130th Anniversary Photo: Jamie Jung

January 1 - February 13, 2013 An die Musik

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

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4 THE SCHUBERT CLUB An die Musik An die Musik

January 1 – February 13, 2013

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

Dear Friends, Welcome to The Schubert Club! What a thrill it is to present James Valenti in our International Artist Series, a tenor dear to the hearts and ears of many of us due to his long relationship with Minnesota Opera. We’re fortunate too to present the truly exciting duo of cellist Alisa Weilerstein and pianist Inon Barnatan in our fi rst Ordway Table of Contents recital of the New Year. Certainly the International Artist Series is our fl agship series 6 Alisa Weilerstein and Inon Barnatan with over 1200 loyal subscribers. It is however one of several concert series we present throughout the year. The Schubert 12 Artist from the past: Mstislav Rostropovich Club’s Music in the Park Series features another stellar cello and piano duo in David Finckel and Wu Han. The affection that 14 David Finckel and Wu Han audiences have for this husband and wife team was affi rmed last year when they were proclaimed Musical America’s Musicians of the Year. Accolades don’t come much higher 18 Accordo than that. The Schubert Club co-presents a variety of performances by 20 Calendar of Events some of our leading local ensembles, among them Accordo, Artaria String Quartet and the Hill House Chamber Players. 22 Hill House Chamber Players Check out the upcoming concerts listing on page 20 to make sure you don’t miss anything. And if you like to experience 24 James Valenti and Danielle Orlando music in less formal settings, please look out for some new “Live at the Museum” programs including “Cocktails with 26 The Schubert Club Museum: Letter from Beethoven Culture” happy hour events. The next program is in Landmark Center, 5:00-7:00 PM on January 10. It features gamelan music 28 Artaria String Quartet / Courtroom Concerts along with a woodturning demonstration—sponsored by our friends in the AAW Gallery of Wood Art—in and around our Museum on the 2nd fl oor. 31 The Schubert Club Officers, Board of Directors and Staff I wish you all a happy and peaceful New Year, and hope you will come back regularly to enjoy music presented by 32 The Schubert Club Annual Contributors: The Schubert Club. Thank you for your generosity and support

Turning back unneeded tickets:

If you will be unable to attend a performance, please notify Barry Kempton our box office as soon as possible. Donating unneeded tickets Artistic and Executive Director entitles you to a tax-deductible contribution for their face value. Turnbacks must be received one hour prior to the performance. Thank you!

The Schubert Club Box Offi ce: 651.292.3268 or schubert.org/turnback

schubert.org 5 The Schubert Club

presents GoerneAlisa Weilerstein, Program cello • Inon Barnatan, piano Sonata No. 5 in D Major, Opus 102, No. 2 Ludwig van Beethoven (1770–1827) Allegro con brio Adagio con molto sentimento d’affetto Page Allegro fugato

Sonata in C Minor, Opus 6 Samuel Barber (1910–1981) Allegro ma non troppo Adagio—Presto—di nuovo Adagio Allegro appassionato

Intermission

Suite italienne Igor Stravinsky (1882–1971) Introduzione Serenata Aria Tarantella Minuetto e Finale

Sonata in G Minor, Opus 19 Sergei Rachmaninoff (1873–1943) Lento—Allegro moderato Allegro scherzando Andante Allegro mosso

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

6 THE SCHUBERT CLUB An die Musik Maud Moon Weyerhaeuser Sanborn International Artist Series Tuesday, January 8, 2013 • 7:30 PM Ordway Center

Inon Barnatan, piano Since moving to the United States from Israel in 2006, pianist Inon Barnatan has performed with many of the country’s most noted orchestras and conductors, including the Los Angeles Philharmonic and the symphony orchestras

Photo: Jamie Jung of Dallas, Cincinnati, Cleveland, Houston, Philadelphia, and San Francisco. He has toured with the Academy of St. Martin in the Fields as a conductor and soloist, and has Alisa Weilerstein, cello performed in New York at Carnegie Hall, the 92nd Street American cellist Alisa Weilerstein has appeared with Y and at Lincoln Center, and at San Francisco’s Herbst the major orchestras throughout the United States and Theater, Philadelphia’s Kimmel Center, and Boston’s Jordan Europe with conductors including Marin Alsop, Daniel Hall, among many other venues. In 2009, Mr. Barnatan was Barenboim, Sir Andrew Davis, Gustavo Dudamel, Christoph awarded the Avery Fisher Career Grant, an honor refl ecting Eschenbach, Paavo Järvi, Lorin Maazel, Zubin Mehta, Osmo the strong impression he has made on the American music Vänskä, and David Zinman. She made her BBC Proms scene in such a short period of time. debut with the Minnesota Orchestra and Osmo Vänskä Born in Tel Aviv in 1979, Inon Barnatan started playing performing Shostakovich’s Cello Concerto No. 1. the piano at the age of three after his parents discovered In 2009, Ms. Weilerstein was one of four artists invited by he had perfect pitch, and he made his orchestral debut the First Lady, Michelle Obama, to participate in a widely- at eleven. in 1997 he moved to London to study at the applauded, high-profi le classical music event at the White Royal Academy of Music with Maria Curcio – who was a House. In September 2011, she was named a MacArthur student of the legendary Artur Schnabel. Leon Fleisher has Foundation Fellow, and in 2010, she became an exclusive also been an infl uential teacher and mentor, and in 2004, recording artist for Decca Classics, the fi rst cellist to be he invited Mr. Barnatan to study and perform Schubert signed by that label in over 30 years. sonatas as part of a Carnegie Hall workshop, an experience that has had a lasting resonance for Mr. Barnatan. In 2006 Ms. Weilerstein’s love for the cello began when she was Mr. Barnatan moved to New York City, where he currently just two-and-a-half after her grandmother assembled resides in a converted warehouse in Harlem. a makeshift set of instruments out of cereal boxes to entertain her when she was ill with chicken pox. Alisa, who was born in 1982, was instantly drawn to the Rice Krispies box cello but soon grew frustrated that it didn’t make a sound. After convincing her parents to buy her a real cello when she was four, she showed a natural affi nity for the instrument and performed her fi rst public concert six months later. Ms. Weilerstein is a graduate of the Young Artist Program at the Cleveland Institute of Music. In May 2004, she graduated from Columbia University in New York with a degree in Russian History. In November 2008, Ms. Weilerstein, who was diagnosed with type 1 diabetes when she was nine, became a Celebrity Advocate

for the Juvenile Diabetes Research Foundation. Borggreve Photo: Marco

schubert.org 7 Program Notes

lines, the rhythm halting, and there are few familiar accompaniment patterns. The coda forshadows the trend toward Romanticism, as cello and piano, hushed, play leap-frog over a trembling bass.

“With a great feeling of affection,” a somber hymn— mezza voce: half-voice—alternates with an expressive dialogue between partners. Beethoven’s early biographer Schindler thought this “among the richest and most deeply sensitive inspirations of Beethoven’s muse.” More than that, it is the discovery of new life. As the movement fl ows on, it sweetens and moves more easily. A quiet third theme—sempre pp—tentatively proposes new keys. When the cello asks a question in the form of a rising scale, the door to the fi nale opens.

That Allegro fugato is in fact a rigorous four-voice double Masked ball at the Imperial palace during the Congress of fugue: two principal themes, introduced separately, then Vienna, drawing by Joseph Schuetz combined. In his last decade, Maynard Solomon writes, “Beethoven reinstated the polyphonic principle as a rival Sonata No. 5 in D Major, Opus 102, No. 2 of—and perhaps as the completion of—the sonata Ludwig van Beethoven (b. Bonn, 1770; d. Vienna, 1827) principle.” Beethoven would incorporate fugues into many of his late works; think of the Hammerklavier Beethoven’s career peaked in 1814. The revision and Sonata, the Missa Solemnis and the Ninth Symphony. A revival of his opera, Fidelio, was welcomed in the context compositional solution, perhaps, but one that mystifi ed of the times as a rouser to victory over Napoleon. He audiences at the time. After the premiere of Opus 102, was fêted by dignitaries and even granted honorary Mannheim Kapellmeister Michael Frey wrote: “It is so citizenship of Vienna. But as the Congress of Vienna original that no one can understand it on fi rst hearing.” wrapped up in June 1815, the composer found himself But for today’s listener it’s much easier: just follow at something of a dead end with the “heroic style.” The the question. Heroic age had concluded, and aristocrats were ceding place to Biedermeiers. Program note © 2012 by David Evan Thomas

Beethoven’s Opus 102 is a pair of sonatas “for Pianoforte and Violoncello or Violin” in C major and D major respectively. They were completed in August 1815, just before the song cycle, An die ferne Geliebte. Beethoven’s compositional output slowed dramatically at this time, as he searched for new ways of working with the sonata form. In Opus 102, he points the way forward to a new, more concentrated style.

A brusque fi ve-note kernel with an octave leap opens the work. The transition adds a counterpoint to that tid-bit, but the texture is generally lean, often just two Ludwig van Beethoven

Join the discussion! During intermission or after the concert, please join us in an online discussion: What one word best describes tonight’s performance and why? On Twitter use hashtag #schubertchat or post at facebook.com/schubertclub

8 THE SCHUBERT CLUB An die Musik Poulenc famously said that “there’s room for new music that doesn’t mind using other people’s chords.” Barber’s early music abounds in major and minor chords, but in new guises and relationships. The harmony, though accessible and full of feeling, doesn’t always move in traditional ways. Among the infl uences, two are exceptional for an American in the 1930s: Brahms and Sibelius. Barber had played the Brahms sonatas as early as 1928 on an Atlantic crossing, and his uncle Sidney was a Brahms advocate. The sympathy with Sibelius went two ways. Though they never met, the Finn wrote an enthusiastic endorsement of Barber’s music in 1937. “Skyscrapers, subways, and train lights play no part in the music I write,” Barber told the Philadelphia Bulletin. “Neither am I at all concerned with the musical values inherent in geometric cerebrations.” Samuel Barber Three great swells, made of wide leaps carrying the cello over nearly three octaves, open the Sonata. When this Sonata in C Minor, Opus 6 theme returns, it will be quiet, stretched out, adorned Samuel Barber with piano fi ligree. An elevated second theme in A-fl at (b. West Chester PA, 1910; d. New York City, 1981) takes a decidedly Sibelian turn. The middle movement nests a Presto—in Barber’s School for Scandal vein— Samuel Barber was blessed with talent, intelligence, between strains of a heartfelt Adagio. It features a tricky drive—and connections. His aunt was Metropolitan rhythm that could only have come to Barber on the Opera contralto Louise Homer; his uncle was the march from Innsbruck. Sibelius is felt again in the stormy composer Sidney Homer, who guided young Barber’s clouds of the Allegro appassionato, a rondo with piano development and offered much sage advice. Barber interludes. The middle statement of the theme is entered the newly-founded Curtis Institute in 1924, disguised, scherzando. As you enjoy this passionate, where right off he met Gian Carlo Menotti, his future virtuoso work, remember that you’re listening to the companion and a creative force in his own right. music of a 22-year-old.

The Cello Sonata belongs to a heady time in Barber’s early career. It was begun in the summer of 1932— after Barber and Menotti hiked from Innsbruck to the Italian border and made their way to the Menotti villa in Cadegliano—and fi nished by Christmas. One success followed another: publication by G. Schirmer; a one-hour NBC Music Guild broadcast featuring Barber as composer, pianist and singer; an invitation from RCA Victor to record his Dover Beach, singing the baritone part himself; a Pulitzer traveling scholarship; the Prix de Rome. Few careers in American music have begun with such promise.

Barber’s published score bears a dedication to Rosario Scalero, his composition teacher at Curtis. But the piece really belongs to Orlando Cole, the cellist who fi rst played it. Cole taught at Curtis for 75 years, and died only Villa Menotti in Cadegliano, Barber’s destination in the in 2010 at the age of 101! summer of 1932

schubert.org 9 Program Notes continued

The triumph of Pulcinella, by Giovanni Domenico Tiepolo

Suite italienne Tchaikovskian Stravinsky. All the material in Pulcinella is Igor Stravinsky eighteenth-century. Stravinsky even begins with music (b. Lomonosov, Russia, 1882; d. New York City, 1971) that strikes a pretty convincing eighteenth-century attitude, and it is only in measure eleven that we get a Suite italienne is part of the runoff from Stravinsky’s twentieth-century rhythmic foreshortening that puts the ballet Pulcinella. The origins of that go back to next breathing-place at a point rather different from the 1917, when Serge Diaghilev had great success with one we expect. When the same phrase is repeated half a Neapolitan ballet, The Good-Humored Ladies, a dozen measures later, Stravinsky introduces one of his choreographed by Massine and for which Vincenzo most characteristic devices, the telescoping of tonic and Tommasini had arranged music by Scarlatti. Next, dominant harmonies. Diaghilev mounted Le astuzie femminili, also with choreography by Massine, this time with music by The original Pulcinella is a work for chamber orchestra Cimarosa arranged by Respighi. Wishing to complete with three singers. There are four derivative works, his Neapolitan trilogy, he asked Stravinsky to prepare including two suites for violin and piano. The present some music by Pergolesi. Pulcinella was produced in work, Suite italienne for cello and piano, was transcribed Paris in 1920. Again, Massine created the choreography, in 1932 by Stravinsky with Gregor Piatigorsky. It begins, and Picasso designed the sets and costumes. Stravinsky as all the suites do, with an Introduzione and, again had found his source material in the British Museum like all the arrangements, moves on to the Serenata, a and the Naples Conservatory. Some of it is operatic or charming aria in siciliano style and actually by Pergolesi otherwise vocal, some of it is instrumental, and almost (from his opera Il Flaminio). Both there and in the ballet none of it turns out to be by Pergolesi. Stravinsky’s chief it is sung to a pastoral text about a shepherdess who collaborators are Domenico Gallo, a mid-eighteenth- wanders about the woods, singing as she goes. The century Venetian, and a still more mysterious fi gure, cello suite is alone in including the comic bass aria “Con Unico Wilhelm, Count van Wassenaer, a Dutch diplomat queste paroline” also from Il Flaminio, and still more who wrote a series of Concerti armonici that were comic in Stravinsky’s elegantly zany fragmentation. ascribed to Pergolesi for two centuries. A few parts of There follows a tarantella in non-stop 6/8 motion. Like Pulcinella remain without certain attribution. Pulcinella itself and all its derivatives, the cello suite ends with a gravely beautiful aria in minuet tempo from the Late in life Stravinsky declared that Pulcinella was the dialect opera Lo frate ‘nnamorato (The Monk in Love), only piece by “Pergolesi” that he really liked. The score which spills into a giddy fi nale. is no mere arrangement, as Tommasini’s and Respighi’s were. The procedure is also quite different from that in Program note by Michael Steinberg, used by kind The Fairy’s Kiss, where genuine Tchaikovsky is mixed with permission of Jorja Fleezanis

10 THE SCHUBERT CLUB An die Musik Sonata in G Minor, Opus 19 Sergei Rachmaninoff (b. Oneg, Russia, 1873; d. Beverly Hills, 1943)

The humiliating public premiere of his First Symphony Before anyone in the European world had heard of the in 1897 plunged Rachmaninoff into a depression from blues, Rachmaninoff was singin’ ‘em. Is the Andante’s which he took three years to emerge. There’s no need horn-signal theme in major or minor mode? It’s hard to to diagnose mental illness in the wake of profound say which of the sonata’s melodies is most beautiful, disappointment. Whether it was therapy with Dr. but with its carefully-crafted shape and wonderfully Nicolai Dahl, the challenge of a new career as an opera delayed pay-off, this one may take the prize. At its conductor, or simply the effect of cuing great singers height, the glow of Chopin’s Nouvelle études suffuses like Chaliapin, Rachmaninoff rose from his torpor with the texture. renewed energy, conviction, and a warm, singing style that has engaged listeners ever since. The fl exing metrics of the fi nale’s heroic main theme are soothed by an equally stirring, but gentler The Sonata for Piano and Cello in G minor was baritone song. Big bell-sounds in the piano—another composed in the last half of 1901, shortly after the Rachmaninoff hallmark—prepare us for a poetic close. beloved Piano Concerto No. 2 and at the beginning of Instead, we are rushed, breathless, to the double bar” a sixteen-year creative streak. It is dedicated to Anatoly Brandukov, who played the premiere. (Brandukov would Program notes © 2012 by David Evan Thomas later be the best man at Rachmaninoff’s wedding. (Beethoven, Barber, Rachmaninoff) In marrying his own fi rst cousin, Natalya Satina, Rachmaninoff gained access to Ivanovka—the huge country estate where he would write most of his music for the rest of his life.)

There is no easy Rachmaninoff, and the Sonata is a challenge even for two virtuoso players, but it is also a sonata of memorable melodies. Every movement has at least one, and each is far more than a tune, unfolding with its own logic in an individual setting. And the singer is perhaps the most persuasive of all instrumental voices.

A series of sighs and a starched rhythm—dot-dot- dash—launch the movement, which has fi ve distinct tempos. The cello has the fi rst theme, while the piano presents the melancholy second subject alone. Note the narrow compass of this idea in which even a little leap of a third becomes an event. In developing the material, fi rst the second subject, then the opening half-step are featured. A kind of piano cadenza, the fi rst of several references to concerto style, precedes the return to the main theme.

The scherzo is a night ride, furtive to begin with, but with occasional shouts and two long-breathed melodies on the way.

Portrait of Sergei Rachmaninoff by Konstantin Somov

schubert.org 11 Artist from the Past: Mstislav Rostropovich

Russian cellist Mstislav Rostropovich (1927–2007), is regarded by many as the greatest cellist of his day. He appeared three times on The Schubert Club’s International Artist Series, in 1963, 1981 and 1994.

Well known for both inspiring and commissioning new works, he gave the premieres of over one-hundred pieces, and formed friendships and artistic partnerships with many notable twentieth-century composers: Shostakovich, Prokofi ev, Stravinsky, Lutoslawski, Schnittke, and especially Benjamin Britten.

His international career took off in 1963, and Rostropovoch was on his second American tour when he appeared at The Schubert Club in November of that year. On that program he performed two works dedicated to him by their composers, Dmitri Kabalevsky’s Cello suite, and Benjamin Britten’s Sonata in C Major.

Rostropovich was a staunch advocate of human rights. Although in 1953 he was awarded what was then the highest distinction in the Soviet Union, the Stalin Prize, he eventually fell from favor with the regime. As a student at the Moscow Conservatory he dropped out in protest over the dismissal of his teacher Dmitri Shostakovich. In 1970, Rostropovich sheltered Aleksandr Solzhenitsyn in his own home. His friendship with Solzhenitsyn and his support for other dissidents led to official disgrace in the early 1970s. As a result, Rostropovich was restricted from foreign touring.

Rostropovich left the Soviet Union in 1974 with his wife (soprano Galina Vishnevskaya) and children and settled in the United States. His Soviet citizenship was revoked in 1978 because of his public opposition In his 1981 Schubert Club recital, Rostropovich’s to the Soviet Union’s restriction of cultural freedom. artistic collaborator was his daughter, pianist He did not return to the Soviet Union until 1990. Elena Rostropovich. Their program ranged from the Baroque music of Benedetto Marcello to the contemporary Sonata for Cello and piano by his one-time teacher Dmitri Shostakovich.

12 THE SCHUBERT CLUB An die Musik Rostropovich after his 1994 Ordway recital, greeted by Deanna Carlson, with her husband Bruce, former Executive Director of The Schubert Club, peeking in at right.

In the photos at left, Rostropovich is shown with four of the twentieth-century composers whose music he championed. From the top, Igor Stravinsky, Dmitri Shostakovich, Sergei Prokofiev and Benjamin Britten. In 1963, Rostropovich played Britten’s C Major cello sonata—which the composer had dedicated to him—at his Schubert Club recital. Audiences have a chance to hear that work again this season, performed by David Finckel and Wu Han in their Music in the Park Series concert on January 27, 2013. (See page 14 for details of that program.)

schubert.org 13 The Schubert Club

presents

David Finckel, cello • Wu Han, piano

Program

Sonata No. 2 in G Minor, Opus 5, No. 2 Ludwig van Beethoven (1770–1827) Adagio sostenuto ed espressivo—Allegro molto più tosto presto Rondo: Allegro

Sonata No. 1 in E Minor, Opus 38 Johannes Brahms (1833–1897) Allegro non troppo Allegro quasi Menuetto—Trio Allegro

Intermission

Sonata for Cello and Piano Claude Debussy (1862–1918) Prologue: Lent Sérénade: Modérément animé Finale: Animé

Sonata in C, Opus 65 Benjamin Britten (1913–1976) Dialogo: Allegro Scherzo–pizzicato: Allegretto Elegia: Lento Marcia: Energico Moto Perpetuo: Presto

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14 THE SCHUBERT CLUB An die Musik Music in the Park Series Sunday, January 27, 2013 • 4:00 PM Saint Anthony Park United Church of Christ Photo: Christian Steiner

David Finckel, cello • Wu Han, piano most ambitious recording project of any classical music festival in the world” (San Jose Mercury News). In 2011, Musical America’s 2012 Musicians of the Year, cellist David David Finckel and Wu Han were named Artistic Directors of Finckel and pianist Wu Han are In high demand year after Chamber Music Today, a new festival to be held annually year among chamber music audiences worldwide. The at the Seoul Arts Center in Korea. duo has appeared each season at the most prestigious The duo’s repertoire spans virtually the entire literature for venues and concert series across the United States, cello and piano, with an equal emphasis on the classics Mexico, Canada, the Far East, and Europe to unanimous and the contemporaries. Their modern repertoire includes critical acclaim. Highlights include performances at all the signifi cant works, from Prokofi ev and Britten to Lincoln Center, the Kennedy Center, and Aspen’s Alfred Schnittke and André Previn. Their commitment to Harris Concert Hall; their presentation of the complete new music has brought commissioned works by Bruce Beethoven sonatas for cello and piano in Tokyo; and their Adolphe, Lera Auerbach, Gabriela Lena Frank, Pierre Jalbert, signature all-Russian program at London’s Wigmore Hall. Augusta Read Thomas, and George Tsontakis to audiences They have also been frequent guests on American Public around the world. In 2010, the duo released “For David and Media’s Performance Today, Saint Paul Sunday, and other Wu Han” (ArtistLed), an album of four contemporary works popular classical radio programs. Beyond the duo’s recital for cello and piano expressly composed for them. In 2011, activities, David Finckel also serves as cellist with the Summit Records released a recording of the duo perform- Emerson String Quartet, which has won eight Grammy ing Gabriela Lena Frank’s concerto, Compadrazgo, with the Awards including two honors for “Best Classical Album,” ProMusica Columbus Chamber Orchestra. three Gramophone awards, and the prestigious Avery Fisher Prize, awarded in 2004 for the fi rst time to a David Finckel and Wu Han are passionately committed to chamber ensemble. nurturing the careers of young artists through a wide array of education initiatives. For many years, the duo taught David Finckel and Wu Han have served as Artistic alongside the late Isaac Stern at Carnegie Hall and the Directors of The Chamber Music Society of Lincoln Center Jerusalem Music Center. They appeared annually on the since 2004. They are also the founders and Artistic Aspen Music Festival’s Distinguished Artist Master Class Directors of Music@Menlo, a chamber music festival and series. Last season, under the auspices of the Chamber institute in Silicon Valley now celebrating its tenth Music Society of Lincoln Center, David Finckel and Wu Han anniversary season. They have overseen the establish- have established chamber music training workshops for ment and design of The Chamber Music Society’s CMS young artists in Korea and Taiwan. David Finckel and Studio Recordings label, as well as the Society’s recording Wu Han reside in New York with their eighteen-year-old partnership with Deutsche Grammophon, which has been daughter, Lilian. praised as a “breakthrough” (Billboard) and “probably the

schubert.org 15 Program Notes

View between Berlin and Potsdam in 1796, the year of Beethoven’s visit.

Sonata No. 2 in G Minor, Opus 5, No. 2 The fi rst edition of Beethoven’s Opus 5 is titled: Ludwig van Beethoven (1770-1827) “Two Grand Sonatas for Harpsichord or Piano-Forte The two sonatas of Opus 5 are a by-product of the only with a Violoncello Obbligato.” Note the order of the real tour of Beethoven’s performing career. After passing instruments: keyboard before cello. The mention of through Prague, Dresden and Leipzig, Beethoven landed, harpsichord as an alternative is laughable now, but it in May 1796, at the Berlin court of Frederick the Great’s was a marketing must at the time. In 1796, the piano successor, Friedrich Wilhelm II. The Prussian monarch was still something of an innovation. was an enthusiastic amateur cellist, and virtuoso players like Boccherini and the brothers Duport fl ocked to him. Sonata No. 1 in E Minor, Opus 38 The elder Jean-Pierre Duport had been the king’s teacher. Johannes Brahms (1833-1897) Younger but more talented, Jean-Louis joined his brother It may seem strange to think of Brahms as a choral after the French Revolution. Beethoven seized the conductor rather than a symphonist, but for the 1863-64 opportunity to write a new kind of cello work for Jean- season, that was his livelihood: conductor of the Vienna Louis and perform it with him for the King. For his efforts, Singakademie. Brahms brought his love of ancient music Friedrich Wilhelm gave Beethoven a gold snuffbox to that still-extant chorus, programming Renaissance stuffed with louis d’ors. “Not an ordinary snuffbox,” motets, a Bach cantata and parts of the Christmas boasted Beethoven, “but such a one as it might have Oratorio. The man who recommended Brahms for the been customary to give an ambassador!” job was Josef Gänsbacher, a lawyer and sometime cellist The G-minor sonata is a generous and unifi ed work in a who later became a respected singing teacher at the form Mozart had used: an extended slow introduction, Conservatory. It was to Gänsbacher, “in friendship,” that followed by a movement in essay form and a rondo. That Brahms dedicated the fi rst cello sonata. Friendship, but introduction, moving through many keys and moods, is also in appreciation for a much-needed job reference. nearly equivalent to a slow movement, while the Allegro Opus 38 is the fi rst of two Brahms sonatas for cello, and molto is one of Beethoven’s longest. Freed from its role it was his fi rst solo sonata to appear in print. Drafted in as a bass or continuo instrument, the cello ranges freely June 1862—Brahms sketched fi rst movement of the First over three octaves. Beethoven solves the problem of Symphony at this time—the work wasn’t completed until balance between cello and piano in two ways. He avoids May 1865. The problem of balance, solved so neatly by scoring the instruments in the same register, reserving Beethoven, is in this work more acute, for the low register the middle of the piano for solo passages; when the cello of the cello is often favored. Brahms frequently uses the is playing, the piano is either above it or below. He also instrument like the pedals of an organ. Or was he evoking contrasts the rhythmic nature of the partners. In the Gänsbacher’s voice? The older man was no virtuoso. When main Allegro, for instance, all the triplets are in the piano, he once complained that Brahms’s loud playing was covering while the cello plays more singing material. his cello, Brahms is said to have growled “You should be glad.”

16 THE SCHUBERT CLUB An die Musik The Allegro non troppo begins at a measured walking day, and hit it off immediately. Britten agreed to write a pace. A second subject grows out of itself, adding notes sonata for “Slava” to perform at the following summer’s impulsively. When the walking music returns, it is Aldeburgh Festival, on a program that would include magnifi ed many times, to almost terrifying proportions. Debussy’s Sonata. They at fi rst communicated with But the reharmonized main theme returns magically, conductor Gennady Rozhdestvensky as interpreter, but sleep-walking in the major mode. Instead of a slow eventually lapsed into a fractured German they called movement, Brahms gives us something like a minuet “Aldeburgh Deutsch.” in A minor. A will-o’-the-wisp attends the trio in distant F-sharp minor. The fi nale is a thrilling combination of Britten delivered the Sonata the following January three-voice fugue and sonata procedure. The subject with a note: “I have put some suggestions of bowing, here is similar to one from Bach’s Art of Fugue, but but I haven’t had much fi rst-hand experience of the Brahms’s penchant for pitting two notes against three cello and may have made some mistakes. The pizzicato makes this fugue sound more hectic. And if you notice movement will amuse you. I hope it is possible!” This was that the second theme is a playful blossoming of the characteristic Britten modesty. According to Rostropovich second countersubject, it will only double your pleasure. biographer Elizabeth Wilson, the cellist came to believe To maximize the drive to the fi nish, the themes come that no other composer understood the nature of string back in reverse order, and the coda is marked più presto. playing so well. Rostropovich wired back: “ADMIRING AND IN LOVE WITH YOUR GREAT SONATA.”

Sonata for Cello and Piano Soprano Galina Vishnevskaya, Rostropovich’s wife of Claude Debussy (1862-1918) 52 years, described her husband as “a man with a kind Depressed by The Great War, suffering from the cancer of frantic motor inside him. Once [he] had made up that would kill him three years later, Claude Debussy in his mind to do something and had decided he was 1915 worked on an operatic setting of Poe’s Fall of the right, no force on earth could stop him.” And his moods House of Usher, the Etudes for piano and the Six Sonates, would swing “now high and expressive, now low and of which only those for fl ute, viola and harp, for violin, grumbling, now gay and carefree.” All this Britten and for cello were fi nished. In the Cello Sonata, Debussy captured in the Sonata, which some have called a initially recalls the world of Lully with majestic dotted portrait of Rostropovich. The friendship between the two rhythms. Cello and piano never duplicate each other, but men continued to fl ourish in the Symphony for Cello and often combine to create guitar-like textures. The central Orchestra and three unaccompanied Cello Suites. Sérénade is marked fantasque et léger (whimsical and The Sonata’s opening is unusual: a conversation, the light) and is as dry as an Alsatian white wine. The Finale subject of which only gradually reveals itself. Britten glows with Latin ardor. What wouldn’t one give to hear called it a “discussion of a tiny motive of a rising or falling Debussy’s other projected sonatas, like the one for oboe, second.” One usually thinks of lyricism as connecting horn and harpsichord! notes one to another, but isolated notes, like single words, can have meaning. As a second theme, steps are Sonata in C, Opus 65 strung together. In a fi nal gesture, cello ascends through Benjamin Britten (1913-1976) the harmonic series, lingering on the naturally very fl at seventh harmonic. For the Scherzo, which evokes not Like the sonatas by Beethoven and Brahms, Benjamin only Bartók but the Balinese gamelan, the bow is put Britten’s Sonata in C was conceived for a specifi c aside. In the Elegia, the cello serves resolutely as a bass to performer. On September 21, 1960, Britten found the piano’s keenings. Britten the pacifi st offers a bitingly himself seated next to Dmitri Shostakovich at the British satirical Marcia and concludes with a study in perpetual premiere of that composer’s Cello Concerto, played by motion. The fi nal extended mad dash confi rms a the great Russian cellist (and teacher, conductor and remarkable meeting of minds—and nations. Remember, pianist) Mstislav Rostropovich. Britten remembered it these events took place at the height of the Cold War. as “the most extraordinary cello playing I’d ever heard.” After the concert, recounted the cellist: “I attacked Program notes © 2012 by David Evan Thomas Britten then and there and pleaded most sincerely and passionately with him to write something for the cello.” The pair met at Rostropovich’s Kensington hotel the next

schubert.org 17 The Schubert Club Northrop Concerts and Lectures and Kate Nordstrum Projects

present Accordo

Steven Copes, violin • Kyu-Young Kim, violin Maiya Papach, viola • Rebecca Albers, viola • Anthony Ross, cello • Ronald Thomas, cello

Program “In the Footsteps of Bach”

Prelude and Fugue in D Minor, K. 404a Wolfgang Amadeus Mozart (1756-1791) after Johann Sebastian Bach (1685-1750) Prelude: Adagio Fugue: Andante cantabile (transcribed from the Well-Tempered Clavier, Part 1, No. 8)

Copes, Papach, Thomas

String Quartet No. 4, Opus 22 Paul Hindemith (1895-1963) Fugato. Sehr Langsame Viertel Schnele Achtel. Sehr Energisch Ruhige Viertel. Stets Fliessend Massig Schnelle Viertel Rondo. Gemachlich Und Mit Grazie

Copes, Kim, Albers, Ross

Intermission

String Sextet in B fl at, Opus 18 Johannes Brahms (1833-1897) Allegro ma non troppo Andante ma moderato Scherzo: Allegro molto Rondo: Poco Allegretto e grazioso

Kim, Copes, Papach, Albers, Thomas, Ross

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18 THE SCHUBERT CLUB An die Musik Accordo

Monday, February 4, 2013 • 7:30 PM Christ Church Lutheran

Accordo, established in 2009, is a Minnesota-based chamber group made up of some of the very best instrumentalists in the country, eager to share their love of classical and contemporary chamber music in intimate and unique performance spaces. Their concerts are held in the National Historic Landmark Christ Church Lutheran, one of the Twin Cities’ great architectural treasures, designed by the esteemed architect Eliel Saarinen and his son Eero Saarinen.

Accordo includes a string octet composed of Saint Paul Chamber Orchestra (SPCO) and Minnesota Orchestra current and former principal players Rebecca Albers, Ruggero Allifranchini, Steven Copes, Erin Keefe, Kyu-Young Kim, Maiya

Papach, Anthony Ross and Ronald Thomas. Photo: Tim Rummelhoff

A native of Los Angeles, violinist Steven Copes joined the Maiya Papach is acting principal viola of the SPCO and SPCO as concertmaster in 1998 and has led the orchestra from served in the same capacity last year. She is a founding member the chair in highly acclaimed, eclectic programs, and performed of the International Contemporary Ensemble (ICE), one of concertos by Berg, Brahms, Hindemith, Kirchner, Lutoslawski, the leading new music ensembles in the United States. Prior Mozart, Prokofi ev, and Weill. A zealous advocate of the music of to joining the SPCO, she performed regularly with the IRIS today, he gave the world premiere of George Tsontakis’ Grammy- Orchestra and the New York Philharmonic. In New York, Papach nominated Violin Concerto No. 2 (2003), which won the 2005 has performed in chamber concerts at Bargemusic, Alice Tully Grawemeyer award, and has been recorded for KOCH Records. Hall, Merkin Concert Hall, and Miller Theater, among others. Copes was co-founder of the Alpenglow Chamber Music Festival Papach is a graduate of the Oberlin Conservatory and the in Colorado. He holds degrees from The Curtis Institute Juilliard School. and Juilliard. Principal cello Anthony Ross has often appeared as Principal second violin Kyu-Young Kim was recently soloist with the Minnesota Orchestra, performing concertos by appointed as principal second violin of The Saint Paul Chamber Schumann, Dvorák, Beethoven, Saint-Saëns, Elgar and Orchestra, of which he served as associate concertmaster Shostakovich, among others, as well as many chamber works. for fi ve years. He has also served as guest concertmaster of Ross was principal cello of the Rochester Philharmonic in New the Pittsburgh Symphony, the Minnesota Orchestra, and the York before joining the Orchestra in 1988. Ross has taught at Mostly Mozart Festival Orchestra, and is the newest member the Eastman School of Music, the Aspen Festival and the Grand of both the Orpheus Chamber Orchestra and the New York Teton orchestra seminar. A graduate of Indiana University, Ross City Ballet Orchestra. Kim has received degrees from the Curtis earned a master’s degree at the State University of New York, Institute, the Juilliard School, and the Cleveland Institute of Stony Brook. In 1982 he was awarded the bronze medal at the Music, and has studied with Donald Weilerstein, Robert Mann, prestigious Tchaikovsky Competition, and he received McKnight Jaime Laredo, Yumi Scott, and Shirley Givens. Fellowships in 2001 and 2005.

Violist Rebecca Albers is among the Minnesota Orchestra’s Former principal cellist of the SPCO, Ronald Thomas newest members, having joined the ensemble in 2010 as sustains an active and varied career as performer, teacher and assistant principal viola. She also continues to tour with the artistic administrator. Thomas is the co-founder and artistic Albers Trio, a string ensemble she and two sisters formed. Albers director of the Boston Chamber Music Society with which he began piano and violin studies at the age of 2, picking up the appears regularly. He has appeared as soloist and in recital with viola at 9 for an ensemble her mother, a Suzuki teacher, was orchestras throughout the United States and Europe. Thomas putting together. While a student at the Juilliard School, where has taught at MIT, Brown University, Boston Conservatory she worked with Heidi Castleman and Hsin-Yun Huang, she won and Peabody Conservatory. Prior to winning the Young Artists the school’s viola competition, resulting in her performance with Auditions at the age of nineteen, he attended the New England the Juilliard Orchestra at Lincoln Center. Conservatory and the Curtis Institute.

schubert.org 19 Calendar of Events More information at schubert.org Box office 651.292.3268

Thursday, February 14 • 5:00 PM Landmark Center Galleria Cocktails with Culture - Happy Hour Concerts Maria Jette, soprano; Alan Dunbar, baritone & Sonja Thompson, piano

Friday, February 22 • 6:15 & 7:30 PM St. Matthew’s Episcopal Family Concert: Ross Sutter

March 2013 Monday, March 11 • 7:30 PM Ordway Center Anne-Sophie Mutter, violin & Lambert Orkis, piano Photo: Bard MartinPhoto: Bard Shanghai Quartet Friday, March 22 • 6:15 & 7:30 PM St. Matthew’s Episcopal Family Concert: Elias Quartet October 2012 – April 2013 Thursdays, January 3 – April 25 • 12:00 PM Sunday, March 24 • 4:00 PM St. Anthony Park UCC Courtroom Concerts Landmark Center 317 Elias Quartet (No concert January 31)

April 2013 January 2013 April 5, 6, 12, 13 • 8:00 PM Cowles Center Tuesday, January 8 • 7:30 PM Ordway Center April 7 • 2:00 PM Alisa Weilerstein, cello & Inon Barnatan, piano Lover: James Sewell Ballet with Maria Jette, soprano; Bradley Greenwald, baritone & Dan Chouinard, piano Thursday, January 10 • 5:00 PM Landmark Center Galleria

Cocktails with Culture - Happy Hour Concerts Friday, April 12 • 6:15 & 7:30 PM St. Matthew’s Episcopal International Novelty Gamelan Family Concert: Lau Hawaiian Collective Ensemble

Saturday, January 19 • 7:30 PM Hennepin Avenue UMC Mondays, April 22 & 29 • 7:30 PM James J. Hill House Sunday, January 20 • 4:00 PM Hill House Chamber Players Artaria String Quartet

Sunday, April 28 • 4:00 PM St. Anthony Park UCC Sunday, January 27 • 4:00 PM St. Anthony Park UCC Shanghai Quartet David Finckel, cello & Wu Han, piano

May 2013 February 2013 Monday, May 6 • 7:30 PM Christ Church Lutheran Monday, February 4 • 7:30 PM Christ Church Lutheran Accordo: Intimate Voices Accordo: In the Footsteps of Bach

Mondays, February 4 & 11 • 7:30 PM James J. Hill House Hill House Chamber Players

Saturday, February 9 • 7:30 PM Ordway Center Photo: Dario Accosta James Valenti, tenor & Danielle Orlando, piano James Valenti, tenor

20 THE SCHUBERT CLUB An die Musik The Schubert Club 130th Anniversary Celebratory Concert

Tuesday, April 30 • 7:30 PM • Ordway Center Jessye Norman, soprano

In celebration of its 130th anniversary, The Schubert Club presents a recital by one of the great vocal artists of our day, American soprano Jessye Norman. The New York Times has called her “one of those once-in-a-generation singers who is not simply following in the footsteps of others, but is staking out her own niche in the history of singing.”

Norman continues to share her sumptuous sound and her joy and her passion with audiences around the world—in recital performances and appearances with symphony orchestras and chamber music collaborators. The size, power, and luster of her voice deserve equal acclaim with her thoughtful music-making, innovative programming of the classics, and fervent advocacy of contemporary music.

In the words of Fiona Maddocks of The Independent, “A pattern can be detected in most Jessye Norman concerts. In the fi rst half, with her voice still warming up, pleasure is tempered with a slight anxiety that perhaps she will not prove as exciting as you thought. In the second, some strange alchemy occurs, not simply explained by the fact that the program is structured to reach a climax, as any solo recital would. By the end, quite apart from any emotional uplift, you leave with a sense of having been physically overwhelmed.”

Norman has also been known for roles more traditionally sung by other types of voices. She told John Gruen of the New York Times, “As for my voice, it cannot be categorized—and I like it that way, because I sing things that would be considered in the dramatic, mezzo or spinto range. I like so many different kinds of music that I’ve never allowed myself the limitations of one particular range.”

Miss Norman has appeared three times before in recital on The Schubert Club International Artist Series. It is a delight to bring her once again to Ordway Center for this special celebratory anniversary concert.

Jessye Norman’s April 30th recital of American classics will be preceded by a special 130th Anniversary Dinner.

More information and tickets for both recital and dinner at schubert.org/130anniversary

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 • Rees Allison, piano • Jeffrey Van, guitar Guest artist: William Schrickel, double bass

Program

Fantasiestücke, Opus 73 Robert Schumann (1810–1856) Zart und mit Ausdruck Lebhaft, leicht Rasch und mit Feuer

Triptych for Violin and Guitar Jeffrey Van (b. 1941) Allegro non troppo Lento – Andantino Vivace Intermission

Capriccio for Viola and Double Bass (2004) John Tartaglia (b. 1932)

Quintet in A major for Piano and Strings, D. 667, Trout Franz Schubert (1797–1828) Allegro vivace Andante Scherzo: Presto Andantino (Thema con variationi)—Allegretto Photo: Marco Borggreve Photo: Marco Finale: Allegro giusto

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22 THE SCHUBERT CLUB An die Musik Hill House Chamber Players

Monday, February 4 and Monday, February 11, 2013 • 7:30 PM James J. Hill House

One of the fruits of Robert Schumann’s amazingly productive John Tartaglia played viola for the Minnesota Orchestra for over 1849 was the Fantasiestücke for piano and clarinet (or violin or 30 years before retiring in 1999, and several of his works have cello). Schumann used the word Fantasie (or Phantasie) in the been premiered by that ensemble. A long-time affi liate faculty title of no fewer than eight works. Fantasy was for him a power, member of the University of Minnesota, he has also taught at a literary power, that drove the creation of poetic music. It’s clear the Oberlin Conservatory. Mr. Tartaglia writes: that the three pieces of Opus 73 were conceived as a whole. By The form of the early capriccio makes its appearance with placing the word attacca at the close of the fi rst two movements, lesser known composers such as Stivori in 1594 and Baldi Schumann directs the players to proceed without pause. in 1586. The thematic material of the capriccio form is Each piece is in either A minor or A major, though there is one not always unifi ed, and it frequently involves the use of extended stay in F major in the “Lively” central movement. And in special themes, as in Frescobaldi’s Capriccio sopra il cucu. the last movement, marked “Quickly and with fi re,” a phrase from The title was used by romantic composers like Brahms and each of the fi rst two pieces is artfully recalled, as though the Mendelssohn for short piano pieces of a humorous or playful movements are all part of the same impulsive stream of thought. nature. The word comes from the Latin capra: goat, perhaps Indeed, the instruments seem to share a consciousness, as their in keeping with the goat’s propensity to absorb, to devour— melodic material frequently overlaps. anything. Capriccio for Viola and Cello, like the early examples of capriccio, is not intended as a profound musical statement, Jeffrey Van has premiered over 50 works for guitar, among them but for the most part as a playful, capricious experience. fi ve concertos and Argento’s Letters from Composers. He has also composed music for chorus, vocal solo, organ and many guitar Franz Schubert’s beloved “Trout” Quintet is scored for an chamber works. Of his Triptych, Van writes: ensemble invented by Hummel for his Opus 87: one of each Opening with broad strokes in both violin and guitar, the member of the string family, with piano. Five distinct timbres, Triptych proceeds with a second, more active theme of and the double bass, all-too-rare in chamber music, has an running lines and dotted rhythms. The opening theme independent part to play. Schubert set C.F.D. Schubart’s poem is hinted at by the violin, but folds into more active “Die Forelle” in 1817. The song’s fame preceded him to the musings from both instruments, returning later to end Austrian town of Steyr, where two years later an amateur cellist the movement as it began. The second movement spins and friend of the baritone Michael Vogl, Sylvester Paumgartner, out a slow melody, introduced by the guitar before being commissioned a chamber work incorporating the song. Schubert taken up by the violin, over a pedal low D in the guitar. responded in short order. This material and its inversion alternates with and later The piece has a divertimento quality, due partly to the fi ve- joins a contrasting section reminiscent of music from movement design, partly to the shortcuts that Schubert took the fi rst movement. The fi nale is a playful, high-energy in working quickly. But even in this light-hearted work, his romp, fi lled with angular fi gures and shifting rhythms. inspiration is at play. What sounds like an introduction in slow Triptych was premiered in 1987, and is featured on the tempo is actually part of the main body of the movement, in Hill House Chamber Players CD Music in the Gallery II. itself a forward-looking idea. There are rich duets inside the texture for viola and cello, and Schubert’s piano sparkles like a mountain stream. One can even reconstruct through the fourth- movement variations the song’s chase scenario: a clear stream; the “merry little fi sh”; a dastardly angler muddying the water; the catch; the observer’s raging blood, and fi nally the song itself, with its distinctive leaping-trout fi gure.

Program note © 2012 by David Evan Thomas

Hill House Chamber Players (from left): Jeffrey Van, Julie Ayer, Tanya Remenikova, Rees Allison, Catherine Schubilske, Thomas Turner

schubert.org 23 The Schubert Club

presents James Valenti, tenor • Danielle Orlando, piano

À Chloris Reynaldo Hahn (1874–1947) L’heure exquise, from Chansons grises Le rêve, from Manon Jules Massenet (1842–1912) Chanson triste Henri Duparc (1848–1933) Phydilé La fl eur, from Carmen Georges Bizet (1838–1875) Chanson de L’adieu Paolo Tosti (1846–1916) Pour un baiser O Paradis!, from L’africaine Giacomo Meyerbeer (1791–1864)

Intermission

Quando le sere al placido, from Luisa Miller Giuseppi Verdi (1813–1901) Vaga luna, che inargenti Vincenzo Bellini (1801–1835) Vanne o rosa fortunata Malinconia, ninfa gentile Stornello Verdi Sole e amore Giacomo Puccini (1858–1924) O del mio amato ben Stefano Donaudy (1879–1925) A vucchella Tosti L’ulitima canzone Ideale L’alba sepàra dalla luce l’ombra Lamento di Federico, from L’arlesiana Francesco Cilea (1866–1950)

Please turn off all electronic devices.

This evening’s concert is dedicated in memory of Edward Brooks, Jr. by Ginny Brooks, Kakie Brooks and Julie Zelle.

24 THE SCHUBERT CLUB An die Musik Maud Moon Weyerhaeuser Sanborn International Artist Series Saturday, February 9, 2013 • 7:30 PM Ordway Center

schedule continues with several concert performances across the globe, after recent appearances in Toronto, Copenhagen, and St. Petersburg, with further debuts at the Opernhaus Zürich, and The Lyric Opera of Chicago. Photo: William Photo: William Bichara

James Valenti, tenor American tenor James Valenti owns a voice of Italianate lustre which is continually compared to those of the greatest tenors of the post World War ll period: Franco Corelli, Giuseppe di Stefano, and Carlo Bergonzi. The much sought after 6’5” tenor has built a global Danielle Orlando, piano reputation for his elegant musicianship, commanding Danielle Orlando is enjoying an active career as an stage presence, and ardent vocal style. Mr. Valenti accompanist to many international opera singers as made his professional debut on the stage of the Teatro well as serving as a distinguished vocal coach to many dell’Opera di Roma as Rodolfo in the Franco Zeffi relli organizations throughout the musical world. She is production of La Boheme at the age of 25. Since then, presently the Principal Opera Coach of The Curtis he scored one triumphal debut after another in the Institute of Music and a Master Coach for the Academy celebrated citadels of Opera, including Teatro alla Scala, of Vocal Arts in Philadelphia. Metropolitan Opera, Royal Opera House, and Opera Ms. Orlando collaborated with Luciano Pavarotti as National de Paris. Further performances included: accompanist, judge, and artistic coordinator for all of the Alfredo Germont in La traviata (Royal Opera House and Luciano Pavarotti International Voice Competitions. Japan Tour with Anna Netrebko, Simon Keenlyside and She spent nine seasons in Spoleto, Italy, working with Maestro Antonio Pappano, Metropolitan Opera with Gian Carlo Menotti for the Festival Dei Due Mondi as Angela Gheorghiu and Thomas Hampson, Canadian artistic coordinator and coach for the operas, in addition Opera Company, Deutsche Oper Berlin, Salzburg Festival to editing several of his compositions and performing with Maestro Carlo Rizzi, the Bayeriesche Staatsoper, annually in the festival recital series. Dallas Opera), Duke of Mantua in Rigoletto (Maggio Musicale Florence, Dallas Opera, Palm Beach Opera), She was the Artistic Administrator and Head of Music Rodolfo (Teatro alla Scala Milan with Maestro Gustavo Staff for the Opera Company of Philadelphia for many Dudamel, Dresden Semperoper, Santander, Spain, Tokyo, years and has served on the music staffs of numerous Japan), Werther (Opera de Lyon in Tokyo, Opera National opera companies and festivals. These include the de Paris with Maestro Emmanuel Plasson, Minnesota Metropolitan Opera, Washington National Opera, Teatro Opera), Faust (Trieste, Royal Opera House with Rene Pape Colón in Buenos Aires, Spoleto Festival USA in Charleston. and Dimitri Hvorostovsky), and Lt. Pinkerton in Madama She is annually a guest judge for the Metropolitan Opera Butterfl y (Royal Opera House, Opera National de Paris, National Council Auditions. Marseilles, Chicago, Vancouver, San Francisco and on a PBS ‘Live from Lincoln Center’ telecast). Mr. Valenti has Ms. Orlando is a member of the music staff of the also recorded for EMI/Virgin Classics with Ms. Gheorghiu. Savonlinna Opera Festival in Finland, where she has also performed in recital. She is a Master Coach for Oberlin in 2012–2013 commenced with a return to the role of Italy (Arezzo), and principal judge in Budapest, Paris, and Edgardo in Lucia di Lammermoor for his debut at the New York for Armel Opera Festival’s 2012 season held in Sydney Opera House with Opera Australia. His demanding Szeged, Hungary.

schubert.org 25 The Schubert Club Museum Sunday – Friday • Noon – 4:00 PM Landmark Center

Letter from Beethoven to Count Zmeskall

Beethoven wrote this short note to ”Dear Z,” his friend the Hungarian count Nikolaus Zmeskall. Although undated, it was probably written between 1820 and 1826.

The tone is slightly peremptory, but Zmeskall was one of Beethoven’s few close personal friends in Vienna. He was sometimes the butt of Beethoven’s practical jokes, as well as a companion with whom to share a glass of wine. Zmeskall also helped the composer with a great many mundane details, including fi nding servants, and lending small amounts of money. Numerous notes of this sort to “dear Z” have survived, attesting to their long friendship—the last written a few weeks before Count Nikolaus von Zmeskall Beethoven’s death. (1759–1833)

Zmeskall was an amateur cellist, and quite near-sighted. When Beethoven began to wear glasses himself, he composed a duet “obligato for two pairs of spectacles” for viola and cello for Zmeskall and him to play together.

The Count arranged for quartet performances at his home on Sundays, affording Beethoven the opportunity to have his string quartets practiced and performed. Zmeskall was eventually confined to bed “Please tell your servant, dear Z., to tell the person he and wheelchair by gout, but pleased his friend, by recommended to me not to come this year, as the matter managing to be present at the premiere of the of the bill has not been corrected—but in a few days I Ninth Symphony in 1824. will tell your servant when the other person can come to This is one of three Beethoven letters given to The me—I usually go to the Archduke Karl, where one at least Schubert Club Museum by Gilman Ordway. doesn’t get any poisoned wine.”

Undated letter from Beethoven to his friend Count Zmeskall. Gift of Gilman Ordway

26 THE SCHUBERT CLUB An die Musik Photo: Tina Tahir Photo: Tina

Anne-Sophie Mutter, violin • Lambert Orkis, piano March 11, 2013 • 7:30 • Ordway Center schubert.org schubert.org 27 Artaria String Quartet: “East meets West”

Thursdays, January 3, 10, 17, 24 • Noon • Landmark Center Saturday, January 19 • 7:30 pm & Sunday, January 20 • 4:00 pm • Hennepin United Methodist

Ray Shows, violin • Nancy Oliveros, violin • Annalee Wolf, viola • Laura Sewell, cello Guest artists: Johanna Torbenson, viola and Sabina Thatcher, viola

January 3, 2013 – “British”

String Quartet No. 2 in G minor – Frank Bridge (1879–1941) Allegro ben moderato • Allegro vivo - Andante con moto - Tempo 1 • Allegro vivace

Three Divertimenti for String Quartet (1936) – Benjamin Britten (1913–1976) March • Waltz • Burlesque

“Scherzo” – William Walton (1902–1983)

January 10, 2013 – “Russian”

String Quartet No. 2 in F Major, Opus 92 – Sergei Prokofi ev (1891–1953) Allegro sostenuto • Adagio • Allegro

String Quartet No. 2 – Alexander Borodin (1833–1887) Allegro moderato • Scherzo. Allegro • Notturno: Andante • Finale: Andante – Vivace

January 17, 2013 – “American”

String Quartet No. 1 – Charles Ives (1874–1954) Andante con moto • Allegro • Adagio cantabile • Allegro marziale

String Quartet – Samuel Barber (1910–1981) Molto allegro e appassionato • Molto adagio • Molto allegro – Presto

Lullaby, for string quartet – George Gershwin (1898–1937)

January 24, 2013 – “Czech”

String Quartet No. 1 – Erwin Schulhoff (1894–1942) Presto con fuoco • Allegretto con moto e con malinconia grotesca • Andante molto sostenuto

String Quartet No. 12 in F Major, Opus 96 – Antonín Dvorˇák (1841–1904) Allegro ma non troppo • Lento • Molto vivace • Finale: vivace ma non troppo

28 THE SCHUBERT CLUB An die Musik January 19, 2013 – “Russian” and “Czech”

String Quartet No. 2 in F Major, Opus 92 – Sergei Prokofi ev (1891–1953) Allegro sostenuto • Adagio • Allegro

String Quartet No. 2 – Alexander Borodin (1833–1887) Allegro moderato • Scherzo. Allegro • Notturno: Andante • Finale: Andante – Vivace

String Quartet No. 1 – Erwin Schulhoff (1894–1942) Presto con fuoco • Allegretto con moto e con malinconia grotesca • Andante molto sostenuto

String Quartet No. 12 in F Major, Opus 96 – Antonín Dvorˇák (1841–1904) Allegro ma non troppo • Lento • Molto vivace • Finale: vivace ma non troppo

January 20, 2013 – “American” and “British”

String Quartet No. 1 – Charles Ives (1874–1954) Andante con moto • Allegro • Adagio cantabile • Allegro marziale

String Quartet – Samuel Barber (1910–1981) Molto allegro e appassionato • Molto adagio • Molto allegro – Presto

String Quartet No. 2 in G minor – Frank Bridge (1879–1941) Allegro ben moderato • Allegro vivo - Andante con moto - Tempo 1 • Allegro vivace

Three Divertimenti for String Quartet (1936) – Benjamin Britten (1913–1976) March • Waltz • Burlesque

Lullaby, for string quartet – George Gershwin (1898–1937)

The Artaria String Quartet, named after the Italian family that published the premier issues of many of the Haydn, Mozart and Beethoven quartets, Artaria’s refi ned and thoughtful playing has brought them critical acclaim in Europe and throughout the United States. Formed in Boston in 1986, the quartet was mentored by the renowned Budapest, La Salle, Kolisch, Juilliard, and Cleveland Quartets. They were featured on a Peter Jennings World News Tonight broadcast, have given numerous live performances on WGBH Boston and Minnesota Public Radio stations, and have performed at celebrated venues across the United States including the Isabella Stewart Gardner Museum in Boston, Dame Myra Hess in Chicago, and the Phillips Collection and Cosmos Club in Washington, D.C. They have also been featured at the Banff Centre in Canada, Festival de L’Epau in France, and the Tanglewood Music Center. Most recently they successfully competed and won the prestigious 2004 McKnight Fellowship for performing musicians.

Violist Johanna Torbenson has given many solo and chamber music performances throughout the United States and Europe, touring Europe as principal violist with the Schleswig-Holstein Musik Festival Orchester and as assistant principal violist of the Washington Chamber Symphony in Washington, D.C., where she also appeared as a soloist at the John F. Kennedy Center for the Performing Arts. As principal violist of the Saint Paul Chamber Orchestra for twenty-three years, Sabina Thatcher soloed with them on numerous occasions. Thatcher is a faculty member at the Aspen Music Festival and School and has performed in festivals throughout the United States and abroad, including the Spoleto Festival and the Mozart Festival in Lille, France.

schubert.org 29 Courtroom Concert February 7, 2013 • Noon Landmark Center

Twin Cities Lute Co-op: Paul Berget, Richard Griffi th, Rockford Mjos, Phillip Rukavina, Thomas Walker Jr.

Courante – Michael Praetorius (1571–1621) Ballet des coqs – Praetorius Callinoe – Anonymous (English c. 1600) Branles de Village – John Baptiste Besard (1567–1617) Ah partiale e cruda morte – Bartolomeo Tromboncino (1479–1535) La, la, la, je ne l’ose dire – Pierre Certon (c. 1515–1572) Suite for Two Lutes – William Lawes (1602–1645) Courante 1 – Alman – Courante 2 Suite for Lutes – Nicolas Vallet (c. 1583–1626) Un jour de la semaine • Est-ce mar • Courante de mars • Galliarde

Twin Cities based lutenists Paul Beget, Richard Griffi th, Rockford Mjos, Phillip Rukavina, and Thomas Walker Jr. have performed in various lute ensembles over many years. Most recently, these fi ve performers have appeared under the auspices of the Twin Cities Lute Co-op, an organization which serves to promote performances of early plucked-string instruments in the Twin Cities area. Each has appeared, in various combinations, on the monthly TLC concert series, ‘Thursday at the Lute Cafe,’ which presents lute-oriented performances at Immanuel Lutheran Church in St. Paul. The ensemble performs a wide variety of pieces from the Renaissance and early Baroque eras.

Flying Forms: Marc Levine, baroque violin & Tami Morse, harpsichord

Sonata in G Major for Violin and Continuo, BWV 1021 – Johann Sebastian Bach (1685–1750) Adagio • Vivace • Largo • Presto

Sonata in E Major for Violin and Obligato Harpsichord, BWV 1016 – Bach Adagio • Allegro • Adagio ma non tanto • Allegro

Baroque chamber music ensemble Flying Forms collaborates with prominent musicians, musicologists and baroque dancers in a wide variety of programs from traditional to experimental. Recent performances have included concerts at the Metropolitan Museum of Art, Yale University, Symphony Space, (le) Poisson Rouge and Stony Brook University where the group presented a concert of seven new works commissioned for period instruments. Also of note is Flying Forms’ second appearance at the Boston Early Music Festival in June of 2009 where the group produced and performed, as part of a New York/Boston tour, a fully staged and critically acclaimed production of Henry Purcell’s Dido and Aeneas. Flying Forms has performed and taught extensively in local schools, universities and concert venues. This includes the new space, The Baroque Room, located in downtown Saint Paul, which the group created in 2011 and currently manages.

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

Offi cers President: Lucy Rosenberry Jones President-Elect: Nina Archabal Vice President Marketing and Development: Jill Thompson Vice President Artistic: Nina Archabal Vice President Museum: Ford Nicholson Vice President Audit and Compliance: Richard King Vice President Nominating and Governance: David Ranheim Vice President Education: Marilyn Dan Recording Secretary: Catherine Furry Vice President Finance and Investment: Michael Wright Assistant Recording Secretary: Arlene Didier Board of Directors Craig Aase James Callahan Michael Georgieff Peter Myers Jill Thompson Mahfuza Ali Carolyn Collins Jill Harmon Ford Nicholson Anthony Thein Mark Anema Marilyn Dan Anne Hunter Gerald Nolte John Treacy Nina Archabal Arlene Didier Lucy Rosenberry Jones David Ranheim Michael Wright Paul Aslanian Anna Marie Ettel Richard King Ann Schulte Matt Zumwalt Lynne Beck Richard Evidon Kyle Kossol Gloria Sewell Dorothea Burns Catherine Furry Sylvia McCallister Kim A. Severson The Schubert Club Staff Barry Kempton, Artistic & Executive Director Julie Himmelstrup, Artistic Director, Music in the Park Series Timothy Budge, Ticketing & Development Associate Joanna Kirby, Project CHEER Director, Martin Luther King Center Max Carlson, Program Associate David Morrison, Museum Associate & Graphics Manager Kate Cooper, Education & Museum Manager Paul D. Olson, Director of Development Kate Eastwood, Executive Assistant Tessa Retterath Jones, Marketing & Audience Development Manager Amy Fox, Social Media & Audience Development Intern Kathy Wells, Controller Dana Harper, Museum Intern

Composers in Residence: Abbie Betinis, Edie Hill The Schubert Club Museum Interpretive Guides: Amy Fox, Dana Harper, Paul Johnson, Alan Kolderie, Sherry Ladig, Edna Rask-Erickson

The Schubert Club is a fi scal year 2012 recipient of a general operating grant from the Minnesota State Arts Board. This activity is funded, in part, by the Minnesota arts and cultural heritage fund as appropriated by the Minnesota State Legislature with money from the Legacy Amendment vote of the people of Minnesota on November 4, 2008.

KATE schubert.org NORDSTRUM PROJECTS

The Schubert Club is a proud member of The Arts Partnership with The Saint Paul Chamber Orchestra, Minnesota Opera and Ordway Center for the Performing Arts

schubert.org 31 The Schubert Club Annual Contributors Thank you for your generosity and support

Schubert Circle Suzanne Asher Dorsey & Whitney Foundation McCarthy-Bjorklund Foundation and Richard and Adele Evidon $10,000 and above Alexandra O. Bjorklund William and Bonita Frels Patrick and Aimee Butler Family The Burnham Foundation Dick Geyerman Foundation Dee Ann and Kent Crossley Jill Harmon Estate of Harry M. Drake Michael and Dawn Georgieff Anders and Julie Himmelstrup Rosemary and David Good Mark and Diane Gorder Margaret Houlton Family Foundation Bill Hueg and Hella Mears Hueg John and Ruth Huss MAHADH Fund of HRK Foundation James E. Johnson Lois and Richard King Anna M. Heilmaier Charitable Barry and Cheryl Kempton Kyle Kossol and Tom Becker Foundation Chris and Marion Levy Frederick Langendorf and Lucy Rosenberry Jones Alice M. O’Brien Foundation Marian Rubenfeld Phyllis and Donald Kahn Roy and Dorothy Ode Mayeske Susanna and Tim Lodge Philanthropic Fund Ford and Catherine Nicholson Sylvia and John McCallister of the Jewish Communal Fund Richard and Nancy Nicholson Fund C. Robert and Sandra Morris John S. and James L. Knight Foundation of The Nicholson Family Foundation The Philip and Katherine Nason Fund The McKnight Foundation Performing Arts Fund of Arts Midwest of The Saint Paul Foundation Minnesota State Arts Board John and Barbara Rice Sita Ohanessian Gilman and Marge Ordway Saint Anthony Park Paul D. Olson George Reid Community Foundation Mary and Terry Patton Target Foundation Michael and Shirley Santoro David and Judy Ranheim Travelers Foundation Securian Foundation Lois and John Rogers The Charles A. Weyerhaeuser Memorial Kim Severson and Philip Jemielita Ann and Paul Schulte Foundation Thrivent Financial for Lutherans Fred and Gloria Sewell Foundation Katherine and Douglas Skor Nancy and Ted Weyerhaeuser Helen McMeen Smith Patron Michael and Cathy Wright Anthony Thein $5,000 – $9,999 Margaret and Angus Wurtele Jill and John Thompson Katherine Wells and Stephen Willging Boss Foundation Wells Fargo Foundation Minnesota Julia W. Dayton Guarantor Doborah Wexler M.D. and Michael Mann Terry Devitt The Hackensack Fund of $1,000 – $2,499 The Saint Paul Foundation and Anonymous Sponsor Mr. and Mrs. Ted Kolderie The Allegro Fund of Dorothy J. Horns, M.D. and The Saint Paul Foundation $500 – $999 James P. Richardson William and Suzanne Ammerman Anonymous Hélène Houle and John Nasseff Elmer L. & Eleanor J. Andersen Foundation Craig Aase Art and Martha Kaemmer Fund Paul J. Aslanian Mark L. Baumgartner of The HRK Foundation J. Michael Barone and Lise Schmidt Nicholai P. Braaten and Walt McCarthy and Clara Ueland Bruce and Lynne Beck Jason P. Kudrna Luther I. Replogle Foundation Dr. Lee A. Borah, Jr. Elwood and Florence A. Caldwell Thrivent Financial for Lutherans Dorothea Burns James Callahan Foundation Deanna L. Carlson Andrew and Carolyn Collins Trillium Family Foundation Cecil and Penny Chally John and Marilyn Dan 3M Foundation Rachelle Dockman Chase Arlene Didier & John H. Feldman Family Fund of Harry M. Drake The Minneapolis Foundation Joan R. Duddingston Benefactor Cy and Paula DeCosse Fund of Anna Marie Ettel $2,500 – $4,999 The Minneapolis Foundation David and Maryse Fan Drs. John B. and Joy L. Davis Jennifer Gross and Jerry Lafavre Anonymous Dellwood Foundation Andrew Hisey and Chandy John John and Nina Archabal

32 THE SCHUBERT CLUB An die Musik Alfred and Ingrid Lenz Harrison Mary Ellen and Carl Schmider Patricia Freeburg Anne and Stephen Hunter John Seltz and Catherine Furry Richard and Brigitte Frase Kevin Kay Emily and Daniel Shapiro Jane Frazee William Klein Marilyn and Arthur Skantz Joan and William Gacki Lehmann Family Fund of Harvey D. Smith, MD General Mills Foundation The Saint Paul Foundation Eileen Stack David J. Gerdes The Thomas Mairs and Marjorie Mair Michael Steffes Greg and Maureen Grazzini Fund of The Saint Paul Foundation Tom von Sternberg and Eve Parker Carol L. Griffin Wendell Maddox Hazel Stoeckeler and Alvin Weber Richard and Sandra Haines Alfred P. and Ann M. Moore Barbara Swadburg and Jim Kurle Jon and Diane Hallberg David Morrison Arlene and Tom H. Swain Ken and Suanne Hallberg Jill Mortensen Peggy Wolfe Betsy and Mike Halvorson Elizabeth B. Myers Matt Zumwalt Robert and Janet Lunder Hanafin William Myers and Virgina Dudley Patricia Hart Lowell and Sonja Noteboom Judith K. Healey John B. Noyd Contributor Hegman Family Foundation Dan and Sallie O’Brien Fund of $100 – $249 Joan Hershbell and Gary Johnson The Saint Paul Foundation Frederick J. Hey, Jr. Robert M. Olafson Anonymous (7) Mary Kay Hicks Luis Pagan-Carlo Arlene Alm Cynthia and Russell Hobbie Park Perks of Park Midway Bank Mira Akins Dr. Kenneth and Linda Holmen William and Suzanne Payne Mrs. Dorothy Alshouse J. Michael Homan Richard and Suzanne Pepin Susan and Brian Anderson Peter and Gladys Howell Dr. Leon and Alma Jean Satran Kathleen and Jim Andrews Margaret Humphrey John Sandbo and Jean Thomson Jean and Michael Antonello Thomas Hunt and John Wheelihan William and Althea Sell Claire and Donald Aronson IBM Matching Grants Program Debra K. Teske Julie Ayer and Carl Nashan Phyllis and William Jahnke John C. Treacy Kay C. Bach George J. Jelatis David L. Ward Adrienne and Bob Banks Benjamin M. Johnson Jane and Dobson West Gene and Peggy Bard Nancy P. Jones Keith and Anne-Marie Wittenberg Thomas and Jill Barland Tessa Retterath Jones Benjamin and Mary Jane Barnard Michael C. Jordan Carol E. Barnett Donald and Carol Jo Kelsey Partner Carline and Lars Bengtsson Anthony L. Kiorpes Jerry and Caroline Benser $250 – $499 Robin and Gwenn Kirby Fred and Sylvia Berndt Steve Knudson Anonymous (3) Ann-Marie Bjornson Karen Koepp Meredith B. Alden Carol A. Braaten Mary and Leo Kottke Jean and Carl Brookins Tanya and Alexander Braginsky Janet and Richard Krier Tim and Barbara Brown Dr. Arnold and Judith Brier Gail and James LaFave Joann Cierniak Richard and Judy Brownlee Colles and John Larkin Shirley I. Decker Matthew P. Brummer Patricia Lalley Donald and Alma Derauf Philip and Carolyn Brunelle Libby Larsen and Jim Reece Ruth S. Donhowe Philip and Ellen Bruner Nowell and Julia Leitzke Sue Ebertz Roger F. Burg Charlene S. Levy Jorja Fleezanis Gretchen Carlson William Lough and Barbara Pinaire Joachim and Yuko Heberlein Rev. Kristine Carlson and Rebecca Lindholm Elizabeth J. Indihar Rev. Morris Wee Marilyn S. Loftsgaarden Ray Jacobsen Alan and Ruth Carp Roderick and Susan Macpherson Pamela and Kevin Johnson Jo and H. H. Cheng Rhoda and Don Mains Erwin Kelen David and Michelle Christianson Danuta Malejka-Giganti Youngki and Youngsun Lee Kim Edward and Monica Cook Polly McCormack Susan and Edwin McCarthy Mary E. and William Cunningham Malcolm and Patricia McDonald Dr. John A MacDougall Don and Inger Dahlin Deborah McKnight Malcom and Wendy McLean Bernice and Gavin Davenport Gerald A. Meigs James and Carol Moller John and Karyn Diehl John Michel Jack and Jane Moran Janet and Kevin Duggins David Miller and Mary Dew Scott and Judy Olsen Thomas and Mari Oyanagi Eggum Steven Mittelholtz Heather J. Palmer Kathleen Walsh Eastwood Tom. D. Moberg James and Donna Peter Peter Eisenberg and Mary Cajacob Bradley H. Momsen Sidney and Decima Phillips Flowers on the Park Elizabeth A. Murray Walter Pickhardt and Sandra Resnick Gerald Foley David and Judy Myers Dr. Paul and Betty Quie Salvatore Franco Karla and Peter Myers

schubert.org 33 Nicholas Nash Friends Eugene and Joyce Haselmann Kathleen Newell Marguerite Hedges Jay Shipley and Helen Newlin $1 – $99 Howard and Bonnie Gay Hedstrom Gerald Nolte Anonymous (7) Alan Heider Patricia O’Gorman Cigale Ahlquist Rosemary J. Heinitz John and Ann O’Leary Elaine Alper Don and Sandralee Henry Sally O’Reilly Beverly S. Anderson Helen and Curt Hillstrom Eileen O’Shaugnessy and Arthur Perlman Renner and Martha Anderson Lisa Himmelstrup and Dan Liljedahl Vivian Orey Mary A. Arneson and Marian and Warren Hoffman Melanie L. Ounsworth Dale E. Hammerschmidt Margaret Hubbs and Family Elizabeth M. Parker Kay C. Bach Karen A. Humphrey Mary and Terry Patton Verna H. Beaver Patricia A. Hvidston and Roger A. Opp Richard and Mary Ann Pedtke Dr. Karen Becker Benita Illions Patricia Penovich and Gerald Moriarty Roberta Beutel Ora Itkin Earl A. Peterson Dorothy Boen Mariellen Jacobson Laura D. Platt Roger Bolz Mimi and Len Jennings Mindy Ratner David and Elaine Borsheim Maria Jette Rhoda and Paul Redleaf Judith Boylan Stephen and Bonnie Johnson Karen Robinson Cathy Braaten Thelma Johnson J.L. and Sandra Rutzick Charles D. Brookbank Geraldine M. Jolley Ron and Carol Rydell Jackie and Gary Brueggmann Mary A. Jones Saint Anthony Park Home Chris Brunelle Ruth and Edwin Jones David Schaaf Daniel Buivid Carol R. Kelly Mary Ellen and Carl Schmider Kevin Callahan Jean W. Kirby Paul Schroeder Donna Carlson Gloria Kittleson A. Truman and Beverly Schwartz Allen and Joan Carrier Mark Kokoszka S. J. Schwendiman Laura Caviani Jane and David Kostik Will Shapira Susan Cobin Dave and Linnea Krahn Renate Sharp Eduardo Colon Judy and Brian Krasnow Nan C. Shepard Mary Sue Comfort Paul and Sue Kremer Rebecca and John Shockley Como Rose Travel Patricia J. Lalley Nance Olson Skoglund Catherine Cooper Amy Levine and Brian Horrigan Darroll and Marie Skilling Irene D. Coran Karla Larsen Ann Perry Slosser John and Jeanne Cound Kent and Christine Podas Larson Conrad Soderholm and Mary Tingerthal James Cupery Larry Lee Marilyn and Thomas Soulen Ernest and Beth Cutting Shirley and Charles Lewis Carol Christine Southward Pamela and Stephen Desnick John R. Lewis Arturo L. Steely Dr. Stan and Darlene Diesch Archibald and Edith Leyasmeyer Eva Steiner Craig Dunn and Candy Hart Gary M. Lidster Cynthia Stokes Margaret E. Durham Bernard Lindgren Barbara Swadberg and James Kurle Andrea Een Margaret and Frank Lindholm Lillian Tan Katherine and Kent Eklund Thomas and Martha Link Jane A. Thames Mark Ellenberger and Janet Zander Michael and Keli Litman Theresa’s Hair Salon Mary Ann Feldman Janet R. Lorenz Tim Thorson Regina Flanagan and Daniel Donovan Lord of Life Lutheran Church Charles and Anna Lisa Tooker Barbara A. Fleig Ed Lotterman and Victoria Tirrel Chuck Ullery and Elsa Nilsson John and Hilde Flynn Carol G. Lundquist Rev. Robert L. Valit Nancy Fogelberg Helen and Bob Mairs Joy R. Van Lea Foli and Marilyn Zupnik David Mayo Osmo Vänskä Catherine Ellen Fortier Roberta Megard Maxine H. Wallin Michael Freer David L. Melbye Dale and Ruth Warland Lisl Gaal Robert and Greta Michaels Anita Welch Joan and William Gacki John W. Miller, Jr. Beverly and David Wickstrom Nancy and John Garland Richard and Deborah Mjelde Neil and Julie Williams Dr. and Mrs. Robert Geist Marjorie Moody Dr. Lawrence A. Wilson Mary M. Glynn Joy P. Norenberg James and Alexis Wolff Peg and Liz Glynn Eva J. Neubeck Paul and Judy Woodward A. Nancy Goldstein Jane A. Nichols Ann Wynia M. Graciela Gonzalez Eleanor H. Nickles Zelle Hofmann Voelbel & Mason LLP Graco Polly O’Brien Nancy Zingale and William Flanigan Kirk Hall Tom O’Connell

34 THE SCHUBERT CLUB An die Musik Dr. and Mrs. R. Oriani Dennis and Turid Ormseth Catherine M. Owen Elisabeth Paper Mrs. Dorothy Peterson Lynn R. Peterson Solveg Peterson Marcos and Barbara Pinto Ralph Podas Jonathan and Mary Preus Susan D. Price C.J. Richardson Drs. W.P. and Nancy W. Rodman Peter Romig Stewart Rosoff Mitra Sadeghpour and Mark Mowry Saint Paul Riverfront Corporation Mary Savina Ralph J. Schnorr Russell G. Schroedl Jon J. Schumacker and Mary Briggs Paul and Carol Seifert Ed and Marge Senninger Steve Seltz Jay and Kathryn Severance Beatrice D. Sexton In Remembrance: Nancy Lincoln Podas Elizabeth Shippee Brian and Stella Sick Coleen Sickeler For more than 50 years, Nancy Podas was a loyal subscriber, patron and leader of Nan Skelton and Peter Leach The Schubert Club. Unable to attend the opening concert of the 130th Anniversary Charles Skrief and Amanda Bond Season, Nancy offered her tickets for Karita Mattila’s International Artist Series recital Susannah Smith and Matthew Sobek Robert and Claudia Solotaroff to dear friends. Little did they realize this generous gift of music would be her last; Arne Sorenson Nancy passed away the day after the concert at the age of 93. But her greater gift was Speedy Market and Tom Spreigl her commitment of time and talent that helped shape The Schubert Club into the vital Dr. James and Margaret Stevenson organization it is today. Ralph and Grace Sulerud Norton Stillman Dru and John Sweetser A member of The Colonial Dames of America, Nancy appreciated the importance of Jon Theobald stewardship of our cultural legacy, of education and service to the community. The Bruce and Marilyn Thompson Schubert Club benefi ted from Nancy’s active participation. She shared her passion for Karen Titrud Susan Travis great music by serving as a board member, corporate board member, a host to visiting Imogene H. Treichel artists, and a leader in our annual Student Scholarship Competition. She loved to share Martha Hughesdon Turner in the excitement of classical music with young performers, and the affi rmation of Byron Twiss Jennifer Undercofl er their talents the competition gives them. We extend our gratitude to Nancy and all the Yamy Vang dedicated patrons who are the foundation for the future of great music for Jeanne M. Voight our community. William K. Wangensteen Clifton and Bettye Ware Deborah Wheeler Hope Wellner Evan Williams Alex and Marguerite Wilson Yea-Hwey Wu Tim Wulling and Marilyn Benson Janis Zeltins

schubert.org 35 Memorials and Tributes

In honor of Julia and Irina Elkina In memory of Mary Jane Munson Jane A. Thames Rebecca and John Shockley Marilyn and John Dan Jon Theobald Stan and Darlene Diesch Imogene H. Treichel In honor of Julie Himmelstrup John and Barbara Rice Martha Hughesdon Turner Mary Ellen Schmider Yamy Vang In memory of Olga M. Nordin Jeanne M. Voight In honor of Jim Johnson and Lucy Jones’ Shirley I. Decker Birthdays In memory of Nancy Pohren Susan and Edwin McCarthy In memory of Rose Petroske, mother of Sandra and Richard Haines Marilyn Dan In honor of Lucy Jones’ Birthday Beatrice D. Sexton In memory of Nancy Shepard Malcolm McDonald Nan C. Shepard In memory of Nancy Podas In honor of Jason Kudrna Diane and Greg Egan In memory of Tom Stack Carol A. Braaten Thomas and Mari Oyanagi Eggum Eileen Stack Cathy Braaten Anna Marie Ettel Carole and Tom Fagrelius In memory of Catherine Stoven In honor of David Morrison Regina Flanagan Mary and Terry Patton John Michel and Donald Donovan Nancy Fogelberg In memory of Mark Swanson In honor of Lisa Niforopulas Greg and Maureen Grazzini Allen and Joan Carrier Gretchen Piper Howard and Bonnie Gay Hedstrom Sharon Owen and Fred Hille In memory of Anne E. Walsh, In honor of Paul D. Olson Margaret Hubbs and Family sister of Kate Walsh Eastwood Mark L. Baumgartner John and Ruth Huss Jim Johnson and Lucy Jones Lucy Jones and James Johnson Paul D. Olson In memory of Lars Bengtsson, husband Kent and Christine Podas-Larson Marilyn and John Dan of Carline Bengtsson Charlene S. Levy Paul D. Olson John R. Lewis In memory of Richard Zgodava Shirley and Charles Lewis Helen Smith In memory of Lisl Close Margaret and Frank Lindholm Judith Brownlee Richard and Mjelde Geraldine M. Jolley Joy P. Norenberg Anders and Julie Himmelstrup Polly O’Brien Nan Skelton and Peter Leach Eileen O’Shaughnessy and Arthur Perlman In memory of Dr. John Davis Catherine M. Owen John and Barbara Rice Kathleen Owen Helen Smith Ralph Podas Susan D. Price In memory of Board member John and Barbara Rice Jill Harmon’s father J. L. and Sandra Rutzick Christine Podas-Larson Saint Paul Riverfornt Corporation Colleen Sickeler In memory of Dorothy Mattson Charles Skrief and Andrea Bond Christine Podas-Lason Eva Steiner Nancy Zingale and William Flanigan Tom and Arlene Swain

36 THE SCHUBERT CLUB An die Musik The Schubert Club Endowment and The Legacy Society

The Schubert Club Endowment The Legacy Society

We are grateful for the generous donors In memory of Reine H. Myers The Legacy Society honors the dedi- who have contributed to The Schubert by the John Myers Family, cated patrons who have generously Paul Myers, Jr. Family Club Endowment, a tradition started chosen to leave a gift through a will or John Parish Family in the 1920s. Our endowment provides The John and Elizabeth Musser Fund estate plan. Add your name to the list nearly one-third of our annual budget, To honor Catherine and John Neimeyer and leave a lasting legacy of the musi- allowing us to offer free and affordable By Nancy and Ted Weyerhaeuser cal arts for future generations. In memory of Charlotte P. Ordway performances, education programs and By her children Anonymous museum experiences for our community. The Gilman Ordway Fund Frances C. Ames* Several endowment funds have been The I. A. O’Shaughnessy Fund Rose Anderson* The Ethelwyn Power Fund established, including the International Margaret Baxtresser* The Felice Crowl Reid Memorial Artist Series with special support by the Mrs. Harvey O. Beek* The Frederick and Margaret L. Helen T. Blomquist* family of Maud Moon Weyerhaeuser San- Weyerhaeuser Foundation Dr. Lee A. Borah, Jr. born in her memory. We thank the follow- The Maud Moon Weyerhaeuser Sanborn Raymond J. Bradley* Memorial ing donors who have made commitments James Callahan The Wurtele Family Fund Lois Knowles Clark* to our endowment funds: Margaret L. Day* Mary Ann Feldman John and Hilde Flynn The Eleanor J. Andersen Scholarship and Salvatore Franco Education Fund Marion B. Gutsche* The Rose Anderson Scholarship Fund Lois and Richard King Edward Brooks, Jr. Florence Koch* The Eileen Bigelow Memorial John McKay The Helen Blomquist Visiting Artist Fund Mary B. McMillan The Clara and Frieda Claussen Fund Jane Matteson* Catherine M. Davis Elizabeth Musser* The Arlene Didier Scholarship Fund Heather Palmer The Elizabeth Dorsey Bequest Add your name to this list by making a Lee S. and Dorothy N. Whitson* The Berta C. Eisberg and John F. Eisberg William and Carolyn Deters Fund gift to The Schubert Club Endowment Richard A. Zgodava* The Helen Memorial Fund or provide a special gift directly to The “Making melody unto the Lord in her very last moment.” – The Mahadh Foundation Schubert Club. *In Remembrance The Julia Herl Education Fund Hella and Bill Hueg/Somerset Become a member of The Legacy Foundation Society by making a gift in your will or The Daniel and Constance Kunin Fund estate plan. For further information, The Margaret MacLaren Bequest please contact: The Dorothy Ode Mayeske Scholarship Fund Paul D. Olson at 651.292.3270 or [email protected]

schubert.org 37