Minnesota Orchestra

Osmo Vänskä Conductor

Elina Vähälä / Violin Sassa Åkervall / Speaker

UMS Choral Union Scott Hanoian / Music Director

Saturday Evening, January 25, 2020 at 8:00 Hill Auditorium Ann Arbor

40th Performance of the 141st Annual Season 141st Annual Choral Union Series This evening’s performance is supported by the Frances Mauney Lohr Choral Union Endowment Fund, KLA, Gerald (Jay) and Christine Zelenock, James and Nancy Stanley, and the UMS Medical Community Endowment Fund. Media partnership provided by WRCJ 90.9 FM, WGTE 91.3 FM, and Michigan Radio 91.7 FM. Special thanks to Michael Haithcock, Joel Howell, Alesia Johnson, Kenneth Kiesler, Carrie McClintock, Maisey Schuler, Elaine Sims, Davin Torre, Flint School of Performing Arts, Michigan Medicine Gifts of Art, U-M Medical Arts Program, and the U-M School of Music, Theatre & Dance for their participation in events surrounding this evening’s performance. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. For their generous support of the Minnesota Orchestra’s January 2020 Midwest Tour and the work of Osmo Vänskä, the Minnesota Orchestra gratefully acknowledges Louise and Douglas Leatherdale. The Minnesota Orchestra appears by arrangement with Opus 3 Artists. In consideration of the artists and the audience, please refrain from the use of electronic devices during the performance. The photography, sound recording, or videotaping of this performance is prohibited. PROGRAM

Jean Sibelius Snöfrid, Op. 29

Ms. Åkervall, UMS Choral Union

Sibelius Concerto in d minor for Violin and Orchestra, Op. 47

Allegro moderato Adagio di molto Allegro, ma non tanto

Ms. Vähälä

Intermission

Sibelius Symphony No. 5 in E-flat Major, Op. 82

Tempo molto moderato — Allegro moderato — Presto Andante mosso, quasi allegretto Allegro molto — Misterioso

3 SNÖFRID, OP. 29 (SNOW PEACE) (1900)

Jean Sibelius Born December 8, 1865 in Hämeenlinna, Died September 20, 1957 in Ainola, Finland

UMS premiere: This piece has never been performed on a UMS concert.

Snapshots of History…In 1900: · The first US auto show opens at New York City’s Madison Square Garden · The Hershey milk chocolate bar is introduced in the US · Hawaii becomes an official US territory; Alaska is placed under US military governance

It is a great pity Sibelius never her beauty. After a second, even completed his projected opera more agitated orchestral section, a The Building of the Boat after the group of trolls tries to lead the young Finnish national epic Kalevala. man astray by offering him in turn Celebrated above all for his riches, fame, and sensual pleasure in symphonic music, the Finnish master exchange for his soul. The first two was also a great composer of vocal temptations are uttered in powerful music (art songs and choral works), dramatic accents, while the third, in which his sensitivity to poetry and introduced by a sensual violin solo drama is evident at every turn. Snöfrid, and scored for female voices only, part choral cantata and part recitation strikes a positively seductive tone. Yet (Sibelius called it an “improvisation”), before the young hero can succumb is a real mini-drama presenting the to the siren voices, Snöfrid intervenes temptations of the world, a stern and delivers her sermon against some warning to resist those temptations, ominous brass chords and timpani and the moral victory achieved. rolls. The happy ending arrives with a The poem — excerpted and edited glorious, hymn-like final chorus. by Sibelius — is by Viktor Rydberg (1828–95), one of the leading Swedish poets of his time and one of the composer’s favorites. (Swedish was Sibelius’s first language.) Snöfrid (literally “Snow Peace”) is the name of a female spirit in the wood, with whom Gunnar, a young warrior, is in love. A stormy introduction sets the stage for the opening chorus, in which Gunnar first meets Snöfrid and extols

4 CONCERTO IN D MINOR FOR VIOLIN AND ORCHESTRA, OP. 47 (1903)

Sibelius

UMS premiere: Violinist Efrem Zimbalist with the Philadelphia Orchestra conducted by ; May 1936 in Hill Auditorium.

Snapshots of History…In 1903: · The Minnesota Orchestra is founded as the Symphony Orchestra · Cuba leases Guantánamo Bay to the US “in perpetuity” · Ford Motor Company is founded by Henry Ford

“I’ve got some lovely themes for a Sibelius in the best light. Burmester violin concerto,” Sibelius wrote to was expecting to play the world his wife, Aino, in September 1902. premiere of the new work in the spring The Finnish composer, at 37 already a of 1904, but Sibelius changed his mind national figure and the recipient of an and gave the score to Viktor Nováček, annual pension from the government, a Czech violinist living in had been asked by the celebrated as concertmaster of the orchestra German violinist Willy Burmester to and professor at the conservatory. write a violin concerto. Despite the All accounts agree that Nováček “lovely themes” Sibelius had, however, was hardly more than a mediocre the concerto wasn’t coming along as player. Leading Sibelius biographer expected. The difficulties had to do Erik Tawaststjerna writes that at the with the composer’s alcoholism that Helsinki premiere, in February 1904, around this time began to alarm his “a red-faced and perspiring Nováček family seriously; that addiction in turn fought a losing battle with a solo seemed to stem from a deep sense part that bristled with even greater of inner insecurity. It was a whole difficulties in this first version than it year before Sibelius sent the piano does in the definitive score.” score to Burmester, who responded Sibelius had been trying to pacify enthusiastically: Burmester by saying that “Helsinki doesn’t mean a thing,” and still I can only say one thing: wonderful! promised him performances in Masterly! Only once before have I and elsewhere. But after the Helsinki spoken in such premiere, he was dissatisfied with terms of a composer, and that the work and decided to revise it was when Tchaikovsky showed entirely. After the definitive version was me his concerto. completed, he sent it off to his German publisher who suggested another What happened after this is rather Czech violinist, Karl Halir (Karel Halíř), hard to explain and doesn’t cast as the soloist. Sibelius acquiesced and

5 the revised version was premiered features are the repeated augmented in Berlin on October 19, 1905, by Halir fourth leaps (from ‘D’ to ‘G-sharp’ or and the Berlin Philharmonic under the ‘G’ to ‘C-sharp’) which create harsher direction of Richard Strauss. Burmester sonorities, and the irregular phrase was thus passed over for the second structure of the theme, which makes it time. Greatly offended, he never played impossible to predict how the melody the work whose composition he had is going to evolve. initiated. Simple and song-like at first, the Halir, the concertmaster of the Berlin violin part gradually becomes more Court Opera, and a professor at the and more agitated, erupting in a Conservatory, was a fine violinist but first virtuoso cadenza. As the meter not a virtuoso of the highest caliber. It changes from 4/4 to 6/4 time, the fell to an exceptionally gifted 17-year- orchestra introduces a second idea, old Hungarian named Ferenc (Franz which the violin soon takes over; von) Vecsey to become the work’s first when that happens, however, the international champion; it is to him that tempo suddenly slows down and the the printed score is dedicated. character of the theme changes from Ultimately, as Tawaststjerna noted, dramatic to lyrical. This is followed by Sibelius wrote his concerto for neither a third, purely orchestral section, in Burmester nor anyone else but himself. a fast 2/2 time; lively and energetic, As a young man, he had hoped to it ends in pianissimo with the cellos become a concert violinist, and gave and basses repeating a single note up his dreams of a virtuoso career (‘B-flat’). The three sections roughly only with great reluctance. At any rate, outline the exposition of a sonata his primary instrument was the violin; form, although the meter changes unlike Brahms who consulted Joseph and the succession of characters is Joachim when he was writing his violin unusual; also, the key of b-flat minor, concerto, Sibelius did not need to ask which is eventually reached, is a highly others for advice on technical matters. unusual tonal direction for a concerto Tawaststjerna writes, “Naturally in his movement in d minor. Its many flats imagination he identifies himself with contribute to a certain dark, “Nordic” the soloist in the Violin Concerto and flavor in the concerto, reinforced by this may well explain something of its the frequent use of the violin’s low nostalgia and romantic intensity.” register. The brass parts also abound Nostalgia and romantic intensity in “glacial” low notes, harmonized with — these are indeed key words if one austere-sounding chordal passages. wishes to describe the Sibelius Violin There is no real development Concerto. Written in the first years section; its place is taken by the solo of the 20th century, it looks back to cadenza, which occurs in the middle the great Romantic concertos of the of the movement rather than at the 19th. The beginning, with the d-minor end as usual. The cadenza is followed tremolos of the muted first and second by a free recapitulation in which the violins over which the soloist plays a first melody returns almost literally. wistful melody, is unabashedly old- The second theme (especially in its fashioned. The only unconventional orchestral rendition) is substantially

6 modified. The melody of the third Speaking about the finale, it is section is now given to the violas while impossible to resist quoting Donald the soloist adds virtuoso passages, Francis Tovey’s characterization of its turning the ending of the movement main theme as a “polonaise for polar into a kind of grandiose Gypsy fantasy. bears.” Tovey’s words capture the The second-movement “Adagio di singular combination of dance rhythms molto” is based on the combination and a certain heavy-footedness of two themes, one played by the two felt at least at the beginning of this clarinets at the beginning, the other movement. by the solo violin a few measures later. Again, there are two themes, one in The violin melody is, according to the a polonaise rhythm, and one based on composer’s own written instruction, the alternation of 6/8 and 3/4 time “sonorous and expressive”; the (the first is subdivided into 3 + 3 clarinet theme later grows into an eighth-notes, the second into impassioned middle section whose 2 + 2 + 2). “With this,” Tovey concluded dynamism carries over into the his analysis, “we can safely leave the recapitulation of the violin melody finale to dance the listener into Finland, (part of it is now given to the or whatever Fairyland Sibelius will have woodwinds). Only at the very end us attain.” does the melody find its initial peace and tranquility again.

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7 SYMPHONY NO. 5 IN E-FLAT MAJOR, OP. 82 (1915–19)

Sibelius

UMS premiere: Philadelphia Orchestra conducted by ; May 1938 in Hill Auditorium.

Snapshots of History…In 1919: · The 18th Amendment to the US Constitution, authorizing prohibition, is ratified · The first national convention of the American Legion is held in Minneapolis · Babe Ruth is traded by the Boston Red Sox to the New York Yankees for $125,000

During the single meeting Jean Sibelius had inherited from Sibelius had with , the Beethoven and Brahms the idea latter spoke about the need for the that everything in a symphonic work symphony to be all-embracing, to be a had to grow organically from a small world unto itself. Sibelius, for his part, number of basic elements. Yet he insisted on “the profound logic that implemented this classical principle created an inner connection between in entirely new ways, modifying all the motifs.” The use of the word and expanding upon the traditional “logic” does not necessarily imply notions of exposition, development, something overly cerebral or rational. and recapitulation. It merely means that for Sibelius, In Beethoven and Brahms, structural considerations were short motifs (three or four notes) all-important. For Mahler, the germ were usually organized into larger out of which a symphony grew was units such as periods, which are often a metaphysical idea, and typically eight-measure segments structural concerns could become with symmetrical inner divisions. secondary to the expression of his These segments were in their turn personal emotions. On the other hand, incorporated into the even larger Sibelius, who was extremely reticent framework of the exposition, itself when it came to private matters, part of the architecture of the would take simple musical motifs entire movement. Sibelius, in his as his points of departure and use Fifth Symphony, skipped the middle them to build edifices of surpassing level of the musical period almost grandeur and majesty. Expressivity completely, and built his large-scale is a direct result of this imposing architecture directly from the smallest musical architecture. In other words, elements. Therefore, the growth of structural coherence was the Finnish the music we perceive is not small master’s way of “embracing the entire to medium to large, but proceeds, world.” instead, from a soft opening to a great

8 climactic moment so gradually that trumpet, but as it is developed it the intermediary stages are almost becomes increasingly clear that it, impossible to discern. too, is a variation of the symphony’s The opening may strike some first two measures. This second listeners as a slow introduction. It is theme is developed contrapuntally somewhat tentative and hesitant, and in the last section of the movement, emphasizes single intervals repeated dominated by the short and in different instrumentations. It well-separated notes in the strings seems that the music does not and the soft strokes of the timpani. immediately “get going.” Yet it Next comes an “Andante mosso, eventually becomes clear that this quasi allegretto” (a somewhat brisk is not an introduction at all but the walking tempo), which takes the main body of the movement. The place of the slow movement. It is a opening motif is developed in two set of variations in the key of G Major successive surges: the volume and (an audible contrast to the E-flat the density of the music go through of the preceding movement). The two cycles of gradual increase and theme is first introduced by pizzicato decrease. Then a new section begins (plucked) violas and cellos, answered with a highly chromatic passage by a pair of flutes. The variations (that is, one that uses many half- become less and less predictable steps not part of the main key). This as the movement wears on. First the passage, played by the solo bassoon, tempo broadens to “Tranquillo” and is marked “lugubre” and “patetico”; the E-flat-Major tonality is temporarily it leads, again very gradually, into the resumed; then the music speeds up next tempo (“Allegro moderato”). again, settling once more in G Major. Some commentators interpret this as (That key is usually considered, and the beginning of a new movement, treated, as lighter and more jovial bringing the number of the than E-flat Major.) It is at this point symphony’s movements from three that a new motif, made up of wide to four. Others prefer to regard it as leaps, appears in the bass. part of the first movement. The very This motif, easy to overlook here, possibility of such a disagreement is plays an important part in the finale. a sign of the typically Sibelian blurring It is what the famous British music of the boundaries. analyst, Sir Donald Francis Tovey, The “Allegro moderato” section once described with the words “Thor has the character of a scherzo (the swinging his hammer,” referring to traditionally playful middle movement the Nordic thunder god after whom in many classical symphonies). Thursday has been named. (The Its thematic material, however, is hammer-wielding Thor is also well- derived from the horn theme with known to Wagnerians as Donner from which the symphony opened. The Das Rheingold.) Listening to this scherzo begins as a gentle dance melody, which moves rather slowly with a tender melody played by the with wide melodic leaps, it is not woodwind in parallel thirds. A new hard to visualize a supernatural being theme is then introduced by the displaying his enormous strength.

9 10 11 In Sibelius’s finale, the “Thor” battleground between the Red Army theme is combined with another and the Finnish nationalist forces, idea in perpetual motion, but this is known as the Whites. Sibelius’s eventually phased out and “Thor” sympathies were with the latter, and takes over completely. The tempo as the Red troops advanced, he and becomes slower and slower, the his family were forced to leave their hammer blows stronger and stronger, villa at Järvenpää and take refuge culminating in six widely spaced at the Lapinlahti Asylum in Helsinki strokes that provide one of the where the composer’s brother most original endings in the entire Christian was senior psychiatrist. symphonic literature. Sibelius reportedly lost 40 pounds as The Fifth seems to have given a result of wartime food shortages. Sibelius more trouble than any of his However, by May 1918, he had symphonies. He mentioned it in his resumed his creative work and was diaries as early as 1912, but progress able to report in a letter that he had on the new work was slow at first. “practically composed anew” his In September 1914, the composer Fifth Symphony. But the premiere wrote in his diary: “In a deep dell had to wait until the war was over. It again. But I already begin to see dimly took place, finally, in the new Finnish the mountain that I shall certainly Republic, established on June 17, ascend…God opens His door for a 1919. National independence, a moment and His orchestra plays the cause that had inspired so much of Fifth Symphony.” Sibelius’s early music, had at last After the first performance become a reality; and the mature on Sibelius’s 50th birthday, the Sibelius — long a legend in his composer withdrew the score and native country — was among the first presented a revised version the to celebrate this great event with following year. Still dissatisfied, the final version of one of his most he made more changes and finally grandiose works. introduced the definitive version in 1919. The intermediate version has Program notes by Peter Laki. not survived but the 1915 original has; it has received some performances lately, but it has remained a curiosity. Sibelius’s final version has of course remained the standard form in which the symphony is known. In January 1918, while Sibelius was still revising his symphony, a civil war broke out in Finland. The country had been under Russian domination until the year before; now it became a

Photo (previous spread): The Minnesota Orchestra rehearses with Osmo Vänskä in Orchestra Hall in Minneapolis; photographer: Travis Anderson.

12 ARTISTS

Finnish conductor Osmo Vänskä, the and was later chosen by Osmo Vänskä as Minnesota Orchestra’s 10th music that orchestra’s “young master soloist.” director, is renowned internationally for Since then, her career has continued his compelling interpretations of the to expand on international stages, and standard, contemporary, and Nordic she has won praise from audiences repertoires. He has led the Orchestra on and musicians alike. She debuted with five major European tours, as well as a the Minnesota Orchestra in 2007 and 2018 visit to London’s BBC Proms, and on appeared with the ensemble most recently historic tours to Cuba in 2015 and South in 2017, performing Jaakko Kuusisto’s Africa in 2018. In summer 2020 he and the Violin Concerto, which she commissioned. Orchestra will travel to South Korea and Highlights of her recent schedule include Vietnam. His recording projects with the appearances with the Orchestre National Minnesota Orchestra have also met with de Lyon, Polish National Radio Orchestra, great success, including the 2014 Grammy Singapore Symphony, Royal Stockholm Award for “Best Orchestral Performance” Philharmonic, Finnish Radio Symphony, for their recording of Sibelius’ First and Symphony, Shenzhen and Quingdao Fourth Symphonies on the BIS Records symphony orchestras, Niederrheinische label. In December 2019 the Orchestra Symphony, and the Seoul International released its newest album, featuring Music Festival. In North America she has Mahler’s Fourth Symphony — part of a performed with the Detroit Symphony, Mahler series that began with a Houston Symphony, Buffalo Philharmonic, Grammy-nominated Fifth Symphony Oregon Symphony, Nashville Symphony, recording. In January 2020 Maestro Vänskä and Simón Bolívar Youth Orchestra. She takes up a new position as music director has toured throughout the UK, Finland, of the Seoul Philharmonic Orchestra. He is Germany, China, Korea, and South America, also the honorary conductor of the Iceland and is a devoted chamber musician. In Symphony Orchestra and conductor 2008 she was chosen to perform at the laureate of the Lahti Symphony. He began Nobel Peace Prize ceremony, which was his musical career as a clarinetist, holding televised to a worldwide audience. She major posts with the Helsinki Philharmonic has given world premieres of Sallinen’s and the Turku Philharmonic, and in recent Chamber Concerto and Curtis-Smith’s years he has recorded Bernhard Henrik Double Concerto, both written for her Crusell’s three Clarinet Quartets and and pianist-conductor Ralf Gothóni. In ’s Clarinet Quintet for BIS. He is 2009 she launched the Violin Academy, a also in the process of recording several master class-based educational project duos for clarinet and violin which he has for selected, highly talented young Finnish commissioned with his wife, violinist violinists; it is funded by the Finnish Erin Keefe. For more information, visit Cultural Foundation. For more information, minnesotaorchestra.org. visit elinavahala.com.

American-born Finnish violinist Elina Vähälä made her orchestral debut with Finland’s Sinfonia Lahti at age 12

13 The Grammy Award-winning Minnesota 22 employees and was named one of Inc. Orchestra, led by music director Osmo 5000 fastest growing companies in the US. Vänskä, is recognized for distinguished Ms. Akervall’s background is in media: she performances around the world, award- has worked as a TV host, news reporter, winning recordings, radio broadcasts, freelance journalist, and is the author of educational engagement programs, and two children’s books published in Sweden. commitment to building the orchestral She is proud to call Ann Arbor home, a repertoire of the future. Founded in 1903 wonderful place to live and raise children. as the Minneapolis Symphony Orchestra, Most recently, she and her husband are the ensemble undertook its first regional enjoying being empty-nesters. tour in 1907 and made its New York City debut in 1912 at Carnegie Hall, where it has Formed in 1879 by a group of local performed regularly ever since. Outside university and townspeople who gathered the US, the Orchestra has played concerts together for the study of Handel’s Messiah, in Australia, Canada, Europe, the Far East, the UMS Choral Union has performed Latin America, the Middle East, and South with many of the world’s distinguished Africa. In June and July 2020 the Orchestra orchestras and conductors in its 141-year will visit South Korea and Vietnam, the history. First led by Professor Henry latter stop in honor of the 25th anniversary Simmons Frieze and then conducted of restored US-Vietnam relations. The by Professor Calvin Cady, the group Orchestra’s recordings and broadcasts has performed Handel’s Messiah in have drawn acclaim since the early Ann Arbor annually since its first Messiah 1920s, including the 2014 Grammy Award performance in December 1879. Based for “Best Orchestral Performance.” The in Ann Arbor under the aegis of UMS Orchestra’s season encompasses nearly and led by Scott Hanoian, the 175-voice 175 programs annually, held primarily at Choral Union is known for its definitive Orchestra Hall in Minneapolis and heard performances of large-scale works for live by 300,000 individuals. The Orchestra chorus and orchestra. In addition to its connects with more than 85,000 music annual performances of Handel’s Messiah, lovers annually through family concerts the UMS Choral Union’s 2019–20 season and educational programs including Young includes a performance of Sibelius’ Snöfrid People’s Concerts. The Orchestra has with the Minnesota Orchestra and Orff’s commissioned and/or premiered more Carmina Burana with the Detroit Symphony than 300 compositions and has won 20 Orchestra. awards for its adventurous programming The UMS Choral Union was a participant from ASCAP. For more information, visit chorus in a rare performance and minnesotaorchestra.org. recording of William Bolcom’s Songs of Innocence and of Experience in Hill Sassa Åkervall (speaker) was born and Auditorium in April 2004 under the baton raised in Sweden. In 2004 she relocated of . The recording won to Ann Arbor with her husband and two four Grammy Awards in 2006, including young children. Since moving to Michigan, “Best Choral Performance” and “Best she serves as the founding CEO of the Classical Album.” Other recent highlights family business, Akervall Technologies include a Grammy-nominated recording Inc. (ATI), which has grown to a staff of project with the U-M School of Music,

14 Theatre & Dance’s choral and orchestral ensembles of a performance of the rarely heard Oresteian Trilogy by Darius Milhaud conducted by Kenneth Kiesler. The ensemble received The American Prize in Choral Performance (community division) for its 2017 performance of Beethoven’s Missa Solemnis. Participation in the UMS Choral Union remains open to all students and adults by audition. For more information on how to audition, please visit ums.org/choralunion.

15 MINNESOTA ORCHESTRA Osmo Vänskä / Music Director Douglas and Louise Leatherdale Music Director Chair Sarah Hicks / Principal Conductor, Live at Orchestra Hall Jon Kimura Parker / Creative Partner, Summer Programming Akiko Fujimoto / Associate Conductor Kevin Puts / Director, Composer Institute Doc Severinsen / Pops Conductor Laureate Minnesota Chorale / Principal Chorus Kathy Saltzman Romey / Choral Advisor

First Violins Cellos Erin Keefe / Concertmaster Anthony Ross / Principal Elbert L. Carpenter Chair John and Elizabeth Bates Cowles Chair Susie Park / First Associate Concertmaster Silver Ainomäe / Associate Principal Lillian Nippert and Edgar F. Zelle Chair John and Barbara Sibley Boatwright Chair Felicity James / Associate Concertmaster Beth Rapier / Assistant Principal Frederick B. Wells Chair Marion E. Cross Chair Rui Du / Assistant Concertmaster Minji Choi Loring M. Staples, Sr., Chair Katja Linfield Pamela Arnstein Marcia Peck David Brubaker Pitnarry Shin Rebecca Corruccini Arek Tesarczyk Sarah Grimes Erik Wheeler Helen Chang Haertzen Roger and Cynthia Britt Chair Natsuki Kumagai Céline Leathead Basses Rudolf Lekhter Kristen Bruya / Principal Joanne Opgenorth Jay Phillips Chair Milana Elise Reiche Kathryn Nettleman / Acting Associate Principal Deborah Serafini Mr. and Mrs. Edward E. Stepanek Chair William Schrickel / Assistant Principal Second Violins Robert Anderson Peter McGuire / Principal Matthew Frischman Sumner T. McKnight Chair Brian Liddle Jonathan Magness / Associate Principal David Williamson Cecilia Belcher / Assistant Principal Taichi Chen Flutes Jean Marker De Vere Adam Kuenzel / Principal Aaron Janse Eileen Bigelow Chair Hanna Landrum Greg Milliren / Associate Principal Sophia Mockler Henrietta Rauenhorst Chair Ben Odhner Wendy Williams Catherine Schubilske Roma Duncan Michael Sutton Emilio Rutllant Emily Switzer Rosemary and David Good Fellow

Violas Piccolo Rebecca Albers/ Principal Roma Duncan Reine H. Myers Chair Alene M. Grossman Chair Sabina Thatcher / Assistant Principal Douglas and Louise Leatherdale Chair Oboes Jenni Seo / Assistant Principal John Snow / Principal Sam Bergman Grace B. Dayton Chair Sifei Cheng Kathryn Greenbank / Associate Principal Kenneth Freed Julie Gramolini Williams Richard Marshall Marni J. Hougham Megan Tam Thomas Turner English Horn Gareth Zehngut Marni J. Hougham John Gilman Ordway Chair

16 Clarinets Percussion Gabriel Campos Zamora / Principal Brian Mount / Principal I.A. O’Shaughnessy Chair Friends of the Minnesota Orchestra Chair Gregory T. Williams / Associate Principal Jason Arkis / Associate Principal Ray and Doris Mithun Chair Opus Chair David Pharris Kevin Watkins Timothy Zavadil Harp E-Flat Clarinet Kathy Kienzle / Principal Gregory T. Williams Bertha Boynton Bean Chair

Bass Clarinet Piano, Harpsichord, and Celesta Timothy Zavadil Open / Principal Markell C. Brooks Chair Bassoons Librarians Fei Xie / Principal Maureen Conroy / Principal Norman B. Mears Chair Eric Sjostrom / Associate Principal Mark Kelley / Co-Principal Marjorie F. and George H. Dixon Chair Valerie Little / Assistant Principal J. Christopher Marshall Norbert Nielubowski Personnel Manager Kai Rocke Kris Arkis Rosemary and David Good Fellow Assistant Personnel Manager Contrabassoon Janelle Lanz Norbert Nielubowski Technical Director Horns Joel Mooney Michael Gast / Principal John Sargent Pillsbury Chair Stage Managers Herbert Winslow / Associate Principal Don Hughes Gordon C. and Harriet D. Paske Chair Matthew Winiecki Brian Jensen Ellen Dinwiddie Smith Sound Technician Bruce Hudson Jay Perlman

Trumpets Head Electrician Manny Laureano / Principal Michael Murnane Mr. and Mrs. Archibald G. Bush Chair Douglas C. Carlsen / Associate Principal Rudolph W. and Gladys Davis Miller Chair Robert Dorer Charles Lazarus Paul and Margot Grangaard Chair

Trombones R. Douglas Wright / Principal Star Tribune Chair Kari Sundström William C. and Corinne J. Dietrich Chair

Bass Trombone Andrew Chappell

Tuba Steven Campbell / Principal Robert Machray Ward Chair

Timpani Erich Rieppel / Principal Chair Jason Arkis / Associate Principal

Many string players participate in a voluntary system of revolving seating. Section string players are listed in alphabetical order.

17 UMS ARCHIVES

Tonight’s concert marks the Minnesota Orchestra’s second appearance under UMS auspices, following its UMS debut in April 1972 in Hill Auditorium conducted by Stanislaw Skrowaczewski with the UMS Choral Union. Osmo Vänskä makes his second UMS appearance this evening, following his UMS debut in January 2005 conducting the Lahti Symphony Orchestra and pianist Louis Lortie in Hill Auditorium. The UMS Choral Union makes its 445th UMS appearance this evening, following its most recent UMS performances of Handel’s Messiah in December 2019 in Hill Auditorium. UMS welcomes Elina Vähälä and Sassa Åkervall as they make their UMS debuts tonight.

18 UMS CHORAL UNION Scott Hanoian / Conductor and Music Director Shohei Kobayashi / Assistant Conductor Jean Schneider and Scott VanOrnum / Pianists Kathleen Operhall / Chorus Manager Anne Cain-Nielsen / Librarian

Soprano Alto Tenor Rick J. Litow Elizabeth Baldner Paula Allison-England Michael Ansara Jr. Tom Litow Debra Joy Brabenec Carol Barnhart Gary Banks – SC Roderick L. Little Ann Burke Sandra Bosch Adam Bednarek Ronnie K. Maynor Anne Busch Margy Boshoven Parinya James B. McCarthy Anne Cain-Nielsen Lauren Boyles-Brewitt Chucherdwatanasak Tony Pak Carol Callan Lora Perry Campredon John R. Diehl Ian Roederer Susan F. Campbell Jean Cares Steven Fudge – SL Matthew Rouhana Cheryl D. Clarkson Kendall Clites Richard S. Gibson Justin Schell Barbara Clayton Kathleen E. Daly Carl Gies David Sibbold Corynn Coscia Melissa Doyle Arthur Gulick Thomas Sommerfeld Marie Ankenbruck Jessica Dudek Peter C. Jeff Spindler Davis Summer Edwards Henninger-Osgood William Stevenson Carrie Deierlein Christine El-Hage Benjamin Johnson David Townsend Madeline Dickens Jane Forman Marius Jooste Scott Venman Jennifer Freese Judi Lempert Green Corwin Kerr James Watz Hayley E. Frey Johanna Grum Bob Klaffke Chris Yu Christine George Kat Hagedorn Don Kline Keiko Goto Sook Han Shohei Kobayashi Kristina Hall Amy Hendricksma Andrew S. Kohler SL – Section Leader Molly Hampsey Carol Kraemer Hohnke Richard Marsh SC – Section Coach Meredith Hanoian – SC Kate Hughey Michael McCarren Shelly Hawkins Caitlin Hult Kevin Morgan Sarah Herwick Melissa Evans Itsell John Meluso Adrienne Howey Katherine Klykylo Ben Rorem Chloe Keast Jean Leverich Thomas Shaw Rachel Krupp Cynthia Lunan Ray Shuster Allison Lamanna Beth McNally – SC Asa Smith Kallan Larsen Ann McReynolds Carl Smith Tamina Lock Marilyn Meeker – SL Robert J. Stevenson Margaret McKinney Carol Milstein Maxwell Trombley Stephanie Miller-Allen Kathryn Murphy Trevor Young Armaity Minwalla Kathleen Operhall Emily Mueller Judith Pennywell Bass Katie Mysliwiec Alexa Piotrowski Sam Baetzel – SL Rhianna Nissen Rachel Piper William H. Baxter Margaret Dearden Hanna M. Reincke Joel Beam Petersen Ruth Senter Andrew Berryhill Sara J. Peth Meghana Shankar William Boggs – SC Julie Pierce Cindy Shindledecker Charles A. Burch Renee Roederer Susan Sinta Kyle Cozad Catherine Rogers Hanna Song Sean Dey Mary Schieve Katherine Spindler John Dryden Stefanie Stallard Gayle Beck Stevens Robert Edgar Kelsey Stark Paula Strenski Jeffrey Ellison Elizabeth Starr Ruth A. Theobald Allen Finkel Jennifer Stevenson Cheryl Utiger Greg Fleming Rebecca Strauss Alice VanWambeke Robert R. Florka Katherine Szocik Mary Beth Westin Christopher Friese Virginia Karen Woollams Philip Gorman Thorne-Herrmann Ryan Hayes Petra Vande Zande Jorge I iguez-Lluhi Margie Warrick Michael S. Khoury Maureen Klaus Kirsten White-Goeman Joseph S. Kosh Mary Wigton – SL Ted Kuligowski

19 THANK YOU TO SUPPORTERS OF TONIGHT’S PERFORMANCE

Presenting Sponsors Frances Mauney Lohr Choral Union Endowment Fund KLA

Supporting Sponsors Gerald (Jay) and Christine Zelenock James and Nancy Stanley UMS Medical Community Endowment Fund

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Tickets available at www.ums.org.

ON THE EDUCATION HORIZON...

2/14 UMS 101: Mariachi Vargas de Tecalitlán (Hill Mezzanine Lobby, 6:00–7:30 pm) Paid registration required at http://bit.ly/UMSClasses (case sensitive). 2/22 You Can Dance: Dorrance Dance (Ann Arbor Y, 400 W. Washington Street, 1:30 pm) Registration opens 45 minutes prior to the start of the event. 3/13 UMS 101: Tarek Yamani Trio (Michigan League, Michigan Room, 6:00–7:30 pm) Paid registration required at http://bit.ly/UMSClasses (case sensitive).

Educational events are free and open to the public unless otherwise noted.