

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 The Schubert Club Endowment and Legacy Society

The Schubert Club Endowment Music in the Park Series Fund Thrivent Financial Matching Gift Program of The Schubert Club Endowment Clara Ueland and Walter McCarthy The Schubert Club Endowment was started Ruth and Dale Warland in the 1920s. Today, our endowment Music in the Park Series was established by Katherine Wells and Stephen Wilging provides more than one-quarter of our Julie Himmelstrup in 1979. In 2010, Music Peggy R. Wolfe annual budget, allowing us to offer free in the Park Series merged into The Schubert and affordable performances, education Club and continues as a highly sought-after programs, and museum experiences for chamber music series in our community. our community. Several endowment funds In celebration of the 35th Anniversary of The Legacy Society have been established to support education Music in the Park Series and its founder Julie and performance programs, including the Himmelstrup in 2014, we created the Music The Legacy Society honors the dedicated International Artist Series with special in the Park Series Fund of The Schubert patrons who have generously chosen to leave funding by the family of Maud Moon Club Endowment to help ensure long-term a gift through a will or estate plan. Add your Weyerhaeuser Sanborn in her memory. We stability of the Series. Thank you to Dorothy name to the list and leave a lasting legacy of thank the following donors who have made Mattson and all of the generous contributors the musical arts for future generations. commitments to our endowment funds: who helped start this new fund: Anonymous The Eleanor J. Andersen Meredith Alden Frances C. Ames* Scholarship and Education Fund Nina and John Archabal Rose Anderson* The Rose Anderson Lydia Artymiw and David Grayson Margaret Baxtresser* Scholarship Fund Carol E. Barnett Mrs. Harvey O. Beek* Edward Brooks, Jr. Lynne and Bruce Beck Helen T. Blomquist* The Eileen Bigelow Memorial Harlan Boss Foundation Dr. Lee A. Borah, Jr. The Helen Blomquist Jean and Carl Brookins Raymond J. Bradley* Visiting Artist Fund Mary Carlsen and Peter Dahlen James Callahan The Clara and Frieda Claussen Fund Penny and Cecil Chally Lois Knowles Clark* Catherine M. Davis Don and Inger Dahlin Margaret L. Day* The Arlene Didier Scholarship Fund Bernice and Garvin Davenport Harry Drake* The Elizabeth Dorsey Bequest Adele and Richard Evidon James E. Ericksen* The Berta C. Eisberg Maryse and David Fan Mary Ann Feldman and John F. Eisberg Fund Roxana Freese John and Hilde Flynn The Helen Memorial Fund Gail Froncek Salvatore Franco “Making melody unto the Lord in her very Catherine Furry and John Seltz Richard Geyerman last moment.” – The MAHADH Fund Richard Geyerman Marion B. Gutsche* of HRK Foundation Julie and Anders Himmelstrup Anders and Julie Himmelstrup The Julia Herl Education Fund Cynthia and Russell Hobbie Thelma Hunter* Hella and Bill Hueg/Somerset Peg Houck and Philip S. Portoghese Lois and Richard King Foundation Thelma Hunter Florence Koch* The Daniel and Constance Kunin Fund Lucy Jones and James Johnson Dorothy Mattson* The Margaret MacLaren Bequest Ann Juergens and Jay Weiner John McKay The Dorothy Ode Mayeske Phyllis and Donald Kahn Mary Bigelow McMillan Scholarship Fund Barry and Cheryl Kempton Jane Matteson* In memory of Reine H. Myers Marion and Chris Levy Elizabeth Musser* by her children Estate of Dorothy Mattson Heather Palmer The John and Elizabeth Musser Fund Wendy and Malcolm McLean Mary E. Savina To honor Catherine and John Neimeyer Marjorie Moody Helen McMeen Smith* By Nancy and Ted Weyerhaeuser Mary and Terry Patton Jill and John Thompson In memory of Charlotte P. Ordway Donna and James Peter Lee S. and Dorothy N. Whitson* By her children Paul and Betty Quie Timothy Wicker and Carolyn Deters The Gilman Ordway Fund Barbara and John Rice Richard A. Zgodava* The I. A. O’Shaughnessy Fund Shirley and Michael Santoro Joseph Zins and Jo Anne Link The Ethelwyn Power Fund Mary Ellen and Carl Schmider The Felice Crowl Reid Memorial Sewell Family Foundation *In Remembrance The Frederick and Margaret L. Katherine and Douglas Skor Become a member of The Legacy Society by Weyerhaeuser Foundation Eileen V. Stack making a gift in your will or estate plan. For The Maud Moon Weyerhaeuser Sanborn Cynthia Stokes further information, please contact Memorial Ann and Jim Stout Paul D. Olson at 651.292.3270 or The Wurtele Family Fund Joyce and John Tester [email protected]

38 THE SCHUBERT CLUB An die Musik

Osmo Vänskä /// Music Director

STRAUSS’ MERRY PRANKS Thu May 12 11am / Fri May 13 8pm Asher Fisch, conductor / Amber Wagner, soprano WAGNER Prelude and Liebestod from Tristan and Isolde Brünnhilde’s Immolation, from Götterdämmerung STRAUSS Fantasy on Die Frau ohne Schatten Till Eulenspiegel’s Merry Pranks Hear Wagner’s heavenly Liebestod with young American soprano Amber Wagner, plus musical gems by Richard Strauss.

INSIDE THE CLASSICS: THE EVOLUTION OF OPERA Fri May 20 8pm Sarah Hicks, conductor / Sam Bergman, host and violist Join Sam and Sarah as they explore the history of opera: lifting the curtain on the dramatic combination of singers, players, stage and story. Tickets $29 / $20 for patrons under the age of 40 This concert is a mixture of conversation and opera excerpts, with one intermission.

ERIN KEEFE PLAYS BRAHMS Fri May 27 & Sat May 28 8pm Osmo Vänskä, conductor / Erin Keefe, violin PUTS Two Mountain Scenes NIELSEN Symphony No. 6, Sinfonia semplice BRAHMS Violin Concerto Hear one of the most beloved works for violin, performed by concertmaster Erin Keefe.

SYMPHONY IN 60 Thu May 26 8pm Enjoy this one-hour performance of Brahms followed by post-concert cocktails onstage with the musicians. Tickets $29 / $20 for patrons under the age of 40

VÄNSKÄ CONDUCTS MAHLER’S FIFTH Thu Jun 9 11am / Fri Jun 10 & Sat Jun 11 8pm Osmo Vänskä, conductor / Christian Tetzlaff, violin BERG Violin Concerto MAHLER Symphony No. 5 Christian Tetzlaff, famous for his brilliant technique and insight, reignites his legendary partnership with Osmo Vänskä in Berg’s haunting Violin Concerto. And this grand season concludes magnificently with Mahler’s full-throated cry of triumphant orchestral glory.

minnesotaorchestra.org 612.371.5656 / Orchestra Hall

Creative Partner: Media Partner:

ERIN KEEFE, concertmaster PHOTO Lisa-Marie Mazzucco

CL-1516-095 Schubert Club Ad.indd 1 4/1/16 12:00 PM